Visual Practice 2B: Design Process and Research Journal

Phoebe Bradley 16038202 VP2B

styling assistance. anywhere, anytime Design Process Journal...

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Contents page...

2

Reflection

4

SOSTAC

8

Critical Path

12

Marketing Mix

18

Research & Inspiration

31

Final Campaign Plan

85

Design & Development

96

Budget

177

Phase 2

180

Conclusion

185

References

189

Illustrations

198

Appendix

220

FIGURE 1 - Fitting Room

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To help me reflect, evaluate and learn from Portfolio A, I will use Gibbs (1988) 6-step Reflective Model to consider the things that went well and what I would improve in Portfolio B of the project. Gibbs Reflective Model covers the following steps: Description, Feelings, Evaluation, Analysis, Conclusion and finally Action Plan.

Reflection...

FIGURE 2 - Gibb’s Reflective Cycle

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VP2A Reflection...

During the VP2 project briefing, I felt anxious and nervous. The thought of the workload made me feel worried as this project accounts for a high percentage of my overall grade. I was also feeling a lot of self-doubt, as I had recently returned from a 12month industrial placement, where my role lacked the creativity that I once enjoyed.

Good Therapy (no date) believes self-doubt to be somewhat normal, especially when faced with new or challenging situations as abilities may be questioned. Reflecting on Portfolio A, I feel that I came up with an innovative, fresh idea and produced high quality work which I am actually very proud of. Marcus (2017:online) states that ‘once a limited belief is triggered and activated, your outlook changes’ which can lead to a detrimental impact on your performance.

However, in certain cases, it has been said that self-doubt can actually be beneficial for individuals, because it can also contribute to improved success (Good Therapy, no date). In hindsight, I believe that doubting myself actually improved my performance, as I spent more time planning and focusing on the quality of my work. I feel that my confidence has improved since submitting Portfolio A, as I have realised my ability again. Moving forward, I plan to push

any self-doubt to the back of my mind for Portfolio B and use my grade from Portfolio A to motivate me to keep focusing on preparation and the quality of my work.

these items is ‘…a good model to promote more considered consumption.’ With this in mind, I have decided to slightly adapt my promotional plan, and use the different channels and advertising techniques to Initial ideas for my promotional plan was focus on each USP. Instead, my OOH and to focus on my USP of artificial intelligence social advertisements will promote the and the technology advancements of convenience of my service, whilst focusing my app as this is what differentiates my on making use of pre-loved items that the brand among competitors. However, I consumer already owns. I believe that a received feedback from my tutors that pop-up stall/ event would now be the best suggested that I focus on the sustainability way to promote the technological side of element more than I initially planned to, as my app, as consumers can physically ‘considering sustainability in the manner engage with the features. of buying less but wearing more is a less radical form of behaviour nudging than some sustainability campaigning’. This is something that I had not considered before and at first, I began to worry that my initial ideas were not strong enough and felt apprehensive at the thought of having to change my plan. However, after speaking with my tutor in a 1:1 tutorial, we agreed that focusing on technology and technological terms is not the most fun and exciting way to promote something, as it can sometimes be boring and unappealing.

My feedback explains that promoting my app by reminding consumers of what they already own and showing how to style

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Overall Performance Reflection...

Figure 3 - Overall Performance Reflection Table

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Adapted from Gibbs (1988) Reflective Learning Cycle

Critical Path...

Using Gibbs (1988) Reflection Model, I thought that it would make sense to begin my critical path for Portfolio B, as part of my Action Plan, so that I have something to refer back to and keep track of my progress. In part A of this project, I found that I struggled to stick to my initial critical path as I did not set realistic goals and deadlines for

each task. I realised that I tend to do a lot of ‘back and forth’ research during projects, so I have decided to give myself longer time researching.

Setting more realistic deadlines in my critical path will increase the likeliness of me sticking to it and completing tasks when planned (Joseph, 2020).

Figure 4 - Critical Path

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SOSTAC Model...

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SOSTAC is a planning business model established by PR Smith in 1998 and is commonly used when creating digital marketing plans (Smith and Zook, 2011). It is key for What to Wear? to implement an effective strategy.

This is done through looking at different steps: 1. Situation analysis: this looks at where we currently are 2. Objectives: this thinks about where we want to be 3. Strategy: we consider how we will get there 4. Tactics: we look at how we will do this 5. Action plan: this is the details of each tactic 6. Control: this is how we plan to monitor the effectiveness of each strategy

Figure 5 - SOSTAC Model

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1. Situation Analysis...

Step 1 of the SOSTAC model is to understand the current situation of What to Wear?. Chaffey and Ellis-Chadwick (2019) states that situation analysis enables a brand to examine the business landscape, discover opportunities and determine how they can contend effectively. The marketplace, competitors, consumer market, macro-environment and an internal review are some of the key factors to be studied during the situational analysis.

Macro-environment: An analysis of the external macro factors that could affect my brand overall was carried out in Portfolio A through a PESTLE analysis (pages 8-9).

a perceptual map which focused on two of my unique selling points. This enabled me to visualise where What to Wear? sat amid the competitors within the styling app market. For a clearer vision, other competitors have been added to the original perceptual map to gain further insight into the market (see figure 6). It was discovered in Portfolio A that despite there being numerous styling apps available within the market, most are actually USbased and therefore not tailored for the UK consumer. I also discovered that my app

differs massively from competitors as it provides a bespoke service giving advice, I know that for Portfolio B, I need to use my USPs as a way of promoting the brand to the consumer. I will look to my competitor apps and examine the tactics that they use to promote their service on the market. But I will also look to other companies beyond the fashion industry that offer services rather than products, to gain fresh ideas and ensure to be at the forefront of promotion tactics.

Internal review: A SWOT analysis of the brand was completed on pages 110-111 of Portfolio A which enabled me to understand where What to Wear? stands within the market.

Competitors: An analysis of three key competitor apps was performed in Portfolio (pages 26-33) which enabled me gain inspiration when developing the features for my own app.

Portfolio A also included the creation of FIGURE 6 - Updated Perceptual Map

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Consumer market: Portfolio A established the What to Wear? consumer to be ‘Young Female Millennials’ (see pages 36-41 in Portfolio A for full consumer analysis).

Figure 7 demonstrates the key characteristics taken from Portfolio A that reflect the What to Wear? consumer.

FIGURE 7 - Millennial Consumer Infographic

This consumer infographic will help determine the promotional materials that I decide to use for my launch campaign.

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Critical Path updated...

The current situation of COVID-19 has massively impacted my VPB2 project progression as the university campus closed, face-to-face tutorials were cancelled, and learning was adapted to online digital resources only. It therefore made sense for me to update my critical path after this, as it has impacted the timings of my project tasks and goals. See page 32 for updated markerplace research based on the current COVID-19 situation.

Figure 8 - Critical Path Updated

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2. Objectives...

Setting objectives enables a company to reach goals and are a key factor in any marketing strategy (Smith and Zook, 2011).

Specific objectives for particular marketing channels will be looked at in further depth later on.

The 5 S’s Objectives (for the brand overall):

Save…

Serve…

•

Provide complete guides on the functionality of the app •

•

Create a community for users and serve as a source of inspiration

•

Utilise cost effective social media channels as a key promotional strategy

•

Engage in partnerships and sponsorships wherever possible to cut costs and enhance reach

Sizzle…

Enable users to fall back in love with their wardrobe again by focusing on what is already owned •

•

Seamless user journey

Sell…

•

Provide hyper-personalised services bespoke to each user User engagement through artificial intelligence face and body scanning feature

•

Acquisition: gain 1,000 customer membership sign ups in the first 2 months of launching

•

Retention: withhold users by keeping the app engaging by updating features and consistently adding new information and articles to the app

Speak…

• •

Use social channels to engage with consumers Generate an engaged community within the app’s • Community feature

FIGURE 9 - 5 S’s Objectives

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3. Strategy...

The strategy section of SOSTAC focuses on establishing a plan of how to achieve the set objectives. STOP & SIT is a common marketing communications strategy used in industry (Smith and Zook, 2011).

STOP & SIT Model: Segments: Customer profile

Target Markets: Customer profile Objectives: The 5 S’s Positioning: OVP: An application providing the same

SOPHIE AGE: 27 OCCUPATION: Post-Graduate CRM Executive INTERESTS: Sustainability, skincare and beauty, health and fitness STYLE: Plain and safe, simple colour palette

bespoke experience of a personal styling session, but digitally instead of face-to-face

& Integration (of tools): Advertising will build brand

awareness through OOH marketing and SEO. A social campaign in collaboration with influencers will gain a follower base & generate brand reach, whilst a website will inform consumers and provide linked direct call to actions.

Tools: Content marketing: social media marketing, influencer collaboration, website, OOH

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FIGURE 10 - Mini Profile

Sequence: Interest, buy, try and then trust

4. Tactics...

Tactics are the communication tools that are used in marketing communications (Smith and Zook, 2011). The marketing mix and the promotional mix form the Tactics section of the SOSTAC model (see pages 18-31 for in-depth marketing mix and promotional plan).

The tactics section of the SOSTAC model also considers the timing of each marketing communication strategy. It is usually presented in a Gantt Chart to visually present tactical timings of the different communications tools being utilised. See Figure 147 (page 91) for What to Wear?’s tactical Gantt Chart.

Advertising

PR

Brand website

Press and media coverage about messaging of launch campaigns and concept of the brand/ application

Social media campaign across Instagram and Pinterest OOH campaign

Student discount offers

Paid sponsored social media advertisements

Refer a Friend incentive programme

Micro-influencer collaboration who’s values are aligned with my brand’s

Sales Promotion

Sponsorship

Direct Marketing Push notifications on application Email marketing when creating a membership; information on app & feature developments etc.

Personalisation- a key focus to target millennial consumer Ease and convenience of signing up- also a key focus to encourage sales

Selling

FIGURE 11- Promotional Mix

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5. Action...

Creating an action plan enables a company to actually implement the proposed tactics and ultimately ‘bring them to life’ (Smith and Zook, 2011:237). I have created mini action plans focusing on the tactic, the objective of the tactic, the action I will take to achieve the objective, who am I aiming the action at, when I plan to implement the tactic and finally the budget plan of each tactic.

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Tactic

Objective

Action

Who?

When?

Budget

FIGURE 12 - Action Plan Outline

Tactic

Objective

Measure of Success

Action

Who?

When?

Budget

OOH advertising

• Raise brand awareness • Promote concept of app • Gain app downloads

• Number of app downloads pre, during and post campaign

Promote to commuters: public transport e.g. wrap busses and taxis.

Train stations, bus stops, billboards

• Target consumer group • Other potential consumers in other segmentation groups too

WC 19/04/21 4 week cycle

£5,000

Partner with micro-influencers to promote app on their social channels.

Generate content for our channels too

• Target consumer group • Micro-influencers’ follower base

WC 19/04/21 8 week period

£18,000

Promote app by posting content across all digital channels: Instagram and Pinterest. Include clear call to actions to encourage CTR and downloads

• Target consumer group • Other potential consumers in other segmentation groups too

WC 19/04/21 ongoing

£1,000 (for first 4 weeks only)

WC 26/04/21 - ongoing

£200-500

• Measure followers • Track likes, comments, shares, tags etc.

• Hashtag use • Individual influencer discount code redemption

Social campaign

• Raise brand awareness, gain followers, membership sign ups & app downloads • Generate a hashtag that sticks with the brand

Social media sponsored ads

• Drive users to WhatToWear? social account • Increase followers • Raise brand awareness • Gain app downloads and subscription acquisition

• Measure followers • Track likes, comments, shares, tags etc.

• Hashtag use • Track App downloads

Website

• Gain app downloads • Gain social channel followers • Inform consumer about the brand & service • Email address acquisition

• Track click through rate, bounce rate, sessions, conversion rate etc.

• Track time spent on website, most clicked page etc.

FIGURE 13 - Action Plan Table

Create a user-friendly website similar to app. Provide a place for FAQ’s, customer service issues and information on events, offers and features. Email sign up box to gain customer email base for future too

• Target consumer group • Other potential consumers in other segmentation groups too

6. Control...

Influencer referral codes to track their influence on acquisition

Social media engagement rates: number of likes, shares, comments and followers

Monitor paid social ads; track sign ups via social channels, bounce rate of swipe up links etc.

Influencer swipe up links – conversion and bounce rate

Hashtag tracking; number of posts using the campaign hashtag

To measure the success of the SOSTAC tactics and to ensure that objectives have been achieved, control systems are put in place and are closely monitored throughout, to confirm the marketing campaign is performing as expected (Smith and Zook, 2011). Both inbound and outbound marketing activities will be measured.

Website hits

Number of application downloads and registered members

Application reviews and ratings on App Store

Application analytics: time spent on the app, most clicked/ used features, bounce rate etc.

Website analytics: duration spent on pages, CTR, bounce rate, conversion rate etc.

FIGURE 14 - SOSTAC Control

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Marketing Mix...

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Originally consisting of just 4 elements, the 4 P’s has been developed into the 7 P’s in more later years, to focus on service delivery to the consumer (Chaffey and Ellis-Chadwick, 2019).

FIGURE 15 - 7 P’s Marketing Mix

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4P’s to 4E’s...

The rise of the experience economy has resulted in a need for the development of marketing tactics. Dazinger (2017) states that marketers must develop the original 4Ps model that focuses on Product, Promotion, Place and Price to the 4Es model which homes in on Experience, Exchange, Everyplace and Evangelism, in order to communicate effectively to the modern-day consumer.

FIGURE 16 - 4 P’s to 4 E’s

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Product...

The product will refer to What to Artificial intelligence is also used to Wear?’s overall service in this section create an experience that is unique of the marketing mix. to each user by using their personal data, as well as data pulled from trend forecasting databases such as WGSN and EDITED to provide tailored outfit Consumer needs: suggestions.

What to Wear? provides the exclusive service of a personal styling appointment that every female desires, but can’t always get, through Competitors: a hyper-personalised state of the art The perceptual map created in application. The application features Portfolio A (see page 33) and updated have been thoroughly considered on page 10 of Portfolio B demonstrates and thought through to provide the a visual representation of where What consumer with the utmost personal to Wear? sits among key competitors. shopping experience, without the Styling apps that are currently out need for face-to-face interaction. there differ in various ways; the main differentiation being that What to Wear? provides personalised advice, tips and suggestions that is Features: solely based on the user data that Technology is a key selling point for it acquires. Expert information and What to Wear? as it has a strong focus advice are given out to users through on artificial intelligence. Face and assistance of outfit styling, focusing body scanning technology enables on what the consumer already has in the user to try outfits on virtually her wardrobe. rather than going to the hassle of trying it on physically, which is in turn improving the experience of an actual personal styling session too.

Tangible Attributes: ◊ Prices have been formulated around other lifestyle subscription charges that the target audience are already likely to pay in to. Subscription memberships have been developed around a tiered pricing model ◊ Ultra-modern technology ◊ Hyper-personalisation ◊ High quality, extremely user friendly ◊ A credible source of information and inspiration

Intangible Attributes: ◊ No cancellation fees ◊ A professional, credible and respectable brand image portrayed throughout

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Price...

Price is deemed to be one of the most significant elements in the marketing mix as it generates income and profit (CIM, 2019a).

The price of a product has links with the perceived quality of it and poor pricing may consequently detrimentally impact the success of the product. For example, if the consumer deems a price to be too low, they may be put off as they believe it may lack in quality. Equally, if the consumer believes the price of the product to be too expensive, it could result in the belief that the benefits do not match the price and it is therefore not worth paying for (Keeney, 1999; Global Data, 2019; CIM, 2019a).

Thinking about what my consumer will be willing to pay is therefore a key aspect of pricing my service.

Competitive pricing: Looking at opponent’s pricing for guidelines enables a brand to complete within the market. Whilst What to Wear? competitor apps provide their facility either for free or for a one-off payment of £3.99, it made more sense to look to other lifestyle service subscriptions for insights into producing a competitive pricing strategy (see pages 44-45 in Portfolio A).

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Subscriptions: As established in Portfolio A (see pages 42-43), the subscription business model is proving to be a successful and promising payment strategy with forecasts of a 72% increase by 2022 (Lewis, 2020). The updated perceptual map (on page 10) established What to Wear? to be a niche that fills a gap in the market for a bespoke service providing expert advice. This is why the differentiation focus strategy will be adopted, targeting a small market segment offering a niche service, in comparative to competitors seeking provide for a wider range of consumers. Riley (no date) states that differentiation focus is beneficial to small start-up businesses as it allows them to establish a higher price point through ‘specialist expertise’ that adds value to a product or service.

as a whole, as it enables us to meet all consumers’ budgets (Campbell, 2019).

Although pay-per-feature pricing models may generate frustration amid consumers who pay for a service or product but are no able to access the full features, it increases the likeliness of a consumer paying for additional features available. It also enables a company reliable growth opportunity (Southron, 2019).

Psychological pricing: Marketers suggest that psychological pricing tactics are effective to generate revenue. Studies have found that products priced with 9 at the end sold better than products priced without a 9 at the end, even if it was cheaper (Southron, 2019). For example, a sweatshirt priced at £39 sold more than the identical sweatshirts priced at £40 and even £34. This is called charm Pay-per-feature: pricing- when a product is priced with What to Wear? will use the pay-per-feature the number 9 at the end. This then gives pricing model which ‘relies on a core set consumers the impression that they are of features to entice new customers and getting a good deal. What to Wear?’s price adds charges as users evolve and want points will therefore be as follows: Silver more advanced functionality’ (Southron, £1.99, Gold £3.99 and Student £1.99, so 2019:online). This will be through tiered that the service can be marketed as less membership levels: Silver, Gold and than £4 per month.

Student. This makes What to Wear? more likely to be accessible to the target market

Place...

Placement of a product refers to how the product is available to the consumer, and its distribution will vary, depending on the type of product being provided (CIM, 2019a). Smailes (2019) states that how a product or service is accessed by the consumer must compliment and reflect how and where the product is distributed.

used for everyday tasks such as using a map and checking the weather forecast. The execution of an accessible user-friendly app that is available at the touch of a consumers’ fingertips enables What to Wear? to target their consumer effectively.

It is important to consider that because What to Wear? is What to Wear? provides a service a premature start-up brand, rather than a physical product, consumers may be reluctant so it will therefore be distributed to pay for their membership as a digital application that is straight away, especially as they available on all IOS and Android cannot physically see, touch or devices in the UK. With the target feel the service. A strong digital market of What to Wear? being presence is therefore needed tech-savvy millennials, growing in order for consumers to even up accustomed to the digital era consider buying into the brand, means that their phones and through promotion on social the internet is their main source media channels. Word of mouth for information and inspiration will also be significant for the (SanMiguel et al., 2019). The initial development of What to digital revolution has resulted in Wear?, as research has found us using our mobile phones for that consumer-to-consumer more than just communication via communication is perceived to phone calls and text messages. be more authentic and credible With the vast development of than any other advertising (De technology, phones are now Perthuis and Findlay, 2019).

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Promotion...

‘Promotion is the communication aspect of the entire marketing function’ Smailes (2019:17). To begin with, I used the CIM (no dateE) marketing plan template to help me plan and define my promotional plan.

1. Aims & Goals

The desired outcome of my marketing camaign is to: • • • •

Raise brand awareness Gain application downloads Acquire subscription memberships Gain social media channel followers • Gain consistent website traffic

2. Target Audience

I have defined my target customers into 2 segments. Segment 1 is my overall target customer, whereas Segment 2 is the student base within my target customer. I have decided to focus on Segment 1 for this campaign as they seem to have the highest potential for growth (CIM, no dateE).

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FIGURE 17 - Customer Segments

3. Competition

Part 3 was to identify key competitors and consider why customers may choose them instead of WhatToWear?.

Although I have no direct competitors as my product is a niche to the market, I do have competitors that I established in Portfolio A which provide a somewhat similar concept to my application.

FIGURE 18 - Competitors

4. Unique Selling Point

Defining what makes my business and service unique has helped me to think of the different ways in which I can promote my application, by focusing on each USP. Figure 19 demonstrates WhatToWear?’s unique selling points.

5. SWOT Analysis

FIGURE 19 - USPs

WhatToWear?’s brand SWOT analysis can be found on pages 110-111 in Portfolio A.

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6. Marketing Channels

Identifying possible marketing channels and considering if they are appropriate for my target market, as well as understanding how I would measure the success and cost of each channel, will help me to eliminate and shortlist relevant channels to use. Shortlisting relevant channels will allow me to direct my research into these specific channels, allowing me to use my time efficiently.

FIGURE 20 - Marketing Channels

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FIGURE 21 - Marketing Channels

7. Messaging

Messaging of my campaign is key to consider as I must ensure to get this across in my marketing channels. I have considered the content, call to actions and imagery that I will need too, to ensure to be organised and think about actions I may need to take in order for these to happen.

FIGURE 22 - Messaging

8. Collaboration

FIGURE 23 - Collaboration

Collaboration is key to the success of every campaign. I created a list of all of the departments that I would need to work with if my campaign was to actually go ahead in a real-life world.

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Promotion...

CIM (no dateA) states that successful communication with consumers through effective marketing strategies is essential to the success of a product. I must make my target consumer aware of my brand among competitors within the market to ensure that What to Wear? is considered by the consumer. The promotion element of the marketing mix is usually made up of 5 different elements and is often referred to as the promotional mix. The 5 elements are: advertising, sales promotion, public relations, direct marketing and personal selling. The elements used differ for brands depending on timing, budget, the message being conveyed, and the consumer group being targeted (CIM, no dateA; CIM, no dateB). According to CIM (no dateB), there are 3 primary purposes for advertising: to provide knowledge and raise awareness, to encourage sales through promoting the advantages of the product and to reinforce the brand identity through being consistent and repeating core messages. Amid the digital consumer, an online presence is key to gaining significant brand awareness and product knowledge. Consistent existence across a variety of social channels will enable What to Wear? to communicate its brand ethos, mission and purpose and penetrate into the application marketplace

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with a strong stance. After consideration into different marketing channel options, I have decided to focus my launch campaign on the following channels: social media, influencer marketing, website and Out of Home advertising.

FIGURE 24 - Train Station At Rush Hour

OOH: Out of Home (OOH) advertising is an excellent way to target public transport commuters, especially those in urban areas.

Billboards are the most common (Roux and Van der Waldt, 2016) and account for 65% of all OOH advertising (Marketing Schools, no dateC). Other OOH methods are through transit such as buses, taxis and subways, and commuter displays like bus stops and airports. OOH advertising is something that What to Wear? will employ as our main target consumer is known to commute to work via trains and local bus routes. As mentioned throughout Portfolio A, my brand aims to become an integral part of the consumers’ lifestyle. OOH advertising techniques are the beginning of this, as I will aim to promote my brand through a variety of OOH ways such as bus stops, train station posters and interactive billboards throughout city centres, to ensure that the consumer is repeatedly seeing the What to Wear? message, and subconsciously noticing the What to Wear? brand when out and about.

FIGURE 26 - Mollymae Instagram Captions

Social media: Social media marketing is said to boost revenue, raise brand recognition while improving brand value, increase web traffic, reduce advertisement costs and enable user interactivity by motivating people to share and post content (Reto et al., 2017). Whilst the WhatToWear? target market is known to be the primary users of social media channels (Mintel, 2020a); it would make sense for my marketing plan to include some sort of social media activity. Utilising social media channels for marketing purposes will not only be cost efficient for my start-up brand, but it will allow my brand to interact with consumers on a personal level through engagement features such as comments, likes and shares, which is appreciated by millennial demographics Mintel (2019). My social media campaign will focus on just two social networks to begin with, to give my premature brand time to raise awareness of my brand and gain a follower base before rolling out into other platforms. The social networks that I have selected are based on millennial-favoured platforms and the concept of my campaign (see page 89 for platform selection). See pages 136-175 for full social media campaign plan.

FIGURE 25 - Sponsored Post

Influencer marketing: Word of mouth has proven to be more effective and influential than any other marketer-controlled technique, as it holds factors of authenticity and credibility (Buttle, 1998; Marketing Schools, no dateA). Word of mouth marketing is the practice in which person-to-person communication takes place regarding a brand, service or product, which potentially influences another individual’s purchase decision. Social media influencers could be seen to be a form of word of mouth marketing as they are perceived to be likewise consumers, thus generating a credible image to consumers (De Vierman et al., 2017). Influencer marketing is particularly popular within the fashion industry as they pose as sources of inspiration about fashion styling, travelling and lifestyle. Working with influencers would be beneficial for WhatToWear? as they provide opportunities for wide brand reach to hyper-engaged audiences.

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FIGURE 27 - SEO

Sales promotion: Although usually short-term, sales promotions are a good way of acquiring new customers (CIM, no dateB).

Research into the subscription market (pages 44-47 of Portfolio A) found that most lifestyle subscriptions such as Spotify and gym memberships all provide student discounts. What to Wear? offers a student membership, which provides the user with the same features as the Gold membership, but for the price of the Silver. This allows What to Wear? to attract students by demonstrating the benefits of the premium package (the Gold membership) at a reduced price, with hopes that when the student no longer receives student discount, they will think the premium service is worth paying a little bit extra for (see figure 28 for subscription plan breakdown).

FIGURE 28 - Subscription Plan Breakdown

Website: Websites prove to be an effective form of promotion for brands who need to relay amounts of information about their products or services. My research concluded that creating a website would be the most applicable and cost-efficient way to provide information about my brand and application to my consumer. My website design will reflect the branding of WhatToWear? to ensure to be consistent and truly reflect my brand. Search Engine Optimisation (SEO) will increase the visibility of my website and drive traffic directly to it (Sharma, 2018). For my website to receive optimisation on online search engines like Google and Yahoo, I will develop key words that are relevant to my brand and my service that it provides.

Information on my SEO strategy can be found on page 135.

Research & Inspiration...

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Marketplace Situation...

The impact of COVID-19...

Effective macro environment evaluation considers how environmental changes will impact my organisation as well as how they may impact customers and the value chain as a whole (CIM, no dateD). With the coronavirus situation in mind, I thought it would be relevant to understand the impact that it is having on industries, as well as the impact that it will have once the pandemic is over, as changes will impact my brand launch post-crisis.

