Promotional Strategy - Fiorucci by sarah.mak

PROMOTIONAL PLAN A/W 20/21

CONTENTS 1.0 Situational Analysis 1.1 Sector Overview

p. 4

1.2 Fiorucci Overview

p. 6

1.3 Competitive Review

p. 10

1.4 Consumer Review

p. 14

1.5 Market Segmentation

p. 14

2.0 Marketing & Communications Plan 2.1 Marketing Objectives

p. 16

2.2 Positioning Strategy

p. 20

2.3 Communication Objectives

p. 16

2.4 Communciations Mix

p. 22

2.5 Budget & Costing

p. 24

3.0 Creative Plan 3.1 Creative Objectuves

p. 26

3.2 Creative Strategy

p. 26

3.3 Creative Materials

p. 28

4.0 Media Plan 4.1 Media Objectives

p. 36

4.2 Media Strategy

p. 38

Appendix

p. 42

References

p. 48

List of figures

p. 49

Word Count: 2933

Figure 1.

SECTOR OVERVIEW The fashion industry, after experiencing economic decline from 2012 to 2016, has seen steady growth as retailers can access resources to become cost-effective, resulting in increased profit margins (McKinsey, 2020). The middle/premium market has been affected by macro-trends in technological advancements, driving demand for lower sales prices and increasing variety in the everchanging fast-fashion cycles (Hallam, 2019). Therefore, the contemporary market’s relative detriment to compete with luxury and low-market fashion, alongside evolving consumer preference, has increased pressure on premium/middle-market brands (Sherman, 2016). Sales growth predictions (appendix A) display the premium/bridge markets decline by 2-3% in 2020 suggesting the competitiveness within this market-level against the expanding luxury and value markets (McKinsey, 2020). As a result of the dynamic online marketing space, premium brands need to re-evaluate how they utilise existing social platforms and aim to generate direct sales from these sources. This means that creating engaging content that ‘tells a story’ and not just simply using influencer marketing, is crucial to the communication strategy adopted by brands as the consumer market becomes more challenging to attract (McKinsey, 2020). Furthermore, as digital marketing has encouraged the online industry to thrive, there is opportunity for brands in this sector to grow both online and instore sales channels and therefore increasing market share and brand presence in a highly competitive market (Hallam, 2019). Mintel’s 2030 consumer trends predictions state that “value” will be of increased importance to consumers seeking authentic long-lasting, more sustainable, quality within their products; an advantage to Fiorucci who focus on accessible high-quality goods (Mintel, 2019). Also, McKinsey (2020) states that millennial consumers’ demand for convenience will drive localised bricks-and-mortar stores; an advantage Fiorucci possesses in its London store whilst suggesting an opportunity to grow an omni-channel retail strategy to effectively reach the target consumer.

Figure 2.

Figure 3.

Figure 4.

BRAND OVERVIEW

Fiorucci, a middle-market level “bridge brand” or “premium brand”, may be at a disadvantage in this market-position as this sector drove 80% of the decline period; compressing the sector market-share from 15% in 2010 to 2% in 2016 (McKinsey, 2020). However, predicted market trends show Fiorucci has potential to grow its online platform, a crucial sales channel to the brand, as womenswear clothing sales are forecasted to grow by 8.4% this year (Hallam, 2019). The brand’s re-launch in 2017, after the decline period, can indicate why Fiorucci has encountered steady success since, as this meant they could challenge their premium competitors who experienced this depreciation the most. The Italian brand which combines fashion, art, music and pop-culture, re-emerged in 2017, originally open from 1967 to 1984 by designer Elio Fiorucci (De Klerk, 2018). The young and lively motif recognised from the brand’s heyday is replicated in its London, Soho store today after Janie and Stephen Schaffer, founders of “Knickerbox” and “Edwin” a Japanese denim company, invested into reviving the brand (Bateman, 2017). Fiorucci possesses strengths within its recognisable graphic “angels” design, as well as their staple denim jeans as Elio pioneered a new flattering style, challenging traditional Levi’s and Wrangler available in the 60s (Fiorucci, 2020) (SWOT analysis). Furthermore, experiential in-store marketing has remained a core-value to the brand as they host promotional events, much like renowned “Daytime Studio 54” which hosted parties attended by celebrities, artist and musicians (Bateman, 2017); signifying their efforts to draw on their heritage. Therefore, the brand states to ultimately represent a retro “graphic energy, invention and creativity”, relying on cultural style references from its prime years to excel into the present market (Fiorucci, 2020). The “accessible luxury” market position, a category with a good product quality to price ratio whereby an element of exclusivity is communicated for a widely available product, reflects the relatively low-income aspirational target-market of Fiorucci (Brownlees, 2020). This consists of young middle-class individuals aged 16-30 seeking stylish quality which they are willing to pay a premium price for.

SWOT ANALYSIS STRENGTHS • • • • • • • • •

WEAKNESSES

Recognised as an “Italian” fashion company, instilling auhenticty and luxury Brand significnace to 70s and 80s nostalgic period as it pioneered a new style of denim jean Progressive and attractive to youthful consumers Has a flagship store in Soho, London; low overheads and shio worldwide through their web-store Puts experience, art, pop-culture and music at the forefront of their image to differentiate from competitors In-store experiences and playful aestheitc displays them as a progressive company to differentiate the brand Fiorucci posesses a unique archive of original Fiorucci graphic designs and artworks (Johnston, 2019). The new directors of the brand both have lots of experience within running a fashion company Their website attracted 3 million views on January 4th 2020, indiciating their growing online presence (Thalamus, 2020).

• • • • •

OPPORTUNITIES •

•

• •

•

They have a less established market presence compared to competitors Relatively new to the market, higher risk of failure May not have an established customer base for repeat purchase May not have sufficient finance for large campaigns for a global reach Competitors may not see them as a significant threat

THREATS •

The extended archive of original graphics and artworks can be utilised in future garment designds; drawing back onto their heritage to entice both mature and youthful consumers Fiorucci could expand their menswear range through utilising their graphic prints and recognisable style; entering the premium streetwear market similar to brands such as “Comme Des Garcons” opportuniy for collaborations with celebrities and influencers to expand their customer base Take advantage of current trends in sustainability where people are more conscious of their fashion footprint and therefore are shifting towards longevity and quality values in their purchasing decisions. Become a more transparent brand, informing the consumer of material/product sourcing (Baizley, 2018).

