Nike project

NIKE DESN1658 GROUP PROJECT

Selina Bird Georgie Bleakley Keira Barnard Lydia Evans Saffron Clark

Word count: 3161

200953577 201058564 200936460 201049860 201047557

TABLE OF CONTENTS

01-02 I N T RO D U C T I O N 03-04 H I S T O R Y A N D E V O L U T I O N O F T H E B R A N D 05-06 M A R K E T P O S I T I O N I N G A N D TA RG E T M A R K E T 07 M A R K E T I N G M I X 08 P RO D U C T 09 P R I C E 10 P L AC E 11-12 P RO M O T I O N 13-14 C O M PA N Y T R A N S PA R E N C Y I S S U E S 15-16 C E L E B R I T Y E N D O R S E M E N T: L A N C E A R M S T RO N G 17-18 O S C A R P I S T O R I U S 19 C O N C L U S I O N 20-22 R E F E R E N C E L I S T 23-24 I L L U S T R AT I O N L I S T 25 A P P E N D I X

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INTRODUCTION

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“THEY CAN’T STOP WHAT THEY CAN’T CATCH”

A brand is recognised as ‘the unique added values attributed to a product or service; in order to establish a successful brand, these values are sustained in the face of adversity and competition (McDonald et al, 2001; Kotler and Armstrong, 2009); the discourse of this report intends to evaluate the extent to which Nike is a successful brand and whether it has protected its brand value (See Appendix 1) throughout its evolution despite company transparency issues, global economic trends and consumer trends.

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YOU SAID TOMORROW” “SWEAT IS THE BEST ACCESORY”

“RUN THE DAY, DON’T LET IT RUN YOU”

“STRONG IS THE NEW BEAUTIFUL”

“YESTERDAY

“THERE IS NO FINISH LINE”“RUNNING IS A GIFT”

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HISTORY AND EVOLUTION OF THE BRAND In America, Nike is labelled as a ‘love brand’ through the strong connection between the company and its consumers; through the brand’s evolution it has achieved respect, as well as being globally loved. This is considered the optimum relationship, building on emotional connections through senses (Kevin Roberts, no date). Nike’s brand relies on the emotional connection with sports, creating inclusive and empowering campaigns; ‘if you have a body, you are an athlete’ has inspired consumers and built brand loyalty (Sanusi et al, 2014).

This giant superbrand known today as Nike was founded by Phil Knight in 1964 as Blue Ribbon Sports and originally was set up as a distributor for Onitsuka Tiger. The name ‘Nike’ is derived from Greek mythology, the name given to the winged goddess of victory, a value which resonates throughout the brand. Nike has established its position as the leading sportswear brand in the world by strategic brand management (Nike Inc, no date); through the brands projection of performance and empowerment, Nike has differentiated itself within the competitive sports industry (Botti, 2014).

Nike is a global company and has become one of the most recognized brands worldwide; its brand represents the company’s strongest asset (Nike Inc, no date; Bhasin, 2017). This creates opportunities for the company to capitalise upon and leverage their brand identity to enable consistent, profitable growth and development. Nike carefully manages their brand portfolio; ‘We’ve been very strategic in adding dimension to the Nike Brand, making it a powerful and flexible engine for growth’ (Nike Inc, no date). Products are available under a number of brands which constitute Nike’s brand portfolio including Nike+, Hurley, Converse, Umbro and Nike Jordan each strengthening Nike’s ability to maximise its global reach and long-term growth (Nike Inc, no date); Nike serves as the brand portfolio’s ‘cash cow’ ensuring reliably high profits.

Nike is most renowned for its athlete signings and campaigns, most influentially their endorsement of the NBA rookie, Michael Jordan who pioneered the Nike legacy; collaborating to produce their infamous shoe-line Air Jordan. Today, Nike holds the top four athlete endorsement deals in sports history (Total Sportek, 2016).