The global pandemic, known as COVID-19, is said to be the catalyst for accelerating what was inevitably going to happen in the fashion industry (McKinsey & Company, 2020), as consumers are expected to become more resilient with spending habits and further drive for brand transparency and sustainable thinking, thus marking the consumer path to purchase more complicated for marketers (Moran, 2020A). The forecasted shift in consumer consumption patterns post-crisis will have

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a huge impact on many businesses as beneficial products that serve purpose are becoming new drivers of value (WGSN 2020A). This shift will actually be advantageous to my brand because my product is useful and serves purpose for customers in their daily lifestyle. With this in mind, I must make sure that I focus my marketing on highlighting the practicality of my application service.

post-millennial demographic groups. Again, this could be beneficial for WhatToWear? as my brand concept is focusing on what is already owned and reconsidering consumption habits. This verifies that my marketing strategy should have a focus on sustainability elements of my app when targeting my millennial consumer.

“...concentration on sustainability after the pandemic is over will be rife...�

McKinsey & Company (2020) states that concentration on sustainability after the pandemic is over will be rife, with specific focus on over-consumption, materialism and irresponsible business practices.

As before, sustainable focuses will be predominantly among the millennial and

FIGURE 29 - Coronavirus Image Edit

As expected, customers are forecasted to still have a discount mindset post-pandemic as economic concerns are prevalent among majority of people (WGSN, 2020A; McKinsey & Company, 2020).

Research by McKinsey McKinsey & Company (2020) discovered that 56% of customers found promotions discounts to be a key factor when buying clothes just 6 days after the UK went into official lockdown.

It is therefore clear that ‘bargain shopping culture’ is plentiful among consumers right now. This could be a problem for my brand if the economic damage developed from the pandemic continues to grow for longer as customers may not see my service as an essential and may therefore be reluctant to try it. This again highlights the importance of my marketing messaging and I must therefore concentrate on gaining customer trust and enthusiasm to purchasing and trying new things.

connected with family and friends.

Post-virus, digital strategy adoption is forecasted to be in demand more than ever as brands will be expected to ‘act fast and deliver’ (McKinsey & Company, 2020:9). This is promising for my brand as my application is completely digital-focused, and thus justifies my ideas to take an onlinefocused marketing approach.

FIGURE 30 - Consumer Shopping Insight

The social distancing rules during lockdown have highlighted the value of digital channels as they have become a top priority for people to remain FIGURE 31 - We Will Feel Alive Again Post

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Competitor Research...

Competitor research is imperative for brands when creating a marketing strategy as they are the key players within the marketplace (CIM, no dateH). My key competitors were established and analysed in Portfolio A (pages 26-33), so I began to look into their promotional strategies to gain insight into the materials that I should be considering.

Finding how competitors promoted their app was difficult. I did not manage to find any techniques other than through social media channels and a branded website; this suggests that I am either missing information as they are American-based, or my competitors do not actually put money into marketing further than social media. Figure 32 portrays a competitor analysis table on my key four competitor apps.

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COMPETITOR

SERVICE

PRODUCT

StyleBook

Wardrobe organisation ‘styling’

Digital application

Mode-Relier

Wardrobe organisation ‘styling’

Digital application

PRESENCE Online only

CHANNELS

COMMENTS

Stylebook seem to keep marketing costs low- they have a digital presence, A website is their main way of informing The app has been featured especially on Pinterest and Instagram. consumers as a ‘lifestyle fashion styling Their website quality is rather low- not app’ in a wide variety of the most seamless experience and a Social media channels: Instagram, Twitter, fashion and lifestyle basic design and layout. Demo videos Facebook, YouTube and Pinterest magazines and online are key content on their YouTube articles account Similar to Stylebook, Mode-Relier seem Online only They inform consumers through a website to be constrained to a digital-only presence too. This app is not as too The app has been featured developed as Stylebook and it shows in as a ‘fashion styling app’ in Social media channels: Instagram and the design of their 1-page website & some magazines and online their two social media channels YouTube (1 video on whole account) articles.

Smart Closet

Wardrobe organisation ‘styling’

Digital application

Online only

Pureple

Online outfit planner

Digital application

Online only

The Smart Closet website has the smoothest user journey. The design is Website- not used to just promote the more seamless. Users can access their account and use the application app- you can access features from the app on a desktop through their website too features on their website too. Their social media channels lack Social media channels: Instagram, differentiation- they are full of outfit Facebook, and YouTube (2 videos) collages and user generated content.

Demo videos are a big feature on their website Pureple don’t seem to have a marketing Very old and poorly designed website strategy currently- their website has not been updated for a very long time and Social media channels: Pinterest and their social channels lack consistency, Twitter only content and engagement

FIGURE 32 - Competitor Analysis Table

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Co-founder Jess Atkins runs Stylebook’s Instagram account, where she manually generates content for the account, by showcasing how she personally uses the app each day. This is a more subtle way to market the application as she does not include lists of the benefits and features, nor does she push CTAs a lot; instead, she demonstrates how useful the app actually is by posting daily outfit pictures alongside a screenshot of the outfit styled together in the app (see Figure 34).

FIGURE 34 - Stylebook Instagram Post

Competitor’s social channels...

Mode-Relier and Smart Closet’s Instagram pages rely on user generated content (UGC) to keep their social channels running. Smart Closet use their Instagram account as a way to create a fashion community among users- they encourage users to share their outfits using hashtags for a chance to be reposted on the application’s Instagram page. Smart Closet tend to keep their content cohesive and use only outfit build collage images, whilst Mode-Relier post a mixture of fashion both styling and lifestyle imagery to provide their followers with inspiration. FIGURE 35 - Mode-Relier Instagram Account FIGURE 33 - Smart Closet Instagram Post

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Competitor’s websites...

FIGURE 36 - Pureple Website

FIGURE 37 - Stylebook Website

The Pureple website is extremely dated; it lacks creativity and professionalism and is therefore a poor reflection of the brand and the application. If I were to come across their website, I would definitely be put off even looking at the application on the App Store.

The Stylebook website layout is much better, but it still lacks professionalism and the application features and information seem to be crammed into just a few pages. If I were to create a website, this is something that I must consider- I want to filter plenty of information into my website but in a way that the viewer will not find overwhelming or too much. Design of my website will be completely modern and will be updated regularly to avoid the mistake made by Pureple.

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FIGURE 38 - Smart Closet Website

Competitor’s websites...

The Smart Closet website is the most pristine looking- the website is actually used as part of the application service, so layout and web design is clearly an important aspect to their website marketing strategy. It is neat and clean and looks professional. The Mode-Relier website is also quite simplistic and clean looking, however it is limited to just one page.

The website does not provide much information and only seems to be used as a means to provide an App Store download link.

FIGURE 39 - Smart Closet Website

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FIGURE 40 - Mode-Relier Website

Competitor analysis summary...

My competitor analysis has discovered that all competitors tend to implement cost-effective promotional activity such as creating a website and running a variety of social media channels. This provides my brand opportunities to step into the marketplace with a strong and impactful multichannel promotional campaign as there is no other competitors to compete against. I have realised the importance of a strong website design as this reflects on the brand and it helps me make presumptions on the quality of the application; I want viewers to see my brand and application as sleek and tasteful thus creating a reliable image for my app. Social channels I select must be strategic, aiming to target my millennial consumer base, otherwise the platforms may not be effective or impactful. I must ensure to keep content consistent across the social platforms that I select to work with in order to keep engagement rates high and user interest rife.

Because my competitor analysis discovered just two popular types of marketing channels, I will look into how other service providing apps promote their service to gain more inspiration and ideas on other channels that I could consider implementing into my promotional campaign.

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FIGURE 41 - Klarna Logo

Case Study...

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To gain inspiration and ideas on how I will promote What to Wear? I began to look at how other brands that provide a service rather than a product market themselves. Klarna was a service which stood out to me as it is prominent and very current within the fashion industry.

OOH advertising techniques...

I noticed how Klarna uses a lot of out of home (OOH) advertising to promote their service, mainly targeting public transport throughout city centres. This is something that would resonate well with my consumer who lives in and around the city centre and uses public transport regularly to travel to work (consumer segmentation available on pages 40-41 of Portfolio A).

“Pay in three, JD” and “When I’ve decided, Missguided” are some of many of the fun slogans printed around cities.

I like how the slogans are short and rhythmic as it makes them more likely to be read and remembered by the viewer (Shotton, 2017). This is something that I could consider I really like Klarna’s branding; when promoting What to Wear? it is very short and snappy and as Klarna’s catchy rhymes are gets straight to the point. Their likely to stick in the consumers’ ‘No Drama, Just Klarna’ OOH mind, even when passing campaign which features simple through a city centre during posters with snappy slogans is peak period. really effective. The campaign featured catchy slogans that featured names and logos of the high street brands the campaign was in partnership with. The campaign highlighted Klarna’s mission to allow consumers control how and when they pay for their items.

FIGURE 42 - Klarna OOH

FIGURE 43 - Klarna OOH

FIGURE 44 - Klarna OOH

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House of Klarna pop up event...

I looked into a recent pop-up event hosted by Klarna which was held in Manchester in October 2019. The Klarna event was very on-brand; fun, bold and playful. The event took place over a 9-day period and was held on King Street.

The Klarna event almost brought the digital shopping experience to life as many brands and partners provided activities throughout the 9 days.

The event featured: - Live performers and a DJ - Prosecco upon arrival, coffee and other refreshments - You could actually shop whilst there - Opportunities to win prizes from brands through ‘spin-thewheel’ games - Influencers (Love Island star Eyal, Henry Holland fashion designer) - Instagrammable all over which was fully branded by Klarna Workshops: o Styling sessions from Topshop & Tompan o ASOS masterclass- styling from ASOS insiders o Sustainability talks o Coffee morning o Henry Holland chat o Yoga sessions o Krazy Golf o Nails treatments

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FIGURE 45 - House of Klarna

FIGURE47 - House of Klarna

FIGURE 46 - House of Klarna

FIGURE 48 - House of Klarna

FIGURE 49 - House of Klarna

FIGURE 50 - House of Klarna

FIGURE 51 - House of Klarna

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A branded pop-up event is something that I might consider doing to launch my product.

I would concentrate on how I would get my branding, messaging and key application features across to my customer in a fun and engaging way, similar to how Klarna does.

“...creating positive consumer experiences is the real secret to success and building loyalty.”

“Happy and engaged visitors will come back, bring their friends and share their experience through social.”

- luke griffiths, vm of klarna uk 44

Social media channels...

1. Facebook

2. Instagram

3. Twitter

4. YouTube

FIGURE 55 - Klarna Social

FIGURE 52 - Klarna Social

FIGURE 53 - Klarna Social FIGURE 54 - Klarna Social

To my surprise, Facebok was Klarna’s most liked/ followed/ subscribed social media account by a huge difference. I noticed that Klarna are yet to have a Pinterest account or to my knowledge a Snapchat account. This could be because of the service provided

by Klarna- Pinterest is used as a source of inspiration and therefore would not resonate the best with Klarna. From researching each social channel, it is clear that Klarna are very consistent with the content that they post across all of their channels.

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Facebook...

Seemingly the most popular form of social media for Klarna consumers. Facebook allows consumers to shop directly from the app/ website through their ‘Shop Now’ button, allowing for a smoother payment to be made. Facebook is also a point of call to contact Klarna customer services. It allows image-based content as well as text-based statuses to engage with the consumer.

Use of the campaign hashtag #getwhatyoulove using short videos similar to boomerang to push their brand message and selling point. Hashtags are a good way to encourage engagement with customers as they can also use them to be a part of the talk.

FIGURE 57 - Klarna Facebook

It is used to promote the other brands that Klarna partner with.

Figure 57 is an example of a post promoting payments through their service for fashion retailer River Island.

FIGURE 56 - Klarna Facebook

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FIGURE 58 - Klarna Facebook

Facebook is used to promote any other marketing campaigns such as competitions and collaborations.

Because it is not just an image-based platform, customers can read full information on competitions in comparison to promoting via Instagram posts.

Instagram...

Klarna’s Instagram account is very reflective of the brand. The content is fun, pink and creative. The layout of the Instagram feed is carefully thought through making their campaign more effective and memorable.

The Out of Home advertising posters are also seen on Instagram; but have been made into fun GIF videos to make them more engaging. This shows cohesive campaigning as the campaign is seen in multiple places (see Figure 61).

Like Facebook, Instagram features the leap year competition. The competition is featuring Lady Gagacelebrity endorsement used to strengthen the campaign/ competition and gain extra exposure.

FIGURE 60 - Klarna Instagram

The hashtag #getwhatyoulove is used on Instagram posts too. This makes the content transferrable among different channels when the same hashtag is used everywhere.

FIGURE 59 - Klarna Instagram

FIGURE 61 - Klarna Instagram

Instagram is also used to keep consumers up to date with the latest news. Collaborations, events and competition coverage are all featured on their Instagram feed.

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Twitter...

Klarna celebrates special days and public holidays through creating content for Twitter followers to engage with.

Twitter is used by Klarna to keep consumers updated about what the company is up to; new brand partnerships are mentioned a lot. Similar to Facebook and Instagram, Twitter includes information on competitions and collaborations too.

FIGURE 62 - Klarna Twitter

Klarna’s campaign hashtag #gethwhatyoulove is also used throughout Twitter. This enables consumers to engage with the campaign on most social platforms.

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Klarna shares primary research information on Twitter, sharing a full detailed report. This could attract potential future partnerships for them. It also shows that they are researching their consumer, ensuring to provide the best possible service for them.

FIGURE64 - Klarna Twitter

FIGURE 63 - Klarna Twitter

They are seen to be sharing content across multiple platforms again here- the Olivia Rubin collaboration which was posted on Instagram is also being spoken about on Twitter too.

This ensures consumers are aware of what the brand is currently up to and offering.

YouTube...

Klarna’s YouTube channel seems to be mostly advertisement videos, promoting their USP of a ‘smooth’ payment. The videos are fun, light-hearted and quite random.

Klarna have recently added a video in relation to their campaign which featured Lady Gaga to celebrate the leap year. The campaign promoted the idea that females can switch up traditions and be the one to propose to their partners. The post showed a home video of a female proposing to her boyfriend. Although nothing to do with promoting their service, Klarna include videos that are relatable and relevant to their consumer.

FIGURE 66 - Klarna YouTube

Again, we can see that Klarna’s social channels are quite cohesiveFigure 65 shows a video promoting their collaboration with Olivia Rubin, which was also promoted on Instagram and Twitter.

FIGURE 65 - Klarna YouTube

FIGURE 67 - Klarna YouTube

More recently, Klarna have been adding lots of videos to their channel that help Australian customers to use their app. This is since they have launched in Australia.

This is something I could consider doing for my users to fully explain the payment options, features and functionality of my app.

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FIGURE 68 - Just Eat Logo

Case Study...

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Just Eat is another service that is prominent today. Their fun and catchy campaigns are proving to be highly successful. I have decided to look at how their TV campaigns have developed since first launching, to gain inspiration and insight into how I should be introducing my brand into the market.

Campaign focuses...

Just Eat have always created fun and memorable advertisements, and their campaigns have been focusing on their USP of convenience since first established in 2001. An example of this is their ‘Delivering for the Nation’ campaign in 2018. The advert featured hundreds of Just Eat delivery drivers delivering food across the country on motorbikes.

“Set across the UK, on a typical Wednesday, the film dramatises Just Eat’s service from start to finish, as a magical experience where your dish is Just Eat’s command.” (The Drum, 2018: online)

FIGURE 69 - Just Eat Campaign

More recently, Just Eat have shifted their campaign focus away from convenience for the first time. Instead they focus their latest advertisement on celebrating the ‘simple joy’ of ordering a takeaway. The TV advert features a catchy new tagline ‘Did Somebody Say Just Eat?’ which is sung throughout the advertisement.

“We’ve all experienced that moment of joy when the doorbell rings and your food arrives - our new ‘Did somebody say Just Eat’ mnemonic celebrates that perfectly.” (Stewart, 2019:online)

FIGURE 70 - Just Eat Campaign

This is something that I should consider when promoting my brand. Because it has not yet launched, I must ensure that my first promotion campaign is focusing on explaining the service that my brand provides. Similar to Just Eat, convenience is a selling point for What to Wear? so I will take inspiration from their campaigns when coming up with ideas for my own.

FIGURE 71 - Just Eat Campaign

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FIGURE 72 - Birchbox Logo

Case Study...

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I looked at Birchbox as like What to Wear?, it is a subscriptionbased service. Birchbox provides monthly boxes filled with 5 beauty products that are personalised to each customer’s preferences that are filled in during the application stage.

Their website is Birchbox’s main point of call in providing information about the brand and the service that they provide. Similar to my initial ideas, Birchbox provides the following services: • Refer A Friend scheme: referrer receives £10 off and the new member gets £5 off their first box

FIGURE 73 - Birchbox Website

• Students recieve a discount • 3 subscription options; tiered pricing model A website is something that I could consider as a way to inform consumers of my service and brand.

FIGURE 74 - Birchbox How It Works

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Social media channels...

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5. YouTube

3. Instagram FIGURE 77 - Birchbox Instagram

FIGURE 76 - Birchbox Pinterest

4. Twitter

2. Pinterest

FIGURE 79 - Birchbox YouTube

FIGURE 78 - Birchbox Twitter

FIGURE 75 - Birchbox Facebook

1. Facebook

Birchbox use a wide variety of social media channels to market to consumers.

Similar to Klarna, Birchbox’s most followed/ liked platform is Facebook.

Second most popular platform is Pinterest, and whilst Birchbox uses their platform as a way to inspire followers, this comes to no surprise as Pinterest works as a source of inspiration. Third is another image-based platform: Instagram. From studying Birchbox’s social channels, it is clear that they remain consistent in the content that they post.

Facebook...

Birchbox’s Facebook account is used as a way to engage with the consumer. Although the most liked and followed platform used, engagement from customers does tend to be quite low as posts receive acute likes and comments.

Light-hearted, fun and humorous videos and memes are posted on Facebook, usually content that is posted by Birchbox customers, which Birchbox will repost. The hashtag #BirchboxMakesYouSmile is promoted on these posts which customers must tag in order to be seen and reposted.

This encourages engagement from customers.

Links to the Birchbox website and blog are provided with articles featuring beauty tips, advice and tricks. They tend to ask the customer questions, to encourage comments and engagement on their page.

FIGURE 81 - Birchbox Facebook

FIGURE 80 - Birchbox Facebook

They provide monthly posts with information on the content in the box for the upcoming month. Usually, the boxes are themed depending on current affairs and special dates within the specific month. For example, Valentine’s Day features red and pink products in a heart printed box. They also partner with other brands and people when creating new boxes. This enables Birchbox to stay relevant and engaged with consumers by showing awareness of what is going on.

FIGURE 82 - Birchbox Facebook

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Pinterest...

Another category which is popular is their ‘Inspiration Station’ which encourages mindfulness, motivation and self-acceptance. This enables the brand to connect with the consumer on a more personal level. This is something I could utilise in relation to body image and dressing for your body shape.

Birchbox’s Pinterest account acts as a source of inspiration rather than a way to sell, as well as encouraging self-care and giving beauty tips.

Their account has numerous Pinterest boards which are organised into categories to enable ease of navigation for followers.

There is a category which reveals results from recent survey research carried out by Birchbox; they are presented in creative illustrations which are relevant and fun. This gives followers insight into the lack of self-care that most people feel, which enables the brand to promote themselves as a way to self-care but in a more subtle way.

FIGURE 84 - Birchbox Pinterest

FIGURE 83 - Birchbox Pinterest

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Their Pinterest account is also used to post imagery and videos of the products that are used in Birchbox. Customer posts and ecomms shots are regularly posted.

FIGURE 85 - Birchbox Pinterest

Instagram...

A lot of posts are reposting of customer pictures. This is something I could consider doing for my social channels as it encourages customers to post about the brand, but also enables me to have content to share.

Birchbox create their own quotes which are branded to be reposted by followers. This is something I could do as a way to push my brand message, encouraging reshares to gain brand awareness.

When the new box is revealed at the beginning of each month, the following posts are centred around the theme or contents of the box. This makes the page consistent and pushes the launch of the new box.

FIGURE 86 - Birchbox Instagram

FIGURE 87 - Birchbox Instagram

Birchbox’s Instagram account is very reflective of the brand. Similar to Facebook, their Instagram page encourages interaction with consumers with the use of #BirchBoxUK or #BirchBoxIRE to be featured on their page. They also ask followers questions within captions to encourage comments below the post. Followers seem to be more engaged with their Instagram page comparative to Facebook posts.

The content features lots of lifestyle inspired posts: images of coffee, quotes, funny videos etc. This generates a level of relatability for the customer which enables then to create a relationship with the brand.

Pushing lifestyle is something that I could engage with as my brand enhances the customer lifestyle by providing convenience and assitance.

FIGURE 88 - Birchbox Instagram

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Twitter...

Birchbox’s Twitter account does not seem to be used as much as their other channels, apart from responding to customer service issue tweets daily. This is something I want to avoid.

The same hashtags are used on Twitter as the ones on Facebook and Instagram, generating cohesive content that can be used across all platforms. This is something I will keep in mind when thinking about content and how I can utilise it across numerous channels.

It is used to engage with customer comments and reviews, they tend to retweet positive feedback to their feed for followers to see.

FIGURE 90 - Birchbox Twitter

FIGURE 89 - Birchbox Twitter

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Similar to Facebook and Instagram posts, Birchbox tend to post lighthearted humorous images and videos to their Twitter account too. Again, this makes the brand easy for the consumer to identify with as they generate a casual relationship. This is a similar relationship I would like to create between What to Wear? and the consumer group.

FIGURE 91 - Birchbox Twitter

YouTube...

Content on YouTube seems to be quite random and a little boring, with most videos consisting of unboxing. There is definitely space for Birchbox to engage with the consumer more; they could include tutorials on skincare routines, makeup application, hair styling etc. to generate more talk around the brand.

They could also partner with YouTubers or gift them products for them to try and review in a video to gain more content for their own channel.

YouTube is Birchbox’s least used platform; their last post was 5 months ago which received only 51 views. It seems that the lack of commitment to the platform is resulting in a deduction of engagement from followers. This is something I need to consider when deciding the platforms to use when launching my brand; I want to avoid creating accounts for platforms that I won’t be able to regularly provide content for.

Last year, when the company seemed to use YouTube more regularly, they would post monthly unboxing of their new box that would be sent out to subscribers. This would generate excitement for subscribers who would be getting a ‘sneak peek’ into products they may receive.

I could consider ways to generate excitement and build up for my app doing something like this.

FIGURE 94 - Birchbox YouTube FIGURE 93 - Birchbox YouTube

FIGURE 92 - Birchbox YouTube

Their ‘Get to know the Birchbox team’ video is a good way to introduce a brand to their consumer group. This is something I could think about for my app.

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The Power Of The

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FIGURE 95 - Hashtag Search

FIGURE 96 - Benefits Of Hashtags

Rauschnabel et al., (2019) proposes that hashtags are an effective way to create engagement among consumers and companies, particularly when consumers implement branded hashtags into their postings; Coca Cola’s #shareacoke-hashtag is a prime example of this (see Figure 95 which demonstrates the reach that Coca Cola’s hashtag has gained on Instagram alone). When a hashtag gains hundreds of thousands of posts, this leads it to become a trending topic online, thus enabling further reach as more people are seen to be engaging with it.

I looked into the key benefits of using hashtags as part of online marketing campaigns which are portrayed in Figure 96.

#hashtag...

Initial ideas for my campaign are to have a strong digital presence. As part of my digital presence, I have ideas to develop a social media campaign with hopes to gain brand awareness and user engagement. As part of my campaign, I thought it would be useful to research into how users engage on social media, to ensure that I consider different ways to communicate with my target market. Hashtags are becoming increasingly popular for social media users and marketers in particular are beginning to pick up on the digital phenomenon (Patel, 2015; Rauschnabel et al., 2019). Research has found that there are 10 motivations for hashtag use among social media users: amusing, organising, designing, trend gaging, bonding, conforming, reaching, inspiring, endorsing and summarising with trend gaging, endorsing and reaching being key motivators for marketers in particular (Rauschnabel et al., 2019).

Social media trends...

One of the most popular trends during the current COVID-19 lockdown has been showing our appreciation for our NHS staff and key workers.

The hashtag #nhs has 1.3 million posts, whilst #ThankyouNHS has 116,000 posts on Instagram alone (Instagram, 2020). This demonstrates the reach that hashtags have the potential to achieve. As part of showing appreciation for the NHS, a 5km running challenge, Run For Heroes, has spread across Instagram with aims to raise money for the NHS. The concept of the challenge is to run 5km, donate ÂŁ5 and then nominate 5 others to also take part. So far, Run For Heroes has raised over ÂŁ5 million for the NHS and is still a trending craze (Virgin Money, 2020). The challenge has grown to be so wellknown that famous personalities like singer Ellie Goulding, Olympian Jessica Ennis-Hill, actor Jamie Dornan and many others are supporting the online trend and encouraging their followers to get involved. This shows the power of social media and how one small concept can gain mass engagement and be seen by millions of people, with the help of a simple hashtag.

FIGURE 99 - Run For Heroes

FIGURE 97 - Thankyounhs Hashtag Search

Trending topics on social media will always be on the agenda, and hashtags play a key part in making these crazes trend on such a huge scale. Even in the past 8 weeks of the COVID-19 situation, we have seen a variety of trends plastered on social media, with the help of hashtags.

FIGURE 98 - NHS Hashtag Search

FIGURE 100 - Run For Heroes Money

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FIGURE 102 - Hashtag Search

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FIGURE 101 - Influencer Post

FIGURE 103 - Hashtag Instagram search

Another trend that has blown the internet during lockdown is the Quarantine Pillowcase Challenge that was started by 2 fashion influencers on Instagram. The concept of the challenge is to use a pillow as a mini dress and cinch it on by your waist using a belt (Heron-Langton, 2020), and post a selfie to Instagram. The fun, light-hearted challenge has found hundreds of thousands of Instagram users getting creative and taking part using accessories to co-ordinate the ultimate ‘pillowcase look’, with the use of numerous hashtags: #pillowcasechallenge #pillowchallenge #quarantinepillowchallenge. Fashion brand Off-White even participated in the challenge by sharing images of Off-White consumers accessorising their pillow dresses with the brand’s iconic Industrial belt. Again, this portrays the power of using simple hashtags around a fun concept to get a nation involved and engaged online, and when huge fashion brands like Off-White get involved, exposure is in mass measurements.

