And the big issue is? by sophie marjoram

Sophie Marjoram N0368537 Negotiated Project Stage 2 FASH30002

6 10 34 62 66 70 74 82 136

THE BEGINNING THE SITUATION THE PROBLEM THE OBJECTIVES THE STRATEGY THE CREATIVE THE TREND

THE REINVENTION

THE FUTURE

he beginning

When The Big Issue first appeared on the streets, it was ‘one of the most dynamic and exciting publishing phenomenon’s of the 1990’s’ (Swithinbank 2002: xiv). The magazine ‘topped the 1997-98 circulation figures of weekly current affair magazines in the UK, with national sales of 280,000’ (Swithinbank 2002: xiv), showing an instant high demand from the public who were intrigued by the new ‘unique method of distribution’ (Swithinbank 2002: 440). The publication enabled the public to converse and create relationships with the homeless, as it acted as a successful blurring of the ‘identities and implications of charity’ (Llewellyn 2011: 160). No longer were the public throwing money down at a beggar’s feet, they felt like they were helping out a good cause and crossing off their good deed for the day.

However this phenomena could not last forever. Figures from the Big Issue show that in 2000 to 2011 circulation figures of the magazine fell from 266,060 to less than 125,000 (The Big Issue 2011: online), with a few halfhearted re-brands along the way, not slowing this decrease down. The Big Issue is struggling to survive along with many other print publications, with Mintel reporting a vast decline in ‘print circulation from1.3 billion in 2011 to 1.2 billion in 2012’ (Mintel 2013: online). A poor economy has left consumers cautious on how they spend their money. Market research firm Nielsen has quoted that ‘58% (of consumers) have cut back on expanding their wardrobes, 57% have cut out takeaways and 55% are switching to cheaper brands in the supermarket’ (Neate 2014: online).

This has also seen society choosing the internet for free, ever-updating content over physically buying print. The launch of free publications has further devastated The Big Issue - why pay for content when you can get it in the free Timeout magazine? Meanwhile internet shopping has lured potential magazine buyers away from the high street. John Bird, founder of The Big Issue believes another reason for the fall in circulation is due to the poor picture painted of the un-employed, thanks to programs like “Benefits Street” and media tales of vendors making money off The Big Issue yet also claiming benefits off the government, all leaving society with a less sympathetic view towards a disheveled rough sleeper (Lakhani 2011: online).

Figure 1: Phil Ryan and John Bird at The Big Issue office (Wikipedia, 1990)

Wharton (1992:4) quotes in his book on publishing, ‘magazines as originally conceived cannot go on for ever. Markets, tastes, interests, cultures, educational standards and technologies change at an ever increasing rate and in order to survive, a magazine must change as well.’ Considering The Big Issue has now been around for more than 20 years, the magazine has not seen seen a great deal of this change. When it came onto the scene in the 90’s it was labelled as ‘an archaic, streety, current affairs, youth publication with an attitude’(Swithinbank 2002: 68) making it “of the time” as the rise of youth culture was becoming prominent in the UK.

Young people were becoming increasingly concerned with progressive social change, celebrity culture and clubbing and The Big Issue was a voice on all of these matters, which is what made it so profoundly appealing to its readers (Swithinbank 2002: 68). As shown in the product lifecycle model below(see figure 2), this radicalism within a magazine is no longer appreciated by consumers and times have moved on, leaving The Big Issue behind and in its decline stage of its lifecycle. If nothing is done to change this, it will soon no longer have an existence in the market place.

This report will aim to address the demise of The Big Issue and offer appropriate solutions to bring the publication out of the decline stage, re-positioning it as a key consumer culture magazine. Research into why The Big Issue is not selling as much as its competitors will be undertaken, as well as exploring consumer perceptions towards the publication. From these key research insights a nascent strategy will be created that can be implemented by the company.

(Mootee 1990) Figure 2: Brand Lifecycle Model (Marjoram, 2014)

‘

Magazines are often described as “living entities” and viewed in this way, their survival depends on their ability to adapt to the constant changes with which all living things are faced

‘

(Wharton 1992:5)

he situation

Figure 3: Big Issue Vendor (Marjoram, 2014)

The Big Issues current offering The Big Issue has always been a completely unique kind of publication. Firstly the magazine is sold on the street by vendors, who are either homeless or unemployed, to passersby and secondly the magazine ‘starts from a social need, not a mainstream consumer need’ (Swithinbank 2002: 54).