•

Table 1: Sw.ot Analysis, This Study, 2020

The denim market has become contested, forcing Italian companies to adapt and stay relevant in these increasingly competitive conditions (Bayer, 2018). Technological developments may change the market quicker than they can adapt – sustainability trends may mean they could be threatened by consumer demands for increased sustainable materials and packaging etc. Market predictions for a decrease in sales growth in 2020 for the premium/bridge and mid-market level sectors may increase competition and price pressures It may be challenging to grow their market share as they’re a lesser known brand than competitors in this market such as Calvin Klein They’re challenged by pressures of the value-market and the luxury market decreasing the share of the premium/ bridge level market.

PRODUCT • • • • • • • • •

MARKETING MIX

PRICE

Graphic hoodies, T-Shirts, Jumpers. Adidas X Fiorucci athleisure collection: diffusion line Kieth Haring X Fiorucci Staple Denim & Bomber jackets Denim Jeans; Safety jeans, Tara Tapered Jeans High quality, generally features a Fiorucci logo Swimwear & Underwear Accessories - Entry Level products Fiorucci HypeBeast Capsule - limited Collection

• • • • • • • • •

PLACE • • • • • •

Hoodies/Sweatshirts : £130 -£160 T-shirts : £65 - £100 Cardigan / Knits : £195 Adidas Collection - lower range e.g. Hoodie £62.95 Coat - £350 Denim Jacket - £295 Jeans : £195 - £295 Swimwear : £95 - £110 Accessories : Hat - £50, Phone Case, £40, Socks - £15

PROMOTION

Online web-store shipping worldwide Concessions in London Selfridges and Harrods, Barney's New York and 10 Corso como. Third party online retailers: ASOS Luxury third party retailers: FarFetch, Selfridges. Flagship store in Central London, Soho Flagship store is “A shop, an event space, and a hangout” (Fiorucci, 2020).

• • • • • • •

Licensing out graphics to Dolce & Gabanna SS15 Range Collaborations e.g. Adidas, Keith Haring Shared media : Papparazzi of celebrities wearing Fiorucci e.g. Hailey Baldwin, Justin Bieber, Bella Hadid. Nostalgic Imagery still promoted e.g. print ads from the 80s Utilises promotions through social media influencers and models with ranging followings Print ads in Harpers Bazaar and Vogue Collaboration with Georgia May Jagger Table 2: Marketing Mix,, This Study, 2020

Figure 5.

COMPETITIVE REVIEW Fiorucci’s competitors range between fashion category and sector such as streetwear, luxury and premium lifestyle brands; despite operating in the bridge/premium-market level. Their main competitors include lifestyle brands such as Calvin Klein, Levi’s and Diesel; brands which also specialise in denim at a premium price. The graphic aesthetic indicates streetwear competitors such as Comme des Garcons and A.P.C; for example, A.P.C has a store situated in Soho, a location suitable to the target market (APC, 2020). Perhaps most parallel to Fiorucci’s brand in terms of product range and heritage are Chiara Ferragni and CDGS as their prominent brand aesthetics featuring their logo’s and adventurous denim products reflect a similar positioning strategy. Furthermore, competition is faced from luxury brands’ diffusion lines offering ‘accessible luxury’, such as Love Moschino and Armani Exchange due to a mix of their heritage, aesthetic and competitively priced product range. Competing lifestyle brands are promoted similarly to Fiorucci, through youthful and exhilarating messages and, as a result of obtaining a higher capital, are able to communicate through multi-media platforms such as videos, billboards, TV adverts. For example, Calvin Klein’s 2019 time-capsule video featuring a range of stars and supermodels. This brand aims to disseminate its brand values of being “progressive” which is built on their “iconic essentials”; ultimately drawing on the brands heritage and recognisable logo, similar to Fiorucci (PVH, 2020).

10.

Figure 6.

BRAND POSITIONING MAP Modern Style

Low/affordable Price

High/exclusive Price

Traditional Style

Figure 7.

11.

COMPETITOR CAMPAIGNS

Figure 8.

Figure 9. .

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Figure 10 Figure 11.

Although the brand holds a weaker market presence to its competitors, Fiorucci’s comparative strengths lie in its sense of uniqueness, artistic and cultural presence associated with the 70s and 80s, integrated with a contemporary aesthetic. Through this they attract attention to the brand through its novelty to the market whilst holding a legacy to another era; communicating an identity associated with longevity and authenticity. This is therefore advantageous to the brand as the consumer trends of the target market show a desire for authenticity and quality (McKinsey, 2020) (appendix B). Fiorucci has also been featured in highfashion magazines such as Vogue, promoting the high-style image and revival into the market. Furthermore, the pricing strategy consisting of value-based and competitive pricing that Fiorucci adopts, enhances the perception of value and prestige; obtaining a price advantage over luxury brands’ high price-point.

13.

TARGET AUDIENCE

The brand have a diverse target market in terms of demographics, however these consumers share psychographic qualities such as interests, values, beliefs and purchase intentions (Posner, 2015) (see Appendix C market segmentation table).

(McKinsey, 2019). In addition, Gen-Z accounts for 40% of the consumer market as of 2020, signifying the imperative opportunity to target this consumer demographic in order to achieve business objectives (McKinsey, 2019).

As the brand portrays a contemporary yet nostalgic image through their detectable graphics and style, an attraction for this will be curated through social platforms to inform and deepen the existing customer base; continuing to target youthful consumers in Gen-Z and Gen-Y, millennials born between 1981 and 1999 (Bolton et al, 2013). This consumer market’s significance is displayed in their momentous buying power which critically accounts for $350bn of spending for the US alone

Also, there is potential for the brand to branch out into new markets to create a global presence, for example in fashion-forward cities such as HongKong and Tokyo, targeting an affluent sub-group of Gen-Z and Gen-Y (Table 1). Therefore, the target subgroups of Gen-Z and Gen-Y will be “early adopters” and “early majority”, Roger’s (1971) model, in particular “trendsetters” who typically come from wealthy households with steady disposable income to make premium fashion purchases (Lau, 2015).

14.

