STYLING AND CREATIVE DIRECTION FOR MARKETING CAMPAIGN GRAPHICS
MATS34550: FASHION PROJECT FINAL OUTPUT
ROSLIN FLORENCE 9919638
List of Figures FIG 1. The Brand Extension Decision Process Model. Ambler, T. and Styles, C. (1996), ‘Brand development versus new product development: toward a process model of extension decisions’. Journal of MarkeOng Intelligence and Planning, Vol. 14, No. 7, pp. 10-19. FIG 2. The Planning and ImplementaOon of Integrated MarkeOng CommunicaOons. Caemmerer, B. (2009), ‘The planning and implementaOon of integrated markeOng campaigns’, Journal of MarkeOng Intelligence and Planning, Vol. 27, No. 4. FIG 3. Styling and CreaOve DirecOon for MarkeOng Campaign Graphics Process Model. Author’s Own (2020). FIG 4. ‘Which characterisOcs would you associate with the Hollister brand?’’. Author’s Own (2020). FIG 5. ‘How would an inclusive campaign impact your opinion of the Hollister brand?’. Author’s Own (2020). FIG 6. ‘Market Inclusivity’ Survey Core Findings and ImplicaOons. Author’s Own (2020). FIG 7. ‘How likely would you be to purchase the items adverOsed based on the campaign message?’ Author’s Own (2020). FIG 8. ‘How well does the campaign communicate the message of inclusivity?’ Author’s Own (2020). FIG 9. ‘Campaign TesOng’ Survey Core Findings and ImplicaOons. Author’s Own (2020). FIG 10. Girls stretching. Pinterest (2020) [online]. Available at: haps://www.pinterest.co.uk/pin/ 372109987965224068/. Accessed on 23/05/20 FIG 11. Girls smiling in acOvewear. Pinterest (2020) [online]. Available at: haps:// www.pinterest.co.uk/pin/372109987965224061/. Accessed on 23/05/20. FIG 12. Girls in acOvewear. Pinterest (2020) [online]. Available at: haps://www.pinterest.co.uk/pin/ 372109987965224033/. Accessed on 05/05/20.
ii
List of Figures FIG 13. Girls running in acOvewear. WGSN (2019) [online]. Available at: haps://www-wgsncom.manchester.idm.oclc.org/content/board_viewer/#/83389/page/5. Accessed on 01/06/20. FIG 14. Girls in neutral acOvewear. Pinterest (2020) [online]. Available at: haps:// www.pinterest.co.uk/pin/639370478330603542/. Accessed on 02/06/20. FIG 15. Girl in front of sheet. Instagram (2020) [online]. Available at: haps://www.instagram.com/p/ B7gGhasAbdS/. Accessed on 03/06/20. FIG 16. Girl with arms crossed. Instagram (2020) [online]. Available at: haps://www.instagram.com/p/ B9UYf0qAGQq/. Accessed on 21/05/20. FIG 17. Girl in front of window. Instagram, (2020) [online], Available at: haps://www.instagram.com/ p/B_ZnzlfAb-5/. Accessed on 04/06/20. FIG 18. Girl with brick wall and sheet. Instagram (2019) [online]. Available at: haps:// www.instagram.com/p/B5DVUAPgZqH/. Accessed on 03/06/20. FIG 19. Girl taking photo. Instagram (2020) [online]. Available at: haps://www.instagram.com/p/ B_UxoQfg4kP/. Accessed on 23/05/20. FIG 20. Girl in front of white backdrop. Instagram (2020) [online]. Available at: haps:// www.instagram.com/p/B8ZPyk0FRbz/. Accessed on 24/05/20. FIG 21. PromoOonal lookbook front and back cover mockup. Author’s Own (2020). FIG 22. PromoOonal lookbook inside pages mockup. Author’s Own (2020). FIG 23. In-store campaign graphic on easel mockup. Author’s Own (2020). FIG 24. In-store campaign graphic billboard mockup. Author’s Own (2020).
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Contents 1. INTRODUCTION 1.1 Introduction 2 . R E V I E W O F A C A D E M I C L I T E R AT U R E 2.1 Rise of ‘Femvertising’ in Mainstream Marketing 2.2 Significance of Inclusivity in Brand Perception 2.3 Impact of In-store Campaign Graphics in Consumer Purchase Behaviour 2.4 Use of Promotional Lookbooks in Marketing Communications 3 . A N A LY S E S A N D D E V E L O P M E N T O F P R O C E S S M O D E L S 3.1 Defining Process Models 3.2 The Brand Extension Decision Process Model 3.3 The Planning and Implementation of Integrated Marketing Communications 3.4 Styling and Creative Direction for Marketing Campaign Graphics Process Model 3.5 Model Appropriateness in Brand Strategy 4. FINAL OUTPUT RESEARCH 4.1 Research Objectives and Methodology 4.2 Research Findings 5 . S T Y L I N G A N D C R E AT I V E D I R E C T I O N S T R AT E G Y 5.1 Campaign Brief and Story 5.2 Photoshoot Concept 6 . P R O M O T I O N A L S T R AT E G I E S A N D TA C T I C S 6.1 Promotional Lookbook 6.2 In-Store Campaign Graphics 7 . J U S T I F I C AT I O N 7.1 Appropriateness in Fulfilling Wider Brand Strategy 7.2 Future Recommendations 7.3 Executive Summary 8. REFERENCE LIST 9. APPENDICES
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1. Introduction
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INTRODUCTION
1.1 Introduction Formerly the zeitgeist of teenage apparel, years of complacency in confronOng significant strategic defects and waning behind compeOtors has rendered Hollister out of touch with its target Gen Z consumer. This wedge driven between the brand and its patrons can be aaributed chiefly to Hollister's
1. Introduction
'tarnished' public relaOons reputaOon, in addiOon to its notably absent sustainability contribuOon and feeble aaempts to celebrate diversity (Strategic Report, 2019). Following a rigorous and extensive invesOgaOon into its current predicament, Hollister can most comprehensively tackle a myriad of obstacles through the medium of a horizontal brand extension; the process by which a brand affixes their name to a 'new product' or 'product category' (Chung and Kim, 2014). Aptly named 'Honest Threads', this eco-conscious acOvewear sub-brand will not only yield a sustainable offering but will more markedly act as a vehicle in repairing Hollister's damaged brand image through the use of inclusive markeOng communicaOons. With an ever-intensifying desire for 'diverse ads' among Gen Z consumers (Strategic Report, 2019; Mintel, 2019), this report will outline the process of styling and creaOve direcOon for markeOng campaign graphics in the launch of Honest Threads.