This is achieved by the vendor buying their magazines for a price of £1.25 which they then sell on for the marked up price of £2.50, a ‘process which embodies social change by sheer virtue of what it does’ (Swithinbank 2002: 55).

The Big Issue magazine has a motto which it is extremely proud of - “A hand up, not a handout.” It is a product which is used as a mechanism to help the homeless or unemployed ‘win back some of the selfesteem they have lost…through self-help’ (Hanks 1997: 149).

Analysis of The Big Issue

Figure 4: Double Page Spread (The Big Issue: 2014)

Competitor analysis In order to gain an insight into the marketplace which includes The Big Issue and to gain an understanding of why the publication is losing out, it is important to look at the magazine’s competitors. The Big Issue names itself ‘a weekly current affairs and entertainment magazine’ (The Big Issue: online), however its rivals are really defined as other street publications.

As previously mentioned, The Big Issue’s competition, within the past 7 years, has got a lot more aggressive. 2007 saw the launch of free publications due to tighter consumer spending habits and having access to free content on the web. Firstly Shortlist appeared on the streets - which now owns the title of the biggest circulated mens lifestyle magazine (Press Gazette 2012: online) with its sister magazine “Stylist” following in its footsteps and launching in 2009. These two titles are the most popular free magazines, and improved figures of ‘overall print circulation in 2012 by 5% and 1% respectively’ (Mintel 2013: online).

The Evening Standard also noticed this change in spending habits and decided to turn the paper free, after 180 years of sales. Then in 2012 TimeOut followed, making all its location centric content gratis for its consumers, increasing the title’s ‘average circulation from 54,875 in 2011 to 305,433 in 2012’ (Mintel 2013: online). With ‘25% of adults having read a free magazine in the past six months’ (Mintel 2013: online), the knock on effect this has had on The Big Issue is apparent by the decreasing circulation figures.

Figure 5: Evening Standard Kiosk (Marjoram, 2014)

Analysis on the three most popular UK street publications are featured across the next pages...

Stylus

16 Figure 6: Double Page Spread (Stylist magazine: 2014)

Shortlist

18 Figure 7: Double Page Spread (Shortlist magazine: 2014)

20 Figure 8: Double Page Spread (TimeOut magazine: 2014)

â&#x20AC;&#x2DC;â&#x20AC;&#x2DC; What can The Big Issue take from its competitors?

- Consistent colour scheme if using block colours. -Think about having a consistent graphic line to carry the eye around the page. -Section the magazine so it flows well and also so readers can find specific bits they want to read. -A magazine works much better if you have a key target market in mind - the layout, aesthetics and tone of voice flow.

-Think about incorporating adverts discreetly into pages.

-Use a consistent header and body font.

-Use consistent column widths and a good grid system so everything looks in place - easier to read and more appealing to look at.

-Must have clear and strong contents page.

-Sharp and enticing features at the front which are shorter than articles at the back - the reader needs to be drawn in and this wonâ&#x20AC;&#x2122;t be done through long text based articles.

-Thicker and more textured paper creates a less throwaway magazine.

-23

Figure 9: Big Issue vendor on St Martins Lane (Marjoram, 2014)

So who is the current Big Issue consumer base?

the donator

Figure 10: Big Issue consumer with magazine (Marjoram, 2014)

The person who knows their vendor and buys their copy every week religiously - always puts bag down and gets purse out - sometimes ask for change off the seller as they know them well and are comfortable enough with them - stands around to chat - ‘I regularly buy the Big Issue, as I think it is a fantastic way of helping someone get back on their feet again. I also enjoy talking to Simon and he tells me about his week and what he’s been up to, so its nice to talk to someone like that. I don’t particularly like the magazine because I don’t think its aimed at people like me but its good to have a flick through.’