Nike’s ‘Just Do It’ slogan has turned the company into a global brand (Tungate, 2012); created by Wieden and Kennedy in 1988, the slogan has served as an integral branding tool leveraging the deep emotional connection that people have with sport (Klein, 2000). Nike continues to proliferate their slogan, ‘almost 30 years later, the sportswear giant still uses the slogan that changed history’ (Sharkney, 2015); demonstrating the transcendent impact of the slogan due to its direct appeal to a sense of personal achievement (Steele, 2010). Nike’s highly emotive advertising is intertwined with the synonymous Swoosh logo which has become recognised as a symbol that stands for Nike’s brand values (Steele, 2010); the company quickly became conscious that the Swoosh transcended language barriers and was the perfect global branding device (Tungate, 2012). The Swoosh overtly fuelled brand loyalty and asserted Nike’s position as a brand icon; its brand power is the main contributor to its high revenues (Bhasin, 2017; Steele, 2010).

Nike’s brand evolution is highly recognised and respected, with significant developments throughout its establishment whilst importantly remaining consistent with its original brand identity (Botti, 2014). They created their first advertisement in 1982 and by 2002 they made their sports apparel debut by designing the kit for the Brazilian National football team, the 2002 World Cup champions (Fast Company, 2014).

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The ‘Swoosh’ Logo

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2002 World cup 3

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The largest category of revenue for Nike are sales to wholesalers holding 83.3% of revenue in 2012; However, this is declining and has dropped every year to 79.2% revenue in 2014 with Direct To Customer (DTC) sales increasing from 16.2% to 20.3% over the same period of time (Soni, 2014). This is advantageous for them as DTC sales provide higher margins, this could be down to the rise in costfree, direct marketing platforms through social media making it easier for the brand to target customers personally. Nike have create category-specific retail terminals by partnering up with retailers such as providing footwear for JD Sports and Foot Locker (Soni, 2014), therefore the brand has adapted to changing market environments and global trends, embracing new technologies and implementing new platforms to overcome local and global challenges (Chandiramani, 2014); Nike has achieved this through sustainable evolution of existing products and markets to create new products, thereby expanding its outreach (Chandiramani, 2014).

MARKET POSITIONING & TARGET MARKET Despite Nike’s well established position in the fashion industry, the company still identifies as a performance sports brand. Nike connects with its consumers through its apps thus building a strong brand rapport (Sanusi et al, 2014). The brand differentiates itself from competitors through its pushing of technological boundaries of innovation, typifying its brand concept (Sanusi et al, 2014); Nike continues to launch sports-focused innovations including their app which is “personalized to athletes everywhere” with a personalised feed of stories “created by world class athletes, experts and the Nike brand” (Business Wire, 2016). Nike is a lifestyle brand and they convey this message by immersing their customers completely with their marketing and products, creating brand experience stores exemplary in their NIKETOWN stores and Nike Soho.

Nike regard themselves as innovators of the industry and foster “a culture of invention” (Nike, 2017); their mission statement is “To bring inspiration and innovation to every athlete* in the world.” (Nike, 2017); Nike’s notion of ‘athletes’ is inclusive, referring to all their consumers. Nike’s three major target markets are women, young athletes and runners who each constitute a large part of Nike’s sales strategies (Soni, 2014; Lutz, 2015). Nike has capitalised upon the ‘athleisure trend’ among women in their 20s and 30s today this market sector is expected to add an additional $2 billion in additional sales (Lutz, 2015). The majority of Nike’s innovations are focused in the running category given that running constitutes Nike’s heritage, a huge part of their authentic brand identity (Lutz, 2015). “Nike’s high-performance athletic gear is mostly targeted at professional athletes” (Soni, 2014) compared to Adidas, their biggest competitor, whose apparel targets a greater demographic. For example, Adidas Originals are considered to be more urban and streetwear than that of performance based apparel. It is estimated that by 2020 consumers will become more health conscious therefore increasing demand for sports performance wear (IBIS World, 2017), opening opportunities for Nike to capitalise upon, leveraging the brand’s competitive advantage compared to its more fashion directed competitors (Botti, 2014).

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M I X

PRODUCT Nike offers shoes, apparel, equipment and accessories within its extensive product mix; Nike’s shoe offerings are the most popular products; Nike continues to expand its product mix and recognises the consumer demand for further market segments (Gregory, 2017). Additionally, Nike offers innovative products through their hi-tech gadgets offering unconventional capabilities for sportwear; their strong product offering generates a higher revenue from its competitors (Sanusi et al, 2014; Deng, 2009).