Attention

Social Media sponsored campaign

Interest Desire

Influencer they follow promoting the brand: clicks to website

Browse through website

Action

Consumer Decision Process As Gen-Y is the first generation to adapt to online social hyper-connectivity, their decision-making process is heavily influenced by what they see on the internet, alongside personal research of product reviews; resulting in a “rational” rather than “emotional” response (Ordun, 2015). They’re also regarded as being highly influenced by social pressures and media with an early adoption rate of alternative products which could be utilised by Fiorucci to communicate brand values such as longevity through use of Instagram influencers (Ordun, 2015). Accenture (2019) states that Gen-Z consumers are more motivated to purchase through social media influencers than Gen-Y; making decisions according to aesthetics, value, display of products and user reviews (Thangavel et al., 2019), however they are less brand loyal than gen-Y which may propose barriers to brand loyalty to Fiorucci.

Makes a first small purchase online

(appendix E. Cope & Maloney, 2016)

Figure 12.

15.

CAMPAIGN OBJECTIVES

M A R K E T I N G O B J E C T I V E S: 1. Increase brand awareness by gaining 200k+ Instagram followers after the 6-month period targeting gen-Z and gen-Y consumers 2. Increase sales by 20% as primary research shows many people have heard of the brand but only 40% have purchased 3. Increase brand market share by 5%

C O M M I U N I C A T I O N O B J E C T I V E S: 1. Increase brand loyalty within the Gen-Z consumers; this can be measured examining frequency of sales of existing customers who need to make an account to order online. 2. Increase the opportunity and motivation for consumers to engage with the brand and create elevated trust and awareness to further purchase intention and brand switching to favour Fiorucci (Batra & Keller, 2016). 3. Simulate trial purchase through a cognitive and affective message to enable an efficient path-to-purchase (Batra & Keller, 2016). 4. Build upon their online social presence across platforms.

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17.

Figure 13.

MARKETING & COMMUNICATIONS PLAN PRIMARY AUDIENCE Generation-Z consumers who regard themselves as fashion conscious, early adopters and highly influenced by social media and recent trends are the primary target market of the campaign. Targeting specifically students in university and those who have just recently graduated, aged 18-22, who are very socially connected with a disposable income for fashion products. The social media communications will target this primary consumer utilising the use of influencers with the ambition of creating a buzz around the label. The consumers are likely to already know of the brand but will be moved through the AIDA model in order to gain more interest and desire leading to action of purchase.

SECONDARY AUDIENCE The secondary consumers will be the young “trendsetter” millennials perhaps working in the creative industries with a moderate and regular income. Targeting these secondary consumers through differing media channels will increase effectiveness of the campaign, ensuring the brand communicates accurately, offering the services they desire to increase the ability and opportunity for purchase in relation to the Batra and Keller 2016 model (Appendix G). Heightening the ability and opportunity for consumers to purchase in both primary and secondary audiences, will therefore increase the efficiency of the promotional campaign in reaching marketing objectives to increase sales through an expanded brand awareness.

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Figure 14. Figure 15.

19.

POSITIONING STRATEGY Fiorucci’s positioning strategy will expand on their current marketing activity, furthering their connection to a youthful consumer through exciting and enticing imagery, utilising social media influencers to engage the potential consumer. Fiorucci holds an opportunity to market its unique heritage and significance in fashion and culture during the 1970s; enabling a competitive edge (SWOT Appendix). Also, as other premium and luxury marketlevel competitors such as Calvin Klein and Armani Exchange hold cultural heritage values, this allows Fiorucci to position itself as a prestige brand, much like these competitors against middle-market brands despite having similar price points. As Fiorucci is a relatively small brand against its competitors, the proposed positioning strategy will enhance this, offer a niche branded product, aligning with their personalised in-store services and current influencer endorsements.

There is potential to increase the brands “modern” style status whilst also being perceived to have a chic street-style edge to target the early majority audience. Although diffusion lines such as Love Moschino are at a higher price, the image depicted as a ‘cheaper’ version of the original brand may be less favourable and therefore, Fiorucci can draw on its independence to target the consumers seeking a premium street style; qualities which consumers aged 16-25 seek within a premium fashion brand (Appendix F). Brands such as Levi’s, Calvin Klein and Diesel which offer high-quality denim garments are at lower price points yet offer more traditional styles as opposed to Fiorucci. This enables an advantage as they offer alternative styles which are demanded by the target market in Gen-Z and Gen-Y who are willing to pay a premium price for (Appendix F).

"A MODERN HERITAGE BRAND"

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21.

Figure 16.

COMMUNICATIONS MIX

To move the target audience through the Hierarchy of Effects Model (appendix F), a combined video and social media and campaign will be most suitable for the existing and potential consumers for Fiorucci; the consumers who tend to make more of their purchases online and spending an increasing amount of time on social platforms (Appendix G).

Figure 17.

Figure 19

"FIORUCCI ANGELS"

Figure 18.

22.

INFLUENCERS Digital content shared through Fiorucci’s Instagram will be continued to enhance the brand’s image and identity, aiding both current and potential customers in their path to purchase. Influencer marketing will be adopted by the brand as this can be utilised further; creating paid media into shared media. The use of established influencers with 300k+ following will aim to entice the wider audience of the secondary consumer; the early majority of gen-Z and gen-Y. This will engage with a wider global audience to reach the objectives of increasing market share and brand awareness. Micro-influencers, with a following of under 50k,

will be utilised to target the primary consumers who are fashion conscious seeking alternative styles, as the micro-influencers will enhance an image of individuality within the brand. They engage with their following at a more personal level and therefore create trust with the target consumer which can aid the transition from the affective stage to the conative stage to purchase (Lavidge & Steiner, 1961), reaching objectives to increase sales and awareness. Furthermore, a personalised targeted message is created, projecting a non-mainstream image whilst appearing more authentic and convincing than those with a larger following (Ang et al., 2017).

CAMPAIGN VIDEO A pop-up store would be an option for the brand to engage with the secondary throughout UK cities, however, due to the objectives to engage with a mass audience the most suitable channel would be to create a video campaign featuring a well-known model. The flagship store instils prestige and ‘trendy’ image to the brand, so a video to enhance this using the stores outside space and the city of London as the scene, will communicate to the wider target market who are spending more time online and are susceptible to celebrity marketing. The video would engage with the consumer cognitively and affectively, referring to the

Lavidge & Steiner (1961) model, creating knowledge and awareness of the brand and its heritage. Engaging with a global audience, branching into both UK, US and European cities to gain a social media “buzz” surrounding the brand will help reach marketing objectives. This video will be promoted predominantly through Instagram sponsored posts to reach the highly socially engaged primary consumer. It will also reach the secondary millennial consumer through Facebook and YouTube ads as the millennials consumer decision process tends to go through research and reviews of products.