#pillowcasechallenge

FIGURE104 - Pillowcase Challenge Posts

My research suggests that hashtags will help to generate engagement and reach when marketing on social media. This is therefore something that I could consider when creating my social media campaign. I would be sure to use a short and precise hashtag that is simple to spell so that it is more memorable and easier to engage with (Gwinnutt, 2017). I will be careful not to overuse my hashtag or oversaturate my post captions with too many hashtags as this can divert users away from the message I am trying to portray (DMI, no date).

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FIGURE 105 - PESO Model

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Public Relations...

PESO Model...

Public Relations (PR) ultimately looks after brand reputationit is the result of a brand’s actions and what the brand says, which then sets the formation of public opinions on that brand (Moran, 2020B). PR activities come into play during the Promotion part of the 4 Ps Marketing Mix, once the product, price and place have all been established (Chaffey and Ellis-Chadwick, 2019).

The PESO model demonstrates the different types of PR communications; PR is ultimately split into four forms: earned media, shared media, owned media and paid media. Figure 106 demonstrates the four types of PR media and what each type includes. Usually, start-up brands tend to operate in the owned, paid and earned parts of media, with a strong focus on paid and owned (Moran, 2020B), as they have usually not been around long enough to gain earned media.

Moran (2020B) suggests that start-up brands begin with owned media as it is the very basic and is therefore significant; my brand would own its own social media channels and website. Next, Moran (2020B) suggests focusing on paid media because it is the easiest to acquire and my brand will have full control over what is being said about them. This would allow for my brand to begin to build a positive reputation. However, it is key to consider that paid media is seen to be the least credible by consumers as it will most definitely be biased. Earned media is the ultimate goal for my brand, despite the fact that my brand would have no control over what is being said about them. If my brand receives positive earned media coverage, this will be extremely beneficial as it is seen to be unbiased and more authentic than the other types of PR media.

Paid…

Money is involved: I would have to pay for advertising to gain brand awareness as my brand is a premature start-up Least credible form of media

Owned…

Earned…

The most basic form of media The platforms that the brand owns and has full control over what is said; website, social media platforms etc.

PESO MODEL

Traditional media: unpaid More powerful to consumer as it is seen as authentic 3rd party endorsement

Shared…

Hoping the consumer is engaged with the brand They are co-creating and sharing the brand It takes time to gain this type of media

FIGURE 106 - PESO Types

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PR media plan...

Figure 107 demonstrates the types of media that I plan to include in my promotion campaign.

I have concentrated on utilising Owned, Paid and Shared media types for my launch campaign, with hopes to gain Earned media through my strategy, concept and messaging.

Influencer collaborations have more recently moved from the earned media area into the paid media section because many fashion brands now pay influencers to review a product or give their brand a shout out on their social channels (Launch Metrics, 2019).

This development has resulted in influencer marketing strategies set up between brands and influencers are becoming increasingly professionalised. Consequently, this means that legitimacy is beginning to be challenged and the credibility of influencers is declining as their opinions are now a result of a monetized agreement.

Paid media will allow for my small brand to be placed in the market. Eventually, I would like my brand to be strong enough to cut back on paid media and begin to gain earned media, which would build up my brand’s reputation.

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Influencer collaborations have more recently moved from the earned media area into the paid media section because many fashion brands now pay influencers to review a product or give their brand a shout out on their social channels (Launch Metrics, 2019).

This development has resulted in influencer marketing strategies set up between brands and influencers are becoming increasingly professionalised. Consequently, this means that legitimacy is beginning to be challenged and the credibility of influencers is declining as their opinions are now a result of a monetized agreement.

I aim to have a strong relationship amid the WhatToWear? brand and its target consumer market; my social media campaign will include a concept that encourages users to get involved and generate content which could then be utilised on the WhatToWear? social channels. This allows for the consumer to engage with the brand and the campaign, and the brand has the opportunity to interact and utilise user generated content. This would be beneficial for my premature brand as I would be limited in content that could be used on social channels.

FIGURE 107 - PR Media Types

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Influencers...

tagram

shcroft Insta

gram

Influencers are extremely beneficial for fashion brands as they allow brands to closely communicate with consumers and meet their increasing demand for honesty and transparency through their seemingly organic and honest content (Launch Metrics, 2019).

FIG

Another key factor to consider as a start-up brand is that they are more cost effective and accessible comparative Influencers are particularly popular to celebrity endorsements (Mintel, among millennial and post-millennial 2020a), meaning that marketing generations as they have grown budget can also be implemented in accustomed to the digital world of other channels too. Seen as relatable communication (Launch Metrics, and normal consumers, influencers 2019; SanMiguel et al., 2018). 83% of have the power to influence millennials actively follow or frequently followers as consumer-to-consumer view influencer accounts on social communication is perceived to be media channels (Mintel 2020a); thus, more credible comparative to celebrity suggesting that influencer marketing engagement (De Vierman et al., 2017).

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FIGURE 109 - Likes

FIGURE 11 1 - Sarah A

would be an effective strategy to implement into my campaign to gain brand awareness among my millennial target market.

lin Ins eya Kil r F 0 1 URE 1

The digital revolution and the growth of social media have changed the way culture and businesses consume and communicate (SanMiguel et al., 2018; Thompson, 2019), resulting in advertising strategy adaptation that promotes a more web-focused approach to stay relevant among competitors. At the frontier of digital communication, influencer marketing has become one of today’s most promising promotional strategies for the fashion industry (De Vierman et al., 2017; Mintel, 2020a) with over 86% of brands claiming to utilise such practices (Launch Metrics, 2019).

FIGURE 11 3 - Sarah A shcroft Insta

Influencer Type

Number of Followers

Micro

10k – 100k

Mid-Tier

101k – 500k

Mega

501k – 2M

All-Star

2M +

FIGURE 114 - Influencer table

FIGUR

E 112

-S

shcro arah A

ft Insta

gram

gram

Influencers are categorised into 4 main groups: Mirco/niche, MidTier, Mega and All-Star, which is based on the number of followers they have (see Figure 114). Research into influencers has discovered that personalities with a smaller following (micro influencers, for example) tend to have the highest engaged audiences as they usually focus on one specific topic to blog about (SanMiguel et al., 2018; Launch Metrics, 2019). This is something that I would consider when selecting influencers to work with for my social media campaign.

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“BE THOROUGH AND THOUGHTFUL WHEN IDENTIFYING THE PEOPLE THAT YOU ALIGN YOUR BRAND WITH; MAKE SURE IT’S NOT A CHOICE BASED ON NUMBERS, BUT THAT THERE IS A TRUE BRAND FIT.” Jennifer Powell Influencer Talent Manager and Digital Brand Strategist (Launch Metrics, 2019:11)

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FIGURE 115 - Influencer quote

FIGURE 117 - Freya Killin Post

Despite the benefits that influencers are seen to be having on businesses, is key to consider that research suggests there are many negatives that come with influencer marketing, specifically the impact that influencers tend to have on impressionable young females. Many believe that influencers have having a negative impact on young female millennials self-perceptions as most influencers portray unrealistic lifestyle and beauty standards through heavily manipulated and filtered selection of images (Borges, 2011; Chae, 2017).

I have recently studied this specific topic in my dissertation and concluded that influencer marketing is a catalyst for Body Dysmorphic Disorder and other self-image related mental health issues among female millennials. My research did discover however, that not all influencers perpetuate unrealistic standards on social media, and they are in fact empowering figures who millennial girls look up to and admire.

This is why my influencer selection will be extremely particular to make sure that I work with influencers who reflect my brand as inclusive and encouraging, whilst avoiding influencers who portray unattainable looks or lifestyles.

FIGURE 108 - Likes

a Amy

FIG

aur 16 - L 1 E R U

Post

FIGURE 108 - Likes

FIGURE 1 18 - Freya

Killin Post

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Multichannel

This is something that my brand already strives to provide as consumers’ opinion on the quality and value of my app is important to me. I must ensure to provide this seamless experience throughout all of my marketing channels so that it is a true reflection of my app functionality and quality.

Speed and service will come hand in hand in my app as everything will happen there and then. I must make sure to highlight the accessibility and speed of my service in my promotional messaging.

“Modern shoppers want a simple and seamless experience. But they also want speed, service and a social aspect, too. They want the ease of digital, the variety of marketplaces and the advantages of the physical, plus their preferred choice of payment, delivery and return options.�

(Moran, 2020A:online)

I plan to create a social aspect to my marketing plans through a social media campaign and the use of a hashtag will enable consumers to engage with it.

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I am combining the physical and digital environment with the virtual try-on feature. I will highlight the ease of virtual try-on and market it as a way to save time and effort as consumers do not need to physically try on outfits suggested by the stylist bot.

Marketing...

Multichannel marketing is proving to be extremely effective when targeting a specific consumer group. However, it also comes with challenges, and with consumer spending behaviours shifting due to COVID-19 (WGSN, 2020A; McKinsey & Company, 2020), I thought that it would be beneficial to understand the implications this could have on the marketplace I am entering.

The power of convenience & personalisation...

Convenience is ultimately redefining shopping for many consumers and AR shopping is becoming increasingly popular for fashion companies to provide this consumer convenience demand.

AR (Augmented Reality) is a vast development and is now being used in the fashion industry to combine physical with digital worlds. Smart mirrors are a popular way of introducing AR into retail spaces and many fashion retailers are beginning to engage with augmented reality technologies such as smart mirrors.

Smart mirrors allow consumers to virtually try-on clothes without having to undress; providing convenience and ease for consumers. They are beneficial for retailers as they are able to upsell other items by suggesting ‘try it with’ or ‘you may also like’ items, creating a bespoke experience.

Likelihood of consumers adopting this user-friendly technology relies on the ease and convenience of the experience.

to physically demonstrate my virtual try-on feature.

generates consumer loyalty and high conversion rates (Bullock, 2018). Research found that 93% of businesses experienced sufficient revenue growth through an advanced personalisation strategy (Moran, 2020A) thus suggesting the effectiveness of personalised marketing. Of course, personalisation will be hard to implement until I acquire consumer data such as email addresses and online purchase behaviour.

I ultimately want to combine the physical and digital worlds to solve a real-life consumer problem, whilst creating an immersive and hyper-personalised experience through my application.

FIGURE 119 - AR Smart Mirror

Personalisation is a key priority for retailers as it enables companies to provide efficiency, relevance and a meaningful experience for their consumer.

Adrian Moss, executive director of EMEA at Monetate states that “multichannel This is something I need to consider when personalisation is the best way for retailers marketing the virtual try-on function of to give customers a seamless experience” my app. Smart mirrors act as a physical (Moran, 2020A:online). Whilst my app version of my virtual try-on; this could be focuses on personalising every consumers’ something to consider when thinking about user experience, I need to consider ways marketing ideas. Maybe I could create a in which I can bring this into my marketing pop-up event which featured smart mirrors strategy too, as personalisation ultimately

FIGURE 120 - Zara AR

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I thought it would be a good idea to consider implementing some AR fashion mirrors into my campaign plan after discovering the benefits that fashion retailers see from them (Moran, 2020A). As previously mentioned, an AR fashion mirror would be an excellent way for potential consumers to see a physical demonstration of how the virtual try-on feature would function in my app.

I began to look into companies who produce virtual fashion mirrors to gain an idea of how much they would cost to hire and how they would actually work. I found one company company, Virtual On, who provided a variety of digital displays for events, pop-ups and exhibitions and their interactive fashion mirror was exactly what I had in mind.

Features...

Instant body recognition and 3D virtual fitting are also elements of my virtual try-on feature on my app; this would therefore be an excellent way to showcase the feature to potential consumers as it is a realistic reflection of what they can expect from my app.

The easy to share feature is an element that would be beneficial to my campaign as consumers would be able to share their experience to social media in real time effortlessly. This will allow for online discussion to take place which will raise interest and increase brand awareness.

FIGURE 121 - Fashion Mirror Features

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AR Fashion Mirrors...

Similar to the virtual mirror, users have the ability to swipe through items of clothing on my app too, in the ‘Style Myself’ feature. Initial ideas for my event/ pop-up would be to work with retailers who would feature their garments in the virtual try-on in return for paying towards the cost of hiring from Virtual On. This would be good exposure for retailers as customers may try on an item and decide to purchase it. This, however, could be seen as contradicting my brand messaging of ‘consume less and reuse more’ as it could encourage customers to purchase new items they try on.

FIGURE 122 - Fashion Mirror Features

have something physical to keep for themselves.

This would be a beneficial feature if I were to host a pop-up or event, as physical pictures creates opportunity for shares on social media; I would therefore make sure print outs were branded with WhatToWear?’s logo, social media handles and campaign hashtags to encourage user engagement with my brand.

Hiring virtual fashion mirrors would allow users to ultimately ‘try before they buy’ my product as they receive a realistic demonstration as to how certain features of my app would function.

Picture print outs would be an excellent way for my brand to make a lasting impression on customers as they would

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Cost...

The Virtual On website provided little to no information on the price of hiring their virtual fashion mirrors so I contacted them via email to see if I could get any information from them.

To my surprise, they contacted me back with information on how much it would cost to hire, as well as how much it would be for extras such as installation and set-up fees (see Figure 123).

To hire one mirror for up to 7 days would cost around £6,000 including set up fees and other additions like their clothing and photographic service. This is extremely expensive but would be more cost efficient than it would be to purchase a virtual mirror (£8,815) as I would also have to pay over £1,000 for a license too.

Up to 7 days hiring time would not be ideal as I would imagine my event/ pop-up campaign to last for around 2 weeks or more. See Figure 124 for full purchase and hire price list sent over from Virtual On.

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FIGURE 123 - Virtual On Email Conversation

FIGURE 124 - Virtual On Fashion Mirror Pricelist

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Overconsumption... are instead purchasing an item of clothing with intentions to only wear it once or twice (Satenstein, 2019).

Apparel manufacturing has doubled between the years 2000 – 2014, with typical sales per consumer globally increasing by 60% (Diddi et al., 2018). This has resulted in mass amounts of textiles and apparel going to waste Outfit repeating is deemed to in landfills each year which is be a humiliating act in today’s having a detrimental impact society, particularly among on our planet. It is plausible younger generations and it that this is primarily down seems that it is because it to fast fashion; the term implies that you don’t own attributed to the dissolute rate many other clothes. Society of clothing consumption and has developed an ideology that disposal. Fast fashion brands it is a social crime to be seen in are sourcing and producing the same outfit more than once, garments for dirt cheap (Flynn, especially on social media. It 2019), enabling the everyday could be argued that this has consumer to wear a new outfit resulted in a mass of garment each day. overconsumption, as girls as young as 16 feel pressures to never repeat an outfit and

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FIGURE 125 - Repeat Outfit Disorder Definition

FIGURE 126 - Fast Fashion Label

I began to look into what causes many people to overconsume fashion garments, as part of my research into ways in which I can message my sustainabilityfocused campaign concept.

I have discovered that fast fashion and the idea that you cannot re-wear an item once it has been seen on Instagram are key players in fashion overconsumption.

FIGURE 128 - Boohoo Dresses At £5

FIGURE 127 - Knits From £4

FIGURE 129 - PLT £5 Dresses

It could be said that fashion bloggers and influencers are fuelling the negative connotations around outfit repeating as many are wearing a new outfit each time they post (The Sustainable Edit, 2017). Additionally, may fashion influencers collaborate with fast fashion brands like Pretty Little Thing, boohoo and Missguided who are known to be unethical and produce on mass scales, thus encouraging their followers to shop and contribute to the damage that these brands cause the planet. If I were to collaborate with influencers, I would therefore be sure to take time to research and select influencers who reflected my brand ethos of consuming less and re-wearing more.

FIGURE 130 - PLT Influencer Edit

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FIGURE 131 - App Store Logo

Case Study...

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I looked at how my app would be presented on Apple’s App Store as part of my marketing research because this is how consumers would be encouraged to download my app. Selling an application through App Store enables application developers to reach and connect with a broad base of users on a worldwide scale (Apple, no dateB); it is therefore vital that I have an appealing presence on the App Store.

App Icon: Is looked at for a couple of seconds maximum. I have used my black brandmark for my app icon as I feel that it is strong and stands out.

Name and subtitle: These two short sections should explain what my app does and what it is used for. The subtitle section has a limit of 30 characters but Apple (no dateB) suggests shorter subtitles to be more effective. I wanted to avoid including generic statements like ‘the best styling app’ and aimed to include a short and snappy statement which highlighted my app’s main feature. I think a short and snappy subtitle will resonate well with my consumer as they appreciate direct, straight to the point information Mintel (2019).

App previews: App previews allow applications to consume engagement through the use of short video clips that can be up to 30 seconds long (Apple, no dateB). Due to time restrictions, this is something that I will not be able to develop but is something that I would love to try to do in the future. Research has found that videos with voice overs drive application instalment and conversions (Apple, no dateB).

Screenshots: Screenshots allow the consumer to almost try before they buy as they see mock-ups of how they would navigate around the application (Apple, no dateA). If no app previews are available, screenshots are shown, so they must be compelling and appealing (Apple, no dateB). I would only include screenshots of key benefits and features of my app to showcase its value to the consumer.

FIGURE 132 - App Store Mock-up

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FIGURE 133 - App Store Mock-up

Ratings and Reviews: This is an important section to monitor as it displays customer reviews and feedback about my application. Reviews effect where my application ranks in search and also influences potential consumer purchase decisions. The growth ‘eWoM’ (Electronic Word of Mouth) is of growing importance for companies; studies have found that eWoM communication holds significant influence over consumers, impacting excitement, awareness and decision making, thereby raising the probability of engagement and purchase (SanMiguel et al., 2018; Launch Metrics, 2019).

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Description: This section must highlight the functionality and main features of the app. Apple (no dateB) suggest including a concise, informative paragraph alongside a small list of the main application features.

The first sentence of my description is really important as this is what users will initially read before tapping ‘read more’. Using my brand’s tone of voice when conducting this paragraph will allow the consumer to draw instant connections with my brand and decide if it resonates with them or not. Although App Store allows a fair amount of information to be inputted here, oversaturating this area with thousands of words would be extremely overwhelming for the reader. I would include key information only and instead provide viewers with a link to my website where they can find thorough information about my application and brand.

Promotional text: The first 3 lines must be concise in explaining what the app actually is (Apple, no dateB). Messaging is key in this area as it is limited to being just 170 characters long. This is where I would explain why my application is an essential and would be meaningful for them.

Key words: It is vital to consider the key words used when uploading my application to App Store as they help to determine where my app will display within search results. I plan to keep them specific and based solely on my service and function. It is key to note that the key words section is also limited to 100 characters. This limits the number of key words that I can put in and may therefore detrimentally impact where my application appears on App Store searches.

Studying Apple’s App Store product page specifications has allowed me to consider the amount of information I would be able to include. There are very clear limitations into the amount of chatacters and words that can be included in certain sections, which means that I am limited as to how much information I can provide about my application.

FIGURE 134 - App Store On Desktop And iPhone

Research from this case study, and previous case studies on service providing brands, I feel that it would make sense for me to create a website for my brand, as part of my promotional plan. This would enable me to direct consumers to somewhere if they wish to find out more information about my service and application. I could use my website as a way to provide thorough information but in a more filtered way as I could divide information through aspects such as imagery and specific pages.

FIGURE 135 - Website On Apple Devices

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FIGURE 136 - Initial Ideas Mindmap

Final Campaign Plan...

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Why OOH

OOH advertising...

Advertising...

I have decided to utilise out of home advertising as part of my launch campaign to target my younger millennial consumer in a more subtle way than most digital platforms. Although not a clichĂŠ way to target millennial consumers, research suggests that OOH advertising can be extremely effective when catching the eye of younger demographics if placed correctly in appropriate locations.

70% of commuters made a purchase due to OOH advertising

OOH advertisements reach around 98% of the British public each week

63% of millennials block

FIGURE 43 - Klarna OOH

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FIGURE 137 - OOH Infographic

FIGURE 42 - Klarna OOH

branded advertisements on their devices & are instead more likely to initially engage with OOH adverts

OOH drives a 140% uplift in smartphone brand interactions amid millennials (PMA Outdoor, no date; Inman, 2017)

Why A Website...

Website...

Although not an initial idea, I have decided to create a website as part of my promotion campaign as I feel it would be the most effective way to provide my consumer with all of my application information, without it coming across as overwhelming and too much. I noticed how other service providing brands like Treatwell, Birchbox and Klarna all use a brand website as a way to explain and promote their service in more depth comparative to how they do through other marketing channels like social media and app store. A caste study on the Apple App Store demonstrated that I would have clear restrictions if I were to try to provide all information in this space, further suggesting the need for a brand website. Kalia et al., (2014) states that a strong web presence is vital in today’s digital age, and a brand website, alongside a solid social media campaign would provide WhatToWear? with this digital presence.

They allow for lots of information to be given in a more subtle and filtered way

FIGURE 138 - Birchbox Homepage

FIGURE 139 - Website Infographic

There is potential for far reach thus increasing brand awareness

They provide a place for consumers to visit if they Google search (Netscape, no date; Kalia, et al., 2014)

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Why Social Media...

Social media...

Social media enables customers to be subjected to items of interest from more than one company, as well as also bringing new brands to their radar that they had not yet considered (Mintel, 2020b).

96%

Ideally, the WhatToWear? launch campaign would be distributed across all platforms that are most favoured by my millennial consumer, but due to time restrictions, I have decided to select just a couple key platforms to utilise for launching. My social campaign will make use of the power of the #hashtag by generating my own hashtag that will be associated with the brand launch.

The hashtag will be versatile and will be used across both social platforms to ensure fluidity and reach of my campaign.

of millennials claim to have used at least 1 social platform in the month of June 2019

FIGURE 140 - Social Media Applications

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FIGURE 141 - Social Media Infographic

Social media has enabled business and consumers to connect more than ever

Females are almost 40% more likely to be affected by advertising through social media than males

(CIM, no dateC; Experian, 2017; Mintel, 2019)

Millennial’s Social Media Usage May 2019 “Which of these social media platforms have you used in the last month? Please select all that apply.�

CIM (no dateF) highlights the importance of platform selection when trying to target specific consumer groups. Because my brand and service provide a source of inspiration, I thought it would be best to concentrate my launch on using imagebased platforms; my social media strategy will therefore use Instagram and Pinterest. Image-based platforms tend to resonate well with marketing campaigns and these particular networks prove to be favoured image-based ones among my younger millennial consumer Mintel (2019). Although Pinterest is the 6th most favoured, the content that will be produced for my social campaign will resonate well with this platform because it is currently used as a production of fashion inspiration and mindset creativity.

Figure 143 presents where Instagram and Pinterest rank among other social channels on a global scale.

Whilst Instagram is ranked at 4th suggesting its high level of popularity, Pinterest is positioned 10th suggesting a less-popular ranking. Despite this, the graph confirms that there were 291million Pinterest users in 2019, and it shows a clear YoY (year on year) increase in platform users, suggesting growth opportunities for the network.

FIGURE 143 - Social Media Usage Global

FIGURE 142 - Social Media Usage Millennials

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Because my social media channels are premature, my account will not have the ability to use a swipe up link on Instagram stories just yet, as an account must acquire 10,000 followers to gain this feature (Instagram, no date). Utilising influencers in my social media strategy will be beneficial as they already have an established follower base that is over 10k, and can therefore create a swipe up link for my application that will take the consumer directly to the app website, where they can then download via App Store or Google Play. This generates a direct call to action to their followers which in turn increases likelihood to convert to an application download.

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FIGURE 144 - Influencer Marketing Target Audience

I am going to embed influencer marketing into my social media campaign strategy as it will enable my small brand to reach my target consumer on a much broader scale (De Vierman et al., 2017). Almost 91% of marketers have claimed that influencers have positively impacted brand exposure and 76% have seen an increase in their revenue performance in the past year, as a direct result of influencer partnership (Launch Metrics, 2019). Influencer marketing is seen to be extremely beneficial for brands when targeting millennial consumers; Mintel (2020a) found that 83% of millennial and post-millennial demographics follow or frequently view influencers’ accounts. I plan to include fashion-focused influencers to take part in my social campaign to raise brand awareness and push my brand’s USP of reusing currently owned items, through the use of a hashtag campaign.

FIGURE 145 - Influencer Marketing Target Audience

FIGURE 146 - Influencer Marketing Product Launches

Campaign plan Critical Path- presented in a Ghantt Chart...

FIGURE 147 - Campaign Plan Ghantt Chart

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Campaign plan timings...

I plan to launch my brand on 19th April 2021 with hopes that the current situation of COVID-19 will have passed. I specifically scheduled my campaigning to launch on the same week as UK World Earth Day (22nd April) as my campaign is sustainability-focused, discussing about becoming more mindful of our fashion consumption and making use of what we already own in our wardrobes. I thought that it would be relevant for my brand to launch around the same time as World Earth Day as it will be a more natural step into the market as conversation will already be rife around ways in which we can help the planet and become more sustainable. Moran (2020C) states that timing promotional tactics to coincide with particular dates is a strategic way of ensuring a campaign will have the most impact. Figure 151 demonstrates the global digital conversation on Twitter on World Earth Day through the use of the hashtag #EarthDay2020, thus demonstrating the engagement consumers have with Earth Day on a global scale.

and broadly relevant issues like sustainability and brand transparency, whilst 63% choose to buy into purpose-driven brands over any other. This suggests that marketing my app in line with World Earth Day as a purpose-driven service to cut overconsumption of fashion garments to aid the Earth will be beneficial for my brand as consumers will associate my brand with Earth Day and draw conclusions that sustainability and ethical values are a part of WhatToWear?’s brand values.

FIGURE 149 - Earth Day Logo

World Earth Day will be mentioned on WhatToWear?’s Instagram and Pinterest channels as a way to generate conversation about our #ThisOldThing campaign. Accenture Strategy (2018) found that 62% of customers are demanding companies to address current FIGURE 151 - #EarthDay2020 Global Interaction

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FIGURE 150 - Earth Day Illustration

Initially, I intended to schedule my #ThisOldThing social campaign to be a week or two post-launch, as I wanted to spread out my marketing activity over a longer period of time. However, given that World Earth Day falls on the same week of launch day, I thought that my campaign that celebrates reusing old item would be

an ideal campaign to push during this time as people will already be talking about sustainable living. To keep my campaign relevant, I have planned that the microinfluencers involved will post about the WhatToWear? service/ brand/ campaign bi-weekly so that followers don’t become uninterested or disengaged. Zeena will do her live Instagram story takeover on a week that the other influencers are not scheduled to post so that content is still coming in to be reshared to WhatToWear?’s social channels too.