ARKETING Organisations depend on their reputation for survival and success (Chartered Institute of Public Relations, 2017) therefore, it is integral that companies manage all aspects of their branding. The marketing mix is an essential element of brand managing, ensuring the desired brand image is projected through all aspects of the company from advertisements to supply chains and store experiences; thus, a company creates a coherent and strong brand image through all of its channels and platforms.

Nike recognises the need to leverage core brand strengths and adapt quickly within the current market; the brand continues to focus on its competitive advantage by creating innovative products, telling compelling stories and seizing market opportunities to further increase competitive differentiation (Nike Inc, no date). Thus, Nike employs all aspects of the marketing mix including; product, promotion, place and pricing strategies in order to establish its world-recognised brand and differentiate itself within the ever more competitive retail industry. Nike relies on its marketing strategy to maximise its profits and expansion; recognising the brand’s global success and its industry leadership Nike successfully leverages its marketing strategy. (Gregory, 2017).

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Nike sells sportswear, shoes and equipment through globally located outlets; Nike distribution strategy includes retailers, Nike’s online store and Niketown retail outlets (Gregory, 2017). Nike leverages competitive advantage through its vertically integrated operations including marketing, manufacturing, designing and retailing processes under their own control; this enables Nike to examine consumer trends and implement new technologies (Bhasin, 2017).

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Nike incorporates a value-based pricing strategy to ensure monetary growth and profits; in order to define Nike’s pricing strategy, the company considers the consumer’s perception of the value of its products (Gregory, 2017). Nike intends to determine the maximum price which consumers are willing to pay for products, the associated intangible attributes and the service; thus emphasising the value and quality of products securing an inspirational, premium price point.

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PROMOTION Nike relies heavily on promotional investment in order to maintain and reinforce the brand’s strong image as well as communicate with its target market (Gregory, 2017). The company employs different aspects of the promotional mix to engage with consumers including advertising, personal selling, direct marketing, sales promotions and public relations. Nike utilises advertising as its main method to engage with the public; typically, Nike’s promotions endorse celebrities including athletes and sports teams (Gregory, 2017). These athletes have become brand characters who not only tap into consumer aspirations but also have established Nike’s position as a lovemark brand; through the brand’s associations with well-respected athletes and admired figures it has established high love and respect amongst its consumers.

Adverts intend to ‘make us feel special’ (Healey, 2008); Nike establishes this relationship and emotional value between the consumer and brand through its campaigns.

Nike’s adverts are consumer centric, connecting with consumers through their slogan ‘You can do it’; therefore, achieving a sense of consumer empowerment.

Strong brand image is associated with positive narratives which are projected through promotional means; intending that the ‘end result is an overall favourable image that remains in a recess in the consumer’s mind’ (Sherman and Perlman, 2010, p.13); Nike has instilled a sense of empowerment to the consumers through its direct slogans which resonate with the consumers endowing to Nike’s brand power.

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COMPANY TRANSPARENCY ISSUES Relentless scandals have hit Nike, with constant publications of sweatshop conditions clouding the brand’s image; in the late 1990’s Nike sales plateaued due to such revelations of starvation wages, child labour and exploitation of workers in their factories (Klein, 2000). The international antiNike movement typifies the growing distrust of the culture of corporate branding, and has become the most publicised brand based campaigns, carrying out global boycotts and protests against Nike’s Third World labour practices (Klein, 2000).

As the public started to discover the truth about the way Nike was manufacturing their products they began to buy from Nike’s main competitor, Adidas, meaning Nikes sales declined leading to huge cuts of staff and factory closures (Klein, 2000). The company’s CEO Phil Knight has recognised that consumers becoming more considerate of ethical issues; stating that “the Nike product had become synonymous with slave wages, forced overtime, and arbitrary abuse” he believes “the American consumer doesn’t want to buy products made under abusive conditions” (Nisen, 2013), thus he has worked to remove the synonymy.