PRINT ADVERT

LAUNCH EVENT

Through more traditional forms of advertising such as print ads in selected London tube stations; the secondary consumer of the brand will be reached as they are millennials in full-time jobs with a higher disposable income working in London. Also due to the volume of commuters and tourists every day in the capital the print ad aims to promote the Fiorucci flagship store to increase sales and reach marketing objectives.

A promotional launch party will be held towards the end of the campaign in order to create relations with influencers and micro-celebrities in the City of London; similar to their Adidas X Fiorucci launch party which gained social media attention through the shared media of various celebrities and figures attending the party.

Table 3: Marketing Communications mix, 2020, this Study

23.

BUDGET & COSTING A Budget will be suggested regarding Fiorucci’s financial capability to provide investment into the six-month promotional strategy; which will also relate to the projected return on investment for each communication channel. Reliable financial documents for Fiorucci were difficult to find given the brands unique position on the market. Through a comparison between Fiorucci and similar competing brands a budget has been established. This reflects the revenue of Italian streetwear brands "Aries Arise" and "GCDS", alongside Amsterdam based brand “Daily Paper similar in size with one flagship store and a worldwide online shop. The budget for Fiorucci will be calculated based on 9% of revenue which will then be halved for the 6-month period amounting to £40,500.

24.

Competitors: • Daily Paper Annual Revenue (2019) USD $5 million (Zoominfo, 2020) • GCDS Annual Revenue (2016) USD $10 million (Business of Fashion, 2020). • Aries Arise Annual Revenue (2019) GBP £600,000 (Endole, 2020).

Fiorucci Estimated Revenue (2019) GBP £900,000 Budget Reccomendation: £40,500 Influencer Marketing

Video Campaign

Name - Following - Cost per Post - Engagement Rate

• Video Director: £1200 • Commerical editor: £600 • Sound technician: £300 • Travel expenses covered: £60 • Featured model hire: £1500 • = £3660

Micro Influencers: • @yottiwilkinson - 22,000 - £150 - 10.5% • @ginimisselbrook - 23,000 - £190- 11.1% • @kstewartmusic - 32,000 - £120 - 6.4% • @nataliewinter - 35,000 - £140 - 8.2% • @hellokittychikyy - 10,000 - £80 - 12.0% • @teah_o - 6,000 - £30 - 10% = £680 Mid-Influencers: • @molly.mcfarlane - 89,000 - 340 - 7.8% • @bethanmccoy - 62,000 - £180 - 6.8% • @amybamb - 81,000 - £200 - 5.2% • @ bellapenfoldofficial - 80,000 - £300 - 5.0% = £1020 Macro Influencers: • • • • • •

@Phoebelettice - 128,000 Followers - £400 – 1.7% @Charlottedellassio – 865,000 - £1800 – 6.0% @claudia_Valentina - 143,000 - £450 - 7% @JessHunt2 – 765,000 - £1800 – 4.57% @blvkd0pe - 1m - £1700 - 6.2% @wolfiecindy - 6.4m - £8000 - 11.2%

= £14150 (Influencer Marketing Hub, 2020) TOTAL: £15,850

Media Sponsored Post • • •

Instagram: £50 per week: £1200 200,000 viewer reach YouTube: £4000 =£5200

Print Ad in 4 underground locations • • •

1 week period Volume: 2 sheet X 20 cost: £10,000

(Blueline media, 2020)

Launch Event • DJ (includes lighting and sound) £900 • Catering - £1000 • Staff - £600 • Beverages - £2000 • Gift bags - £1500 • Venue - In-store, loss of 2 hours opening time = £5400

Competition • Spending money (credit with brand): £500 • Hotel Accomodation: £140 • Travel expense: £200 (Expedia, 2020) = £840

TOTAL CAMPAIGN SPENDINGS = £40,950

(Karolan Karlson, 2020) 25.

Table 4: Budget Reccomendation, 2020, This Study

CREATIVE PLAN C R E A T I V E O B J E C T I V E S: 1. Enforce existing aspects of the brand drawing on heritage and the 80s neon aesthetic attached to the Soho London store and Daytime studio 54 2. Create edgy/streetwear imagery to entice the primary early adopters 3. Create a message of youth and excitement for the brand.

BIG IDEA Fiorucci’s A/W 2021 will reflect the brand in a contemporary and progressive light, whilst referencing the nostalgic 80s energy which is central to the brand. It will promote both the entry level, low priced products as well as their more expensive and exclusive products with the aim of gaining a varied and loyal customer base. The creative plan has been derived to position Fiorucci as a prestige, on-trend and unique brand, targeting the aspirational consumer and differentiating from competition drawing on their heritage through nostalgic imagery. Micro and macro-influencers and celebrities will endorse #LOVEFIORUCCI through Instagram to devise customer activity through a link the brands profile; aiding a path to purchase through top-down communication to create opportunity for the consumer (Batra and Keller, 2016). Furthermore, a sense of authenticity and trust will be instilled through micro-influencers who engage with their consumers on a personal level.

Figure 20.

26.

#LOVE FIORUCCI

SPECIFIC METHODS The slogan encompasses the brands image to be inclusive, progressive and modern with accompanying graphic imagery. An incentive will be created for consumers to post their own photos wearing the brands products as the hashtag will allow the opportunity to be re-posted to Fiorucci’s Instagram; a method they currently use to involve their consumers. This will appeal to the primary consumers who are the early adopters and take their social media platforms as fashion outlets seriously; i.e. micro fashion influencers with under 10k followers. The video and accompanying visuals to the campaign will reference an exhilarating city and night life of the young consumer to appeal to both the primary and secondary target market; targeting predominantly females whilst communicating the male market with the diverse mix of male and female models. The secondary consumers will be targeted here, consumers who are perhaps living a similar quick-paced work and leisure lifestyle in large cities. Taking the target audience on this journey will enlighten them to the brand’s heritage to create more interest in Fiorucci, leading them to click onto the video which will take them to Fiorucci’s Instagram; allowing the consumer to immerse themselves in the brand to create desire and action to purchase (Appendix E). The brands identity will be instilled in the video, synthesizing their products in a dynamic urban setting; positioning the brand as modern and progressive with a unique heritage.

27.

Figure 21.