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2. Review of Academic Literature
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ACADEMIC REVIEW
2.1 Rise of ‘Femvertising’ in Mainstream Marketing In the years following the
pro-female talent, messages and
pioneering Dove 'Real Beauty'
i m a ge r y ' i n a n aae m pt to
campaign in 2004, efforts to
'empower women and
integrate themes of female
girls' (Drake, 2017; SheKnows
empowerment have become
Me d i a , 2 0 1 6 ) . D e s p i t e i t s
i n c re a s i n g l y u b i q u i t o u s i n
outwardly progressive message,
mainstream markeOng
some theorists allege
communicaOons. This cultural
femverOsing acts as a guise in
shiv has been coined
'generaOng sales' (Åkestam et al.,
'femverOsing'; a term which is
2017). To this end, the use of
generally aaributed to lifestyle
overt feminist overtones in
site SheKnows, despite some
markeOng for financial gain
doubt being cast on its lineage
commodiOses feminism and
(Sobande, 2019). FemverOsing
undermines 'feminism as a
has collecOvely and most
poliOcal
succinctly defined as 'adverOsing
movement' (Becker-Herby, 2016;
that employs
Zeisler, 2016).
8
and
social
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ACADEMIC REVIEW
2.2 Significance of Inclusivity in Brand Perception With its roots in fulfilling an
which celebrate varied definiOons
i n t r i n s i c h u m a n d e s i re f o r
and representaOons of female
'belongingness' and 'social
beauty oven elicit more posiOve
acceptance', inclusivity can be
'brand axtudes' (Aagerup, 2010;
most astutely defined as 'other
Feiereisen et al., 2009). Inclusive
people signalling that they wish to
markeOng is likely to be a fruitless
include you in their groups and
venture, however, if it does not
relaOonships' (Licsandru and Cui,
exist on a company-wide basis for
2018; Leary, 2010).
those firms operaOng more than
In employing fashion brands as a
one brand (Bowman, 2020).
m e d i u m o f s e l f- e x p re s s i o n ,
Consequently, any effort to
consumers tend to align
i n co r p o ra t e i n c l u s i v i t y i n t o
themselves with those they
markeOng communicaOons may be
perceive as having the closest
fuOle and adversely influence
'resemblance' to (Aegerup, 2010).
brand image if deemed arOficial by
It is for this reason that brands
the consumer.
which endeavour to
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ACADEMIC REVIEW
2.3 Impact of In-Store Campaign Graphics in Consumer Purchase Behaviour Among the most influenOal and compelling sOmuli in the retail environment are campaign graphics; a key design feature in communicaOng brand idenOty to consumers (Kent, 2003; Din, 2000). In endorsing a 'visual experience' (Kent, 2003), campaign graphics incite 26% of consumers toward purchase in-store through channels such as window displays (Hu and Jasper, 2006; Caine, 2003).
In-store graphics deeper social significance, however, can act as a vehicle in influencing customer percepOons, parOcularly when a consumer idenOfies with the model photographed. In this instance, a consumer would be more inclined to acquire the products sported by the model in quesOon and build 'patronage intenOons' with the brand (Hu and Jasper, 2006).
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ACADEMIC REVIEW
2.4 Use of Promotional Lookbooks in Marketing Communications Lookbooks can be most sentenOously characterised as a 'collecOon of photographs' compiled to showcase a new product, style or range to end-users (Rud and Wong, 2011). While oven a costly undertaking, lookbooks serve as a highly effectual 'trade communicaOon tool', assisOng in disseminaOng 'brand philosophy' in addiOon to markeOng a new collecOon (Lea-Greenwood, 2013).
Furthermore, a lookbook can act as a 'virtual showroom' for patrons, inspiring them toward purchase through providing 'sales informaOon’ and incenOves such as coupons (Ko, Chun, Song and Kim, 2013). Thereby, brands can proficiently 'monitor 'consumer preference', and thus the success of a campaign, through the agency of a lookbook.
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3. Analyses and Development of Process Models
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PROCESS MODELS
3.1 Defining Process Models Defined as a 'completely closed, Omely and logical sequence of acOviOes', a process model serves as a road map in the achievement of a specific business goal (Becker, Kugeler and Rosemann, 2003).
Oven 'workflow-oriented', process models act as a vital 'requisite' in evaluaOng business operaOons and 'opOmising processes' (Gordijn et al., 2000; Claes et al., 2013).
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3.2 The Brand Extension Decision Process Model (Ambler and Styles, 1997)
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PROCESS MODELS
FIG 1. THE BRAND EXTENSION DECISION PROCESS MODEL (AMBLER AND STYLES, 1997)
Constructed with a comprehensive
idea incepOon. In doing so, they pay
brand approach, Ambler and Styles's
homage to Kotler's 'holisOc approach'
l at e - n i n e O e s p ro ce s s m o d e l of
to branding, in which the product is
extension decisions offers a blueprint
viewed in the 'context of the overall
into the 'launching of a new brand' or
brand' (Ambler and Styles, 1997;
'line extension' (Ambler and Styles,
Kotler, 1991).
1997). The model is segmented into
Though in many ways a fresh and
three clear subheadings, each denoOng
unorthodox approach to process
a fundamental phase within the brand
modelling, Ambler and Styles fail to
extension process, namely
incorporate any decision points, nor do
'antecedents', 'decision criteria', and
they indicate any areas for evaluaOon.
‘launch’.
Resultantly, the development and
By first outlining the corporate
prosperity of an acOve process will
strategy and idenOfying driving forces
likely be difficult to ascertain unOl it
of extensions, Ambler and Styles break
has reached compleOon – prevenOng
the mould, overruling the convenOonal
any on-going issues from being
desire to commence the process with
detected and resolved.