The person who has spare change from going into a shop and decides to spend it on The Big Issue as they come out - has the exact money ready and in their hand but sometimes does give more and doesn’t want change - doesn’t stop to talk very much an ‘“on the go action”. ‘I try to buy The Big Issue when I see my usual vendor at South Kensington, where I get off for work after buying a coffee. Yeah Ive’ got to be honest I buy an issue because I feel bad and I feel like I should help. I’ve never really read through a whole issue. The guy who stands there seems nice enough though and he’s always very grateful.’

: Big Issu

Figure 11

arjoram,

gazine (M

with ma onsumer

2014)

the socially conscious

the selfish spender

The person who is emotionally caught and surprised by the generosity/ kind hearted nature of the vendor or finds something they do/ say appealing (as they think they are all low lives usually) and decides to buy The Big Issue without realising how much it is - quite an awkward transaction as the sellers asks for £2.50 and the consumer thought it was about a £1 - sometimes only has a fiver and the seller doesn’t offer up change so easily so the consumer ends up saying ‘keep the change.’ ‘I was leaving the train station the other day, in Nottingham and The Big Issue seller offered to help carry my bag down the stairs. I thanked him and started to walk away but then thought I might buy a copy of his magazine. I got a pound out of my purse and went back to him, I was so shocked when the magazine was £2.50 but the seller was very thankful.’

29 Figure 12: Big Issue consumer with magazine (Marjoram, 2014)

The person who gives money but refuses to take the magazine. ‘I don’t think there is anything in the magazine for me but that chap is always friendly as we’re all rushing out the station, so I always try and give him a bit of money for his lunch or something.’

Figure 13: Big Issue consumer with magazine (Marjoram, 2014)

the contributor

‘‘ Conclusion on the consumers

As identified on the previous pages, The Big Issue has four main types of consumer which were identified from various primary research tasks (see appendix 4).

These consumers have all bought The Big Issue because they all have empathetic values, even if only for a split second at the point of purchase. Through this research document it is key to solve how to appeal to not only empathetic consumers but interest driven consumers as this will increase The Big Issue’s consumer base.

Aligning with one demographic would mean that the magazine would be a lot more focused and consumers of that age group would buy it out of interest. A key consumer to focus on would be the ‘socially conscious’ consumer (as shown on page 26). This consumer falls within Generation Y and has a genuine interest in the world around her socially, culturally and ethically. Aligning a magazine with Generation Y would be targeting an age range in work, gaining more disposable income and more inline with whats going on in the world around them than ever before (Gray 2013:online).

Also shown from the consumer profiles is that The Big Issue has no clear defined target audience. So when thinking about the future of The Big Issue, it is important to appeal to more consumers, but in a more targeted way.

Figure 14: Lady reading The Big Issue (Marjoram, 2014)

h e

o b l e m

a After assessing where the brand is situated at the moment it was important to identify the problems consumerâ&#x20AC;&#x2122;s felt towards The Big Issue. Gaining key consumer insights will help form valuable recommendations to secure the future of the publication. Listed in this section is a breakdown of 3 problems with The Big Issue, that were identified through research, with proposals on how to move f

w r o

Content Initially a range of online forums (see appendix 2), discussing The Big Issue were looked at and gave some key insights into why people donâ&#x20AC;&#x2122;t buy the magazine. The most prevalent topic on the forums was the poor quality of the content.

‘Whenever I’ve bought the magazine, it has always been out of sympathy for the vendor. I’ve hardly ever read the content, as I have come to learn that it is depressing, and geared towards social issues - eg the ‘Big Issue’ being about social deprivation. So more often than not, I’ve bought the mag, walked 20 paces to the nearest bin, and canned it. If the ultimate aim is to help the vendor, then it great journalism rather than efforts to build social awareness will get more dosh without a doubt.’

‘I think if Big Issue sellers actually sold the magazine by telling people what features are in it, I might actually buy it. It’s a lot better than...”it’s my last one pllleeeeaaaase buy it.’ ‘It doesn’t matter whether the mag is good or not....i would say it’s ok’ish.....what matter is i am prepared to hand over some cash to those who get off their backside as opposed to sending money to ‘faceless’ charity organisations.’