Figure 22.

STORY BOARD

1. Frame to model walking past the soho store, Daytime, as walking towards outfits change featuring brand logos. Figure 24.

2. Same scene but with nostalgic references e.g. 70s car in background and store called "Daytime Studio 54" referencing the brands heritage.

Figure 25.

3. Hop to 80s disco theme. Model goes out in Fiourcci to bar with friends, pans round bar showing Fiorucci posters and graphic images from the 80s.

Figure 26.

4. Models men & women out in casual Fiorucci street wear, Graphic hoodies: Camera set for a grainy vintage asethtic.

Figure 27.

5. Sunrising getting the tube home. Friends having a photoshoot with eachother in Fiorucci. Last frame pans to the "photos" taken.

Figure 23.

Figure 28..

6. Tag for the campaign "# LOVE Fiorucci": this will translate to social media.

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Promotional Video - Key Features Location: Central London Featured model: Charlotte Delassio, 874k Instagram Followers; LA Model with high profile celebrity friends such as Madison Beer. Now Living in London to target these markets. Music: Thinking of You, Sister Sledge Length: 40 Seconds. Key message: Nostalgic, Fun, Modern Accompanying Viusals - Key Features Location: Central London, Outside London Store. Featured model: Charlotte Delassio with a male model Theme: Accompanying the video collection Nightlight in london, street light/neon light theme.

FEATURED PRODUCTS

Figure 29..

29.

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Figure 30.

Figure 31.

INSTAGRAM COMPETITION

•

WIN

• A CITY BREAK FOR TWO VIP INVITATION TO THE FIORUCCI LAUNCH PARTY •

£500 TO SPEND WITH US

SEE OUR RECENT POST FOR MORE INFO

30.

Figure 32.

IN-STORE LAUNCH EVENT

Figure 33.

GUESTLIST

Figure 34.

• • • • • • • •

Figure 35

Kate Stewart Natalie Winter Charlotte Delassio Wolfie Cindy Jess Hunt Phoebe Lettice Yotti Wilkinson Sophia Hadjipanteli

Figure 36.

31.

KEY INFLUENCER PROFILES

Figure 37. Figure 38.

INSTAGRAM POST MOCK-UPS

Oversized sweatshirts are one of the best things in life #LOVEFIORUCCI @Fiorucci

Head to toe @Fiorucci #LOVEFIORUCCI

32.

Vibing in Fiorucci #LOVEFIORUCCI

IGTV / SPONSORED POSTS

SWIPE UP !

Figure 39.

Just for you! Enjoy 10% off you first order & free shipping when you spend over £60

Just for you! Enjoy 10% off you first order & free shipping when you spend over £60 Figure 40.

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FACEBOOK & YOUTUBE SPONSORED VIDEO AD

Figure 41.

"CLICK TO SHOP"

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LONDON UNDERGROUND AD

Figure 42..

WEBSITE MOCK-UP

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Figure 43.

Figure 44..

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M E D I A O B J E C T I V E S: 1. GEOGRAPHIC SCOPE: UK Cities & surrounding London areas e.g. Surrey, Brighton etc. Global market: Key European cities e.g. Paris, Barcelona, Milan through UK students abroad. American market: LA, New York through macro-influencers. 2. FREQUENCY : Frequent exposure through various social media platforms: Reach consumers at least 5 days of the week. 3. CONTINUITY OF MESSAGE: Progressive, modern yet nostalgic, energetic, premium brand. 4. REACH OF TARGET AUDIENCE: Consumers aged 16-28 who haven't heard of the brand to create interest & awarness. Consumers aged 16-28 who have heard of the brand but haven't purchased.

MEDIA PLAN The media strategy has been derived to spread the cost and promotional activities over the 6-month period to drive sales through increased brand awareness and interest. The chosen micro, mid and macro influencers have been strategically staggered across this period; micro, UK based influencers appearing at the start and middle of the campaign, and macro influencers, based in the UK and internationally, in the second half of the campaign to heighten interest within European and American markets. The focus of the campaign is to promote both womenswear and menswear however with specific target to the female consumer. During the November/December period print advertising will be utilised in London targeting tourists and residents during the Christmas shopping period. An integrated strategy utilising sales promotion, direct marketing and public relations will aim to drive sales from different marketing perspectives in order to reach the digital consumer, bringing them on a brand journey, through the competitive digital and physical platforms (appendix K). 37.

WEEK

ACTIVITY

•

• • •

AUGUST

Social media posts begin with 5 second videos with screenshots for the upcoming promotional video. Platfrom: Twitter & Instagram Hashtag each post with #LOVEFIORUCCI Unpublished graphics used to post on Instgram enhancing their aesthetic. Contact press and fashion blogs such as HypeBeast, Wonderland magazine, Mix magazine about upcoming video & photograph collection with Charlotte Delassio. 15% off first orders promotion & 10% student discount offered to existing customers Begin to re-post 2 micro-influencers: @yottiwilkinson @ginimisselbrook £300 Reveal the upcoming video collaboration with Charlotte Delassio on twitter and Instagram £3360 tagging the model: model also sharing the posts on her Instagram post and story, Snapchat and Twitter.

Monthly Cost

WEEK

= £3660

ACTIVITY

SEPTEMBER

•

Continue with micro and mid-influencer posts & begin to repost customer photos which fit the brand aesthetic with #LOVEFIORUCCI. infleuncers: @nataliewinter @bethanmccoy

•

Video promotion through Facebook, Twitter, Instgram, and Youtube sponsored ads: Youtube and Twitter intended to target secondary audience. VIde playing In-store on big screen seen which can be seen from streetview to promote in-store experience

•

3 4

COST

•

Send gift package to key mid-size influencers: ones with followers between 50-100k.

•

10 Influencer posts shared to Instagram story: product review & Instagram post to promote the products stylish aesthetic.

Monthly Cost

COST £300

£860

£300 £500

= £1960

OCTOBER WEEK 1 2 3 4

ACTIVITY • • •

• • • •

COST

Male mid-sized influencers to target the male audience e.g. ASOS models: @Asos_ty @ ellisiyayi ASOS Instagram post featuring links to the Fiorucci menswear products. Announce Competition via Instagram post & story

£300

Personalised emails sent to existing customers who have signed up to the newsletter about current collections £860 Video promoted through Instagram & Youtube sponsored ads Macro influencer post: @Jesshunt, @Charlottedelassio, @claudia_valentina Offer 10% off for new customers through website once the competition has announced to £3950 engage the scope of the new audience.