Nike’s sweatshop scandals have been the subject of over 1,500 news articles (Klein, 2000); social media further proliferated the damage of Nike’s company image, not only have the public been made aware of scandals through globalisation but they have also been catalysts for the spread of the issues through sharing damaging business content thus changing consumer perceptions of the brand. Nike attempted to overcome their poor image by creating a vice president role for corporate responsibility and employing a team of PR professional who deal full

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time with sweatshop controversy and meet with local group’s redeveloping Nike’s corporate image (Klein, 2000).

It became apparent that Nike had become embroiled in a huge brand issue, “Nike wasn’t the only or worst company to use sweatshops. But it was the one everybody knew” (Nisen, 2013), thus severely damaging the brand’s loyalty and undermining their values. Nike’s public relations director attempted to dismiss the claims stating that Nike provided job opportunities for women and men in developing economies, offering a bridge of opportunity for these employees to have a better quality of life (Klein, 2000).

However, this did not lead to the demise of the brand; arguably this is due to Nike’s core demographic of thirteen to seventeen year olds who are less ethically conscious and are not concerned with the production practices thus continued to purchase from Nike (Klein, 2000). Nike ultimately took responsibility for this business disaster, an important aspect of successful crisis PR, and worked to rebrand themselves by publishing plans to improve working conditions, strict regulations on factory air quality and the use of harmful chemicals and ultimately promising not to employ children under the age of eighteen (Klein, 2000). Nike’s aggressive corporate responsibility agenda was issued in 1999, opening factories to outside health and safety monitors who independently asserted that working conditions were much improved; by the third quarter of that same year Nike’s profits were up by 70% demonstrating Nike’s ability to manage its brand and remain in the public’s favour despite controversies (Klein, 2000). Through the companies highly publicised efforts to advocate ethical production practices and redesign their streamlined distribution process, Nike could recover its brand image and become the biggest player in the sportswear industry with an annual revenue of 28$ billion (Tungate, 2012; Steele, 2010; Lutz, 2015)

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COMPANY ISSUES: CELEBRIT Y ENDORSEMENT

Despite Nike’s high brand power, the company has been involved in a number of controversies which the brand had to overcome in order to retain its position as one of the most renowned brand names. Nike uses sport celebrities to establish their brand identity (Klein, 2000); however, this can damage brand image when a scandal or controversy comes into the public domain. During 2012 and 2013, Nike faced consecutive brand backlash through its employment of celebrity endorsement this not only affected sales but also damaged consumer respect.

The first of these scandals to hit Nike centred upon Lance Armstrong, an American former professional cyclist, who was accused of doping and trafficking of drugs by the United States Anti-Doping Agency (USADA). Armstrong had been one of Nike’s long term sponsorships, the company stood with the cyclist throughout this career, once there was an ‘insurmountable amount of proof ’ that Armstrong had been involved, Nike ultimately terminated their contract with Armstrong in January 2012 and issued the following statement ‘Nike does not condone the use of illegal performance enhancing drugs in any manner... we remain saddened after being misled for more than a decade. Nike plans to continue support of the Livestrong initiatives created to unite, inspire and empower people affected by cancer’ (Nike News, 2013).

Nike utilises crisis PR in order to avoid backlash and evade responsibility; the statement posi-

tions Nike as the victim of the scandal; using empathetic language to retain respect amongst the public (McCarthy, 2013). Nike’s statement unites the brand and public in a common cause; by associating itself with Livestrong rather than Armstrong, it reinforces its brand values, expressing support for those who suffered as a consequence of his actions (McCarthy, 2013). Crisis PR is integral to the protection of a brand’s reputation; the public is the primary concern (Coombs, 2007); therefore, Nike have strategically dealt with and protected their brand image by issuing a statement dealing with the public interest and putting consumers at the heart of their concern. According to TBA Global’s Executive Vice President, Nike’s disassociation with Armstrong has actually made the brand stronger (Heitner, 2012); Nike has been able to overcome this brand issue and retain its high brand power (Bhasin, 2017).

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OSCAR PISTORIUS

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The second scandal for Nike occurred in February 2013 when the South African Paralympian Oscar Pistorius shot and murdered his girlfriend Reeva Steenkamp at their home. This was a particularly damaging for Nike as a brand due to their 2011 campaign with Pistorius using the slogan “I am the bullet in the chamber” aligned with their “Just do it” slogan and logo. Nike reacted rapidly to the news, dropping Pistorius and stating that ‘Nike has suspended its contract with Oscar Pistorius. We believe Oscar Pistorius should be afforded due process and we will continue to monitor the situation closely’ (Nike News, 2013). Nike has been criticised for the controversial slogan it used in the campaign which involved violent terms and images; causing criticism for Nike’s marketing team, arguing this was an insensitive use of language particularly given the issues of gun control raging in the US (Reynolds, 2013).