Social media promotion will be consistent through pre, during and post launch to build up interest and keep the interest and engagement consistently up.

FIGURE 152 - Tabitha Warley

I have planned in an out of home activity to be placed in Manchester Arena as I know that my target market enjoys socialising by attending events like gigs and concerts. It is scheduled to be placed in the arena WC 19/04/21 for a 2-week cycle, however, given the current situation, many events have been cancelled or postponed. This means that there may not actually be a relevant concert or event planned for the 2-week period that my poster would be featured. In this case, I would re-evaluate closer to the time and reconsider placement of my posters here. Instead, I could target another place around Northern Quarter, situated near bars and restaurants where my target consumers regularly visit. Considering problems that may arise prior to happing will allow my brand to identify any issues or changes and respond proactively and efficiently when they occur (Reeves and Deimler, 2011)

FIGURE 153 - Manchester Arena Coronavirus Message

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AIDA Model...

Created by Elias, St. Elmo Lewis in 1898, the AIDA model is used by businesses to understand the cognitive stages that consumers go through when introduced to a product and how they come to make a purchase decision (Smith and Zook, 2011; Hanlon, 2019).

Looking at AIDA will enable me to consider how my marketing strategy will influence each stage of the path to purchase of a customer.

“An understanding of the AIDA model is helpful for fashion promoters seeking to apply some logic to the complex and shadowy realm of purchase decisionmaking.” - Cope and Maloney (2016:14)

Attention

Interest

Desire

Action 94

FIGURE 154 - AIDA Model

Attention: When the consumer becomes aware of a product or brand. This usually done by attracting attention through advertising techniques.

Interest: Interest around the product or brand comes when the consumer learns the brand/ product/ service benefits.

• OOH advertising campaign • Social media campaign • Paid social ads • Website

• Social media campaign content e.g. hashtags, live videos etc.

• Paid social ads • Website

Desire: The consumer identifies how it can fit into their lifestyle, fulfil needs or resolve an existing problem and a favourable disposition is formed with the brand.

• Influencer marketing • PR articles about social campaign • Reviews on App Store • WoM and eWoM

Action: The consumer takes action by either making a purchase, shopping around, engaging in a trial run or the development of an intention to purchase.

• Discount codes from influencers • Student discount offers • Tiered price model for multiple options

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Design & Development...

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Brand Website...

Website design...

Given that young millennial consumers tend to research into products and services prior to purchasing them (Experian, 2017; SivaKumar and Gunasekaran, 2017; SanMiguel et al., 2019; Thompson, 2019), the likeliness that they will Google my brand and come across a website is high. This suggests the significance of a brand website; it would be an excellent way to capture my target market and provide the information they were actively seeking. According to Kalia et al., (2014), high quality websites have high potential to entice more consumers and encourage product purchases, all whilst also improving the likeliness of both business and website revisits.

Once seen as a ‘novelty’, shopping online is now common for majority of consumers. This means that the quality of a company website is increasingly important, as website design and user experience play an important role in differentiating sites among competitors (Kalia et al., 2014; Smart Insights, 2020).

Websites are ultimately expected to be clear, concise, organised and userfriendly (Kalia et al., 2014), which is why I will ensure to strategically design my web layout to certify that I am creating a seamless user journey with an appealing and professional looking aesthetic. Clear and concise information will be included about my application but in a structured way so make sure that my web design is organised and readable.

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Home page research...

Initially, I was apprehensive about doing a website as I worried that I had no imagery to utilise with my product being a service rather than a physical thing and I did not want my website to be full of text with little imagery. I began to research into how other services like Klarna, Treatwell and my competitor app Stylebook use a website to promote their service. I found that many actually use imagery of their app on an iPhone. This is something that I had already began to experiment with in Portfolio A as I produced mock-ups of my prototype. Mock-ups enable the consumer to visualise the functionality of an app (Cao, 2015; Pleten, 2019). By providing mock-ups for viewers, I will be allowing them to ultimately experience the app before even downloading it because including mock-ups throughout my app will generate a realistic impression of how it functions.

FIGURE 155 - Klarna Website

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FIGURE 165 - Stylebook Website

FIGURE 157 - Treatwell Website

Application mock-ups...

My application mock-ups were created using Adobe Photoshop and smart object layers. The neat and simplistic design gives a professional feel to the application and will make for a polished website homepage background.

FIGURE 159 - Application Mock-up

FIGURE 158 - Application Mock-up FIGURE 160 - Application Mock-up

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WhatToWear? website home page...

FIGURE 161 - WhatToWear? Website Homepage

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Logo: The logo is featured on the main menu bar to consistently reinforce branding.

Social icons: Social media is a more personal way for brands to communicate with consumers (CIM, no dateC), so including social icons creates opportunities for viewers to click through and engage on a more personal level with my brand. It also generates possibilities for my brand to gain more followers on social media.

FIGURE 162 - WhatToWear? Website Homepage

Text: Keeping the home page simple and clean is key to making my website look professional. Including too much text at first glance of the webpage will be unappealing to the user as it can feel overwhelming (Kalia et al., 2014). Keeping my text direct in explaining what the service provides will allow the viewer to know exactly what the service is about. Including the tagline ‘styling assistance anywhere, anytime’ emphasises branding and reinforces the brand’s character and philosophy whilst summarising what the app provides in one.

FAQs page: Including an FAQs page saves valuable time for brands and customers. If a brand can answer frequently asked questions in one place that customers can refer to, it is less likely that they will waste time waiting around to receive an answer.

This increases likeliness of consumers making a decision on if they would like to download the app and take action accordingly.

FIGURE 163 - WhatToWear? Website Homepage

App store download buttons: I have featured plenty of App Store and Google Play download buttons throughout my website to encourage users to click through and download the app. Apple (no dateA) suggests that the consumer should not have to look to sign up and there should be direct call to actions to encourage click through rates (CTR). Including plenty of opportunities for the consumer to take action improves user experience and makes for a more seamless user journey (Smart Insights, 2020). I have included a download button on the main menu bar of my website so that it is always featured on every page, but it is blended in with the interface and it does not look as forced or sold.

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Including an informal chatbot title like ‘let’s talk!’ encourages communication, whilst ‘how can we help you?’ clearly sends the message that WhatToWear? is available to assist. I have set my chatbot to appear in the bottom of the corner as a minimised box. According to Apple (no dateA), ads and notifications are premeditated to be dismissed, so having a pop-up chatbot, it is likely to receive almost no engagement.

FIGURE 164 - WhatToWear? Website Homepage

Chatbot: Artificial intelligent chatbots are now seen to be an essential communication feature on most websites. Whilst millennials are already accustomed to communicating via instant messaging and chat services, 54% now use chatbots to engage with brand’s customer services at least once per month too (Foresight Factory, 2019). Including a chatbot will generate more opportunities for customer acquisition and application downloads, as it can efficiently address any concerns or questions that customers may have about my service or subscription (Smart Insights, 2020).

Whilst my app is completely digital focused, adding a chatbot to my website will create a human-like interaction between consumers and my brand as they are able to directly communicate a two-way conversation in real time (Smart Insights, 2020).

FIGURE 165 - WhatToWear? Website Homepage

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FIGURE 167 - Klarna Homepage

Research...

FIGURE 166 - Klarna Homepage

I like how Birchbox include fun illustrations to explain in summary how their service works (see pages 52-59 for Birchbox case study).

Website home pages tend to include key information about the brand and service. A customer should be able to scroll down the homepage and know exactly what the product or service being promoted is all about. Klarna do this really well, in a few short and simple sentences, they explain what the service is and why the consumer needs it.

I like how Stylebook include customer reviews at the bottom of their page, this provides eWoM opportunities for my brand whilst encouraging the consumer to consider my service from another consumer’s point of view.

FIGURE 168 - Birchbox Homepage

Birchbox welcome users to their website by asking a rhetorical question to draw the consumer in, followed by a short introduction into the service.

FIGURE 169 - Stylebook Homepage

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Homepage design...

How it works: I took inspiration from the Birchbox website and decided to include a ‘How It Works’ section on my homepage to give a toplevel summary to consumers. Keeping it easy and simple to read through is the goal of my website design. I added 3 call to actions below the imagery to encourage click through rates. I used simple icon-style illustrations that supported the title text to imprve readability for the consumer.

Subscription service: Including statements like ‘the subscription service you didn’t know you needed’ is a form of persuasive advertising.

This suggests brand confidence to the consumer, aiming to gain their trust.

Confirming to my consumer that they need my service is aiming to target them during the ‘Desire’ process of the AIDA consumer path to purchase model (see page 94). I used imagery that is featured in my app to ensure branding is cohesive. The use of the bedroom background implies that the brand is a part of the consumer’s every day life which is the ultimate aim of my app.

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FIGURE 170 - WhatToWear? Website Homepage

Including key benefits of my app enables the consumer to make a quick decision as to whether they are interested. After listing key features of the app, I have included 2 CTA buttons to direct consumers to download it.

I added an image which showcase some of the app features to allow the consumer to visualise each feature. They are able to see full details of each feature on the ‘Features’ page too.

Tone of voice: As discussed in Portfolio A (page 71) the tone of voice of my website needs to be quite relaxed and informal so that my millennial consumer can identify and relate to my brand. Although I want to keep it professional and trustworthy, I will make the tone conversational to keep it engaging and avoid the consumer getting bored.

FIGURE 171 - WhatToWear? Website Homepage

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Instagram feed: I have included a link to what would be the WhatToWear? live Instagram profile. Because my social campaign is hypothetical, the Instagram link is live but does not contain the full content that is featured throughout this project journal or my deliverables document. I have linked it to a live Instagram account to showcase

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FIGURE 172 - WhatToWear? Website Homepage

the user journey in a realistic way. The live carousel of images will keep the Instagram feature current and automatically updated at all times. It encourages users to click through to the WhatToWear?

Instagram page and engage with the brand, whilst adding a more personal touch to the website.

Reviews: Displaying customer reviews on a brand website can increase sales and conversion rate. Trustpilot (no date) claims that including TrustBox widgets on a website helped businesses improve conversions by up to 130%.

Research suggests that this is because consumers trust other consumers’ opinions comparative to celebrity endorsements or influencer marketing (De Vierman et al., 2017). I included 2 more download CTAs underneath the ‘See what all the fuss is about…’ title to again encourage the viewer to consider downloading my application.

Including positive customer reviews followed by encouraging CTAs will increase click through likeliness.

FIGURE 173 - WhatToWear? Website Homepage

Contact us & Sign-up boxes: I have included a section at the bottom of every page that allows viewers to contact my brand and sign up to receive emails. Once my brand has developed, I will focus more on acquiring customer emails as Phase 2 of my promotional plan will concentrate on ways that I can engage with consumers and gain consumer data. During Phase 2, I may consider including a sign-up pop-up box for when a visitor reaches the website. I have also included links to my social channels again to encourage brand interaction and followers.

FIGURE 174 - WhatToWear? Website Homepage

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About us page...

I wanted to keep this page short and simple; I included an overview of my brand, my brand’s mission and my brand’s promise to the consumer.

CIM (no dateC) states that including information about a brand’s ethos and mission enables consumers to develop emotional values as feelings towards the brand’s philosophy are defined. I included a statement which suggests to the consumer that WhatToWear? understand their difficulties of finding something new to wear each day; Kreyenhagen (2018) states that appealing to millennials’ emotions is an effective way to increase strong response from the target market.

FIGURE 175 - WhatToWear? Website About Us Page

Dholakiya (2019) states that keeping an ‘about us’ page consumer-centric is an impactful way of gaining consumer trust. By showing the viewer that my brand understands their daily issues of getting dressed and explaining how my brand can help solve their problem, the viewer will feel more inclined to putting trust into my product and service.

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FIGURE 176 - WhatToWear? Website About Us Page

Optimisation...

Generic CTA language, not the most encouraging

FIGURE 177 - Ask US Anything Box

Technical optimisation: ‘Technical optimisation’ will ensure the quality of my website is to a high standard, checking for any broken links with error codes, thus improving the user journey. If my website is not technically optimised, it could result in being poorly positioned by a search engine which will impact website traffic (Google, no date; Patel 2019a).

FIGURE 178 - Ask US Anything Box

CTAs: The copy on a call to action button or link is significant to its success, as it is ultimately what will lead consumers into the converting funnel (Patel, 2019b).

Research by Match Office found that amending the copy on their CTA buttons resulted in a 14.8% conversion rate increase for one button in particular (Aagaard, 2013). It is proposed that slight amends to words can make a huge difference in click through rates of the CTA button; by amending generic buttons such as ‘order information’ to more actionable CTAs like ‘get information’, the word ‘get’ highlights that he consumer is going to receive information opposed to the word ‘order’ which emphasizes what the consumer must do to receive the information; the actionable copy therefore suggests value to the consumer (Aagaard, 2012). With this in mind, I amended my CTA buttons to be more actionable throughout my website as is clear that optimising messaging on CTA buttons can positively impact conversion rates.

Actionable CTA languagetelling the consumer what they are going to do

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Features...

To explain the benefits of each feature, I thought it would be best to dedicate a full page of the website to the different features available. The viewer can then click through to each feature and find an in-depth summary of how they function.

To keep in line with the design of my app, I used the same icons that are featured in the app main menu as buttons to each feature page. This ensures consistent branding throughout whilst enabling the viewer to again visualise the look and feel of the app.

FIGURE 179 - WhatToWear? Website Features Page

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Features layout research: I wanted to find an engaging way to inform the viewer about each feature. I found that a lot of services tend to use mockups of their application on an IOS device like iPhones and iPads. I figured that this would be the most simplistic but effective way to display each of my app features.

I found the Stylebook website included too much information about each feature and the page looked oversaturated with words, instead information should be kept short and direct.

FIGURE 180 - Treatwell Layout Inspiration

I noticed how most websites featured numerous call to actions next to short paragraphs which described the features of the application.

This is something I will also do to encourage users to click through and download my app.

This also makes the user journey simple and straight forward as they don’t have to search around the website to find a link to download, which as mentioned previously, is key to driving conversion Apple (no dateA).

FIGURE 181 - Klarna Layout Inspiration

FIGURE 182 - Stylebook Layout Inspiration

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To avoid distraction from the information and imagery, I decided to keep the design of the page clean and simple by adding some spot patterns and the colours selected in my brand colour palette from Project A.

FIGURE 183 - Features Page Layout Development

I experimented with various ways to present my imagery on each page. At first, I had a slideshow of screenshots of mock-ups on a grey background, but I felt that it did not look very professional. After experimenting, I found a way to create a slideshow of pages from my app and placed an outline of an iPhone image over the top of it. This way, it looked as though the images were flicking through the iPhone which looked more realistic and polished. I decided to do this for each feature page to keep the design cohesive and thorough.

I played around with wording and language to keep my website informal but still professional. I used the word ‘you’ a lot to communicate to the consumer to make it more personal.

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FIGURE 184 - Features Page Layout Development

FIGURE 185 - Slideshow Examples

Subscription page...

Subscriptions are viewed by users as confusing, complicated and time consuming. With this in mind, I must consider ways in which I can make my subscription page clear and easy to navigate so that the user knows what is available to them and how they take action and sign up. Apple (no dateA) highlights the importance of making a subscription transparent, engaging and effortless for good user experience. The design of my subscription page is simple and clear- I have decided to display the three tier membership options in a similar way to that is available on the application to keep the design and branding cohesive. The three tier membership options exhibit the features that are available in each membership tier, clearly demonstrating concise value proposition to each option.

Apple (no dateA) suggests keeping the sign-up process simple and easy; research found that 3 clicks into a subscription converted better than other numbers. Obviously, my whole application concept is hypothetical, so my membership sign up links on my website will not actually click through to an external sign-up page, however, if it was a real-life application, I would ensure to keep the membership sign up as quick and simplistic as possible for maximum user experience. I have included ‘In 3 simple steps…’ above the membership options to highlight the simplicity of the subscription sign up process to the user.

FIGURE 186 - Subscription Page

Messaging: As mentioned in Portfolio A (page 86), playing on the convenience and ease of my application is a key selling point when promoting my service. I have ensured to highlight the simplicity of my application throughout my website using statements like ‘it’s simple…’ when explaining how the sign-up process works. I have also included appealing statement in the list of benefits on the homepage of the website; ‘save time and effort’, ‘cut unnecessary spending’ and ‘a monthly payment cheaper than your daily coffee fix!’ are examples of this.

Here I am aiming to emphasise the convenience and ease of my application.

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Mobile compatibility...

When I realised the significance of mobile compatible websites, I had already begun the design and layout of my website. When I switched to mobile mode, I realised that a lot of my website was not optimised to this mode and I therefore had to adjust a lot of the current layout design.

This was really time consuming and proved to be difficult as the background image that I had set for majority of my website pages was not the most suitable for mobile as it took up half of the mobile screen. Reflecting back, had I realised the importance of mobile-friendly website design sooner, I could have implemented this into my website design which would have saved myself a lot of time and effort.

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FIGURE 188 - Mobile Compatibility

FIGURE 187 - Mobile Compatibility

FIGURE 189 - Mobile Compatibility

Researching into the use and relevance of websites has discovered the importance of the mobile compatibility of a web page. The development of digital and an increased rate of mobile phone use has resulted in an estimated 60% of search engine searches taking place on a mobile phone (Patel, 2019b; Carter, 2020), meaning that there is an increase demand for mobile-friendly websites. In fact, mobile-friendly websites are being favoured by Google and thus are being ranked higher when users are searching for a product or service through the Google search engine (Patel, 2019b). With this in mind, I have tried to make my website as mobile-friendly as possible.

SEO...

Search Engine Optimisation (SEO) relates to the technological method of improving traffic quality and attracting optimal organic visits to a website (Sharma, 2018). SEO makes small adjustments to parts of a website to improve the user journey which will then increase likeliness of the website appearing high in search engine results (Google, no date; Patel 2019a). This is something that I will implement into my strategy as it will be beneficial for my small brand to gain optimum website traffic of visitors who are likely to convert into customers. I will focus my SEO on the search engine Google; according to Carter (2020), Google has an average net market share of 73%, thus dominating search engine use.

(Search Engine Results Pages) (Sharma, 2018). Relevant keywords must be defined and evaluated against current keyword competition and quantities using planning tools such as Google’s Keyword and Wix SEO (Patel, 2019a). Wix (2014) found that implementing relevant, high intent keywords results in a 20% increase in traffic. When visitors submit my keywords into search engines like Yahoo and Google, my website will be ranked on the page, resulting in organic traffic to my page. Patel (2019b) states that organic search drives 51% of website traffic, thus demonstrating the impact that strategic SEO marketing can have on the hit rate of a website.

Keywords are a vital element of SEO and SEM (Search Engine Marketing) as they allow for a website to rank higher in the SERPs

FIGURE 191 - Website SEO FIGURE 190 - Website SEO

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User Acceptance Testing...

I asked 5 people to take part in my focus group and to comment on the website design, the quality of information provided on the website on their overall user journey experience. Overall, feedback about my website was really positive; I received a lot of comments on the quality of the design and layout of my website (see Appendix for full responses).

A couple of participants noted how buttons did not link (mainly the app store and sign-up buttons)- this is because my application is hypothetical, and I therefore cannot link to the app store or sign-up pages as I would if my application was real. I noted the importance of ensuring that all links are live if my app was to actually be launched into the marketplace.

Participant 3 mentioned how I could slightly improve the clarity of my website by renaming the ‘features’ page to ‘app features’ so that it is clear what information can be found on this page. I decided to take this point on board and amend the name of my features page to ensure clarity.

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FIGURE 192 - User Acceptance Testing

FIGURE 192 - User Acceptance Testing Feedback

As part of optimising my website to provide the best possible user experience, I carried out some User Acceptance Tests on a small focus group to test the website experience from a potential consumer’s point of view. UAT is often referred to as the End-User Testing and is usually the last phase of any web development processes (Setter, no date). According to Otaduy and Diaz (2017), UAT processes allow for issues to be discovered and fixed prior to it launching to the public. It issues are not addressed prior to the website launch, it could reflect negatively on my brand which could impact sales and conversion rates.

Website cost...

When looking into costings of a website- I thought that it would be most cost-efficient to stick to using a web development service like Wix as it is a simple drag-anddrop website builder with plenty of free design templates.

Using Wix allows me to develop my website manually, without relying on a professional website developer which would be much more expensive. Whilst Wix provides plenty of free design templates which create a professional and polished looking website, manually designing the website myself will allow for extra marketing expenditure in another channel.

I looked into the cost of the Premium add-ons that Wix provide and found that the Business VIP subscription which features professional domains, access to Google Analytics, VIP support and much more would be best suited. Because I showed interest, Wix offered a 50% off discount; the cost of my website would therefore amount to around ÂŁ158.40 for the first year. After the first year, I would then evaluate the success of my current website and decide if I should acquire a website developer to improve my website.

FIGURE 195 - Website Cost

FIGURE 194 - Website Cost FIGURE 196 - Website Cost

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Out Of Home...

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Fall Back In Love campaign...

Concept: My OOH campaign will put emphasis on the concept of falling back in love with your wardrobe through the idea of re-wearing, re-styling and re-loving items that are currently owned. The campaign focuses on the idea that the WhatToWear? application will help the consumer to do this.

Objective: The key objectives of my OOH campaign are to bring brand awareness to the target consumer and beyond, and to promote the concept of the application service in a relatable and aspiring way. I ultimately want my consumer to see my advertisement posters and think to themselves: ‘I want to be able to utilise old items from my wardrobe effortlessly.

I want to save money by using clothes that I already own. I want assistance from this app. I want to download this app’.

Timing and placement of OOH advertising is vital to its success as companies must ensure to be targeting the correct consumer in the correct place at the correct time (Roux and Van der Waldt, 2016). Research is suggesting that whilst the high street is seen to be dying, the millennial consumer still values human contact and individualised experience from the physical high street (Seares, 2019). Millennials’ preference to purchase in shopping centres rather than online increased to around 50% in 2019 (Inman, 2017; Seares, 2019). This suggests that targeting millennials in physical spaces are just as relevant as targeting them digitally.

Busy shopping centres and open city centres with guaranteed high footfall will therefore be a noteworthy location for my OOH advertisements to be placed. Consumer research found that my target demographic are frequent users of public transport (see page 11 for target market infographic), so I will also place my OOH campaign in bus stops and train stations that are located in high footfall city centres.

I will focus my combination OOH advertising strategy in London and Manchester. Whilst London has the highest millennialfocused population, millennials actually account for over a third of Manchester’s overall population (Air Outdoor, no dateA; Compare The Market, 2019).

FIGURE 198 - Millennial Population In UK FIGURE 197 - Millennial Population Per City

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OOH locations...

In Manchester, I will focus on targeting city centre areas like Piccadilly Gardens, Northern Quarter and Arndale Centre, as well as Piccadilly and Manchester Victoria train stations where I know I can target my consumer when she is working, shopping and socialising regularly (Inman, 2020). Apart from the obvious of high footfall thus wide reach, placing advertisements in and around shopping centres will enable me to target susceptible consumers who are actively looking and willing to shop and spend money. Whilst not as busy as more central locations like Market Street, Northern Quarter is well-known for upcoming, quirky, independent brands and restaurants to thrive among young professional millennials who enjoy spending their hardearned money on brunch, cocktails, fashion and art (Visit Manchester, no date). Northern Quarter, particularly Ancoats, is a more affordable place for millennials to reside in central locations, so likeliness that they will be out and about nearby my advertisements is very high (Property Insider, no date). Central train stations like Piccadilly and Victoria will enable me to target my consumer when commuting to and from work or when travelling to socialise. Outdoor Global (no date) states that commuters spend on average 7 minutes waiting for their train to arrive, and a further 13 minutes travelling and observing advertisements.

This is ideal for advertisements with call to actions as viewers have time to absorb details and act accordingly (for example visit the website or download the app) as they wait. Promoting in Manchester Arena is a good way to target my consumer who

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FIGURE 199 - Why Manchester Infographic

Due to budget restrictions faced by my start up brand, I will focus most of my OOH activity in Manchester as it will be much more cost effective. To make sure to target the millennial-focused population in London in the urban area of Bow, I will include 1 advertising campaign placed in Mile End tube station.

is proven to enjoy events and experiences whilst out and socialising (see page 11 for consumer overview). By strategically placing my advertisements around Manchester city centre, I will be ensuring that my consumer is consistently exposed to my campaign and therefore subconsciously remembering my brand. Placing my OOH advertisements throughout busy city centre locations also provides opportunities to scope beyond my target audience and reach older consumers possibly with a higher disposable income (Air Outdoor, no dateB).

Manchester city centre...

Victoria Station / Manchester Arena

Northern Quarter

Manchester Arndale & Market Street

Piccadilly Gardens Bus Station

Piccadilly Met & Train Station FIGURE 200 - Manchester City Centre Public Transport Map

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Bow, London...

Although it was clear that London has a strong millennial demographic, finding specific areas that millennials reside proved to be difficult. I spoke to a few friends who I know who are currently living in and around London to gage an idea of areas that I should research in to.

Areas like Hackney, Clapham and Brixton seemed to be cool areas with younger residents, but they also seemed to be expensive so they would not be as populated as other places. I looked into areas like New Cross, Deptford and Bow and found that Bow would be up with the most popular areas for millennials due to its location; it is further out from Central London and would therefore be more affordable to reside there. Bow is a popular area for couples without children, younger families, young professionals, singles and students (Good Migrations, no date).

I found that the London Central line goes through Mile End tube station in Bow so I would therefore place my advertisement in this station on the platform that the central line passes through each day.

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FIGURE 202 - Conversation with Friend

FIGURE 201 - London Bow Area Map Collage

FIGURE 203 - Why Infographic

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The design...

Out of home advertising can be a tough medium as research suggests that whilst OOH advertising enables delivery to a mass market, dwelling time and interaction may be limited due to the fast-paced environment of where they are featured (Roux and Van der Waldt, 2016).