Which magazine? It was important to explore these comments about the content further, outside of a discussion environment, so primary research was undertaken. Stylus/ Shortlist, TimeOut and The Big Issue were placed in front of 3 consumers aged 20, 33 and 52. The front covers had been removed with any branding obscured and they were asked to look through each of the magazines. They then identified their favourite, second and least favourite magazine and a reason for why they placed each one in that order (see appendix 3 for full results). This gave an honest insight into what each consumer thought of each publication without having any connotations attached to what brand it was.

Figure 15: Assortment of magazines (Marjoram, 2014)

Which magazine? The results showed (see appendix: 3 for detailed results) that Stylist and Shortlist, depending on the sex, were always chosen as the consumerâ&#x20AC;&#x2122;s favourite magazine for reasons such as they were very clear and easy to read, the style of the magazine appealed to that specific gender and it was a very organised publication in terms of content and layout. The Big Issue came last, two out of three times for reasons such as the colour scheme seems tacky, the content is very mixed up - not sure what it is about and poor structure/ layout of the magazine.

These results conclude that The Big Issueâ&#x20AC;&#x2122;s magazine does not match the standard of current free publications. In order to change this the magazine needs to be more structured and organised, have a more clear focus to the content and decide who it is appealing too.

These results have been plotted onto a perceptual map alongside competitors identified in the previous “competitors” section. As the perceptual map highlights, the most popular free magazines have a more intelligent presence (visually and journalistically) and are verging towards being more interest specific. In order for The Big Issue to survive it must take inspiration from its free rivals and move into the space highlighted on the perceptual map but also must offer more. A consumer must feel like they are getting what they pay for and should primarily want to pay for the magazine. The Big Issue must start offering a point of difference from its free competitors.

In Mintel’s latest magazine report it was also stated that ‘Interestspecific magazines continue to dominate in 2013 with a market penetration of 37%’ (Mintel 2013: online) beating women’s glossy monthlys by more than 10%. This shows that by giving The Big Issue a more focused content, instead of trying to cover many topics (as shown in the analysis of the magazine), it may gain more of a loyal following.

high intelligent presence

general content

interest specific

-43

low intelligent presence Figure 16: Perceptual Map (Marjoram, 2014)

A good read? It was then key to identify if people who are active consumers of The Big Issue, are buying the publication for the content and because it is a good read or if they are doing it because of the charity. Rather than ask the consumer the question outright, which may not get truthful responses, ethnographical research was undertaken at two locations in London. One hour was spent in each location observing buyers of the magazine and then following them to see what they then did with their copy (see appendix: 4 for full results).

The results highlighted that The Big Issue’s consumers were mostly buying the magazine for charitable reasons. Non of the followed consumers really took the time to read their Big Issue magazine, one consumer read another purchased magazine instead and one left their copy on the tub. Obviously there are reliability issues surrounding this primary research task because they could take the magazine home and read it there however it would seem that if you bought a magazine in your lunch hour your intention would be to read it there and then. Another key pointer towards consumer’s not being fully satisfied with the content of the magazine. These two research tasks proved very insightful and it was concluded that content was a main driver behind the lack of Big Issue sales and the way to move The Big Issue forward would be to update its content and visual look.

45 Figure 17: Bartholomew’s Road Surface Map of London (Bartholomew, 1992)

Vendors A word association task was then carried out. This involved members of the public being asked to write down the first word that came into their mind when the phrase ‘The Big Issue’ was said to them (see appendix 5). The outcome was surprising and highlighted the immense negativity there is surrounding The Big Issue sellers. No words were linked to the magazine and the good it does to help the homeless, they were all about the act of how The Big Issue is sold. This then highlighted another reason why sales of The Big Issue are in decline. It became no longer just about the content of the magazine being poor, which was maybe a naive conclusion anyway, but about consumers’ initial negative perception surrounding the vendors which then prevents them from going anywhere near the magazine.

Figure 18: The general public, word association task (Marjoram, 2014)

nana pic

Why don’t you buy The Big Issue? When asking a varied range of consumers (who didn’t buy The Big Issue) through these various primary research tasks, ‘Why don’t you buy The Big Issue?’ 72% of respondents said it was due to the vendors (see appendix 6). 45% were women who stated: ‘Find the people who sell them intimidating and too pushy so I try to steer well clear.’