Nike emphasised the fact that this case was a police matter and therefore provided no further comments on the situation or their sponsorship, they justified their ‘no comment’ status regarding the matter by commenting there was an “issue at hand here which is much bigger than a sponsorship” (France-Presse, 2017); Nike again avoided culpability of the circumstance and expressed sympathy towards the situation. It is apparent Nike’s PR strategies have enabled the company to address controversies and issues salvaging any brand image damage that may have been incurred.

With the proliferation of celebrity endorsements in marketing, it is easier for companies to dissociate from celebrity issues (Rushton, 2013); with globalisation and increased social media coverage companies face increased backlash. However, with internet exposure consumers recognise that pinning a company’s reputation to a celebrity is a business risk (Rushton, 2013); consumers have become accustomed to company issues and concern themselves with the next criticism just as fast therefore Nike has been able to overcome criticisms through consumers’ expected company transparency.

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CONCLUSION

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Nike’s success is founded upon continuous revitalisation through adapted branding the company marginally adjusts its brand positioning in accordance with ever-changing consumer trends and values particularly in the face of company adversity (Botti, 2014). “The USP of Nike is not its ability to effectively innovate but in its understanding of how innovation can be used to reinforce its original associations” (Botti, 2014), therefore Nike has built brand loyalty through its consistent brand image which although has evolved has not lost its original identity values. Although Nike has faced brand integrity issues, there is no doubt it has been able to manage its image through its sustainable evolution of existing products and creation of new one to enforce its brand identity whilst developing it (Chandiramani, 2014). It is evident that despite global and economic challenges, Nike still reigns as the ‘King of the Superbrands’ (Klein, 2000).

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• Soni, P. 2014. NIKE’s Target Market Today And Tomorrow. Market Realist. [Online]. [Accessed 9 April 2017]. Available from: http://marketrealist.com/2014/12/ nikes-target-market-today-and-tomorrow/ • Stampler, L. 2017. Nike Reacts To Accused Murderer Oscar Pistorius’ ‘I Am The Bullet In The Chamber’ Ad. Business Insider. [Online]. [Accessed 29 April 2017].

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• Lutz, A. 2015. Nike is going after 3 kinds of customers. Business Insider. [Online]. [Accessed 29 April 2017]. Available from: http://uk.businessinsider.com/nike-is-going-after-3-kinds-of-customers-2015-4 • McCarthy, M. 2013. Nike, Oakley React to Oscar Pistorius Murder Charge. Advertising Age. [Online]. [Accessed 28 April 2017]. Available from: http://adage.com/article/news/nike-oakley-react-oscar-pistorius-murder-charge/239826/ • McDonald M, De Chernatony, L and Harris, F. 2001. Corporate marketing and service brands ‐ Moving beyond the fast‐moving consumer goods model. European Journal of Marketing. 35(3/4), pp.335-352.

• Nexis. 2016. Apple & Nike launch the perfect running partner. Nexis. [Online]. [Accessed 8 April 2017]. Available from: https://www.nexis.com/ results/enhdocview.do?docLinkInd=true&ersKey=23_T25873124484&format=GNBFI&startDocNo=0&resultsUrlKey=0_T25873124486&backKey=20_T25873124487&csi=424987&docNo=5 • Nike News. 2013. Nike Statement on Lance Armstrong January 17, 2013. [Online]. [Accessed 24 April 2017]. Available from: http://news.nike. com/news/nike-statement-on-lance-armstrong-january-17-2013 • Nike News. 2013. Nike Statement on Oscar Pistorius: February 20, 2013. [Online]. [Accessed 28 April 2017]. Available from: http://news.nike. com/news/nike-statement-on-oscar-pistorius-february-20-2013 • Nike, Inc. [no date]. A Growth Company. Nike Growth Story PDF. [Online]. [Accessed 27 April 2017]. Available from: http://media.corporate-ir.net/media_files/IROL/10/100529/nike-gs09/docs/nike-growth-story.pdf • Nike. 2017. About Nike - Company Profile. [Online]. [Accessed 8 April 2017]. Available from: http://about.nike.com/pages/company-profile • Nisen, M. 2013. How Nike Solved Its Sweatshop Problem. Business Insider. [Online]. [Accessed 16 Feb. 2017]. Available from: http://www.businessinsider.com/how-nike-solved-its-sweatshop-problem-2013-5?IR=T • Perlman, S and G.J, Sherman. 2010. Fashion Public Relations. New York: Fairchild.