Advertisements must compete to gain attention from on-the-go consumers against extreme distractions such as speed, distance and time, meaning that by passers are usually focusing on anything other than the advertisements that they pass (Busche, no date). This is why I must ensure to create prints that are eye-catching, compelling captivate the busy fast-paced consumer. I will ensure that the messaging is short, snappy and memorable without providing too much information or too many words.

FIGURE 204 - Depop OOH

FIGURE 206 - Spotify OOH

FIGURE 42 - Klarna OOH

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FIGURE 205 - Depop OOH

FIGURE 207 - Spotify OOH

Researching into previous OOH campaigns found that most service brands tent to focus on the overall selling point of their service. Klarna’s ‘No Drama, Just Klarna’ campaign demonstrates this well (see page 41) as they feature short statements highlighting the ease of their payment plan service. Similar to Klarna, Depop use words as a way to intrigue consumers too by involving user quotes within their artwork. A campaign by Spotify found them tapping into millennial culture by turning their OOH advertising designs into fun memes relating to their music service. Using words in my artwork is something I could consider as I do not have any imagery from photoshoots to utilise.

I started to look at ways in which I could make my text-focused posters into interesting and eye-catching designs. I came across the Memphis design movement which began in 1981 and was established by Ettore Sottsass (Zara, 2017). The Memphis style was to have a simple monochrome repeat print as a background with contrasting bold shapes printed on top. I noticed the branding that I had developed in Project A was somewhat similar to Memphis designs as I had selected two monochrome repeat prints and bright contrasting colours (see page 55 in Portfolio A for brand board). I therefore took inspiration from the Memphis movement when developing my initial ideas for my poster designs.

FIGURE 208 - Memphis Print FIGURE 209 - Memphis Print

The campaign will feature numerous quotes that people would usually say in response to a compliment about their outfit, but sometimes with a twist. For example, ‘thanks, it’s new’ is a common response if somebody receives a compliment on an item of clothing that is new. Instead, I plan to turn this on its head and will adjust the quotes to reflect the fact that it will be items already owned; ‘thanks, it’s new’ would therefore turn to ‘thanks, it’s old’.

FIGURE 210 - Memphis Print

Design inspiration...

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Design development...

FIGURE 211 - Poster Development

FIGURE 212 - Poster Development

Experimenting with Memphis style backgrounds to begin with. I created a smaller repeat print of the spotted pattern I selected as part of my branding in Project A and began to add different size shapes on top using the WhatToWear? colour palette that I also developed in Project A. I wanted the messaging on the posters to be as relatable as possible so that it would resonate well with the millennial consumer. I experimented by adding the different quotes to the Memphis style backgrounds to create a bold design.

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FIGURE 213 - Poster Development

POSTER MESSAGE IDEAS: Oh, this old thing?

I’ve had this for years Thanks… it’s old I just threw this on Thanks, it’s vintage “I have nothing to wear” – no one ever Re-style, Re-wear, Re-love

2.

1.

I experimented with the font size of my secondary text.

FIGURE 215 - Poster Development

FIGURE 214 - Poster Development

I began by adding one of my campaign quotes and the WhatToWear? brand logo.

3.

4.

I played around with the text hierarchy and layout and added the campaign tagline.

FIGURE 217 - Poster Development

FIGURE 216 - Poster Development

I adjusted the font size of my quote and the quotation marks.

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5.

6.

FIGURE 219 - Poster Development

I added my brand tagline to the logo to reinforce the brand concept.

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7.

FIGURE 220 - Poster Development

FIGURE 218 - Poster Development

I finalised the text hierarchy and moved the campaign tagline to fit in more.

I decided to add App Store and Google Play store icons to the final design of the poster as this confirms to the viewer that the product being promoted is actually an app. I felt that my poster design was also missing a direct call to action and the download icons push create this.

After discussing with my tutor, I felt that changing the logo to the monotone version makes the overall design more appealing. My tutor also suggested to include the name of my application in the poster so consumers know what to search for in App Store. ‘Search What To Wear on App Store now!’ was therefore added underneath the 2 CTA icons.

Final poster design...

BOLD DESIGN simple but effective to catch the viewer’s attention in busy and fast-paced environments.

CAMPAIGN QUOTE to catch the viewer’s eye and captivate them into wondering what the advertisement is about.

CAMPAIGN TAGLINE explains what the application is actually for and the service that is being provided.

CALL TO ACTION creating a sense of urgency for the viewer to download the app to ‘fall back in love’ with their wardrobe.

BRAND LOGO AND TAGLINE Generates brand awareness as well as giving more information on what the brand/ service is about and provides.

FIGURE 221 - Poster Development

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I then went on to make a variety of other posters inspired by the Memphis design movement and keeping in with WhatToWear?’s branding. Creating bold, fun and creative designs creates opportunities for them to be shared across social channels too. I will recreate these posters into Instagram-formatted images that can also be shared on my social channels to reinforce the OOH campaign.

These quotes could then be reshared by users to generate ongoing discussion about the concept online too. There is also opportunity for these posters to be recreated into fun memes for social channels.

FIGURE 222 - Meme mock up

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FIGURE 223 - Final Poster Design

Before creating mock-ups of my OOH campaign, I will be sure to include the call to action sentence under the App Store icons so that consumers know what to search for when downloading in the App Store or Google Play.

FIGURE 225 - OOH Mock up

FIGURE 224 - Final Poster Design

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Cost of OOH...

SIZE- generally, the bigger the poster, the higher the price.

LOCATION- densely populated areas (city centres and main roads etc.) are more expensive than smaller local campaigns or less densely populated area.

CYCLES- the period of time that the poster is up. Most campaigns run for a minimum of 2 weeks. Typical billboard campaigns run for around 1 month or so, to gain a decent level of exposure.

Ideally, a 6-month period would be more suited to raise brand awareness.

advertisements are popular as they are the most cost effective and have potential for large exposure.

VOLUME- the more billboards, the higher the price. A package of sites is recommended so that exposure is high and wide.

(Billboard Advertising, no date) When looking at budget, finding prices for OOH advertising proved to be tricky.

The current situation of COVID-19 means that many companies are not currently operating, so receiving pricing quotes for my campaign was limited. I emailed various companies with hopes to gain insight into to how much a typical OOH campaign would cost but I heard back from none, I therefore had to research ballpark prices online and come up with an estimated price.

FIGURE 227 - Pricing Enquiries

The cost of OOH advertising is dependent on numerous factors; the type and size of the advertisement, the location, the time of year, the period of time and the amount of advertisements (Billboard Advertising, no date).

TIME OF YEAR- advertising prices fluctuate throughout the year as some seasons are more popular than others (e.g. Christmas).

TYPE- large format 48 and 96 sheet posters are more expensive than 4 and 6 sheet options. Bus and bus stop FIGURE 226 - Pricing Enquiries

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FIGURE 229 - OOH Pricing Research

FIGURE 228 - OOH Pricing Research

FIGURE 231 - OOH Pricing Research

FIGURE 230 - OOH Pricing Research

FIGURE 233 - OOH Pricing Research

FIGURE 232 - OOH Pricing Research

FIGURE 234 - OOH Pricing Research

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6 sheet advertising... “...an industry term for a poster that measures 1.2m by 1.8m�

Billboard Advertising (no date:online)

Researching into OOH advertising costs proved to be more expensive than anticipated. I found that large billboards were generally the most expensive form of OOH. I decided that 6-sheet advertising would be the most cost effective as it is a smaller type of OOH poster, however, they would still be exposed to high footfall due to their placements. They would be in places where bypassers are more receptive to the environment around them with slightly fewer distracting factors like busy dangerous main roads and motorways. They would be ideal for my wordfocused posters as dwelling time in areas such as bus stops and train stations are longer as people are usually sat waiting around and would therefore take time to read them. Placing advertisements in and around shopping centres will enable me to target consumers who are actively looking and willing to shop and spend their money.

The most popular 6 sheet advertising mediums are: - Bus stops - Roadside - Train stations - Airport terminals

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Through price comparison, I found Billboard Advertising to be the cheapest provider . Billboard Advertising (no date) recommend advertisers to purchase a bundle of 6-sheet sites, if aiming to gain further reach and raise brand awareness; these bundles usually cost around ÂŁ2,000. Billboard Advertising only provide prices on 6 sheet bus stop and roadside promotion so I had to estimate prices for train station and shopping centres. I imagine these to be similar prices to bus stop advertising as they also guarantee a high reach, crowd footfall and engagement rates.

FIGURE 231 - OOH Pricing Research

OOH campaign cost...

Figure 235 demonstrates a ballpark figure for the total cost of my OOH campaign; ÂŁ4,237.50. My research suggests that it is generally more expensive to advertise in London comparative to up North. I emailed around numerous places to gain an idea of how much it would cost to advertise in an underground station that is fairly far out from London central, but I heard nothing back. I decided to add 10% to the overall prices that I had currently found on Billboard Advertisements to give an estimated amount for this.

I decided to keep all sites planned to a maximum of 2 weeks so that I can test each area and find the most effective location and medium for my campaign. I have planned in 3 bus stops in Piccadilly Gardens to feature my advertisements which will be strategically selected by the route that the bus takes. I will ensure to target a route that passes through Manchester Oxford Road and the Fallowfield area as this will expose my ads to students who study and Manchester Metropolitan University and University of Manchester. I have selected

a large 48 sheet billboard poster that is situated near all ticket barrier entrances to advertise in Piccadilly Station as the likeliness that it will be seen by most commuters is extremely high. I have noticed plenty of fashion brands such as PLT use this billboard currently, so my fashion-focused app will be well suited.

FIGURE 235 - OOH Campaign Ballpark Figure

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Social Media...

Social media will be my primary communication method used to target my consumer. I aim to generate a digital discussion on the concept of my campaign and eventually create an online community of like-minded people. I want users to look to the WhatToWear? Instagram account for inspiration on fashion styling and creativity. My social media accounts will rely heavily on high quality user generated content in order to create this community. For Phase 1 of my campaign plan, Instagram will be the key channel that I will focus on building followers for and Pinterest will be focused on more during Phase 2.

I have added the WhatToWear? website into the bio of both Instagram and Pinterest accounts for users to click through and visit if they wish to receive more information. I have also included the two hashtags that have been created as part of my social media campaign to encourage users to partake in my campaign by using the hashtags in their posts and engaging with the brand. I tried to keep the messaging in both bios cohesive so that the branding and messaging remain consistent through all channels; including short and concise information about my brand and service will make my messaging more memorable for users.

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FIGURE 236 - Social Media Channel Mockups

CIM (no dateF) states that social media marketing allows a brand to communicate, share, discuss and listen to their consumers, highlighting the importance of planning an effective campaign. I used the CIM (no dateG) Social Media Planning Template to enable me to define my campaign plan ideas.

1. Background

Looking at the current situation will allow me to evaluate where my brand is currently standing. Considering the market conditions and challenges will allow for me to plan appropriately.

2. Objectives

FIGURE 237 - Background

Social media campaign objectives are defined clearly on Page 150 of this portfolio.

3.

Consumer Understanding & Targeting

Understanding my consumer is key to targeting them effectively. I considered ways in which I would target my consumer by considering their behaviours, attitudes and values.

FIGURE 238 - Consumer Understanding

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4. Customer Insights

I considered the barriers that would stop my consumer behaving the way I would like them to and thought about the ways in which I can address these barrios. I also looked into why my consumer may change her shopping behaviours and how I could make the most of these behaviour changes.

FIGURE 239 - Customer Insights

FIGURE 240 - Proposition

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5. Proposition

I considered ways in which I may overcome these barriers to be sure that they do not impact the effectiveness of my marketing plan. This will allow me to think about how to strategically target my consumers, keeping messaging and consumer experience in mind to avoid barriers getting in the way.

6. Media Strategy

I looked into the customer engagement framework which focuses on 4 key stages: acquisition, participation, engagement and sharing. I considered if my selected channels could address all 4 stages and how my campaign ideas could meet each stage.

7. Campaign Content

Planning my campaign content will allow for me to understand if there are any jobs/ planning that needs to take place in order for the content to be created.

This will ensure for a smooth campaign timeline and avoid any timing issues.

FIGURE 241 - Media Strategy

8. Measurement

Success measurements have been planned out and portrayed in a table alongside campaign plan objectives on Page 150.

FIGURE 242 - Campaign Content

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FIGURE 61 - Klarna Instagram

Instagram account moodboard...

FIGURE 243 - Instagram moodboard

FIGURE 245 - Instagram moodboard

Styling posts Influencer posts Outfit build collages

Feed layout inspo Integrating OOH campaigns Tile pattern Cohesive On brand Clear colour scheme User generated content Inspiration

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FIGURE 244 - Instagram moodboard

1 item of clothing worn x amount of ways Variety of styles UGC FIGURE 246 - Instagram moodboard

Capsule wardrobe styling

FIGURE 33 - Smart Closet Instagram Post

FIGURE 249 - Instagram moodboard

FIGURE 247 - Instagram moodboard

FIGURE 248 - Instagram moodboard

Lifestyle posts Humorous posts & memes Aspirational

FIGURE 251 - Instagram moodboard

Travel - outfits and landmarks Relatable Shareable

My Instagram page moodboard has taken inspiration from competitors, influencers, fashion brands and service brand accounts. I want my social platforms to encourage communication between the WhatToWear? brand and its consumers; so, creating content that can be reshared, and that is relatable and engaging is what I aim to do.

Fashion brands do this well- fast fashion companies like Boohoo engage with consumers through humorous, relatable posts whilst integrating aspirational posts into their feed too. My feed will consist of styling inspiration and a mixture of aspirational and relatable content that encourages interaction between the user and my brand.

Interior/ home FIGURE 250 - Instagram moodboard

Inspiration

FIGURE 252 - Instagram moodboard

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Pre-launch content...

My social media accounts will be created 1 month prior to my application launching to allow my account to build up followers.

Content posted prior to launch will therefore be secondary sourced images that focus on building up a brand image. I will include images to introduce my application, giving information on the service and the benefits of using it, as well as outfit builds generated by the styling bot within the app and lifestyle imagery of memes, quotes and travel.

Figure 253 portrays a plan for my Instagram content. Figures 254 and 255 demonstrate how my social media account would look pre-launch.

FIGURE 253 - Instagram content plan

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FIGURE 255 - Instagram content mockup

FIGURE 254 - Instagram content mockup

Sponsored advertising...

Instagram has the ability to track a user’s click history and based on that, it presents sponsored product or service advertisements to the user. This is proving to be attractive to millennial and post-millennial generations, as they appreciate when brands are proactive in communicating and marketing to them (Mintel, 2019). Purchasing through social media is also popular among the tech-savvy demographics and tailored sponsored advertisements are seemingly successful in supporting these direct purchases (Mintel, 2020b). This therefore provides great opportunity for my brand to invest marketing budget into sponsored advertising when targeting my customer. In fact, Mintel 2020b) found that 43% of younger millennials have directly purchased through social media channels. In addition, Seares (2019) states that 85% of millennials claim to have been influenced by Instagram in particular when purchasing clothes. This suggests that by having a strong social existence, I could ultimately monetise my presence on the platforms.

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As presented in my campaign Critical Path/ Ghantt Chart, my sponsored social media promotion is planned to be ongoing throughout the first year of my service launching into the marketplace.

Figure 256 demonstrates a mock-up example of the sponsored posts that I would be utilising for the first 30 days of launch; a simple iPhone mock-up image showcasing various stages of my application on different IOS devices. To keep my campaigning unified, I have included the tagline ‘FALL BACK IN LOVE WITH YOUR WARDROBE’ that is featured on the OOH advertising posters.

I have kept the caption direct but ensuring to give enough information that the viewer will know what the service provides.

I have promoted the convenience of my application by including the brand tagline which highlights that assistance is available anywhere and at any time of day.

FIGURE 256 - Sponsored Post

Cost of sponsored advertising...

FIGURE 257 - Sponsored Post Cost

FIGURE 259 - Sponsored Post Cost

Below are my notes on the sponsored ad process: » ‘Select where to send people’ – this is the call to action that will be featured on the post.

You can select to send viewers to you brand profile, website or DMs » Audience – You can automatically or manually add targeting options. This allows for strategic targeting to take place o Targeting options: location, interests, gender and age » Choose budget o $5 a day over 30 days gets an estimated reach of 110,000-300,000 o $5 for 1 day= 3,800-10,000 o For $1 for 1 day, estimated reach is 750-2,000 users o In conclusion, the more money paid per post, the larger the post reach will be

To begin with, I plan to test the effectiveness of my sponsored advertising before paying in a lot of budget into it. I plan to pay around £200 for 30 days worth of sponsored advertisements initially to determine whether I should invest more budget in to this area next time.

FIGURE 258 - Sponsored Post Cost

Sponsored advertising on Instagram is fairly costefficient; you can pay to promote a post for as little as $1 per day. I went through the process of setting up a sponsored advertisement on Instagram to see how I would select specific locations or profiles based on a users’ behaviour.

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Instagram stories...

Figure 260 shows mock-ups of how my Instagram stories would be designed. I have focused the story messaging on highlighting the overall service that my app provides and the benefits of using the service, whilst keeping in with the WhatToWear? branding.

The stories have been designed to support each other- each slide has a different message which highlights a different benefit or part of the service. Some stories would link to the WhatToWear? Instagram profile to push for new followers and the other stories will link to the app store download page to encourage app downloads.

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FIGURE 260 - Sponsored Stories

As well as sponsored Instagram posts, I will also do sponsored Instagram stories which will appear on users’ story feeds. The design of the stories must stay in line with the branding of WhatToWear? which was established in my brand book in Portfolio A.

I took inspiration from my OOH campaign posters when designing the ‘how it works’ stories for Instagram. I used the imagery featured in the ‘how it works’ section on my brand website to keep all marketing channels aligned. I wanted my stories to be bold and fun to entice the reader to stop tapping through and take note of what is being said in each slide. The use of the icon imagery allows consumers to understand each step without the need for lots of words. I included a call to action in the last post to encourage users to download my app.

FIGURE 261 - How It Works Stories

Researching how service brands use their social platforms as a way to promote gave me the idea to make use of Instagram stories. I noticed how beauty subscription service Glossybox use Instagram stories to inform consumers on how their service works.

I think that this is an excellent way of providing information to users without overwhelming them with paragraphs of information in the caption of a post. Instead, the user can see a brief summary of how the service will work and can click through to my brand website if they wish to know more in-depth information.

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The context of the templates is relevant to the WhatToWear? brand and the service that the app provides; this is to push the concept of my brand and app. If successful, these templates hold potential to raise brand awareness on a wide scale. If every user partakes and shares just one template using the brand hashtags and tagging the WhatToWear? brand in the post, this may bring new followers to the WhatToWear?

Instagram page. With this in mind, the design of the templates must be reflective of my brand; I have kept with branding guidelines making use of the Coral hue and the spotted print. I have also included the brand logo and hashtags to the bottom of the template design to raise potential of people finding the WhatToWear? Instagram page.

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FIGURE 262 - Engagement Story

To encourage engagement, I have created Instagram story templates that would be filled in by Instagram users and reposted to their own stories for their followers to see. I wanted this to be a twoway interaction between WhatToWear? and their followers; all templates posted on WhatToWear?’s Instagram stories would therefore be filled in by myself and shared first. I am using story templates as a way to engage with users by letting them ‘get to know us’, with aims to create a more personal relationship with followers. Mintel (2019) states that millennials value relationships and that having a personal rapport with a brand increases their customer loyalty.

FIGURE 263 - Logo On Story

FIGURE 264 - Story Mockups

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Objectives: Fixing SMART objectives will enable me to assess the suitability of each target goal, by questioning if it is Specific enough, whether it is Measurable, if it is Actionable, whether it is Relevant and finally whether my goal will be constrained through Time (Chaffey and Ellis-Chadwick, 2019). Usually, objectives for social campaigns are grouped into two types: engagement and financial goals (CIM, no dateF). I set 4 SMART objectives that I set out to achieve through my #ThisOldThing campaign that I can measure and track accordingly (see Figure 265).

FIGURE 265 - Campaign Objectives Table

#ThisOldThing...

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Concept: To celebrate outfit repeating and reusing garments, I have established WhatToWear?’s #ThisOldThing campaign which encourages people to reuse what they already own.

The idea is for users to partake in posting images of outfits styled by themselves using old items of clothing they have not worn in a while, using the hashtag #ThisOldThing.

Objective

Measure of Success

Gain a total of 8,500* followers throughout the #ThisOldThing campaign

Track number of followers before and after the campaign has launched on Instagram and Pinterest

Grow steady engagement rates throughout the campaign

Track engagement rates before, during and after the launch of the campaign

Gain 4,000 application downloads as a result of the campaign

Track application downloads pre, during and post campaign

Gain website traffic

Track website traffic pre, during and post #ThisOldThing campaign

*Numbers are based on influencers’ follower count and average engagement rate to set realistic goals.

#ThisOldThing...

Research into the power of hashtags found that hashtags are an excellent way to push digital-based commerce (Mintel, 2020b) whilst generating opportunities for brand to consumer interaction (Rauschnabel et al., 2019). I created the hashtag #ThisOldThing by taking inspiration from my OOH campaign as ‘this old thing’ is used as part of a quote in one of my OOH posters. This creates a fluidity throughout my marketing campaign as aspects of each channel can be found in the other channels. I kept my hashtag short and simple to spell for a more memorable impact (Gwinnutt, 2017), ensuring that the concept of my campaign could be determined through reading the hashtag. As well as my campaign hashtag, I have also generated a general hashtag that will be utilised across social media channels for anything in relation to my brand #WhatImWearing. Again, I kept the hashtag simple and easy to read, whilst making sure that the words relate to my brand in some way.

FIGURE 266 - Sustainable Emojis

I aim to tackle the negative concepts of outfit repeating through a marketing campaign that actually celebrates reusing and rewearing garments to incite people to give their clothes a further lease of life and make the most of their current wardrobe. This project has helped me to realise that making environmental choices come in all different forms and that making small changes to your lifestyle that will help the planet, is still contributing to addressing current issues around sustainability. Tutor feedback from Portfolio A of this project praised my less radical approach of attempting to change consumer consumption by simply reminding consumers of what they already own and suggested that this was a strong standpoint for my campaign.

Promoting a product that has clear sustainable concepts in a different light (by considering sustainability in the approach of purchasing less but wearing more) creates opportunities for my brand to target consumers who would not necessarily be interested in learning about sustainability or how to be more conscious of their carbon footprint, by instead marketing my product as a way to save money by reusing items they already own. It is key to consider, however, that 61% of millennials claim that sustainability and ethics are of importance

when shopping around (Seares, 2019), which implies that young consumers are not as put off by sustainability as we may think, thus suggesting that I should not be afraid to actually discuss sustainability within my marketing. Making use of simple iPhone emojis such as the recycling symbol and nature and planet symbols will allow consumers to create sustainable connections to my brand.

FIGURE 267 - Caption Mockup

FIGURE 268 - OOH Mockup

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Pros…

Influencer marketing...

As stated before, my social media campaign is supported by influencers.

Initial ideas were to collaborate with numerous huge fashion bloggers such as Emily Shak and Ellie Joslin who are known to have a solid connection with fashion brands through their large following, to promote my campaign.

However, research discovered that a large following does not necessarily mean high engagement (Mintel, 2020a; Launch Metrics 2019). In fact, Launch Metrics (2019) states that working with micro-influencers who have a small following of 10-100k will actually be more beneficial as they are seen to be more credible sources of information. Figure 269 demonstrates the pros and cons of working with micro-influencers that I considered.

Micro-influencers ‘assume the role of references, advisors, disseminators and models of behaviour regarding the use and consumption of fashion products’ (SanMiguel et al., 2018:440), as they are seen to be expert in a particular area. This also means that their followers are more likely to be extremely engaging and trusting as they are interested in their specific expertise. Working with micro-influencers would also be more cost-effective for my brand, as their collaboration rates would be much lower, which is also more realistic and ideal for my start up brand.

ü Tend to have a focus on a niche market, therefore easier to target niche audiences ü Easier to target audiences in a specific location ü Closer to peer-level and therefore comes as more authentic, genuine and personable ü Less investment required

Cons… q Brand reach can be limited due to smaller following q Take longer to source q Campaigns may require multiple microinfluencers so requires more coordination from brands (Moran, 2020D) FIGURE 269 - Micro-Influencer Pros And Cons

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Figure 270 demonstrates 5 key factors that could impact the success of my campaign. I will consider these factors throughout the collaboration to ensure the most effective and successful outcomes.

Collaboration

Creative freedom

Making a success of my influencer campaign

Long-term relationships

FIGURE 270 - A Successful Influencer Campaign

Genuine brand fit Advertisement transparency

(Moran, 2020D)

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Selecting the influencers...

The influencer selection process is an extremely important part of my strategic marketing plan as choosing the correct influencers can increase brand relevance and even improve their reputation (Ki and Kim, 2019; Mintel, 2020). I want to select influencers who I believe would actually use my service and would give an honest review on their experience to make the endorsement as authentic and honest as possible as influencer credibility is a rising issue for the influencer marketing industry (Launch Metrics, 2019; Mintel, 2020). Moran (2020d) states that ensuring that the influencer has a genuine fit with my brand is a significant factor in the success of a campaign. The influencer’s self-branding and online image is therefore extremely important to me as I wanted to make sure to work with girls who share the same philosophy and ethos as WhatToWear?.

I sourced by influencers using the 4S Filter where I would Search, Surface, Screen and finally Select specific influencers (Moran, 2020d). I searched through numerous websites and articles online which enabled me to surface and screen a variety of influencers, learn about their online self-image and compare them to other similar accounts. When selecting my influencers,

I wanted to make sure that I selected a diverse group who did not just focus on fashion content as my target customer group may not necessarily be very interested in fashion but may still require assistance and a second opinion on outfit ideas. I have selected influencers who all have different styles as it shows to the consumer that the application is inclusive and can provide assistance to anyone.

I tried to avoid bloggers who endorse fast fashion brands like Boohoo and Pretty Little Thing as this juxtaposes my brand concept of being more conscious of consumption and sustainable living.