Monthly Cost

= £5110

38.

WEEK

ACTIVITY

NOVEMBER

COST

• •

ASOS instagram post featuring Fiorucci womenswear products. 10% student discount offer

• •

Video promoted through Instagram & Youtube sponsored ads IGTV snippet video to promote current collection "Swipe up"

•

Still photographs from the Video hashtagged #LOVEFIORUCCI featuring Charlotte Delassio, two sheet on train display for 1 weeks in select London Tube Stations

•

Still photographs from the Video hashtagged #LOVEFIORUCCI featuring Charlotte Delassio, two sheet on train display for 1 week in select London Tube Stations. To increase in-store christmas shopping period in London

3 4

•

£860

Monthly Cost

WEEK

= £8860,

ACTIVITY

DECEMBER

COST

• •

Competition winner announced via instagram stories to increase brand interest. Video promoted through Instagram & Youtube sponsored ads

•

Second set of micro and Macro inlfuencer products sent

• •

Influencer posts on instagram to increase online purchases worldwide Influencers: @Phoebelettice @blvkd0pe

•

IGTV compiliation of Influencer favuorite items for #LOVEFIORUCCI

£8,000

4 Monthly Cost

£860

£2200

£400

= £3,460

JANUARY WEEK

ACTIVITY

• •

•

COST

6th of January: New Collection Launch event invitation to influencers, models, celebrities. competition winners attend £5400 £840 Post-launch PR sent to select Macro-influencers : @wolfiecindy @jesshunt £8000

•

New Collection Available in-store and Online: promoted through IGTV story and instagram sponsored posts £300

•

10% off first orders applies & sign up to newsletter

4 Monthly Cost

£14,840 Table 5: Media Plan, 2020, This study

39.

MEASURING EFFECTIVENESS

Fiorucci will benefit from this campaign as the communications channels have been derived to directly and effectively reach existing, potential and new audiences to enlarge their customer base. The chosen forms of communication heighten Fiorucci’s brand image of nostalgia in a modern environment, excelling them into a premium streetwear brand postition. Effectiveness of the campaign will be measure through media monitoring and web traffic metrics such as site visits, return visits and interactions per visit as a result of digital marketing channels (Rositter et al., 2018). ”Value per visit” will then be calculated by the number of visits which led to a purchase, indicating the return on investment. 40.

Figure 45.

41.

LIST OF APPENDICES

APPENDIX A: Fashion Industry sales Growth 2020 (McKinsey, 2020)

APPENDIX B: McKinsey Consumer Shifts (McKinsey, 2020).

42.

APPENDIX C: MARKET SEGMENTATION (This Study, 2020). Demographic

Geographic

Behavioural

Psychographic

(Acorn, 2014)

(Page and Williams, 2011)

Students – ‘Financially Stretched’

•

Aged 18-24 Little income other than to fund their time at university Some in part-time jobs

•

Diverse ethnic mix

• •

•

Term-time terraces

•

• •

Halls of Residence Student Flats

•

• •

•

‘Socialising young renters’ • •

Post-graduates/ young millennials Aged 24-30

•

Most have a degree & executive jobs – although their incomes do not generally correspond with this Young millennial / Gen Y

•

• •

Young singles and sharers at the early stages of their career Approximately half will be buying flats and half will be renting flats

Extensive internet use for both leisure, studies and entertainment Online newspapers, film, computing, educational and style magazines are their preferred reading matter May take part in sports at university Have an interest in art and fashion, follow influencers, designers, models and celebrities on Instagram Prefer high-street brands e.g. Topshop but mostly shop online from sites such as prettylittlething, END, and Depop

•

• •

Classed as the ‘new conservatives’ embracing traditional beliefs, value the family unit and are self-controlled Values authenticity and realness Peer acceptance and belonging is important

• • •

Liberal social values Imaginative High levels of competence with technology

•

They look at online reviews before purchasing products

•

Don’t own cars, use public transport

•

Well-grounded and wise for their age

•

Have credit cards and have direct debits coming out of their accounts Switching financial products Share content and read online blogs Regularly shop online for food, takeaways etc. but also equally shop in store. Lives a young social lifestyle Goes out with friends regularly Health conscious & active Connected through social media e.g. Facebook, Instagram, Snapchat. Prefer High-street stores such as H&M, Topshop, Flannels.

•

Significant respect for ethnic and cultural diversity Have a heightened social awareness They value choice, personalisation, integrity, speed, entertainment and innovation Quite a loyal consumer group

• • • • • • • •

APPENDIX D: Rodger’s Adoption Model, 1971

43.

• •

• • • •

Learning orientated Value green living, the environment, social and ethical considerations

APPENDIX E: AIDA Model (Cope & Maloney, 2016)

APPENDIX F: Lavidge & Steiner, 1961

44.

APPENDIX G: Primary Market Research Questionnaire (This Study, 2020)

45.

APPENDIX H: Batra and Keller, 2016.

IMC Conceptual Framework

Factors That Affect Consumer Communication Processing

46.

APPENDIX I: Fiorucci Media Mix (This Study, 2020)

CURRENT MEDIA MIX PAID MEDIA • • • •

Promotional video featuring well-known models/celebrities Banners ads on Facebook and Instagram sponsored ads which link to the website Instagram pop up ads for featured products Magazine spreads and "Lookbooks"

EARNED MEDIA • • •

Magazine articles on Harper's Bazaar, Vogue, Business of Fashion, "Hypebae" Influencer relations brand mentions and social media buzz on instagram and increasingly on Tiktok

SHARED MEDIA • • • •

Tiktok: people wearing the brand on the app. Instagram promotions through sponsored posts Facebook Online personalised ads leading to the website

OWNED MEDIA • •

Website Social Media: Instagram and Twitter

(Business West, 2020)

APPENDIX J: COMPETITOR PROMOTIONAL VIDEO CAMPAIGNS • CALVIN KLEIN CK50 CAPSULE : https://www.youtube.com/ watch?v=oFcIrgzgRNs

APPENDIX K: Integrated MArketing Communications (Joseph, 2011)

47.