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PROCESS MODELS
3.3 The Planning and Implementation of Integrated Marketing Communications (Caemmerer, 2009) Caemmerer's (2009) process model
contributes a definiOve, yet thorough insight into the planning and implementaOon of Integrated MarkeOng CommunicaOons (I.M.C.), in which all stages are coherent and synchronised. In true Integrated MarkeOng CommunicaOons fashion, Caemmerer's process model demonstrates an unmistakable synergy between 'mulOple organisaOonal processes and acOviOes' by virtue of crossfuncOonal planning (Tafesse and Kitchen, 2017). This coacOon performs in the process model by the downward flow of arrows and the symbioOc interconnecOon between process steps. This high level of strategic coordinaOon in the I.M.C. process, therefore, is likely to materialise in the form of 'market growth' or 'improved business performance' if adequately appointed (Tafesse and Kitchen, 2017; Caemmerer, 2009; Einwiller and Boenigk, 2012). Similarly to Ambler and Styles (1997), however, this model makes no aaempt to evaluate the viability and direcOon of the incomplete process; thus it is unreasonable to begin 'future planning' unOl the effecOveness
F I G 2 . T H E P L A N N I N G A N D I M P L E M E N TAT I O N O F M A R K E T I N G C O M M U N I C AT I O N S P R O C E S S M O D E L ( C A E M M E R E R , 2 0 0 9 )
of the process has been ascertained. 15
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PROCESS MODELS
3.4 Styling and Creative Direction for Marketing Campaign Graphics Process Model Development A thorough review of the work of
future planning. At both the 'research and
Ambler and Styles (1997) and Caemmerer
development' and 'campaign review' stages
(2009) has both uncovered criOcal areas for
lie 'alternaOve branches' or decision points,
improvement, as well as drawing to
used to assess the progress and potency of
aaenOon definiOve merits of their process
the campaign during its development
models. Borrowing from their areas of best
(Rozinat and van der Aalst, 2006). Inspired
pracOce, and amalgamaOng them with
by Seturi and Urotadze (2017), these
Hollister's corporate objecOves (Strategic
decision points will help forge a 'profitable
Report, 2019), a model detailing the
relaOonship' with consumers through
process of styling for markeOng campaign
idenOfying 'consumer wants' and creaOng a
graphics in the launch of Honest Threads
'consumer-oriented' strategy, as well as
was composed.
measuring the 'value' received from
Drawing inspiraOon from precise and
consumers in response to the campaign.
deliberate secOoning in the Brand
Due to the high level of investment
Extension Decision Process Model (Ambler
required in the generaOon of both
and Styles, 1997), the CreaOve DirecOon
c a m p a i g n g r a p h i c s a n d m a r ke O n g
for MarkeOng Campaign Graphics Process
campaigns, conOnuous audit is essenOal to
Model consists of five segments; strategy
ensure campaign success and enact
generaOon, research and development,
corporate objecOves.
campaign launch, campaign review and
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PROCESS MODELS
F I G 3 . S T Y L I N G A N D C R E AT I V E D I R E C T I O N F O R M A R K E T I N G C A M PA I G N GRAPHICS PROCESS MODEL (AUTHOR’S OWN, 2020).
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PROCESS MODELS
3.4.1 Strategy Generation Heralded as the 'most creaOve stage' within a process, the Styling and CreaOve DirecOon for MarkeOng Campaign Graphics process commences in the strategy generaOon phase (Ma, Li, Li and Pan, 2011). Here, current brand posiOon will be analysed and appraised, and such an analysis will determine the corporate and strategic objecOves of the brand. Resultantly, key drivers inciOng the brand toward the creaOon of a markeOng campaign are detected; so too is their alignment with the brand's corporate objecOves.
3.4.2 Research and Development Succeeding strategy generaOon is the 'research and development phase' whereby market research serves as a 'funcOonal link' between 'markeOng management' and a brand's 'ulOmate customer base' (Javalgi, MarOn and Young, 2006). This process model will uOlise market research to ascertain consumer wants through a mode of quanOtaOve research surveys, and subsequently invesOgate compeOtors' markeOng campaigns in order to gauge their value proposiOon. Once this informaOon is collected, the marketer can begin to draw up iniOal campaign proposals, and thereupon the process model advances to its first 'alternaOve branch' (Rozinat and van der Aalst, 2006). At this stage, the decision point seeks to evaluate both how effecOvely the campaign proposal saOsfies the 'wants' of the consumer, and if the proposal itself is consumer-centric (Seturi and Urotadze, 2017). If sufficient, the proposal can progress to the 'campaign launch' phase; however, if unsaOsfactory, a return to 'strategy generaOon' to re-evaluate brand posiOon and objecOves is necessary.
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PROCESS MODELS
3.4.3 Campaign Launch InsOgated by a promising iniOal proposal, the 'campaign launch' stage begins with finalising the campaign brief, including its visual story and message. With a clear roadmap in mind, the photoshoot gets underway to generate campaign images, and facilitate the creaOon of the promoOonal lookbook and in-store graphics. The brand's retail outlets will then receive the campaign's promoOonal material for both markeOng and visual merchandising purposes, and once operaOonal, the campaign is officially launched and acOve.
3.4.4 Campaign Review Once live, supplemental market research is employed and conducted to determine the 'immediate' and 'iniOal' consumer response to the campaign through the use of quanOtaOve surveys (Zinkhan and Fornell, 1985). This research, alongside the consumer value received from the campaign, will help to inform the basis for the next decision point which commands to ascertain if the campaign has created value in the eyes of the consumer. If yes, the model progresses to the final phase of 'future planning', but if there is an absence of value creaOon, reevaluaOon of the campaign brief and message through restarOng the 'campaign launch’ phase is imperaOve.
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PROCESS MODELS
3.4.5 Future Planning The CreaOve DirecOon for MarkeOng Campaign Graphics Process Model concludes with the 'future planning' stage, in which the message of the successful campaign is reiterated through a sequence of related campaigns, and acts as a specimen for creaOng campaign success in other sub-brands or collecOons within the business.
3.4.6 Model Appropriateness in Brand Strategy To design and disseminate a compelling markeOng campaign, the implementaOon of a methodical process is of paramount importance. In addiOon to conducOng a 'thorough situaOonal analysis' and collaOng audience response, conOnuous assessment is crucial to evaluate the campaign as it 'unfolds' (Atkin and Freimuth, 2013; Rice and Atkin, 2013). To this end, decision points in the proposed model for Honest Threads are integral in creaOve and strategic direcOon, verifying that the campaign evolves as iniOally envisioned.
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4. Final Output Market Research
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MARKET RESEARCH
4.1.1 Research Objectives
4.1 Research Methodology
The primary objecOves of this market research endeavour are three-fold; to determine the current percepOon of Hollister within the target market; to idenOfy elements of a markeOng campaign that consumers wish to see, and to measure consumer response to the Honest Threads campaign in order to ascertain if brand percepOon has changed as a result.