• Reynolds, J. 2013. Oscar Pistorius dropped by Nike. Campaign. [Online]. [Accessed 28 April 2017]. Available from: http://www.campaignlive. co.uk/article/1171820/oscar-pistorius-dropped-nike • Roberts, K. [no date]. Future Beyond Brands. Kevin Roberts. [Online]. [Accessed 18 April 2017]. Available from: http://www.saatchikevin.com/ lovemarks/future-beyond-brands/ • Rushton, S. 2013. Nike’s bullet ad with Pistorius backfires. CNN. [Online]. [Accessed 28 April 2017]. Available from: http://edition.cnn. com/2013/02/14/business/pistorius-nike/ • Sanusi, M., Lazarev, A., Jorgensen, J.P. Latsanych, V and Badtiev, T. 2014. The Swoosh of Creativity. Business Today. [Online]. [Accessed 25 April 2017]. Available from: http://www.businesstoday.in/magazine/lbs-case-study/nike-marketing-strategies-global-brand/story/207237.html • Sharkney, L. 2015. Revealed: Nike’s ‘Just Do It’ Slogan Was Inspired By a Convicted Killer’s Last Words. The Independent. [Online]. [Accessed 17 April 2017]. Available from: http://www.independent.co.uk/life-style/fashion/news/nike-s-just-do-it-slogan-was-inspired-by-a-convicted-killer-s-last-words-10117596.html

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ILLUSTRATION LIST

Figure 1: Pinterest. 2017. [No title]. [Online]. [Accessed 28 April 2017]. Available from: https://www.pinterest.com/pin/251146116699289424/ Figure 2: Seeklogo. 2017. Logo Nike Just Do it. [Online]. [Accessed 29 April 2017]. Available from: https://www.seeklogo.net/fashion-beauty-logos/nike-just-do-it-43433. html Figure 3: Pinterest. 2017. [No title]. [Online]. [Accessed 28 April 2017]. Available from: https://uk.pinterest.com/pin/291889619573190134/ Figure 4: Le, T. 2013. Nike Swoosh Vector. [Online]. [Accessed 21 April 2017]. Available from: http://freevectorlogo.net/nike-swoosh-eps/60307 Figure 5: Deviant Art. 2014. Brazil - Champion World Cup 2002. [Online]. [Accessed 21 April 2017]. Available from: http://knupp.deviantart.com/art/Brazil-Champion-World-Cup-2002-462096995 Figure 6: Pinterest. 2017. [No title]. [Online]. [Accessed 29 April 2017]. Available from: https://www.pinterest.com/pin/393009504961966335/ Figure 7: Nike. 2017. Nike Air Huarache. [Online]. [Accessed 28 April 2017]. Available from: http://store.nike.com/gb/en_gb/pd/air-huarache-shoe/pid-11502295/pgid10956853 Figure 8: Nike. 2017. Nike Mercurial Superfly V FG. [Online]. [Accessed 28 April 2017]. Available from: http://store.nike.com/gb/en_gb/pd/mercurial-superfly-v-football-boot/pid-11391079/pgid-11842216 Figure 9: Nike. 2017. Nikecourt Zoom Vapor Flyknit Hard Court. [Online]. Accessed 28 April 2017]. Available from: http://store.nike.com/gb/en_gb/pd/nikecourt-zoomvapor-flyknit-hard-court-tennis-shoe/pid-11395644/pgid-11786646 Figure 10: Nike. 2017. Nike FI Flex. [Online]. [Accessed 28 April 2017]. Available from: http://store.nike.com/gb/en_gb/pd/fi-flex-golf-shoe/pid-11236842/pgid-11840522 Figure 11: Nike. 2017. Nike Sportswear Tech Fleece Windrunner. [Online]. [Accessed 28 April 2017]. Available from: http://store.nike.com/gb/en_gb/pd/sportswear-tech-fleece-windrunner-hoodie/pid-11327470/pgid-11839945 Figure 12: Nike. 2017. Nike Pro Classic Padded Metallic. [Online]. [Accessed 28 April 2017]. Available from: http://store.nike.com/gb/en_gb/pd/pro-classic-padded-metallic-support-sports-bra/pid-11462249/pgid-11841033 Figure 13: Nike. 2017. Nike Sportswear Vintage. [Online]. [Accessed 28 April 2017]. Available from: http://store.nike.com/gb/en_gb/pd/sportswear-vintage-hoodie/pid11488284/pgid-11991571