‘The sellers of the magazine are scary and I find the whole thing really awkward. They make me feel guilty for not buying it.’ ‘I do feel sorry for the people that sell the magazine but I would just never go up to them and buy it, it makes me feel so uneasy.’

‘I don’t know where my money is actually going when I buy The Big Issue, it might be funding a drug addiction.’ ‘Its because of the people who sell them. I hate how they just come in front of me when I’m trying to get somewhere and come right in my face. It makes me not want to buy it.’

Figure 19: The jolly Big Issue vendor (Marjoram, 2014)

Figure 20: The chatting Big Issue vendor (Marjoram, 2014)

27% were men who stated: ‘I just think the people who sell them are rude. A lot of them are foreigners, they smoke, they drink and yeah like I said sometimes just very rude when you do not buy the magazine.’ ‘I am a generous person, but I would rather give money to homeless charities, where I know the money is going to a good cause.’ ‘I don’t agree with the way the vendors guilt-trip people into buying something that probably isn’t worth reading.’

This shows that the main reason for consumers not buying the publication stems from negative perceptions of The Big Issue vendors. As this is the basis of The Big Issue and its self help prophecy this can never be changed so attempting to change consumer perceptions is the only way to over come this problem.

Changing consumer perceptions Obviously, this isnâ&#x20AC;&#x2122;t an easy thing to do, so looking into case studies and theories surrounding changing consumer perceptions has been carried out.

Many attempts at changing attitudes and perceptions, centre around the younger generations. The younger, the more impressional the brain is and the more open to understanding new ways of thinking will be accepted. A study on â&#x20AC;&#x153;how to change negative perceptions of unpopular animals in the USAâ&#x20AC;?(Rule 2012: 226) was conducted on children (see appendix 11.1 for case study), and proved very successful, concluding that learning about the natural history and lifestyle of an animal in visually appealing ways can change primary students liking for the animals (Rule 2012:226).

This is something that can be considered when thinking about how to change perceptions towards Big Issue sellers as a long term solution, as this re-brand must have lasting consequences. Also, targeting children and effectively making them feel positive towards Big Issue sellers would mean that they will influence their children and so on and so forth, having a knock on positive effect through generations of people.

Figure 21: The Big Issue - rebranding the vendors campaign. (M&C Saatchi, 2013)

Another case study to consider when thinking about changing consumer perceptions and attitudes is Public Health Campaigns, which are vital to making the public feel differently about harming their bodies. One of the most popular antismoking campaigns in the 1990’s “Don’t give up giving up,” (see appendix 11.2 for case study) effectively reduced smoking by ‘about 1.2% over 18 months’ (NHS 2004: 2).

Inspiration can be taken from this and applied to an advertising campaign for The Big Issue, which could consider using bold shock as an emotion to engage with its non-consumers. Previous ad-campaigns such as the recent M&C Saatchi attempt in 2013 (as seen below), have seen ad campaigns taking a more thought-provoking tone of voice to appeal to the public’s sympathetic side but maybe taking a more shocking approach, like the smoking adcampaigns, would have a more positive impact.

hown adjacent is the elaboration likelihood model of persuasion, which defines two processing routes on how consumer attitudes are formed and changed (Solomon 2013: 322). The central route on the model shows the path a receiving consumer would take when they care about the issue in hand and are able to understand it. For example, this would be the consumer who meets a friendly Big Issue seller in the street and decides to buy a magazine off him because they understand the vendor is trying to make a better life for himself and, in turn, they then think positively about the vendor. The peripheral path is chosen when the receiver has little or no interest for the subject and is not motivated to think deeply about the point presented.

In order to successfully persuade this consumer to think differently, the message must convey peripheral hints to something that the audience may already have a positive attitude towards. These could be cues as simple as ‘the products package, the attractiveness of the source, or the context in which the message is presented’(Solomon 2013: 323). If then these peripheral signals are accepted, the consumer will temporarily change their attitude towards it - which could then lead to a permanent attitude change but this is less likely to happen than a decision made with the central route. This indicates that a simple way of changing perceptions temporarily could be achieved by simply making the point of sale look more aesthetically pleasing and interesting.