4.1.2 Assumptions and Limitations of Research In order to most accurately review and uOlise the informaOon gathered, it is incumbent to note the underlying assumpOons and limitaOons of this market research. Carried out under the assumpOon that results are honest and truthful, this research postulates that the same respondent has not created data entries more than once. AddiOonally, the lack of incenOve to complete these surveys, monetary or otherwise, suggests that respondents assume prior knowledge of Hollister, and have a genuine interest in contribuOng to market research concerning the brand. Among the probable limitaOons to this research are the slightly askew sample sizes for the two surveys conducted, potenOally producing asymmetrical results. Furthermore, the short survey length and response Ome may incite impulsive and poorly thought out answer choices.
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MARKET RESEARCH
4.1.3 Participants and Sampling The iniOal study, enOtled 'Market Inclusivity', acquired a parOcipant pool of 37 females and 25 males aged 13-22+. The subsequent 'Campaign TesOng' survey, however, garnered a comparably smaller 51 respondents within the same age range. Surveyees responded to these studies following an invite on Facebook, indirectly targeOng the iniOal parOcipant pool for the 'Market Inclusivity' survey, and then retargeOng this same audience to respond to 'Campaign TesOng'. The survey's age parameters, the social media pla}orm used to enOce parOcipants and the survey website employed to gather responses remain consistent with the market research conducted in the earlier Strategic Report (2019). StandardisaOon of these factors will help draw more accurate comparisons between these market research cycles, and more authenOcally gauge survey results against the company's corporate objecOves.
4.1.4 Ethical Considerations Throughout these studies, the privacy and anonymity of the respondents were of the utmost importance. At no point were parOcipants required to disclose their name or any discernably idenOďŹ able informaOon, and any quesOons relaOng to the parOcipants themselves (such as gender and ethnicity) had the opOon to 'prefer not to say'. At all Omes, respondents were able to skip quesOons they did not wish to answer. This is in alignment with GDPR (General Data ProtecOon RegulaOon) laws, which are 'directly applicable' to E.U. member states (Voigt and von de Bussche, 2017).
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MARKET RESEARCH
4.2.1 ‘Market Inclusivity’ Survey Following the collaOon of data and analysis of consumer responses, the most prevalent overtones of the 'Market Inclusivity' survey included negaOve connotaOons with the Hollister brand and a desire for ethnic diversity and the inclusion of
4.2 Research Findings
'imperfect' features in Hollister campaigns.
Among the most notable data retrieved from this study is derived from quesOon three, presenOng a list of both posiOve and negaOve adjecOves to the respondent. Overwhelmingly, respondents cited the characterisOcs they associated with the Hollister brand as 'irrelevant', 'exclusive' and 'discriminatory', as predicted from findings in the earlier Strategic Report (2019). Accordingly, 55.7% of respondents did not agree that their race was adequately represented in Hollister campaigns, while only a group of 22.9% surveyed strongly agreed.
Furthermore, when quizzed on what they would like to see in future Hollister campaigns, 74.2% respondents opted for a 'variety of body shapes', as well as 'unretouched images' and 'scars and stretch marks'. Subsequent qualitaOve responses from two parOcipants denoted a need for representaOon of models that are not just 'white', 'sOck thin' and with 'gleaming teeth', as well as incorporaOng models of varying ages. Campaigns of this nature, however, would be most unappealing to the brand's target audience if they 'did not reflect real-life' or 'did not feel genuine’.
Resultantly, 69.4% of respondents confirmed that an inclusive campaign would make them more inclined to shop with Hollister, and 74.2% would view the brand more posiOvely as a result.
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MARKET RESEARCH
Inclusive White-washing MulO-cultural Liberal Discriminatory Exclusive Diverse Welcoming Irrelevant 0
6
12
Market inclusivity
18
24
F I G 4 . ‘ W H I C H C H A R A C T E R I S T I C S W O U L D Y O U A S S O C I AT E W I T H THE HOLLISTER BRAND?’
Neither 26%
37
25
PosiOvely 40%
Somewhat posiOvely 34%
F I G 5 . ‘ H O W W O U L D A N I N C LU S I V E C A M PA I G N I M PAC T YO U R O P I N I O N OF THE HOLLISTER BRAND?’ F O R F U L L S U R V E Y R E S U LT S , P L E A S E S E E A P P E N D I X 1 .
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MARKET RESEARCH
4.2.2 ‘Market Inclusivity’ Survey Core Findings and Implications Implications for Marketing Campaign
Core Findings
Increase brand salience and relevancy by The words most commonly associated with the matching the inclusive offering of competitors, Hollister brand were ‘irrelevant’, ‘exclusive’ and and diminish feelings of exclusion and ‘discriminatory’ discrimination through the launch of an inclusive marketing campaign
Only 44.2% of respondents agreed that their race/ ethnic background was adequately represented in Hollister’s current marketing communications
Endeavour to elect a diverse and representative group of models in the inclusive marketing campaign to ensure resonance with all areas of the target audience
Among the most highly desired characteristics to be featured in future Hollister campaigns were ‘variety of body shapes’, ‘unretouched images’ and ‘scars and stretch marks’
Having been specifically identified by the respondents, ensure these elements are incorporated into the inclusive marketing campaign in order to capture the target market
70% of respondents would be inclined to purchase from Hollister on the basis of an inclusive marketing campaign, up from 61.3% identifying as existing consumers
An inclusive marketing campaign will likely generate sales from dormant consumers within the target market, and so its effectiveness is of paramount importance
FIG 6. ‘MARKET INCLUSIVITY’ SURVEY CORE FINDINGS AND I M P L I C AT I O N S
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MARKET RESEARCH
4.2.3 ‘Campaign Testing’ Survey A mode for ascertaining campaign
while only 9.8% had doubts about its
viability, the 'Campaign TesOng' survey
plausibility.
acquired consumer response to the
Conclusively deemed adequate by the
campaign and used this informaOon to
majority of respondents, 96.08% of those
determine its overall saleability as a result.
surveyed revealed that they would be, at
When presented with a selecOon of
least somewhat, likely to purchase to the
images, and subsequently prompted to
items featured in the campaign images
disclose their feelings on the campaign,
based on its overarching message of
70.6% of respondents reacted posiOvely,
inclusivity. This figure denotes a significant
with only 7.8% disliking the campaign and
rise in purchase intenOon from only 41% of
the remaining 21.6% staying neutral.
those surveyed having bought from
AddiOonally, 90.2% of subjects viewed the
Hollister in 2019 (Strategic Report, 2019).
campaign and its images as 'believable',
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MARKET RESEARCH
Not at all likely 4% Extremely likely 12% Not so likely 22%
32 Very likely 25%
19
Somewhat likely 37%
Campaign testing
F I G 7 . ‘ H OW L I K L E Y WO U L D YO U B E TO P U RC H A S E T H E I T E M S A DV E RT I S E D B A S E D O N T H E C A M PA I G N M E S S AG E ? ’
Very well
Somewhat well
Extremely well
Not so well
Not at all well 0
5
10
15
20
F I G 8 . ‘ H O W W E L L D O E S T H E C A M PA I G N C O M M U N I C AT E T H E M E S S A G E OF INCLUSIVITY?’ F O R F U L L S U R V E Y R E S U LT S , P L E A S E S E E A P P E N D I X 2 .