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Figure 14: Nike. 2017. Nike Air Crew. [Online]. [Accessed 28 April 2017]. Available from: http://store.nike.com/gb/en_gb/pd/air-crew-older-sweatshirt/pid-11196493/ pgid-11842278 Figure 15: Nike. 2017. Nike Breathe. [Online]. [Accessed 28 April 2017]. Available from: http://store.nike.com/gb/en_gb/pd/breathe-training-tank/pid-11315499/pgid11995868 Figure 16: Pinterest. 2017. [No title]. [Online]. [Accessed 28 April 2017]. Available from: https://uk.pinterest.com/pin/263601384416166906/ Figure 17: Pinterest. 2017. [No title]. [Online]. [Accessed 28 April 2017]. Available from: https://uk.pinterest.com/pin/360921357625761669/ Figure 18: Pinterest. 2017. [No title]. [Online]. [Accessed 28 April 2017]. Available from: https://uk.pinterest.com/pin/395402042274088621/ Figure 19: Pinterest. 2017. [No title]. [Online]. [Accessed 28 April 2017]. Available from: https://uk.pinterest.com/pin/499688521144696092/ Figure 20: International Biz. 2015. Nike accused of tolerating Sweatshops. [Online]. [Accessed 29 April 2017]. Available from: http://itsaninternationalthang.blogspot. co.uk/2015/06/social-responsibility-and-ngos.html Figure 21: WallpaperCave. 2014. Lance Armstrong Wallpapers. [Online]. [Accessed 29 April 2017]. Available from: http://wallpapercave.com/lance-armstrong-wallpaper Figure 22: Pinterest. 2017. [No title]. [Online]. [Accessed 29 April 2017]. Available from: https://www.pinterest.com/pin/239887117622590659/ Figure 23: Pinterest. 2017. [No title]. [Online]. [Accessed 29 April 2017]. Available from: https://www.pinterest.com/pin/363806476119830776/ Figure 24: BBC. 2013. Pistorius fall-out: The perils of sports sponsorship. [Online]. [Accessed 29 April 2017]. Available from: http://www.bbc.co.uk/news/business-21472843 Figure 25: Vimeo. 2013. Nike – Oscar Pistorius. [Online]. [Accessed 29 April 2017]. Available from: https://vimeo.com/46801353 Figure 26: Mybroadband. 2013. Nike drops Pistorius. [Online]. [Accessed 29 April 2017]. Available from: https://mybroadband.co.za/vb/content.php/6252-Nike-drops-Pistorius Figure 27: Pinterest. 2017. [No title]. [Online]. [Accessed 29 April 2017]. Available from: https://www.pinterest.com/pin/506232814352167656/

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APPENDIX APPENDIX 1:

BRAND IDENTITY PRISM

Empowerment Technology Precision Empirical Edgy

Physique Interactive Direct Marketing Community Humorous Inspirational

Equality Fitness Well-being Independent Supportive Positive Confident

Personality

NIKE

relationship

Customer reflection

Inclusive Self-motivated Healthy Independent Strong Self confidence

Culture

Iconic advertisement Professional Comfort Promoting empowerment Self-expression Abount the journey of being healthy and happy

Customer self-protection Respect cultures Confortable in your own skin Energetic Charismatic Motivated Confident

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