However, most influencers nowadays do work with these popular fast fashion e-tailers so it was unavoidable. Whilst my influencers are not completely sustainability focused, I was selective in choosing girls who do discuss the environment and who actively seek ways to reduce their carbon footprint. With this in mind, I will send application accounts to the influencers, providing guidance on how the service can help them to become more conscious of their fashion consumption so that they can replicate this message to their followers.

FIGURE 271- 4S

Search…

Surface…

Screen…

Select…

By keywords or by audience

Check for reach, resonance & relevance

Digital due diligence

Final selection ahead of contracting & the creative brief

What are their needs?

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Are they authentic?

Aspirations?

How trusted are they? Do they have fake followers?

Could they be a brand ambassador?

Think creatively about the different categories of influencers

Source of information?

Reach & audience size

Consider their tone of voice

Unconventional influencers

Pay points?

Relevance

Be realistic

I used the 4S Filter to also ensure that the influencers I was selecting would portray an appropriate message to impressionable girls. Although influencer marketing is aimed to set an aspirational image, influencers should not portray unrealistic ambitions. This is why I have been selective to ensure that my influencers have a realistic and natural appearance. I have selected girls who have natural figures to be sure that I am being inclusive and authentic.

Because my app will only be available in the UK to start out, I have been careful to only select influencers within this area. This ensures that I am targeting the correct market efficiently.

Figure 272 demonstrates the influencers that I have selected to work with for my #ThisOldThing campaign.

Final influencer selection...

Bronte King

Jasmin White

Tabitha Warley

Beth Sandland

@brontekingg Followers: 36.1k

@thesecountryroads Followers: 22.5k

@takeheartUK Followers: 10.3k

@bethsandland Followers: 69.6k

Combined following: 138.5k Average engagement rate: 5.16% FIGURE 272- Influencer Selection Infographic

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Influencer 1: Bronte King...

Instagram handle:

36.1k Engagement Rate:

7.01% Average Likes:

2.5k (HypeAuditer, 2020b)

Bronte mainly posts content that focuses on female empowerment and positive mental health to her female-majority follower base. In 2019, she founded ‘Gals Who Graduate’ which is a community that addresses issues such as mental wellbeing and self-care for upcoming graduates and post-graduate females.

FIGURE 275 - Bronte King Instagram

Followers: FIGURE 274 - GalsWhoGraduate

FIGURE 273 - Bronte King

@brontekingg

Although no direct link to the fashion industry, Bronte shows an interest in fashion as she regularly tags the fashion brands that she is wearing. This could broaden WhatToWear?’s audience to girls who may not necessarily love fashion but may still want assistance in styling up outfits to feel confident and more comfortable. Her sister Chessy King is another well-known social media influencer; so partnering with Bronte could create opportunities for the WhatToWear? brand to also be mentioned on her sister’s social channels through speaking of Bronte and what she is up to. Bronte’s self-love and confidence ethos is something that WhatToWear? would like to be celebrating and encouraging among females too, so partnering with Bronte would be an excellent opportunity for the brand.

With an amazing engagement rate of 7.01%, Bronte would generate prospects for my campaign to be extremely successful in gaining interaction from her follower base.

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Influencer 2: Jasmin White... @thesecountryroads Followers:

22.5k Engagement Rate:

5.47% Average Likes:

1.2k

FIGURE 277 - Jasmin White

(HypeAuditer, 2020c)

Jasmin White is a full-time influencer who focuses her posts on lifestyle, fashion, food and travelling. Her Instagram page has a specific aesthetic which enables followers to differentiate her content from other accounts. Her appealing aesthetic makes her content come across as aspirational and luxurious which is something that WhatToWear? aspires to be. Jasmin also seems to have a good engagement rate, and receives an average like of 1.2k per post; this would be excellent exposure for WhatToWear?.

Although Jasmin also posts content around other things, she tends to have a large follower base who enjoys her fashion. Integrating the app into her content would enable WhatToWear? to target the older ‘younger millennial’ consumer base who seem to resonate well with her content.

FIGURE 278 - Jasmin White Instagram

FIGURE 276 - Jasmin White

Instagram handle:

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Influencer 3: Tabitha Warley... @takeheartUK Followers:

10.1k

4.8% Average Likes:

451 (HypeAuditer, 2020d)

Tabitha Warley’s account is full of fashion and lifestyle posts. Her fashion focused content is typically outfits styled by herself from her current wardrobe or wearing new items which are usually gifted from fashion brands such as Matalan.

She tends to make IGTV videos showing her followers how to style up different items from her wardrobe. This is something that I would ask Tabitha to do as part of our collaboration, as she could show the different outfits that were suggested by the app.

Tabitha also uses her platform as a way to address taboo topics and ‘break the stigma’ around them. I like how her Instagram feed is extremely honest as she avoids photoshop and filters and displays the true reality of most females discussing weight, skincare and mental wellbeing.

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FIGURE 281 - Tabitha Warley Instagram

Engagement Rate:

FIGURE 280 - Tabitha Warley

FIGURE 279 - Tabitha Warley

Instagram handle:

@bethsandland Followers:

69.6k Engagement Rate:

3.35% Average Likes:

2.3k (HypeAuditer, 2020e)

Beth is a multi-award-winning blogger who documents her lifestyle, beauty tips, fashion style and travels. Although her feed is extremely filtered and aesthetically pleasing, she keeps her content realistic and relatable which enables her followers to engage and inspired.

She has recently become more interested in the environment and sustainability after a travelling trip around Australia, New Zealand and Asia and she encourages her follower base to be conscious and make more eco-friendly choices. This is perfect for WhatToWear? as she could promote the app as a way of becoming eco-friendlier by being selective in purchasing new clothes and instead using what is already owned. Beth has the highest followers out of all 4 influencers so will therefore be more expensive, but she has a high millennial follower base which would be the perfect brand exposure, so would therefore be most definitely worth investing in.

FIGURE 284 - Beth Sandland Instagram

FIGURE 282 - TBeth Sandland

Instagram handle:

FIGURE 283 - Beth Sandland Post

Influencer 4: Beth Sandland...

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Influencer post plan...

FIGURE 279 - Tabitha Warley

@brontekingg

@takeheartUK

4-week posting period

4-week posting period

1x multi image post (minimum of 3 images) 1x single post 1x Instagram story

IGTV; styling video of outfits from app 2x single posts OR 1 multi-image post 1x Instagram story

FIGURE 273 - Bronte King

@thesecountryroads

1x multi image post (minimum of 3 images) 1x single post 1x Instagram story 4-week posting period

FIGURE 276 - Jasmin White

@bethsandland

1x multi image post (minimum of 3 images) 1x single post 1x Instagram story 4-week posting period FIGURE 282 - TBeth Sandland

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FIGURE 285 - Instagram Posts

Influencer messaging...

ASA requirements...

All influencers will be sent out a messaging plan with their contracts which they must take note of. The messaging plan will feature the key information that WhatToWear? expect them to include: tag the WhatToWear? account in both the post and the caption, include campaign hashtag #ThisOldThing and the generic brand hashtag #WhatImWearing, and be sure to abide to sponsored paid advertising requirements set up by ASA.

Because I am giving specific messaging requirements to my influencers, under ASA, it is law that influencers allow their followers to see that their posts are an advertisement (Moran, 2020d). ASA state that you can pay an influencer (for example, gift them a product, a payment or a voucher) but it is not an advertisement unless a company has control over what is going to be said.

The messaging plan will also include information on the key benefits and features of the app which influencers can mention in their posts if they wish to. As stated before, I want my influencer posts to be as authentic and honest as possible, so if the influencer does not find the virtual try-on feature very beneficial for example, I do not expect them to speak about this feature in their posts.

Ultimately, payment + control = advertisement (see Figure 288).

I will be sure to check when influencers post about my app that they are following the ASA laws to prevent my brand coming under scrutiny and facing possible charges. This could also result in my brand facing bad press amid the public which could have a detrimental impact on my brand reputation (Moran, 2020d).

PAYMENT

CONTROL

ADVERTISEMENT

MONEY GIFTS HOTEL STAYS VOUCHERS DISCOUNT OTHER COMMERCIAL INCENTIVE

FINAL APPROVAL KEY MESSAGES DO’S & DON’T’S KEY #’s UNBOXING FILTER/LENGTH OF IMAGE

#AD #ADVERTISEMENT #PAIDPROMO #PAIDINPARTNERSHIP #AFFILIATE #THANKS to [Brand] @[Brand] in association with

FIGURE 286 - ASA AD

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Influencer post mock-ups... @takeheartUK

Tabitha will create an IGTV styling video to promote the WhatToWear? service. She tends to make a lot of styling videos and receives good engagement rates from them, so I know that this will resonate really well with her followers.

The outfits will have been created by the stylist bot within the app and she will explain in the video how the app works and how helpful she finds it. Figure 287 is a mock-up example of how the video would look as an IGTV. The IGTV will also be shared to the WhatToWear? Instagram account to support the #ThisOldThing campaign.

FIGURE 287 - IGTV Mockups

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Influencer post mock-ups... @bethsandland

Beth utilised a multi-image post to discuss the #ThisOldThing campaign. She mentions how she’s been carelessly overconsuming and how she has found new ways to wear old items instead. Figure 288 shows Beth promoting the app as a convenience to her morning routine by highlighting the benefits of using the personal styling bot as a way to save time in the morning.

She will include her discount code and the campaign hashtags to encourage subscription sign ups and campaign engagement from her followers.

FIGURE 288 - Instagram Post Mockups

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Influencer post mock-ups... @brontekingg

Bronte’s Instagram story is a more subtle advertisement. She includes brief context about the application and pushes the campaign hashtag to drive engagement and user clicks.

The single post is of the same top mentioned in her story to create consistent advertising, whilst she expands on the benefits of using the app and the convenience of the virtual try-on feature that is available with the Gold membership.

FIGURE 289 - Instagram Post Mockups

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Influencer post mock-ups... @thesecountryroads

Figure 290 shows how Jasmin uses her post to encourage engagement with the campaign hashtag. She asks her followers a question and pushes them to upload old clothes using the campaign hashtag and tagging the WhatToWear?

Instagram account. This allows for UGC for my brand to reuse on the WhatToWear? feed.

FIGURE 290 - Instagram Post Mockups

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FIGURE 291 -Zeena Shah

@heartzeena Goes Live...

Instagram handle:

@heartzeena Followers:

36.1k

Engagement Rate:

3.93% Average Likes:

1.2k (HypeAuditer, 2020a)

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Zeena has a strong fashionconscious follower-base who enjoy her posts on bold styling and positive lifestyle content. She has a broad follower-base of females of all ages. This will allow for me to not only target my fashion-loving young millennial, but also broaden my reach to a wider target market who may also be interested in my service. Zeena also tries to encourage sustainable living and she is a proud outfit repeater. This aligns perfectly with the concept of my social media campaign which aims to celebrate outfit repeating and encourage wearing items more than once. Her Instagram page is filled with inspiration, from fashion and styling to home and interior. I believe that the image and message Zeena portrays is definitely in line with my brand and the message I am trying to portray in my campaign.

FIGURE 292 -Zeena Instagram Page

Zeena’s Instagram takeover...

Gain 600* followers before the live takeover from promotion on Zeena’s Instagram

Track number of followers before and after she has promoted the live on her Instagram page

Gain 900* followers during/ after the live video has taken place

Track number of followers before and after she has done live takeover

Gain 500 application downloads through working with Zeena

Track application downloads before and after the live takeover event

Gain website traffic from Zeena’s live

Track website traffic pre and post live takeover video. Measure engagement rate

FIGURE 293 - Objectives Table

PLT IGTV

Measure of Success

FIGURE 295 -

Objective

*Numbers are based on Zeena’s follower count and average engagement rate to set realistic goals.

FIGURE 296 - PLT IGTV

4 - PLT IGT FIGURE 29

Objective: The aim of the collaboration with Zeena is to address my brand’s mission to get consumers to fall back in love with their wardrobe by finding fresh new ways to wear their preloved items rather than going out to purchase something new. By collaborating with Zeena, a professional stylist, my brand immediately has the kudos it needs to gain consumer trust and customer appeal.

I have generated 4 measurable SMART Objectives for the collaboration with Zeena.

V

Concept: Fashion stylist Zeena Shah will host a live styling session on WhatToWear?’s Instagram account as part of my #thisoldthing campaign. She will show 5 ways to wear 1 summer dress, showing a range of styles for a variety of occasions. Zeena will do a 45minute-long Instagram live showcasing different ways to style up a pair of jeans. She will not be trying to sell the app, but trying to inspire users to style items in more than one way instead.

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Instagram live plan...

The outfits will be hung up on an open rail to showcase the items being used. She will discuss why she has chosen to style each outfit up the way that she has with mentions to current trends, dressing for a specific body shape and what colour palettes work for her.

FIGURE 297 - Takeover Backdrop

Zeena will do the live takeover video in her own home. Figure 297 portrays a common place that Zeena tends to take pictures for her Instagram page. It is fresh, clean and openthis would be ideal for my video as this will avoid distraction and keep the focus solely on the styling session.

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FIGURE 299 - Takeover Model Example

Zeena will have a model who she will be styling up in the video to make the process quicker and smoother.

FIGURE 298 - Takeover Rail Inspiration

Outfits...

Zeena will focus her live story takeover on 5 ways to wear 1 summer dress.

Before the live takeover, Zeena will show WhatToWear? her outfit choices and they will discuss a brief plan of how the live is expected to pan out.

The outfits have been split into dressy and casual styles, and Zeena will discuss how each differently styled outfit would suit certain occasions.

Outfit 1 has been planned for a summertime night out with the girls, outfit 2 has been styled up for a summer wedding and outfit 3 is a more smart/casual effortless look.

Outfit 4 is a daytime look for running errands or a picnic in the park and finally outfit 5 has been styled up with brunch in mind.

Zeena will talk about the joy of giving her wardrobe a new lease of life by styling up items she already owns in a variety of ways. She will then discuss how the WhatToWear? app assists this. WhatToWear? app assists this as the virtual stylist will do all of this work for the user.

1.

2.

4.

3.

5.

FIGURE 300 - Takeover Outfit Plans

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Storyboard...

PLAN: 5-minute introduction: • Who she is • What she does • What the live will be about • Why she is working with WhatToWear?

(She will discuss how she shares the same passion for styling and making more sustainable steps by making use of what is already owned)

5

M

IN

IN

OU

OU

TR

TF

O

IT

TF

1

IT

S

2+

3

35 minutes: Ways to wear the SUMMER DRESS 3 dressy ways 1. Night out 2. Wedding 3. Smart/ cas 2 casual ways 4. Picnic in the park 5. Brunch with friends 5-minute ending: • Ending the styling session • Answering live questions • Send people to the WhatToWear? website • Encourage downloading the app • Say goodbye

OU

TF

IT

OU 4

FIGURE 301 - Takeover Plan

170

TF

IT

5 5

M

IN

EN

DI

NG

Pre, during and post...

Pre live takeover: 7 days before the live takeover, WhatToWear? and Zeena will announce the collaboration on both Instagram pages. Zeena will tag the WhatToWear? account and include the campaign hashtags #ThisOldThing and #WhatImWearing into the post, whilst giving a brief overview of what the live takeover will entail. Warren (2020) believes that informing the viewer on what they can expect during the live takeover and answering any questions will make viewers feel engaged, thus increasing the likeliness that they will tune in.

As well as a post on her feed, Zeena will also promote the collaboration on her stories too.

She throughout her promotion posts, she will be encouraging her followers to follow the WhatToWear? account and stay tuned for her takeover. By doing this, I hope to achieve SMART Objective 1 which is to acquire 600 followers before the event. WhatToWear? will implement a daily countdown to their Instagram story building up excitement and buzz for the takeover. Warren (2020) states that continuously promoting an upcoming Instagram live can have a huge impact on view counts during the live event. I will do this by using Instagram’s countdown stickers- they allow users to set a reminder as to when the countdown will end.

FIGURE 302 - Story Mockup

FIGURE 303 - Story Mockup

FIGURE 304 - Countdown

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During live takeover: During the event, Zeena will be sure to respond to comments on the live as and when she can, to encourage engagement and create conversations with viewers.

People who are tuned in are likely to be interested in her styling, so making sure to respond to their questions is key to keeping the viewers engaged. To achieve SMART Objective 2, which is to gain 900 followers during/ after the live takeover, Zeena will discuss the WhatToWear? Instagram account with viewers, urging them to follow our account if they don’t already do so. She will promote that there will be lots of things going on on our Instagram account and will make reference to our #ThisOldThing campaign and how they can also get involved too.

Throughout the video, Zeena will also make reference to the WhatToWear? application to encourage app downloads; this will help me to achieve SMART Objective 3 (to acquire 500 app downloads through working with Zeena). Zeena will be given an individual discount code for her followers to use if they choose to download the app; this again will support SMART Objective 3 and will allow for me to track Zeena’s influence on her followers, and keep results in mind for future collaboration decisions.

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Post live takeover: After the live event, Zeena will be required to photograph each outfit and create 2 posts for her Instagram feed, giving a summary about the live video. She will ensure to tag us and include the hashtags #ThisOldThing #WhatImWearing to support the campaign. We will then utilise these images for our social channels too. The live video will be promoted on Instagram as a sponsored post and will also be saved to WhatToWear?’s story for 24hours after it took place. This will enable users who could not watch it when it was live to catch up within the 24-hour period. To reach SMART Objective 4 (to gain website traffic from Zeena’s live), Zeena will be required to promote the WhattToWear? website on her Instagram story, providing her followers with a swipe up link that will direct them straight to my website. This will provide a clear call to action to her followers and should help increase website traffic, which would ultimately increase application downloads too (SMART Objective 3).

FIGURE 305 - Live Mockup

FIGURE 306 - Caption Mockup

FIGURE 307 - Live Mockup

FIGURE 308 - Post Mockups

FIGURE 309 - Story Mockup

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Instagram content plan...

Figure 310 displays an Instagram content plan for the month of my campaign launch. Creating a content plan allows me to plot in plans focused on key messages, key posts and key dates that could impact my campaign in some way. It will allow for me to plan in advance, simply coordinate my campaign, grow my brand reach and scale my social media marketing (HubSpot, no date).

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KEY: Key date Campaign Sponsored ad post Instagram Post Instagram Story Product Launch Experiment Other

INSTAGRAM CONTENT PLAN - APP LAUNCH [APRIL - MAY 2021]

SUNDAY 18/04 App concept 'coming son'

MONDAY 19/04 APP GOES LIVE App concept & #TOT

App concept & #TOT

App launch countdown

App launch- app store links

#TOT campaign introduction

App launch countdown

App launch- app store links

#TOT campaign introduction

#TOT campaign introduction

Happy World Earth Day

Friyay meme

#TOT launch

#TOT

#TOT

#TOT

#TOT

SUNDAY 25/04

WEDNESDAY 21/04 App concept & #TOT

THURSDAY 22/04 World Earth Day App concept & #TOT

FRIDAY 23/04 App concept & #TOT

World Earth Day focus

Styling inspiration

Influencer repost - #TOT

Website launch countdown

Website launch- link in bio

Influencer post share - #TOT

Zeena's live announced

Zeena's live countdown

Share influencer post to story

Zeena's live countdown

#TOT

#TOT

#TOT

#TOT

#TOT

#TOT

#TOT

App concept & #TOT

Zeena's live countdown Sunday Funday meme

Zeena's live countdown Happy B/H Monday

#TOT

App concept & #TOT

THURSDAY 29/04

#TOT

Styling inspiration

App concept & #TOT

WEDNESDAY 28/04

App concept & #TOT

App concept & #TOT

MONDAY 03/05 May Bank Holiday App concept & #TOT

TUESDAY 27/04

SATURDAY 24/04

MONDAY 26/04 FULL WEBSITE LAUNCH App concept & #TOT

SUNDAY 02/05

FIGURE 310 - Instagram Content Plan

TUESDAY 20/04

App concept & #TOT

Zeena live styling session announced

TUESDAY 04/05 App concept & #TOT

App concept & #TOT Influencer repost - #TOT - B/H weekend outfit inspo Zeena's live countdown

WEDNESDAY 05/05 App concept & #TOT

FRIDAY 30/04

THURSDAY 06/05 App concept & #TOT

OOH campaign imagery

SATURDAY 01/05 App concept & #TOT Styling inspiration

FRIDAY 07/05

SATURDAY 08/05

App concept & #TOT

App concept & #TOT

Influencer IGTV video repost - #TOT

OOH campaign imagery

Zeena's live countdown

Zeena's live styling session

Last chance: Zeena's live

Weekend style inspo - 4 slides

Influencer post share - #TOT

#TOT

#TOT

#TOT

#TOT

#TOT

#TOT

SUNDAY 09/05

MONDAY 10/05

TUESDAY 11/05

WEDNESDAY 12/05

THURSDAY 13/05

FRIDAY 14/05

SATURDAY 15/05

App concept & #TOT

App concept & #TOT

App concept & #TOT

App concept & #TOT

App concept & #TOT

App concept & #TOT

App concept & #TOT

Influencer repost - #TOT

OOH campaign imagery

Influencer repost - #TOT

OOH campaign imagery

Story templates - 'wardrobe staples'

Influencer post share - #TOT

Spring styling ideas

Weekend celebrations

#TOT

#TOT

#TOT

#TOT

#TOT

#TOT

#TOT

SUNDAY 16/05

MONDAY 17/05

TUESDAY 18/05

WEDNESDAY 19/05

THURSDAY 20/05

FRIDAY 21/05

SATURDAY 22/05

App concept & #TOT

App concept & #TOT

App concept & #TOT

App concept & #TOT

App concept & #TOT

App concept & #TOT

App concept & #TOT

Influencer repost - #TOT

UGC from app - styling inspo

UGC from app - Styling inspo Weekday styling ideas - 5 slides #TOT

Happy Hump Day' meme #TOT

#TOT

#TOT

UGC from app - styling inspo Influencer post share - #TOT

#TOT

#TOT

#TOT

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Influencer collaboration costs...

176

Influencer marketing costs fluctuate depending on a variety of factors. The main factor that impacts price is the type of influencer that is selected (for example a micro-influencer will be a lot cheaper than a mega influencer). Usually, influencers cost around 10% of their follower count, but a lot of the time influencers will offer post bundles for this price (Moran, 2020d). Figure 311 demonstrates the typical cost of working with the influencers that I have selected.

It is key to consider however that I will be offering my influencers a free subscription with WhatToWear? for the first 2 or 3 months, therefore the influencers are receiving my product for free. This could possibly cut down costs a little.

relationships between WhatWoWear? and the influencers that Moran (2020d) states is key to a successful influencer campaign.

My influencer collaboration is quite expensive when considering that my brand is premature, as I would most likely have a moderately low budget. To cut costs, I would offer all influencers their own trackable personal discount code that offered their followers 50% off for the first month of the Gold subscription membership where they would receive 20% of profits generated through their code, in return for a discounted collaboration cost. Although seemingly risky as I cannot guarantee sales, this will allow for the collaboration to still go ahead without the worry of affording the influencers straight away. By generating a deal that benefits both my brand and the influencers, I hope to develop long-term

By offering the influencers 20% of profits that they generate, I hope to cut overall costs down by around 35% which would take my overall influencer marketing cost to ÂŁ11,331.45. So, instead of my influencers charging 10% of their follower rate, they are only charging me 6.5%, in return for 20% of any profits that they generate during the campaign.

FIGURE 311 - Influencer Campaign Cost

Trackable discount codes will allow for me to track ROI rates too as they create direct links between marketing campaigns and consumer conversion (Hendricks, 2015). I can then compare results between the influencers which will reflect the impact that each influencer has on her followers. I could use this data in the future when considering influencers to collaborate with again, and the most impactful influencers could potentially become brand ambassadors for WhatToWear? in the future.

FIGURE 312 - Influencer Campaign Cost

Budget...

177

Overall campaign cost...

178

FIGURE 313 - Overall Campaign Cost

Business loan...

One of the main things I have struggled to find during this project is reliable sources for budget and costings of a promotional plan for a start-up brand. I looked at a variety of ways in which I could fund my campaign and my research discovered that it is quite common for premature business owners to take a small business loan (Money Supermarket, no date; Capalona, no date).

I looked into the pros and cons of taking out start-up loans from the bank and discovered that this is something that I would do in order to support funding for my campaign.

I considered the different options of business loans; ideally, a small-term loan would be the best to take out because they are usually more cost-efficient as less interest is paid due to the shorter amount of time (Capalona, no date). However, I discovered that I would not be eligible to apply for a short-term loan because a requirement is that a business must be running for a minimum of 18months prior to applying for the loan (Money Supermarket, no date). I decided to go with a medium to long-term loan as this would be more realistic for my company. Figure 314 demonstrates the pros and cons of taking a medium to longterm business loan.

BENEFITS OF A MEDIUM TO LONG-TERM BUSINESS LOAN You may be charged a lower business loan interest rate compared to a short-term loan

Monthly instalments tend to be smaller & more manageable

DISADVANTAGES OF A MEDIUM TO LONG-TERM BUSINESS LOAN It could restrict the monthly cash flow of your business- you could be repaying the loan over several years

You usually end up paying more in interest overall

You have a longer period of time to pay it back

You may be charged a lower interest rate comparative to a shortterm loan

It can be more difficult to be approved for a long-term loan

If you’re unable to keep up with the repayments, there’s a risk you could lose assets

Business owners can concentrate on growing their company whilst budgeting over time

A legal charge gives the lender the power of sale if repayments are not maintained

(Money Supermarket, no date; Capalona, no date) FIGURE 314 - Pros and Cons Of A Loan

179

Phase 2...

180

Phase 2 promotional plan...

Phase 2 of my promotional plan would be carried out post-launch.

This focuses on expanding brand awareness further, whilst taking multiple approaches with aims to acquire more customers. There would be a specific focus on my student target segment during Phase 2 as my brand would have more promotional budget by this time. As mentioned previously, Phase 2 will have a leading focus on WhatToWear?’s Pinterest account comparative to Phase 1.