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MARKET RESEARCH
4.2.4 ‘Campaign Testing’ Survey Core Findings and Implications Core Findings
Implications for Marketing Campaign
Respondents concluded that Image 5 was most most effective in communicating the message of inclusivity
Display this image on an in-store marketing campaign graphic located at the front of the store to utilise its immediately discernible message of inclusivity
Less than 10% of those surveyed called into question the believability of the campaign and its message
Suggests that the campaign will be widely believed by the target consumer base, and the campaign’s message will be disseminated successfully
88.2% of respondents believed that, in their opinion, the campaign was different to existing Hollister campaigns
Suggests that the campaign has been representative of the ethnic groups which did not feel adequately included in the brand’s marketing communications, and that the campaign has been successful in targeting all areas of the target market
74.5% would be likely to purchase the items advertised in the campaign images based on The campaign has been successful in changing the campaign message, up from 70% of consumer outlook and opinion of the Hollister respondents who said they would be inclined to brand, and continues to encourage new purchase in the event of an inclusive campaign segments of the target market toward purchase in the ‘Market Inclusivity’ survey F I G 9 . ‘ C A M PA I G N T E S T I N G ’ S U RV E Y CO R E F I N D I N G S A N D I M P L I C AT I O N S
29
5. Styling and Creative Direction Strategy
5.1 Styling and Creative Direction Strategy
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S T Y L I N G A N D C R E AT I V E D I R E C T I O N S T R AT E G Y
5.1.1 Campaign Aims and Objectives Further to market research into the consumer outlook on the brand, the ulOmate aim of this campaign is to recapture Hollister's target audience. In launching subbrand, Honest Threads, and a new, inclusive markeOng campaign, Hollister can reinvent its tainted brand image, and in turn, garner a broader consumer base (Strategic Report, 2019).
5.1.2 Campaign Story BeďŹ xngly enOtled 'Every Body AcOve', Honest Threads' inaugural markeOng campaign strives to communicate senOments of posiOvity, sisterhood and inclusivity. Suitably named, this campaign depicts a story of three friends (each of diering size and ethnicity) aaending a yoga class in acOvewear. The wholesome subject maaer and unretouched images of the 'Every Body AcOve' campaign will hopefully inspire consumers and therefore serve as a call to purchase acOon.
31
M AT S 3 4 5 5 0 : FA S H I O N PROJECT FINAL OUTPUT
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5.2 Photoshoot Concept Following calls for ethnic and physical
The shoot locaOon selected for this
diversity in the 'Market Inclusivity' study
c a m p a i g n w a s a n a i r y, o p e n - p l a n
(see 4.3.1) three models of differing
photography studio with an abundance of
heights, sizes, ethniciOes and ages were
natural light; ensuring an authenOc,
appointed for the 'Every Body AcOve'
unrefined depicOon of the models
photoshoot. Among the most pivotal
photographed. To affirm consistency with
elements depicted by these models were
the sustainable qualiOes of the clothing
skin imperfecOons, stretch marks, and most
featured, plants and greenery, alongside
crucially, natural hair textures. For many
backdrops of the same muted and earthy
black women, natural hair is an 'emoOve,
tones, were exercised.
symbolic and inseparable part of their idenOty' (Johnson and Bankhead, 2014). So, the 'Every Body AcOve' campaign observes and celebrates natural hair textures in order to resonate with women of colour.
32
photoshoot inspiration
Diverse range of female body types,
F I G 1 0 . G I R L S S T R E T C H I N G ( P I N T E R E S T, 2 0 2 0 )
sizes
F I G 1 1 . S M I L I N G G I R L S I N A C T I V E W E A R ( P I N T E R E S T, 2 0 2 0 )
and
ethniciOes. R e l a x e d acOvewear vibe with a strong sense
of
conďŹ dence and sisterhood.
33
F I G 1 2 . G I R L S I N A C T I V E W E A R ( P I N T E R E S T, 2 0 2 0 )
F I G 1 3 . G I R L S I N VA R L E Y AC T I V E W E A R R U N N I N G ( W G S N , 2 0 1 9 )
Rising demand for eco producOon among Gen Z co n s u m e rs m a ke natural colours and dyes ‘aaenOon g r a b b i n g details’ (WGSN, 2020).
MOOD AND COLOUR PALETTE
F I G 1 4 . G I R L S I N N E U T R A L A C T I V E W E A R ( P I N T E R E S T, 2 0 2 0 )
Earthy, pastel hues will be uOlised to pay homage to the ‘origins’ of yoga, and provide a Gen Z update on the tradiOonally boho colour paleae (WGSN, 2020),. 34
F I G 1 6 . G I R L W I T H A R M S C R O S S E D ( I N S TA G R A M , 2 0 2 0 )
n o tloca i
F I G 1 5 . G I R L I N F R O N T O F S H E E T ( I N S TA G R A M , 2 0 2 0 )
oph
t o o sto h
Temple Studio,
70 Tib Street, Manchester M4 1LG
F I G 1 7 . G I R L I N F R O N T O F W I N D O W ( I N S TA G R A M , 2 0 2 0 )
35
F I G 1 8 . G I R L W I T H B R I C K W A L L A N D S H E E T ( I N S TA G R A M , 2 0 1 9 )
Naturally lit lov studio with exposed brick walls for a rusOc, wholesome feel. Colour backdrops have been designedly uncropped to enhance the relaxed yoga feel of the shoot.