REFERENCES • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Acorn. 2014. The Acorn User Guide. [Online]. London: CACI. [Accessed 28th February 2020]. Available from: https://acorn. caci.co.uk/downloads/Acorn-User-guide.pdf Ang, L., Khamis, S. and Welling, R. 2017. Self-branding, ‘micro-celebrity’ and the rise of Social Media Influencers. Celebrity Studies. 8(2), pp.191-208. APC. 2020. APC Website. [Online]. [Accessed 24th February 2020]. Available from: https://www.apc.fr/wwuk Bateman, K. 2017. Remembering New York’s Fiorucci Store. New York Times. [Online]. [Accessed 24th February 2020]. Available from: https://www.nytimes.com/2017/09/19/t-magazine/fiorucci-new-york-store-history.html Batra, R. and Keller, K.L. 2016. Integrating Marketing Communications: New Findings, New Lessons and New Ideas. Journal of Marketing. 80, pp.122-145. Bolton, R.N., Hoefnagals, A., Migchels, N., and Parasuraman, A.P. 2013. Understanding Generation Y and Their Use of Social Media: A Review and Research Agenda. Journal of Service Management. 24(3), pp.245-267. Brownlees, T. 2020. Market Segmentation in the Fashion Industry. 440 Industries. [Online]. [Accessed 2nd March 2020]. Available from: https://440industries.com/market-segmentation-in-the-fashion-industry/ Business of Fashion. 2020. GCDS company information. [Online]. [Accessed 17th May 2020]. Available from: https://www. businessoffashion.com/organisations/gcds De Klerk, A. 2018. The Brand Fiorucci. Harper’s Bazaar. [Online]. [Accessed 24th February 2020]. Available from : https:// www.harpersbazaar.com/uk/fashion/fashion-news/a19416432/fiorucci-about-bio-history/ Endole. 2020. Endole Website. [Online]. [Accessed 17th May 2020]. Available from: https://suite.endole.co.uk/insight/company/08879062-aries-arise-ltd Hallam. S. 2019. Fashion Retailers KPI’s. Menzies. [Online]. [Accessed 24th February 2020]. Available from : https://www. menzies.co.uk/fashion-and-clothing-retailers-kpis/ https://journals.sagepub.com/doi/pdf/10.1177/0972150919880128 Influencer Marketing Hub. 2020. Influencer Marketing Website. [Online]. [Accessed 17th May 2020]. Available from: https://influencermarketinghub.com/how-much-do-youtube-ads-cost/ Johnston, F.M. 2019. Fiorucci: Delving into a Graphics Goldmine. Financial Times. [Online]. [Accessed 24th February 2020]. Available from: https://www.ft.com/content/744e597c-2a2a-11e9-a5ab-ff8ef2b976c7 Karola Karlson. 2020. Karola Karlson Website. [Online]. [Accessed 17th May 2020]. Available from: https://karolakarlson. com/instagram-ads-cost-and-bidding/ Lau, R. 2015. A New Perspective on Millennials. [Online]. [Accessed 1st March 2020]. Available from: http://www.oracle. com/us/industries/consumer/interbrand-cg-retail-cx-wp-2400662.pdf McKinsey & Company, 2019. The Influence of ‘woke’ consumers on Fashion. [Online]. [Accessed 3rd March 2020]. Available from: https://www.mckinsey.com/industries/retail/our-insights/the-influence-of-woke-consumers-on-fashion McKinsey & Company. 2020. The State of Fashion 2020. Business of Fashion. [Online]. [Accessed 3rd March 2020]. Available from: https://www.mckinsey.com/~/media/McKinsey/Industries/Retail/Our%20Insights/The%20state%20of%20fashion%202020%20Navigating%20uncertainty/The-State-of-Fashion-2020-vF.ashx Mintel. 2019. Consumer Trends 2030. [Online]. London: Mintel. [Accessed 29th February 2020]. Available from: https:// www.mintel.com/global-consumer-trends Ordun, G. 2015. Millennial (Gen Y) Consumer Behaviour, Their Shopping Preferences and Perceptual Maps Associated With Brand Loyalty. Canadian Social Science. 11(4), pp.40-45. Page, R.A. and Williams, K.C. 2011. Marketing to the Generations. Journal of Behavioural Studies in Business. 3(1), pp.1-18. Posner, H. 2015. Strategy, Branding and Promotion. 2nd ed. London: Laurence King Publishing. PVH. 2020. PVH Website. [Online]. [Accessed 1st March 2020]. Available from: https://www.pvh.com/brands/calvin-klein Sherman, L. 2016. Andrew Rosen Talks Trouble in the Contemporary Market. Business of Fashion. [Online]. [Accessed 24th February 2020]. Available from : https://www.businessoffashion.com/articles/intelligence/andrew-rosen-talks-trouble-in-the-contemporary-market Thalamus. 2020. Thalamus Website. [Online]. [Accessed 24th February 2020]. Available from: https://www.thalamus.co/ buyers/fiorucci Thangavel, P., Pathak, P., & Chandra, B. 2019. Consumer Decision-making Style of Gen Z: A Generational Cohort Analysis. Global Business. pp.1-19. Zoom Info. 2020. Zoom info website. [Online]. [Accessed 19th May 2020]. Available from: https://www.zoominfo.com/c/ daily-paper/369393906 Table 1. This Study. 2020. SWOT analysis. Table 2. This Study. 2020. Marketing Mix. Table 3. This Study. 2020. Marketing Mix Communication. Table 4. This Study. 2020. Budget Recommendation. Table 5. This Study. 2020. Media Plan. 48.