FIGURE 315 - Phase 2 Ghantt Chart

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Referral marketing: Similar to word of mouth marketing, referral marketing has the same potential to influence potential consumers, but it is initiated and directed by a business usually through incentives and rewards Marketing Schools (no dateA:online). It could be said that referral marketing is more effective than word of mouth as it is more controllable. In fact, research states that ‘65% of all business comes from referrals’, meaning that individuals are 4 times more likely to purchase something, if referred or recommended by a friend or family member Marketing Schools (no dateA:online) Referral marketing would therefore be beneficial for What to Wear? with it being a start-up brand, at it could generate new memberships through customer recommendation. In a method of customer acquirement, What to Wear? will generate a ‘Refer A Friend’ scheme which will entice current members to encourage a friend to sign up to a subscription membership for a discounted price, through using the member’s own personal referral code.

In turn, the current member will receive a point on their account, which will accumulate to a 3-month membership discount once they have referred a certain number of friends. The idea of this friend referral strategy is to enable new members to ‘try before they buy’ a full price membership. Berman (2015) claims that referral programs work particularly well for experience goods who provide services, which suggests that utilisation of a refer a friend scheme will be beneficial for What to Wear?.

FIGURE 316 - Boohoo Social and Competition

Social competition: Running competitions on social media will create conversation and buzz around my brand. If part of the competition requires participants to share a post to their story and tag WhatToWear? in it, this provides potential for new followers and an increased brand awareness.

182

Event: Events are an excellent way for start-up brands to leave a long-lasting, meaningful brand-focused impact, through creating an experience that resonates with the consumer (Marketing Schools, no dateB). As established in Portfolio A (page 109), the experience economy is resonating particularly well with the millennial demographic, who claim that they would rather buy into new experiences than possessions (Mintel, 2019). Furthermore, it was also established on page 109 (Portfolio A) that marketing What to Wear? as more of an experiential service rather than a physical possession is key as it would enable the brand to appeal to the millennial consumer more. An event would be the perfect opportunity for What to Wear? to introduce the app into the market through building anticipation and excitement around such a new and advanced technological service. The launch event would showcase the app’s features, focusing on its USPs of artificial intelligence and hyper-personalisation. Events ultimately personify a brand which generates relationships through face-to-face interaction amid the brand and its target consumer (Marketing Schools, no dateB).

Hosting an event would also be beneficial for What to Wear? as they generate opportunities for social media content and sharing, pre, during and post event. A successful event would generate discussion and buzz long after the event has taken place.

p Up Event

FIGURE 317 - Hermes Po

mes Pop Up

- Her FIGURE 318

Event

FIGURE 31

9 - Hermes

Pop Up Ha

shtags

183

FIGURE 322 - Tote Bag Mockup

FIGURE 320 - Depop Swap Shop Event

184

Sponsorships and partnerships: As a premature brand, partnering with well established, trusted brands is an excellent way to gain brand awareness and exposure within a market.

Sponsorships enable a brand to gain similar largescale exposure but for a much cheaper cost, as the sponsoring company would foot a lot of the bill.

Partnering with brands could lead to potential new consumes who may not necessarily have considered my brand until the partnership. A good brand to partner with for WhatToWear? Would be Depop; we could host a variety of swap shops and upcycling workshops where customers would learn different ways to creatively upcycle pre-loved clothes.

Students: Phase 2 will also focus largely on WhatToWear?’s student consumer base. To gain brand awareness and student consumer acquisition, WhatToWear? could hire a stall at major universities during Fresher’s Week when most universities host a Fresher’s Fair.

During my placement year at boohoo, I helped out at some of the Fresher’s fair events as boohoo had hired a stand. From first-hand experience, I know that personally targeting students during times like Fresher’s when they are actively open to shop and try new things will be effective. Offering a student discount and handing out freebies as incentives will not only allow for peer-to-peer promotion, it will also encourage students to visit the stall and engage in the activities going on.

FIGURE 321 - Fresher’s Fair

Conclusion...

185

Phase 2 development...

Initial ideas for my promotional plan proved to be extremely adventurous for a start-up brand that has no position within the current market and very little brand awareness. The brand life cycle presented by CIM (no dateC) explains how brands are constructed over time (see figure 323). Brand awareness is the first step in the brand life cycle to place a premature company into the marketplace, and is therefore a key objective for my promotional launch plan. I had to adapt my initial promotional plan and narrow down my ideas to make sure I was keeping this key objective in mind (see figure 234 for initial ideas).

that I could consider doing in upcoming years when my brand is more established, and I have higher promotional budget (see figure 324 for event idea).

Phase 2 ideas were developed when I realised that my Phase 1 plan was far too extreme; reflecting back, I have realised that I was too keen to cover a wide variety of promotional aspects, instead of focusing on a few in more depth. In hindsight, I am glad that I narrowed my promotional plan down and implemented more accurate marketing techniques to launch my brand as I feel that my plan is now more realistic. Phase 2 demonstrates Originally, a huge event was going to be a main part of my my understanding of the different ways in which I could focus on promotional plan as my research has found that my target market customer acquisition, targeting specific customer segments and appreciates experiences over possessions Mintel (2019). However, levitating brand awareness further. when discussing with my tutors, I realised that budget was going to be a huge factor that would limit my event ideas massively. I looked into how brands could maybe sponsor my event; I researched into brands that share values with WhatToWear? to make sure my brand’s ethos and philosophy would not be contradicted or tainted.

Depop was a key brand that I found as they also focus on the idea of reusing pre-loved items that are already in the wardrobe. Ideas were to collaborate and establish a huge 3-day event which would feature lots of workshops, panel talks, styling and masterclasses, whilst showcasing the AI technology that is featured in my app.

The nature of my event would be that the public would purchase tickets for it, and if nobody knows about my brand, the likeliness of guests purchasing tickets would be quite low. I realised the importance of generating brand awareness before spending money on an event as it would not be beneficial to host a huge weekend event if nobody knows about my brand already and may FIGURE 323 - Brand Lifecycle therefore not want to pay for a ticket. Whilst my event idea would be impractical for my initial launch campaign, this is something

186

FIGURE 324 - Initial Event Idea

187

Self-reflection...

188

Reflecting back on VPB, I am pleased with the overall outcome of my work and I feel confident that I have delivered a project that successfully meets the overall brief. I have enjoyed exploring a variety of marketing channels and experimenting with ways in which I could have branded my app. I feel that I have developed new skills and knowledge which will help be throughout my professional career. Figure 325 demonstrates a brief self-SWOT on my performance throughout Portfolio B.

I feel confident that I have delivered a clear and thorough promotional campaign plan for the launch of the WhatToWear? app through the utilisation of the SOSTAC Model and the CIM templates and guides that assisted me when developing my marketing mix. I feel

that my approach in marketing my brand as sustainable is quite unique comparative to most sustainability-focused marketing which seem to be quite radical and extreme, and I have enjoyed putting a fun spin on the concept of sustainable fashion.

Strengths…

Weaknesses…

I believe that the quality of my deliverables are to a high and professional standard, however, if I were to have longer on this project (and given the current lockdown situation was lifted) I would have liked to have produced my own imagery for my social campaign, rather than relying on secondary images. I would have liked to have experimented with creating videos for my social campaign too, but I was worried that this would consume too much of my time given that I could not collaborate with videographers or meet with models. This is something that I would love to explore in the near future.

• Developed a strong campaign which targets my identified consumer market successfully

• Developed new web design skills

• Lack of face-to-face meetings with tutors (due to COVID-19) made me feel uncertain about the quality of my work • Unable to attend workshops (due to COVID-19) which could have improved the quality of my deliverables

• Confident using Adobe InDesign and Photoshop to produce high quality work

Opportunities…

• •

•

Threats…

Opportunities to develop my web design skills further after this project

•

My self-confidence issues could hinder my performance

Newfound interest in customer experience and user journeys (in both my website and my app)

•

Time limitations restricting what I could actually produce as deliverables

Could potentially develop and launch my brand and application in the future

•

Limited resources due to lockdown

FIGURE 325 - Self-SWOT

• Understand the research and work that is required to plan a full promotional campaign

• Self-doubt and lack of confidence in my ideas lead me to feel worried and stressed

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Illustrations...

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Figure 1: Archilovers (2019) Fitting room. [Online image] [Accessed 10th Figure 9: Bradley, P. (2020) 5 S’s March 2020] https://www.archilovers.com/ Objectives. Created by author using projects/243650/4tailors-boutique.html Microsoft PowerPoint Figure 2: Bradley, P. (2020) Gibb’s Figure 10: Bradley, P. (2020) Mini Profile.

Reflective Cycle. Created by author using Created by author using Adobe Photoshop Microsoft PowerPoint Figure 11: Bradley, P. (2020) Promotional Figure 3: Bradley, P. (2020) Overall Mix. Created by author using Microsoft Performance Reflection Table. Created by PowerPoint author using Microsoft PowerPoint Figure 12: Bradley, P. (2020) Action Plan Figure 4: Bradley, P. (2020) Critical Path. Outline. Created by author using Microsoft Created by author using Microsoft Excel PowerPoint Figure 5: Bradley, P. (2020) SOSTAC Model. Created by author using Microsoft PowerPoint

Figure 13: Bradley, P. (2020) Action Plan Table. Created by author using Microsoft PowerPoint

Figure 6: Bradley, P. (2020) Updated Perceptual Map. Created by author using Adobe Photoshop

Figure 14: Bradley, P. (2020) SOSTAC Control. Created by author using Microsoft PowerPoint

Figure 7: Bradley, P. (2020) Millennial Consumer Infographic. Created by author using Canva at www.canva.com

Figure 15: Bradley, P. (2020) 7P’s Marketing Mix. Created using Microsoft PowerPoint

Figure 8: Bradley, P. (2020) Critical Path Updated. Created by author using Microsoft Excel

Figure 16: Bradley, P. (2020) 4 P’s to 4 E’s. Created using Microsoft PowerPoint

Figure 17: Bradley, P. (2020) Customer Segments. Created using Microsoft Word Figure 18: Bradley, P. (2020) Competitors.

Created using Microsoft Word Figure 19: Bradley, P. (2020) USPs. Created using Microsoft Word Figure 20: Bradley, P. (2020) Marketing Channels. Created using Microsoft Word Figure 21: Bradley, P. (2020) Marketing Channels. Created using Microsoft Word Figure 22: Bradley, P. (2020) Messaging.

Created using Microsoft Word Figure 23: Bradley, P. (2020) Collaboration.

Created using Microsoft Word Figure 24: Parsons (no date) Train Station At Rush Hour. Unsplash. [Online image] [Accessed 12th April 2020] https:// unsplash.com/photos/ow_3Zc8xSN4 Figure 25: Shreddy (2020) Sponsored Post. Instagram [Online image] [Accessed 18th March 2020] Screenshot taken from Instagram live stories www.instagram.com

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Figure 26: Hague, M. (2020) Mollymae Instagram Captions. Instagram [Online Figure 32: Bradley, P. (2020) Competitor image] [Accessed 18th March 2020] https:// Analysis Table. Created by author using www.instagram.com/mollymaehague/ Microsoft PowerPoint.

Figure 39: Smart Closet (no date) Smart Closet Website. [Online image] [Accessed 4th May 2020] https://smartcloset.me/

Figure 27: Webaroo (no date) SEO. Unsplash [Online image] [Accessed 18th March 2020] https://unsplash.com/photos/ shr_Xn8S8QU

Figure 33: Smart Closet (2019) Smart Closet Instagram Post. [Online image] [Accessed 4th May 2020] https://www. instagram.com/p/BzIy-6IAK9v/

Figure 40: Mode-Relier (no date) ModeRelier Website. [Online image] [Accessed 4th May 2020] https://www.mode-relier. com/

Figure 28: Bradley, P. (2020) Subscription Plan Breakdown. Created using Microsoft PowerPoint (Taken from Portfolio A)

Figure 34: Atkins, J. (2020) Stylebook Instagram Post. [Online image] [Accessed 4th May 2020] https://www.instagram. com/p/B7_JkH8nmHI/

Figure 41: Klarna (no date) Klarna Logo.

[Online image] [Accessed 15th March 2020] https://www.klarna.com/uk/

Figure 29: WGSN (2020) Coronavirus Image Edit. [Online image] [Accessed 26th April 2020] https://www-wgsn-com. mmu.idm.oclc.org/content/board_ viewer/#/86684/page/1 Figure 30: Mckinsey & Company (2020) Consumer Shopping Insight. [Online image] [Accessed 8th April 2020] https:// www.businessoffashion.com/articles/ intelligence/the-state-of-fashion-2020coronavirus-update-bof-mckinsey-reportrelease-download

Figure 35: Mode-Relier (2020) ModeRelier Instagram Account. [Online image] [Accessed 4th May 2020] https://www. instagram.com/moderelier/ Figure 36: Pureple (no date) Pureple Website. [Online image] [Accessed 4th May 2020] http://www.pureple.com/

Figure 42: Klarna (no date) Klarna OOH. [Online image] [Accessed 15th March 2020] https://fashionunited.uk/news/business/ klarna-targets-growth-with-new-outdoorcampaign/2019100145525 Figure 43: Klarna (no date) Klarna OOH. [Online image] [Accessed 15th March 2020] https://fashionunited.uk/news/business/ klarna-targets-growth-with-new-outdoorcampaign/2019100145525

Figure 37: Stylebook (no date) Stylebook Website. [Online image] [Accessed 4th May 2020] https://www.stylebookapp.com/ Figure 44: Klarna (no date) Klarna OOH. features.html [Online image] [Accessed 15th March 2020] Figure 31: Bracken, A. (2020) We Will https://fashionunited.uk/news/business/ Feel Alive Again Post. Unsplash. [Online Figure 38: Smart Closet (no date) Smart klarna-targets-growth-with-new-outdoorimage] [Accessed 28th April 2020] https:// Closet Website. [Online image] [Accessed campaign/2019100145525 unsplash.com/photos/X8WQD0UYsfA 4th May 2020] https://smartcloset.me/

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Figure 45: Klarna (no date) House of Figure 51: Tangerine Events (2019) Klarna. Screenshot taken from https:// House of Klarna. [Online image] www.instagram.com/klarna.uk/ [Accessed 15th March 2020] https:// w w w. t a n g e r i n e e v e n t p h o t o g r a p h y.

Figure 46: Tangerine Events (2019) co.uk/blog/2019/10/22/house-of-klarnaHouse of Klarna. [Online image] corporate-photography-manchester [Accessed 15th March 2020] https:// w w w. t a n g e r i n e e v e n t p h o t o g r a p h y. Figure 52: Klarna (no date) Klarna co.uk/blog/2019/10/22/house-of-klarna- Social. Screenshot taken from https:// corporate-photography-manchester www.facebook.com/KlarnaUK/?brand_ redir=390926061079580 Figure 47: Klarna (no date) House of Klarna. Screenshot taken from https:// Figure 53: Klarna (no date) Klarna Social. www.instagram.com/klarna.uk/ Screenshot taken from https://www. instagram.com/klarna.uk/ Figure 48: Klarna (no date) House of Klarna. Screenshot taken from https:// Figure 54: Klarna (no date) Klarna Social. www.instagram.com/klarna.uk/ Screenshot taken from https://twitter.com/ Klarna Figure 49: Tangerine Events (2019) House of Klarna. [Online image] Figure 55: Klarna (no date) Klarna [Accessed 15th March 2020] https:// Social.

Screenshot taken from w w w. t a n g e r i n e e v e n t p h o t o g r a p h y. h t t p s : / / w w w. y o u t u b e . c o m / c h a n n e l / co.uk/blog/2019/10/22/house-of-klarna- UCucezrhmHSb6c9Qce_feYIQ corporate-photography-manchester Figure 56: Klarna (no date) Klarna Figure 50: Klarna (no date) House of Facebook. Screenshot taken from https:// Klarna. [Online image] [Accessed 15th www.facebook.com/KlarnaUK/?brand_ March 2020] https://www.klarna.com/uk/ redir=390926061079580 house-of-klarna/

Figure 57: Klarna (no date) Klarna Facebook. Screenshot taken from https:// www.facebook.com/KlarnaUK/?brand_ redir=390926061079580 Figure 58: Klarna (no date) Klarna Facebook. Screenshot taken from https:// www.facebook.com/KlarnaUK/?brand_ redir=390926061079580 Figure 59: Klarna (no date) Klarna Instagram. Screenshot taken from https:// www.instagram.com/klarna.uk/ Figure 60: Klarna (no date) Klarna Instagram. Screenshot taken from https:// www.instagram.com/klarna.uk/ Figure 61: Klarna (no date) Klarna Instagram. Screenshot taken from https:// www.instagram.com/klarna.uk/ Figure 62: Klarna (no date) Klarna Twitter.

Screenshot taken from https://twitter.com/ Klarna Figure 63: Klarna (no date) Klarna Twitter.

Screenshot taken from https://twitter.com/ Klarna

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Figure 64: Klarna (no date) Klarna Twitter. Figure 71: Just Eat (2018) Just Eat twitter.com/BirchboxUK Screenshot taken from https://twitter.com/ Campaign. Screenshot taken from https:// Klarna www.youtube.com/watch?v=II9CniIjkrI Figure 79: Birchbox (no date) Birchbox YouTube. Screenshot taken from https:// Figure 65: Klarna (no date) Klarna Figure 72: Birchbox (no date) Birchbox www.youtube.com/birchboxuk YouTube.

Screenshot taken from Logo [Online image] [Accessed 2nd April h t t p s : / / w w w. y o u t u b e . c o m / c h a n n e l / 2020] www.birchbox.com Figure 80: Birchbox (no date) Birchbox UCucezrhmHSb6c9Qce_feYIQ Facebook. Screenshot taken from https:// Figure 73: Birchbox (no date) Birchbox www.facebook.com/BirchboxUK/?brand_ Figure 66: Klarna (no date) Klarna Website [Online image] [Accessed 2nd April redir=248182141646 YouTube.

Screenshot taken from 2020] www.birchbox.com h t t p s : / / w w w. y o u t u b e . c o m / c h a n n e l / Figure 81: Birchbox (no date) Birchbox UCucezrhmHSb6c9Qce_feYIQ Figure 74: Birchbox (no date) Birchbox Facebook. Screenshot taken from https:// How It Works [Online image] [Accessed 2nd www.facebook.com/BirchboxUK/?brand_ Figure 67: Klarna (no date) Klarna April 2020] www.birchbox.com redir=248182141646 YouTube.

Screenshot taken from h t t p s : / / w w w. y o u t u b e . c o m / c h a n n e l / Figure 75: Birchbox (no date) Birchbox Figure 82: Birchbox (no date) Birchbox UCucezrhmHSb6c9Qce_feYIQ Facebook. Screenshot taken from https:// Facebook. Screenshot taken from https:// www.facebook.com/BirchboxUK/?brand_ www.facebook.com/BirchboxUK/?brand_ Figure 68: Just Eat (no date) Just Eat redir=248182141646 redir=248182141646 Logo. [Online image] [Accessed 15th March 2020] https://www.just-eat.co.uk/ Figure 76: Birchbox (no date) Birchbox Figure 83: Birchbox (no date) Birchbox Pinterest. Screenshot taken from https:// Pinterest. Screenshot taken from https:// Figure 69: Just Eat (2018) Just Eat www.pinterest.co.uk/BirchboxUK/ www.pinterest.co.uk/BirchboxUK/ Campaign. Screenshot taken from www. youtube.com/watch?v=dvRrh8NOTbM Figure 77: Birchbox (no date) Birchbox Figure 84: Birchbox (no date) Birchbox Instagram. Screenshot taken from https:// Pinterest. Screenshot taken from https:// Figure 70: Just Eat (2018) Just Eat www.instagram.com/birchboxUK/ www.pinterest.co.uk/BirchboxUK/ Campaign. Screenshot taken from www. youtube.com/watch?v=dvRrh8NOTbM Figure 78: Birchbox (no date) Birchbox Twitter. Screenshot taken from https://

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Figure 85: Birchbox (no date) Birchbox Figure 93: Birchbox (no date) Birchbox Figure 100: Virgin Money (2020) Run For Pinterest. Screenshot taken from https:// YouTube. Screenshot taken from https:// Heroes Money. [Online image] [Accessed www.pinterest.co.uk/BirchboxUK/ www.youtube.com/birchboxuk 3rd May 2020] https://uk.virginmoneygiving. com/fundraiser-display/ Figure 86: Birchbox (no date) Birchbox Figure 94: Birchbox (no date) Birchbox Instagram. Screenshot taken from https:// YouTube. Screenshot taken from https:// Figure 101: Myforteisfashion (2020) www.instagram.com/birchboxUK/ www.youtube.com/birchboxuk Influencer post. Instagram. [Online image] [Accessed 3rd May 2020] https://www.

Figure 87: Birchbox (no date) Birchbox Figure 95: Bradley, P. (2020) Hashtag instagram.com/myforteisfashion/ Instagram. Screenshot taken from https:// Search.

Instagram.

Online image] www.instagram.com/birchboxUK/ [Accessed 3rd May 2020] Screenshot taken Figure 102: Instagram (2020) Hashtag from Instagram search www.instagram. Search. [Online image] [Accessed 3rd May Figure 88: Birchbox (no date) Birchbox com 2020] https://www.instagram.com/explore/ Instagram. Screenshot taken from https:// tags/pillowcasechallenge/ www.instagram.com/birchboxUK/ Figure 96: Bradley, P. (2020) Benefits of Hashtags. Image created by author using Figure 103: Instagram (2020) Hashtag Figure 89: Birchbox (no date) Birchbox www.canva.com Instagram Search. [Online image] [Accessed Twitter. Screenshot taken from https:// 3rd May 2020] https://www.instagram.com/ twitter.com/BirchboxUK Figure 97: Instagram (2020) Thankyounhs explore/tags/pillowcasechallenge/ Hashtag Search. [Online image] [Accessed Figure 90: Birchbox (no date) Birchbox 3rd May 2020] https://www.instagram.com/ Figure 104: Instagram (2020) Pillowcase Twitter. Screenshot taken from https:// Challenge Posts. [Online image] [Accessed twitter.com/BirchboxUK Figure 98: Instagram (2020) NHS Hashtag 3rd May 2020] https://www.instagram.com/ Search. [Online image] [Accessed 3rd May explore/tags/pillowcasechallenge/ Figure 91: Birchbox (no date) Birchbox 2020] https://www.instagram.com/ Twitter. Screenshot taken from https:// Figure 105: Spin Sucks (2020) PESO twitter.com/BirchboxUK Figure 99: Run.For.Heroes (2020) Run Model.

[Online image] [Accessed th For Heroes. Instagram. [Online image] 28 April 2020] https://moodle.mmu.

Figure 92: Birchbox (no date) Birchbox [Accessed 3rd May 2020] https://www. a c . u k / p l u g i n f i l e . p h p / 4 1 2 3 3 0 4 / m o d _ YouTube. Screenshot taken from https:// instagram.com/run.for.heroes/ resource/content/1/FashionLecture2_ www.youtube.com/birchboxuk PromotingBrandtoPress_09March.pdf

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Figure 106: Bradley, P. (2020) PESO Figure 112: Ashcroft, S. (2020) Sarah Types. Image created by author using Ashcroft Instagram. [Online image] Microsoft PowerPoint [Accessed 28th April 2020] https://www. instagram.com/sarahhashcroft/ Figure 107: No author (no date) PR Media Types. [Online image] [Accessed Figure 113: Ashcroft, S. (2020) Sarah 28th April 2020] https://moodle.mmu. Ashcroft Instagram. [Online image] a c . u k / p l u g i n f i l e . p h p / 4 1 2 3 3 0 4 / m o d _ [Accessed 28th April 2020] https://www. resource/content/1/FashionLecture2_ instagram.com/sarahhashcroft/ PromotingBrandtoPress_09March.pdf Figure 114: Bradley, P. (2020) Influencer Figure 108: Followers Promotion (no table. Created by author using Microsoft date) Likes. [Online image] [Accessed 28th PowerPoint April 2020] https://followerspromotion.com/ free-instagram-likes/ Figure 115: Launch Metrics (2019) Influencer quote.

[Online image] th Figure 109: Killin, F. (2020) Freya Killin [Accessed 17 March 2020] https://www.

Instagram. [Online image] [Accessed 28th launchmetrics.com/landing/influencerApril 2020] https://www.instagram.com/ marketing-report-2019 freyakillin/ Figure 116: Amy, L. (2020) Laura Amy Post. [Online image] [Accessed 17th Figure 110: Ashcroft, S. (2020) Sarah April 2020] https://www.instagram.com/_ Ashcroft Instagram. [Online image] lauraammy/ [Accessed 28th April 2020] https://www. instagram.com/sarahhashcroft/ Figure 117: Killin, F. (2020) Freya Killin Post. [Online image] [Accessed 28th Figure 111: Ashcroft, S. (2020) Sarah April 2020] https://www.instagram.com/ Ashcroft Instagram. [Online image] freyakillin/ [Accessed 28th April 2020] https://www. instagram.com/sarahhashcroft/ Figure 118: Killin, F. (2020) Freya Killin Post. [Online image] [Accessed 28th

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April 2020] freyakillin/

https://www.instagram.com/

Figure 119: Buy Korea (no date) AR Smart Mirror. [Online image] [Accessed 25th April 2020] https://www.buykorea.org/bk/ byr/product/GOODS_DETAIL-3079048.do Figure 120: Dexinger (no date) Zara AR. [Online image] [Accessed 25th April 2020] https://www.dexigner.com/news/30842 Figure 121: Virtual On (no date) Fashion Mirror Features. [Online image] [Accessed 3rd April 2020] www.virtualongroup.com/ interactive-fashion-mirror-virtual-fittingdressing-room/ Figure 122: Virtual On (no date) Fashion Mirror Features. [Online image] [Accessed 3rd April 2020] www.virtualongroup.com/ interactive-fashion-mirror-virtual-fittingdressing-room/ Figure 123: Bradley, P. (2020) Virtual On Email Conversation. [Online image] [Accessed 12th April 2020] Screenshot taken from www.outlook.com

Figure 124: Virtual On (no date) Fashion Mirror Features. [Online image] [Accessed 12th April 2020] www.virtualongroup.com/ interactive-fashion-mirror-virtual-fittingdressing-room/

Figure 130: Pretty Little Thing (no date) PLT Influencer Edit. [Online image] [Accessed 2nd May 2020] https://www. prettylittlething.com/campaigns/2019/ molly-mae/

Figure 125: Urban Dictionary (no date) Repeat Outfit Disorder Definition.