F I G 2 0 . G I R L I N F R O N T O F W H I T E B A C K D R O P ( I N S TA G R A M , 2 0 2 0 )
F I G 1 9 . G I R L TA K I N G P H OTO ( I N S TA G R A M , 2 0 2 0 )
36
6. Promoti -onal Strategies and Tactics
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6.1 Promotional Lookbook ProducOon of a promoOonal lookbook will
Hollister retail outlets as high-quality hard
inform consumers about the launch the
copies. A means through which only
new sub-brand, Honest Threads, and its
'established brands' can present their new
products, as well as communicate and
collecOons, hard copy lookbooks appear
reflect the 'idenOty of the brand' (El-
more aestheOcally aaracOve and legiOmise
Demedash, Wagdy and Hassan, 2017).
the new brand in the eyes of the consumer
To most effecOvely present the new
(Galton, 2012).
collecOon, and disseminate the campaign's
A digital copy of the lookbook
inclusive rhetoric, the lookbook content is
disseminated to consumers via email
beneficial, and the layout 'clearly' exhibits
markeOng will help ensure that the
the garments (Moore, 2012). This
campaign message is 'accessible' on all
promoOonal tool will be rolled out to
available pla}orms (Moore, 2012).
38
F I G 2 2 . P R O M OT I O N A L LO O K B O O K I N N E R PAG E S M O C K U P ( AU T H O R ’ S OWN, 2020)
F I G 2 1 . P R O M OT I O N A L LO O K B O O K F R O N T A N D BAC K COV E R M O C K U P (AUTHOR’S OWN. 2020) M AT S 3 4 5 5 0 : FA S H I O N PROJECT FINAL OUTPUT P R O M OT I O N A L S T R AT E G I E S A N D TA C T I C S
Promotional lookbook mockup
39
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6.2 In-Store Campaign Graphics With an increasing number of millennials seeking an 'emoOve' in-store experience, the use of campaign graphics in retail is essenOal in broadcasOng Honest Threads' message of inclusivity to their target demographic (Calienes, Carmel-GilďŹ len and PorOllo, 2016). For maximum impact, Honest Threads 'Every Body AcOve' campaign graphics will be situated at the front of the store; where typically the brand's most 'exclusive' graphics are located. In-store graphics will launch concurrently with the promoOonal lookbook in Spring/ Summer 2021.
40
F I G 2 4 . I N - S TO R E C A M PA I G N G R A P H I C S O N B I L L B OA R D ( AU T H O R ’ S OWN, 2020) F I G 2 3 . I N - S TO R E C A M PA I G N G R A P H I C S O N E A S E L ( AU T H O R S O W N , 2020)
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In-store graphics mockups P R O M OT I O N A L S T R AT E G I E S A N D TA C T I C S
41
7. Justification
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7.1 Appropriateness in Fulfilling Wider Brand Strategy Intending to recapture their target 'Gen Z' consumer (Strategic Report, 2019), the incepOon of a horizontal brand extension presented a prime opportunity for
7.1 Campaign Justification
Hollister to reinvent its markeOng communicaOons, and repair its tarnished brand image. Moreover, the launch of this sub-brand, Honest Threads, provided Hollister with a mode of solving a mulOtude of exisOng issues and gaps in their offering simultaneously.
Though iniOally designed to establish a sustainable product offering, an inclusive visual campaign would help to garner further possible aaenOon to Honest Threads, as well as to eliminate the need to orchestrate a dedicated inclusive campaign. In using a diverse range of models in the creaOon of promoOonal graphics, the lookbook displays products from the Honest Threads collecOon on different body types and skin tones, enabling the consumer to more easily idenOfy with both the campaign and the brand. This encourages brand loyalty and will help improve customer percepOon of Hollister. Furthermore, in-store campaign graphics denoOng a significant social meaning will resonate with customers in-store and presents a higher likelihood of inspiring consumers to purchase (Hu and Jasper, 2006).
The use of a promoOonal lookbook in adverOsing the sustainability of the Honest Threads collecOon is an indispensable tool. Parallel to providing purchase informaOon, a lookbook can detail the fabric composiOon and garment producOon of the items in the collecOon. Also, the small collecOon size has resulted in the same items being styled in mulOple different ways throughout the lookbook, demonstraOng the wear-ability of the garments, and inspiring customers to purchase mindfully. Furthermore, rolling out the lookbook to consumers via email cuts down on the number of hard copies produced, thus decreasing paper usage and improving the sustainability of the promoOonal campaign. 43
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J U S T I F I C AT I O N
7.2 Future Planning Aver rendering a posiOve consumer
'taken a stand' against the 'misuse' of
response to its launch and pilot campaign
retouching in adverOsing, eradicaOng its
(see 4.3.2), Honest Threads should
use in their product and campaign imagery
conOnue to produce supplementary
(Taylor et al., 2018). In the following suit,
inclusivity campaigns in order to keep the
Hollister's contribuOon to inclusivity and
campaign message alive, and remain
'femverOsing' will be deemed more
engaged with their target audience. In
legiOmate, and its disreputable brand image
doing so, both Honest Threads and its
will begin to erode.
parent brand should conduct regular
Following the success of its previous
market research studies into their target
collaboraOons with high profile figures such
consumer in order to conOnually evaluate
as Khalid and Emma Chamberlain (Strategic
their wants, and establish a 'profitable
Report, 2019), Honest Threads will likely
relaOonship' (Seturi and Urotadze, 2017).
seek to establish celebrity endorsement of
With the outbreak of COVID-19 and the
the collecOon. With 25% of adverOsements
subsequent decrease in physical retail
now featuring a celebrity, it may become
operaOons, Honest Threads should seek to
imperaOve that Honest Threads adopts a
virtually circulate their lookbooks (via email
celebrity endorsement strategy in order to
and their website) in order to minimise the
ensure the long-term success of the
negaOve effects of the changing retail
campaign (Hung, 2020). Furthermore, the
landscape.
use of the right celebrity in targeOng the
The broader Hollister brand should
Gen Z audience will not only resonate well
consider following in the steps of
with this consumer base, but elevate the
compeOtors like ASOS (Strategic Report,
brand image of Honest Threads, and the
2019), who have
wider Hollister brand as a result.
44
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J U S T I F I C AT I O N
7.3 Executive Summary In launching an eecOve inclusivity campaign, Hollister can strengthen the legiOmacy of its new sub-brand, as well as building brand salience amongst its target Gen Z consumer group. Market research has uncovered a signiďŹ cant desire for diversity from both minority and majority ethnic groups, with many of those surveyed willing to posiOvely reevaluate their purchase behaviour with the brand as a result. This inclusivity campaign has been constructed to redirect and redesign the general consumer outlook on the Hollister brand, and more chiey, to recapture the target teen consumer that they once dominated.