IMAGE REFERENCES • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Figure 1. Brinkworth. 2018. Fiorucci Store. [Online]. [Accessed 17th May 2020]. Available from: https://www.frameweb. com/news/glitter-neon-and-reflections-the-new-fiorucci-store-nods-to-the-brands-disco-past Figure 2. Brinkworth. 2018. Fiorucci Store. [Online]. [Accessed 17th May 2020]. Available from: https://www.frameweb. com/news/glitter-neon-and-reflections-the-new-fiorucci-store-nods-to-the-brands-disco-past Figure 3. Fiorucci. 2020. Fiorucci Flagship store. [Online]. [Accessed 17th May 2020]. Available from: https://www.fiorucci. com Figure 4. Theo Adams. 2018. Fiorucci Soho Outside. [Online]. [Accessed 17th May 2020]. Available from: https://www. theoadams.com/the-resurrection-fiorucci Figure 5. NY Times. 2016. Elio Fiorucci. [Online]. [Accessed 17th May 2020]. Available from: https://www.nytimes. com/2015/07/22/business/international/elio-fiorucci-whose-cherub-infused-temple-of-fashion-changed-retail-diesat-80.html Figure 6. Aaron Skipper. 2017. Aaron Skipper Photography. [Online]. [Accessed 17th May 2020]. Available from: https:// www.grafik.net/category/talent/aaron-skipper Figure 7. This Study. 2020. Brand Positioning Map.: Figure 8. Diesel. 2015. Jogg Jean Campaign. [Online]. [Accessed 17th May 2020]. Available from: https://thejeansblog. com/denim-campaigns/diesel-jogg-jeans-ss15-denim-campaign/ Figure 9. Kith. 2018. Kith 2018 denim campaign. [Online]. [Accessed 17th May 2020]. Available from: https://hypebae. com/2018/12/kith-winter-2018-campaign-levis-collaboration Figure 10. Calvin Klein. 2009. Eva Mendes Calvin Klein campaign. [Online]. [Accessed 17th May 2020]. Available from: https://www.express.co.uk/expressyourself/108480/Eva-Mendes-is-on-fire-in-sizzling-Calvin-Klein-shoot Figure 11. Levis. 2019. Levis 2018 campaign [Online]. [Accessed 17th May 2020]. Available from: https://www. thefashionisto.com/levis-spring-2019-mens-campaign/ Figure 12. Fiorucci. 2020. Fiorucci Website. [Online]. [Accessed 17th May 2020]. Available from: https://www.fiorucci.com Figure 13. Fiorucci. Circa.1970. Print ad. [Online]. [Accessed 17th May 2020]. Available from: https://www.fiorucci.com Figure 14. Sloan Laurits. 2018. Fiorucci Lookbook. [Online]. [Accessed 17th May 2020]. Available from: https://hypebae. com/2018/4/fiorucci-sarah-snyder-fall-winter-lookbook Figure 15. Figure 14. Sloan Laurits. 2018. Fiorucci Lookbook. [Online]. [Accessed 17th May 2020]. Available from: https:// hypebae.com/2018/4/fiorucci-sarah-snyder-fall-winter-lookbook Figure 16. Josh Wilks. 2018. Georgia May Jagger for Fiorucci. [Online]. [Accessed 17th May 2020]. Available from: https:// www.fiorucci.com Figure 17. Anon. 2019. Bella Hadid in Fiourcci. [Online]. [Accessed 17th May 2020]. Available from: https://www.dailymail. co.uk/tvshowbiz/article-6370821/Bella-Hadid-shows-toned-tum-Kendall-Jenner-make-casual-exits-Victorias-SecretShow.html Figure 18. Fiorucci. 2020. Fiorucci Instagram. [Online]. [Accessed 17th May 2020]. Available from: https://www.fiorucci. com Figure 19. Fiorucci. 2020. Fiorucci Instagram. [Online]. [Accessed 17th May 2020]. Available from: https://www.fiorucci. com/uk/ Figure 20. Fiorucci. 2020. Fiorucci Instagram. [Online]. [Accessed 17th May 2020]. Available from: https://www.fiorucci. com/uk/ Figure 21. Fiorucci. 2020. Fiorucci Instagram. [Online]. [Accessed 17th May 2020]. Available from: https://www.fiorucci. com/uk/ Figure 22. Fiorucci. 2020. London Store. [Online]. [Accessed 17th May 2020]. Available from: https://kitmapper.com/ projects/ Figure 23. Fiorucci. 1977. Fiorucci Jeans Promotion. [Online]. [Accessed 17th May 2020]. Available from: https://www. pinterest.co.uk/pin/142496775696277385/ Figure 24. She Soho. 2020. She Soho Bar. [Online]. [Accessed 17th May 2020]. Available from: https://www.she-soho.com Figure 25. Anon. 2020. Glitter Ball. [Online]. [Accessed 17th May 2020]. Available from: https://mylinde.wordpress. com/2017/11/03/lasercutter/ Figure 26. Charlotte Delassio. 2020. Charlotte Delassio Instagram. [Online]. [Accessed 17th May 2020]. Available from: https://www.instagram.com Figure 27. [Online]. [Accessed 17th May 2020]. Available from: Figure 28. This Study. 2020. LOVE Fiorucci Graphic. Figure 29. This Study. 2020. Product Mood board. Figure 30. This Study. 2020. Creative Material: Instagram 1. Figure 31. This Study. 2020. Creative Material: Instagram 2. Figure 32. This Study 2020. Creative Material: Instagram 3. Figure 33. Wonderland. 2019. Fiorucci X Ciroc Party. [Online]. [Accessed 17th May 2020]. Available from: https://www. wonderlandmagazine.com/2019/11/26/ciroc-fiorucci/ Figure 34. Fiorucci. 2002. Flagship Store. [Online]. [Accessed 17th May 2020]. Available from: 49.

• • • • • • • • • • •

Figure 35. Flo Kohl. 2019. Fiorucci x Adidas Launch Party. [Online]. [Accessed 17th May 2020]. Available from: https:// www.dazeddigital.com/fashion/gallery/26258/4/adidas-originals-x-fiorucci-party Figure 36. Brinkworth. 2018. Fiorucci Store. [Online]. [Accessed 17th May 2020]. Available from: https://www.frameweb. com/news/glitter-neon-and-reflections-the-new-fiorucci-store-nods-to-the-brands-disco-past Figure 37. This Study. 2020. Creative Materials: Instagram Influencer Profiles. Figure 38. This Study. 2020. Creative Materials: Instagram mock-ups. Figure 39. This Study. 2020. Creative Materials: IGTV mock-up. Figure 40. This Study. 2020. Creative Materials: Instagram sponsored mock-up. Figure 41. This Study. 2020. Creative Materials: Facebook video mock-up. Figure 42. This Study. 2020. Creative Materials: YouTube mock-up. Figure 43. This Study. 2020. Creative Materials: Website mock-up. Figure 44. Alexandra Leese. 2017. Fiorucci Holiday Capsule. [Online]. [Accessed 18th May 2020]. Available from: https:// www.instyle.com/fashion/fiorucci-holiday-capsule Figure 45. Alexandra Leese. 2017. Fiorucci holiday Capsule. [Online]. [Accessed 18th May 2020]. Available from: https:// www.instyle.com/fashion/fiorucci-holiday-capsule

50.