[Online image] [Accessed 2nd May 2020] https://www.urbandictionary.com/ define.php?term=Repeat%20Outfit%20 Disorder%3A%20%28aka%20R.O.D.%29

Figure 131: Apple (no date) App Store Logo. [Online image] [Accessed 10th April Figure 138: Birchbox (2020) Birchbox 2020] https://www.apple.com/uk/ios/app- Homepage. [Online image] [Accessed 27th store/ April 2020] https://www.birchbox.co.uk/

Mindmap. Image created by author using Adobe Photoshop Figure 137: Bradley, P. (2020) OOH Infographic. Image created by author using Canva. Accessed at www.canva.com

Figure 132: Bradley, P. (2020) App Store Figure 139: Bradley, P. (2020) Website Mock-up. Image created by author using Infographic. Image created by author using Figure 126: The Sustainable Edit (no Adobe Photoshop Canva. Accessed at www.canva.com date) Fast Fashion Label. Online image] [Accessed 2nd May 2020] http://www. Figure 133: Bradley, P. (2020) App Store Figure 140: Wiebe, D. A. (2018) Social thesustainableedit.com/instagram-fast- Mock-up. Image created by author using Media Applications. [Online image] fashion-outfit-repeating/ Adobe Photoshop [Accessed 26th April 2020] https://www. musicindustryhowto.com/6-best-socialFigure 127: boohoo (no date) Knits From Figure 134: Apple (no date) App Store media-platforms-for-musicians/ £5. [Online image] [Accessed 2nd May On Desktop and iPhone. [Online image] 2020] https://www.boohoo.com/ [Accessed 10th April 2020] www.app. Figure 141: Bradley, P. (2020) Social sketchup.com/app?hl=en Media Infographic. Image created by Figure 128: boohoo (no date) Boohoo author using Canva. Accessed at www.

Dresses At £5. [Online image] [Accessed Figure 135: Jalet, E. (2017) Website On canva.com 2nd May 2020] https://www.boohoo.com/ Apple Devices. [Online image] [Accessed 10th April 2020] www.ltheme.com/top-best- Figure 142: Mintel (2019) Social Media Figure 129: Pretty Little Thing (no date) free-joomla-image-gallery-photography- Usage Millennials. [Online image] [Online PLT £5 Dresses. [Online image] [Accessed website-templates-2017/ image] [Accessed 30th April 2020] https:// 2nd May 2020] https://www.prettylittlething. academic.mintel.com/ com/ Figure 136: Bradley, P. (2020) Initial Ideas

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Figure 143: Ortiz-Ospina, E. (2019) Social Media Usage Global. [Online image] [Online image] [Accessed 30th April 2020] https://ourworldindata.org/rise-of-socialmedia Figure 144: Launch Metrics (2019) Influencer Marketing Target Audience.

[Online image] [Accessed 10th April 2020] https://www.launchmetrics.com/landing/ influencer-marketing-report-2019 Figure 145: Launch Metrics (2019) Influencer Marketing Target Audience.

[Online image] [Accessed 10th April 2020] https://www.launchmetrics.com/landing/ influencer-marketing-report-2019 Figure 146: Launch Metrics (2019) Influencer Marketing Product Launches.

[Online image] [Accessed 10th April 2020] https://www.launchmetrics.com/landing/ influencer-marketing-report-2019 Figure 147: Bradley, P. (2020) Campaign Plan Ghantt Chart. Created by author using Microsoft Excel.

Figure 148: Bradley, P. (2020) Campaign Plan Ghantt Chart. Created by author using Microsoft Excel

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Figure 149: Earth Day (no date) Earth March 2020] https://www.klarna.com/uk/ Day Logo. [Online image] [Accessed 29th klarna-app/ April 2020] https://www.earthday.org/ Figure 156: Stylebook (no date) Stylebook Figure 150: Earth Day (no date) Website. [Online image] [Accessed 20th #EarthDay2020 Global Interaction. [Online March 2020] https://www.stylebookapp. image] [Accessed 29th April 2020] https:// com/index.html www.earthday.org/ Figure 157: Treatwell (no date) Treatwell Figure 151: Earth Day (no date) Earth website. [Online image] [Accessed 20th Day Illustration. [Online image] [Accessed March 2020] https://www.treatwell.co.uk/ 29th April 2020] www.greenroofs. business-info/treatwell-app/ com/2019/04/18/april-celebrating-earthday-earth-month-landscape-architecture- Figure 158: Bradley, P. (2020) Application month/ Mock-up. Created by author using Adobe Photoshop Figure 152: Walrey, T. (2020) Tabitha Warley. [Online image] [Accessed 25th April Figure 159: Bradley, P. (2020) Application 2020] https://www.instagram.com/p/B- Mock-up. Created by author using Adobe Y3Mz5h-ZI/ Photoshop Figure 153: Manchester Arena (2020) Figure 160: Bradley, P. (2020) Application Manchester Arena Coronavirus Message. Mock-up. Created by author using Adobe [Online image] [Accessed 29th April 2020] Photoshop https://www.manchester-arena.com/ Figure 161: Bradley, P. (2020) Figure 154: Bradley, P. (2020) AIDA Model. WhatToWear?

Website Homepage.

Created using Microsoft PowerPoint Created by author using www.wix.com Figure 155: Klarna (no date) Klarna Website. [Online image] [Accessed 20th

Figure 162: Bradley, P. (2020) WhatToWear?

Website Homepage.

Created by author using www.wix.com Figure 163: Bradley, P. (2020) WhatToWear?

Website Homepage.

Created by author using www.wix.com Figure 164: Bradley, P. (2020) WhatToWear?

Website Homepage.

Created by author using www.wix.com Figure 165: Bradley, P. (2020) WhatToWear?

Website Homepage.

Created by author using www.wix.com Figure 166: Klarna (no date) Klarna Homepage. [Online image] [Accessed 20th March 2020] https://www.klarna.com/uk/ klarna-app/ Figure 167: Klarna (no date) Klarna Homepage. [Online image] [Accessed 20th March 2020] https://www.klarna.com/uk/ klarna-app/ Figure 168: Birchbox (no date) Birchbox Homepage. [Online image] [Accessed 20th March 2020] https://www.birchbox.

Figure 169: Stylebook (no date) Stylebook Created by author using www.wix.com Homepage. [Online image] [Accessed 20th March 2020] https://www.stylebookapp. Figure 177: Bradley, P. (2020) Ask Us com/index.html Anything Box. Created by author using www.wix.com Figure 170: Bradley, P. (2020) WhatToWear?

Website Homepage. Figure 178: Bradley, P. (2020) Ask Us Created by author using www.wix.com Anything Box. Created by author using www.wix.com Figure 171: Bradley, P. (2020) WhatToWear?

Website Homepage. Figure 179: Bradley, P. (2020) Created by author using www.wix.com WhatToWear? Website Features Page.

Created by author using www.wix.com Figure 172: Bradley, P. (2020) WhatToWear?

Website Homepage. Figure 180: Treatwell (no date) Treatwell Created by author using www.wix.com Layout Inspiration.

[Online image] th [Accessed 20 March 2020] https://www.

Figure 173: Bradley, P. (2020) treatwell.co.uk/business-info/treatwellWhatToWear?

Website Homepage. app/ Created by author using www.wix.com Figure 181: Klarna (no date) Klarna Layout Figure 174: Bradley, P. (2020) Inspiration. [Online image] [Accessed 20th WhatToWear?

Website Homepage. March 2020] https://www.klarna.com/uk/ Created by author using www.wix.com Figure 175: Bradley, P. (2020) WhatToWear? Website About Us Page.

Created by author using www.wix.com Figure 176: Bradley, P. (2020) WhatToWear? Website About Us Page.

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Figure 183: Bradley, P. (2020) Features Page Layout Development. Created by author using www.wix.com

Figure 191: Bradley, P. (2020) Website SEO. Created by author using www.wix. com

Figure 184: Bradley, P. (2020) Features Page Layout Development. Created by author using www.wix.com

Figure 192: Bradley, P. (2020) User Acceptance Testing. Created by author using www.wix.com

Figure 185: Bradley, P. (2020) Slideshow Figure 193: Bradley, P. (2020) Examples. Created by author using www. User Acceptance Testing Feedback. wix.com Screenshots taken from author’s iPhone Figure 186: Bradley, P. (2020) Subscription Page. Created by author using www.wix. com

Figure 194: Bradley, P. (2020) Website Cost. Screenshots taken from www.wix. com

Figure 187: Bradley, P. (2020) Mobile Compatibility. Created by author using www.wix.com

Figure 195: Bradley, P. (2020) Website Cost. Screenshots taken from www.wix. com

Figure 188: Bradley, P. (2020) Mobile Compatibility. Created by author using www.wix.com

Figure 196: Bradley, P. (2020) Website Cost. Screenshots taken from www.wix. com

Figure 189: Bradley, P. (2020) Mobile Compatibility. Created by author using www.wix.com

Figure 197: Compare The Market (2019) Millennial Population Per City. [Online Image] [Accessed 20th March 2020] https:// www.comparethemarket.com/mortgages/ content/city-generations/

Figure 190: Bradley, P. (2020) Website SEO. Created by author using www.wix. com

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Figure 198: House of Commons (2017)

Millennial Population in UK. [Online Image] [Accessed 20th March 2020] https:// commonslibrary.parliament.uk/researchbriefings/cbp-7946/ Figure 199: Bradley, P. (2020) Why Manchester Infographic. Image created by author using Canva. Accessed at https:// www.canva.com/ Figure 200: Bradley, P. (2020) Manchester City Centre Public Transport Map. Image created by author using Adobe Photoshop. Screenshots taken from https://assets.ctfassets.net/ nv7y93idf4jq/57M8d8tVIsGvA44LyjgmzK/ d3a0876b8c1c3fcaede5e733aef76af6/ City_Centre_and_key_October_2019.pdf Figure 201: Bradley, P. (2020) London Bow Area Map Collage. Image created by author using Adobe Photoshop. Map images taken from https://tfl.gov.uk/maps

Figure 202: Bradley, P. (2020) Conversation with Friend. Screenshot taken on iPhone by author.

Figure 203: Bradley, P. (2020) Why Infographic. Image created by author using Canva. Accessed at https://www.canva. com/ Figure 204: Depop (no date) Depop OOH. [Online image] [Accessed 25th March 2020] https://www.designweek.co.uk/issues/2430-july-2017/online-shop-depop-rebrandstake-fck-attitude/ Figure 205: Depop (no date) Depop OOH. [Online image] [Accessed 25th March 2020] https://www.designweek.co.uk/issues/2430-july-2017/online-shop-depop-rebrandstake-fck-attitude/

Figure 208: Dizzy Moments (no date) Figure 214: Bradley, P. (2020) Memphis Print. [Online image] [Accessed Development. Image created by 25th March 2020] https://society6.com/ using Adobe Photoshop product/memphis-pattern-1-u4e_print Figure 215: Bradley, P. (2020) Figure 209: Milissa4like (no date) Development. Image created by Memphis Print. [Online image] [Accessed using Adobe Photoshop 25th March 2020] https://www.123rf.com/ photo_56552628_stock-vector-seamless- Figure 216: Bradley, P. (2020) geometric-vintage-pattern-in-retro-80s- Development. Image created by style-memphis-ideal-for-fabric-design- using Adobe Photoshop paper-print-an.html Figure 217: Bradley, P. (2020) Figure 210: Shutterstock (no Development. Image created by date) Memphis Print. [Online image] using Adobe Photoshop [Accessed 25th March 2020] https://www. shutterstock.com/image-vector/vector- Figure 218: Bradley, P. (2020) seamless-pattern-geometric-shapes- Development. Image created by retro-384636109 using Adobe Photoshop

Poster author Poster author Poster author Poster author Poster author

Figure 211: Bradley, P. (2020) Poster Development. Image created by author using Adobe Photoshop

Figure 219: Bradley, P. (2020) Poster Development. Image created by author using Adobe Photoshop

Poster author

Figure 220: Bradley, P. (2020) Poster Development. Image created by author using Adobe Photoshop

Poster author

Figure 221: Bradley, P. (2020) Poster Development. Image created by author using Adobe Photoshop

Figure 206: Spotify (no date) Spotify OOH. [Online image] [Accessed 25th March 2020] https://musebycl.io/music/ spotify-riffs-meme-culture-new-global- Figure 212: Bradley, P. (2020) brand-campaign Development. Image created by using Adobe Photoshop Figure 207: Spotify (no date) Spotify OOH. [Online image] [Accessed 25th Figure 213: Bradley, P. (2020) March 2020] https://musebycl.io/music/ Development. Image created by spotify-riffs-meme-culture-new-global- using Adobe Photoshop brand-campaign

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Figure 222: Bradley, P. (2020) Meme mock up. Image created by author using Adobe Photoshop Figure 223: Bradley, P. (2020) Final Poster Design. Image created by author using Adobe Photoshop

[Accessed 15th March 2020] http://www. Figure 235: Bradley, P. (2020) OOH airoutdoor.co.uk/blog/billboard-costs/ Campaign Ballpark Figure. Image created by author using Microsoft Excel.

Figure 230: Air Outdoor (no date) OOH Pricing Research. [Online image] Figure 236: Bradley, P. (2020) Social [Accessed 15th March 2020] www. Media Channel Mockups. Image created airoutdoor.co.uk/pricing/ by author using Adobe Photoshop

Figure 224: Bradley, P. (2020) Final Poster Design. Image created by author using Adobe Photoshop

Figure 237: Bradley, P. (2020) Background.

Image created by author using Microsoft Word

Figure 231: Billboard Advertising (no date) OOH Pricing Research. [Online image] [Accessed 15th March 2020] https:// www.billboardadvertising.org.uk/size/6Figure 225: Bradley, P. (2020) OOH Mock- sheet up. Image created by author using Adobe Photoshop Figure 232: Air Outdoor (no date) OOH Pricing Research. [Online image] Figure 226: Air Outdoor (no date) Pricing [Accessed 15th March 2020] http://www. enquiries. Screenshot taken from https:// airoutdoor.co.uk/blog/billboard-costs/ airoutdoor.co.uk/pricing/ Figure 233: Billboard Advertising (no Figure 227: Air Outdoor (no date) Pricing date) OOH Pricing Research. [Online enquiries. Screenshot taken from https:// image] [Accessed 15th March 2020] https:// www.billboardadvertising.org.uk/costs/ www.billboardadvertising.org.uk/size/96sheet Figure 228: Billboard Advertising (no date) OOH Pricing Research. [Online Figure 234: Billboard Advertising (no image] [Accessed 15th March 2020] https:// date) OOH Pricing Research. [Online www.billboardadvertising.org.uk/costs/ image] [Accessed 15th March 2020] https:// www.billboardadvertising.org.uk/size/48Figure 229: Air Outdoor (no date) sheet OOH Pricing Research. [Online image]

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Figure 238: Bradley, P. (2020) Consumer Understanding. Image created by author using Microsoft Word Figure 239: Bradley, P. (2020) Customer Insights. Image created by author using Microsoft Word Figure 240: Bradley, P. (2020) Proposition.

Image created by author using Microsoft Word Figure 241: Bradley, P. (2020) Media Strategy. Image created by author using Microsoft Word Figure 242: Bradley, P. (2020) Campaign Content. Image created by author using Microsoft Word

Figure 243: Ottewell, S. (2020) Instagram Moodboard. [Online image] [Accessed 13th Moodboard. [Online image] [Accessed 13th April 2020] https://www.instagram.com/ April 2020] https://www.instagram.com/ birchboxuk/ sophieottewell/ Figure 250: Maria (2020) Instagram Figure 244: Shah, Z. (2020) Instagram Moodboard. [Online image] [Accessed 13th Moodboard. [Online image] [Accessed 13th April 2020] https://www.instagram.com/ April 2020] https://www.instagram.com/ mariajblogs/ heartzeena/ Figure 251: Birchbox (2020) Instagram Figure 245: King, B. (2020) Instagram Moodboard. [Online image] [Accessed 13th Moodboard. [Online image] [Accessed 13th April 2020] https://www.instagram.com/ April 2020] https://www.instagram.com/ birchboxuk/ brontekingg/ Figure 252: boohoo (2020) Instagram Figure 246: Pretty Little Thing (2020) Moodboard. [Online image] [Accessed 13th Instagram Moodboard. [Online image] April 2020] https://www.instagram.com/ [Accessed 13th April 2020] https://www. boohoo instagram.com/prettylittlething/ Figure 253: Bradley, P. (2020) Instagram Figure 247: Brittany (2020) Instagram content plan. Image created by author Moodboard. [Online image] [Accessed 13th using Adobe Photoshop April 2020] https://www.instagram.com/ brittanyshmyr/ Figure 254: Bradley, P. (2020) Instagram content mockup. Image created by author Figure 248: Gillian (2020) Instagram using Adobe Photoshop Moodboard. [Online image] [Accessed 13th April 2020] https://www.instagram.com/ Figure 255: Bradley, P. (2020) Instagram uncomplicatedspaces/ content mockup. Image created by author using Adobe Photoshop Figure 249: Birchbox (2020) Instagram

Figure 256: Bradley, P. (2020) Sponsored Post. Image created by author using Adobe Photoshop Figure 257: Bradley, P. (2020) Sponsored Post Cost. Table created by author using Microsoft Excel Figure 258: Bradley, P. (2020) Sponsored Post Cost. Screenshot taken from https:// www.instagram.com/ Figure 259: Bradley, P. (2020) Sponsored Post Cost. Screenshot taken from https:// www.instagram.com/ Figure 260: Bradley, P. (2020) Sponsored Stories. Image created by author using Canva. Accessed at www.canva.com Figure 261: Bradley, P. (2020) How It Works Stories. Image created by author using Adobe Photoshop Figure 262: Bradley, P. (2020) Engagement Story. Image created by author using Canva. Accessed at www.canva.com

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Figure 263: Bradley, P. (2020) Logo On Story. Image created by author using Canva. Accessed at www.canva.com

Figure 271: Bradley, P. (2020) 4S. B9OW299gjeJ/ Image created by author using Microsoft PowerPoint Figure 278: White, J. (2020) Jasmin White Instagram. [Online image] [Accessed 25th Figure 264: Bradley, P. (2020) Story Figure 272: Bradley, P. (2020) Influencer April 2020] https://www.instagram.com/ Mockups. Image created by author using Selection Inforgraphic. Image created by healthytwenties/ Adobe Photoshop author using Microsoft PowerPoint Figure 279: Walrey, T. (2020) Tabitha Figure 265: Bradley, P. (2020) Campaign Figure 273: King, B. (2020) Bronte Warley. [Online image] [Accessed 25th Objectives Table. Image created by author King. [Online image] [Accessed 15th April 2020] https://www.instagram.com/p/ using Microsoft PowerPoint April 2020] https://www.instagram.com/ B9BcSe2h8gE/ brontekingg/?hl=en Figure 266: Bradley, P. (2020) Sustainable Figure 280: Walrey, T. (2020) Tabitha Emojis. Image created by author using Figure 274: King, B. (2020) Warley. [Online image] [Accessed 25th April Adobe Photoshop GalsWhoGraduate.

[Online image] 2020] https://www.instagram.com/p/B[Accessed 15th April 2020] https://www. Y3Mz5h-ZI/ Figure 267: Bradley, P. (2020) Caption instagram.com/p/B-w_DABlWsQ/ Mockup. Screenshot taken from www.

Figure 281: Walrey, T. (2020) Tabitha instagram.com Figure 275: King, B. (2020) Bronte King Warley Instagram.

[Online image] th th Instagram. [Online image] [Accessed 15 [Accessed 25 April 2020] https://www.

Figure 268: Bradley, P. (2020) OOH April 2020] https://www.instagram.com/ instagram.com/takeheartuk/ Mockup. Image created by author using brontekingg Adobe Photoshop Figure 282: Sandland, B. (2020) Beth Figure 276: White, J. (2020) Jasmin Sandland. [Online image] [Accessed 25th Figure 269: Bradley, P. (2020) Micro- White. [Online image] [Accessed 25th April 2020] https://www.instagram.com/p/ Influencer Pros and Cons. Image created April 2020] https://www.instagram.com/p/ B9oiELYBqXv/ by author using Microsoft PowerPoint B9bYlcaApB2/ Figure 283: Sandland, B. (2020) Beth Figure 270: Bradley, P. (2020) A Successful Figure 277: White, J. (2020) Jasmin Sandland Post. [Online image] [Accessed Influencer Campaign. Image created by White. [Online image] [Accessed 25th 25th April 2020] https://www.instagram. author using Microsoft PowerPoint April 2020] https://www.instagram.com/p/ com/p/B-KH6hxFxZH/

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Figure 284: Sandland, B. (2020) Beth https://www.instagram.com/heartzeena/ Sandland Instagram. [Online image] [Accessed 25th April 2020] https://www. Figure 292: Shah, Z. (2020) Zeena instagram.com/bethsandland/ Instagram Page. [Online image] [Accessed 25th April 2020] https://www.instagram.

Figure 285: Bradley, P. (2020) Instagram com/heartzeena/ Posts. Image created by author using www. instagra.com Figure 293: Bradley, P. (2020) Objectives Table. Image created by author using Figure 286: Bradley, P. (2020) ASA AD. Microsoft PowerPoint Image created by author using Microsoft PowerPoint Figure 294: Pretty Little Thing (no date) PLT IGTV. [Online image] [Accessed 2nd Figure 287: Bradley, P. (2020) IGTV May 2020] https://www.prettylittlething.

Mockups. Image created by author using com/ Adobe Photoshop Figure 295: Pretty Little Thing (no date) Figure 288: Bradley, P. (2020) Instagram PLT IGTV. [Online image] [Accessed 2nd Post Mockups. Image created by author May 2020] https://www.prettylittlething. using Adobe Photoshop com/

Figure 298: That Girl Arlene (no date) Takeover Rail Inspiration.

[Online th image] [Accessed 25 April 2020] https:// thatgirlarlene.com/2019/07/09/how-tobuild-a-summer-capsule-wardrobe/

Figure 289: Bradley, P. (2020) Instagram Post Mockups. Image created by author using Adobe Photoshop

Figure 296: Pretty Little Thing (no date) PLT IGTV. [Online image] [Accessed 2nd May 2020] https://www.prettylittlething. com/

Figure 302: Bradley, P. (2020) Story Mockup. Image created by author using Adobe Photoshop – Image taken from https://www.instagram.com/heartzeena/

Figure 297: Shah, Z. (2020) Takeover Backdrop. [Online image] [Accessed 25th April 2020] https://www.instagram.com/ heartzeena/

Figure 303: Bradley, P. (2020) Story Mockup. Image created by author using Adobe Photoshop – Image taken from https://www.instagram.com/heartzeena/

Figure 290: Bradley, P. (2020) Instagram Post Mockups. Image created by author using Adobe Photoshop Figure 291: Shah, Z. (2020) Zeena Shah.

[Online image] [Accessed 25th April 2020]

Figure 299: Coco Kelly (no date).

Takeover Model Example [Online image] [Accessed 25th April 2020] https://www. cocokelley.com/2019/02/how-to-workwith-personal-stylist/ Figure 300: Bradley, P. (2020) Takeover Outfit Plans. Image created by author using Adobe Photoshop – all product images taken from www.topshop.com Figure 301: Bradley, P. (2020) Takeover Plan. Image created by author using Adobe Photoshop

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Figure 304: Bradley, P. (2020) Countdown.

Screenshot taken from www.instagram. com

Figure 312: Bradley, P. (2020) Influencer Campaign Cost. Image created by author using Microsoft Excel

Figure 305: Bradley, P. (2020) Live Figure 313: Bradley, P. (2020) Overall Mockup. Image created by author using Campaign Cost. Image created by author Adobe Photoshop – Image taken from using Microsoft Excel https://www.instagram.com/heartzeena/ Figure 314: Bradley, P. (2020) Pros and Figure 306: Bradley, P. (2020) Caption Cons of a Loan. Image created by author Mockup. Image created by author using using www.canva.com Adobe Photoshop Figure 315: Bradley, P. (2020) Phase 2 Figure 307: Bradley, P. (2020) Live Ghantt Chart. Image created by author Mockup. Image created by author using using Microsoft Excel Adobe Photoshop Figure 316: Boohoo (no date) Boohoo Figure 308: Bradley, P. (2020) Post Social and Competition. [Online image] Mockups. Image created by author using [Accessed 3rd May 2020] www.instagram.

Adobe Photoshop com/boohoo Figure 309: Bradley, P. (2020) Story Figure 317: Matera (2017) Hermes Pop Mockup. Image created by author using Up Event. [Online image] [Accessed 3rd Adobe Photoshop May 2020] https://www.architecturaldigest. com/story/hermes-pop-up-shop-scarves Figure 310: Bradley, P. (2020) Instagram Content Plan. Image created by author Figure 318: Hermes (2017) Hermes Pop using Microsoft Excel Up Event. [Online image] [Accessed 3rd May 2020] https://www.instagram.com/ Figure 311: Bradley, P. (2020) Influencer hermes/ Campaign Cost. Image created by author using Microsoft Excel Figure 319: Instagram (2020) Hermes Pop

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Up Hashtags. [Online image] [Accessed 3rd May 2020] www.instagram.com Figure 320: Selfridges (no date) Depop Swap Shop Event. [Online image] [Accessed 3rd May 2020] https://www. selfridges.com/GB/en/features/articles/ depop/ Figure 321: Telegraph (no date) Fresher’s Fair. [Online image] [Accessed 3rd May 2020] https://www.telegraph.co.uk/ education/universityeducation/studentlife/11061380/Freshers-week-by-day-theessentials/ Figure 322: Bradley, P. (2019) Tote Bag Mockup. Image created by author using Adobe Photoshop Figure 323: CIM (no dateC) Brand Lifecycle. The Chartered Institute of Marketing. [Online image] [Accessed 6th March 2020] https://moodle.mmu.ac.uk/ course/view.php?id=104479 Figure 324: Bradley, P. (2019) Initial Event Idea. Image created by author using Microsoft PowerPoint Figure 325: Bradley, P. (2019) Self-SWOT. Image created by author using Microsoft PowerPoint

Deliverables Illustrations...

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Appendix...

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Participant 1: UAT...

Participant 2: UAT...

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Participant 3: UAT...

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Participant 4: UAT...

Participant 5: UAT...

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styling assistance. anywhere, anytime

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