45
8. References
References Aagerup, U. (2010), ‘The influence of real women in adverOsing on mass market fashion brand percepOon’. Journal of Fashion MarkeOng and Management, Vol. 15, No. 4, pp. 486-502. Åkestam, N., Rosengren, S. and Dahlen, M. (2017), ‘AdverOsing “like a girl”: Toward a beaer understanding of “femverOsing” and its effects’. Psychology of MarkeOng Journal, Vol. 34, pp. 795-806. Ambler, T. and Styles, C. (1996), ‘Brand development versus new product development: toward a process model of extension decisions’. Journal of MarkeOng Intelligence and Planning, Vol. 14, No. 7, pp. 10-19. Becker-Herby, E. (2016) ‘The Rise of FemverOsing: AuthenOcally Researching Female Consumers’ [online]. Available at: haps://conservancy.umn.edu/bitstream/handle/11299/181494/ Becker-Herby_%20Final%20Capstone_2016.pdf;sequence=1. Accessed on 25/04/20. Becker, J., Kugeler, M. and Rosemann, M. (2003), ‘Process Management: A Guide for the Design of Business Processes’, First EdiOon, Springer-Verlag, Berlin. Bowman, S. N. (2020), ‘Influencer versus Body PosiOve MarkeOng: Perceived Brand PersonaliOes in the Eye of the Target Consumer’ [online]. Available at: haps://trace.tennessee.edu/ utk_chanhonoproj/2335. Accessed on 06/05/20. Caemmerer, B. (2009), ‘The planning and implementaOon of integrated markeOng campaigns’, Journal of MarkeOng Intelligence and Planning, Vol. 27, No. 4. Calienes, E., Carmel-Gilfilen and PorOllo, M. (2016), ‘Inside the Mind of the Millennial Shopper: Designing Retail Spaces for a New GeneraOon’, Journal of Interior Design, Vol. 41, No. 4, pp. 47-67. Chung, H. and Kim, S. (2014), ‘Effects of brand trust, perceived fit and consumer innovaOveness on fashion brand extension evaluaOon’, AtlanOc MarkeOng Journal, Vol. 3, No. 8, pp. 91-113. Claes, J., Vanderfeesten, I., Pinggera, J., Reijers, H.A., Weber, B. and Poels, G. (2013), ‘A visual analysis of the process of process modelling’, InformaOon Systems and e-Business Management, Vol. 13, pp. 147-190.
References Drake, V.E. (2017), ‘The Impact of Female Empowerment in AdverOsing (FemverOsing)’. Journal of Research in MarkeOng, Vol. 7, No.3, pp. 593-599. El-Demedash, D., Wagdy, R. and Hassan, A. (2017), ‘The Role of Fashion Photography in Fashion Design Field’, Journal of Architecture, Arts and HumanisOc Science, Vol. 8, pp1-23. Florence, R., Reynolds, A., Rodger, C., Saxby, R. and Sullivan, B. (2019), ‘Strategic Report’ (MATS34550: Fashion Project), University of Manchester [unpublished report]. Ford, J.B., Latour, M.S. and Middleton, C. (1999), ‘Women’s Studies and AdverOsing Role Portrayal SensiOvity: How Easy is it to Raise “Feminist Consciousness’?’, Journal of Current Issues and Research in AdverOsing, Vol. 22, No, 2. Pp. 77-87. Galton, E. (2017), ‘Basics Fashion Design 10: Jewellery Design: From Fashion to Fine Jewellery, AVA Publishing SA, Switzerland. Gordijn, J., Akkermans, H. and van Vliet, H. (2000), ‘Business Modelling is Not Process Modelling’, InternaOonal Conference on Conceptual Modelling. Vol. 1921, pp.40-51, Springer-Verlag, Berlin. Grow, J.M. (2008), ‘The Gender of Branding: Early Nike Women’s AdverOsing as a Feminist AntenarraOve’. Women’s Studies in CommunicaOon, Vol. 33, No. 3, pp. 312-343. Hu, H. and Jasper, C.R. (2006), ‘Social cues in the store environment and their impact on store image’. InternaOonal Journal of Retail and DistribuOon Management, Vol. 34, No.1, pp. 25-48. Hung, K. (2020), ‘Celebrity and Influencer in a Fan Economy: Unfolding the Fans’ Roles in Enhancing Endorsement Effects’ [online], Available at: haps://www.igi-global.com/chapter/celebrity-andinfluencer-in-a-fan-economy/253729. Accessed on 01/06/20. Jackson, H.O., and Ross, N. (1997), ‘Fashion AdverOsing: Does age, body type or ethnicity influence consumers’ percepOons?’. Journal of Fashion MarkeOng and Management, Vol. 1, No. 4, pp. 322-332. Javalgi, R.G., MarOn, C.L. and Young, R.B., (2006), ‘MarkeOng research, market orientaOon and customer relaOonship management: a framework and implicaOons for service providers’, Journal of Services MarkeOng, Vol. 20, No. 1.
References Johnson, T.A. and Bankhead, T. (2014), ‘Hair It Is: Examining the Experience of Black Women with Natural Hair’, Open Journal of Social Sciences, Vol. 2, pp. 86-100. Kent, T. (2003), ‘2D23D: Management and design perspecOves on retail branding’. InternaOonal Journal of Retail and DistribuOon Management, Vol. 31, No. 3, pp. 131-142. Kitchen, P.J. and Burgmann, I. (2010), ‘Integrated MarkeOng CommunicaOon’ [online]. Available at: haps://onlinelibrary.wiley.com/doi/epdf/10.1002/9781444316568.wiem04001. Accessed on 05/05/20. Ko, E., Chun, E., Song, S. and Kim, K.H. (2013), ‘Which content types increase parOcipaOon in fashion social pla}orms?’, Journal of Global Scholars of MarkeOng Science, Vol. 23, No. 3, 297-313. Lea-Greenwood, G. (2013), ‘Fashion MarkeOng CommunicaOons’, First EdiOon. John Wiley & Sons Ltd., Chichester, West Sussex, United Kingdom. Licsandru, T.C. and Cui, C.C. (2015), ‘SubjecOve social inclusion: A conceptual criOque for socially inclusive markeOng’. Journal of Business Research, Vol. 84, pp. 330-339. Ma, G.L., Li, Y. Li, W.Q. and Pan, P.Y. (2011), ‘A process model and method of idea generaOon for conceptual design’, Journal of Engineering Manufacture, Vol. 225, No. 4, pp. 568-586. Reddy-Best, K.L., Kane, L., Harmon, J. and Gagliardi, N.R. (2018), ‘CriOcal PerspecOves on fashion textbooks: representaOons of race, gender and body’. InternaOonal Journal of Fashion Design, Technology and EducaOon, Vol. 11, No. 1, pp. 63-75. Rice, R.E., Atkin, C.K. and Freimuth, V. (2013), ‘Public CommunicaOons Campaigns’, Fourth EdiOon, SAGE PublicaOons, Los Angeles. Rozinat, A. and van der Aalst, W.M.P. (2006), ‘Decision Mining in ProM’, In: Dustdar, S., Fiadiero, J.L., Sheth, A.P. (eds) Business Process Magement, BMP, 2006. Lecture Notes in Computer Scinece, Vol 4102, Springer, Berlin, Heidelberg.
References Rud, M. and Wong, S.K.B. (2011), ‘Turning a New Page: Co-CreaOon in PracOce through the Study of C-G Lookbook’ [online]. Available at: hap://lup.lub.lu.se/luur/download? func=downloadFile&recordOId=2276669&fileOId=2436311. Accessed on 17/05/20. Seturi, M. and Urotadze, E. (2017), ‘About MarkeOng Process Model and RelaOonship MarkeOng’ [online]. Available at: haps://www.researchgate.net/profile/Ekaterine_Urotadze/ publicaOon/313561456_About_MarkeOng_Process_Model_and_RelaOonship_MarkeOng/links/ 589e36c5a6fdccf5e96a5c95/About-MarkeOng-Process-Model-and-RelaOonship-MarkeOng.pdf. Accessed on 01/05/20. Sobande, F. (2019), ‘FemverOsing and fast fashion: Feminist adverOsing or fauxminist markeOng messages?’. InternaOonal Journal of Fashion Studies, Vol. 6, No. 1, pp. 105-111. Tafesse, W. and Kitchen, P.J. (2017), ‘IMC – an integraOve review’, InternaOonal Journal of AdverOsing, The Review of MarkeOng CommunicaOons, Vol. 36, No. 2. Taylor, C.R., Cho, Y., Anthony, C.M., Smith, D.B. ‘Photoshopping of models in adverOsing: A review of the literature and future research agenda’, Journal of Global Fashion MarkOng, Vol. 9, No. 4, pp. 379-398. Voigt, P. and von dem Bussche, A. (2017), ‘InformaOon and Checklist’, The EU General Data ProtecOon RegulaOon (GDPR), pp.1-7. WGSN (2019), ‘AcOve Colour Trend Concepts S/S 21’ [online]. Available at: haps://www-wgsncom.manchester.idm.oclc.org/content/board_viewer/#/83389/page/5. Accessed on 01/06/20. WGSN (2020), ‘Modern Yogis: AcOve Design Capsule S/S 21’ [online]. Available at: haps://wwwwgsn-com.manchester.idm.oclc.org/content/board_viewer/#/86316/page/1. Accessed on 01/06/20. Zinkhan, G.M and Fornell, C. (1985), ‘A Test of Two Consumer Response Scales in AdverOsing’, Journal of MarkeOng Research, Vol. 22, No. 4, pp. 447-452.
9. Appendices
Appendix 1. ‘Market Inclusivity’ Survey Answers Q1. What is your age? 13-15
1
16-18
1
19-21
6
22+
54
Q2. Which gender do you identify with? Female
37
Male
25
Other
0
Prefer not to say
0
Q3. Which of the following best describes your race/ ethnic background? White/ Caucasian
59
Black/ Afro-Caribbean
1
Asian/ Pacific Islander
0
Hispanic/ Latino
0
Mixed Race/ Multi-Ethnic
2
Prefer not to say
0
Other (please specify)
0
Appendix 1. ‘Market Inclusivity’ Survey Answers Q4. Are you now/ have you ever been a Hollister consumer? Yes
38
No
24
Q5. Which characteristics would you associate with the Hollister brand? Inclusive
4
Racist
0
White-washing
11
Multi-cultural
5
Liberal
5
Discrimatory
16
Exclusive
18
Diverse
10
Welcoming Irrelevant
9 23
Appendix 1. ‘Market Inclusivity’ Survey Answers Q6. How strongly do you agree that your race/ ethnicity is adequately represented in Hollister’s marketing campaigns? Strongly agree
14
Agree somewhat
13
Neither agree nor disagree
28
Disagree somewhat
3
Strongly disagree
3
Q7. What would you like to see featured in future Hollister campaigns? Variety of body shapes
46
Unretouched images
37
Scars/ stretch marks
17
Imperfect’ skin (acne, hyperpigmenation)
17
Natural hair textures
12
Imperfect’ teeth
11
Body hair
9
Other (please specify)
2
Respondent #1: ‘Range of age’ Respondent #2: ‘Not just white, stick thin with gleaming teeth’
Appendix 1. ‘Market Inclusivity’ Survey Answers Q8. In your opinion, what would make an inclusive marketing campaign unappealing? Doesn’t reflect real life
32
Doesn’t feel genuine
29
Over-saturation of inclusivity in mainstream media
18
Feels purposely unattractive
14
Fetishises certain ethnicities or body shapes
10
Q9. How would an inclusive campaign impact your opinion of the Hollister brand? Positively
25
Somewhat positively
21
Neither
16
Somewhat negatively
0
Negatively
0
Q10. Would an inclusive campaign make you more inclined to shop with Hollister? Yes
43
No
19
Appendix 2. ‘Campaign Testing’ Survey Answers Q1. In your opinion, which of the following images best promote inclusivity? Image 1
8
Image 2
4
Image 3
8
Image 4
2
Image 5
20
Image 6
14
Image 7
13
Q2. Thinking about the campaign overall, which of the following best describes your feelings towards it? Like it very much
20
Like it somewhat
16
Feel neutral about it
11
Dislike it somewhat
4
Dislike it very much
0
Q3. How believable is the campaign? Extremely believable
13
Very believable
13
Somewhat believable
20
Not so believable
5
Not at all believable
0
Appendix 2. ‘Campaign Testing’ Survey Answers Q4. How different is this campaign from existing Hollister campaigns? 8
Extremely different Very different
15
Somewhat different
22
Not so different
6
Not at all different
0
Q5. How well does the campaign communicate the message of inclusivity? Extremely well
10
Very well
19
Somewhat well
17
Not so well
3
Not at all well
1
Q6. How likely would you to be to purchase the items advertised based on the campaign message? Extremely likely
6
Very likely
13
Somewhat likely
19
Not so likely
11
Not at all likely
2