Obviously this is why The Big Issue doesn’t tend to get many sales by the peripheral route as the vendors appearance doesn’t give consumers particularly positive peripheral hints. However assessing The Big Issue’s point of sale and thinking about how this could be improved, could give more of a chance of new consumers being persuaded to think differently about The Big Issue and it’s vendors and therefore buy the magazine. The content of the magazine must then surprise and engage, hopefully causing the consumers attitude to permanently change.

High-involvement processing

Cognitive responses

Belief and attitude change

Behaviour change

Attitude change

Central route Communication (source, message, channel)

Attention and comprehension

Peripheral route Low-involvement processing

Belief change

(Petty: 1980)

Figure 22: Magazine front cover (The Big Issue, 2014)

Point of sale Another problem highlighted when talking to consumers about why they don’t buy the publication, was the point of sale. Selling a magazine on the street, is a unique selling point for The Big Issue. Vendors can interact with their customers and make the experience of buying a lot more personal, however it can also be seen as a negative. Approaching consumers with something to sell, when it is not to satiate their demand can be deemed as annoying and unrelevant. A journal by Llewellyn (2011:172) who studied the act of giving, using The Big Issue as a case study, commented on how ‘the vendor’s engagement with society is one of extremes. He was the recipient of threats and insults and also casual and unsolicited acts of charity.’

.o.s

If an individual has values that align with The Big Issue - such as social change, helping out those less fortunate etc, then the magazine will appeal to them. However if an individual does not hold these values then, as Llewellyn states, they will have no want for the magazine and will take vendors approaching them and offering them the magazine as unfavourable. This is why The Big Issue only really reaches out to a market of people who are empathetic and have helping values.

Figure 23: Big Issue vendor and dog (Marjoram, 2014)

24% of questioned consumers said the reason for not buying The Big Issue was a matter relating to point of sale (see appendix 6). (This includes not knowing what is in the magazine or what its about because if it was on a shelf you would be able to look however because its in a vendor’s hands consumers feel they can’t.) ‘I don’t like taking something out of someones hands. I like to buy in my own time because then I can make proper decisions on what I want. I can’t look at what actually is in the magazine - so I will never buy it.’

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‘I don’t buy it because £2.50 is an awkward amount and I feel like I can’t ask for change.’ ‘Sometimes the magazines seem dirty and I just think where have they been!’ ‘I don’t know what is in the magazine so why would I buy it?!’ ‘I don’t think there is anything in their that I would want to read or that would appeal to me.’

A way of overcoming these problems could be to look at making a vendors pitch more static, something which consumers have to go up to themselves, so as not interfering in their lives. This would also enable consumers to look through the magazine and decide if the content appeals to them. It may also have knock on effects and also cause non- consumers of The Big Issue to think more positively about the vendors as they are no longer being unintentionally targeted, which is something Kachersky (2013) comments on, in the journal of consumer marketing ’merely communicating consumerrelevant performance enhances consumer perceptions of the brand.’

TRENGTHS -

A brand that helps homeless people out - not frivolous. A non profit organisation which puts all its money back into The Big Issue foundation. A well known brand identifiable worldwide. Strong ethical stance. Attracts good interviews and support from celebrities. Unique point of sale. Cheap and important labour force.

EAKNESSES -

The magazine was started on a social need not a mainstream consumer need - so only appeals to people who are socially conscious. Sold by the homeless - which some people find off putting. Point of sale can be obtrusive for some consumers as they are being pestered to buy. The public don’t know how The Big Issue works and have presumptuous bad perceptions of it due to lack of knowledge. The magazine is perceived as preachy and all about the homeless. £2.50 can be deemed as expensive for such a thin magazine. Consumers don’t like the idea of taking a magazine out of the vendors hands. No clear target market Possible consumers of the magazine have no way of telling whats in that months issue.

PPORTUNITIES -

Niche, interest specific magazines are on the rise - so The Big Issue could think about making the magazine more focused on one topic and more visually experiential. Up and coming generations are more socially conscious The Big Issue could focus on targeting these up and coming generations. Increasing number of homeless - more vendors & more sales.

HREATS -

The rise of free publications could lead to the extinction of The Big Issue. The digital age - will print publications be relevant anymore? This could leave the sellers out of a job. Bad press about Big Issue vendors / people claiming benefits. The recession has left consumers pessimistic when it comes to spending. Consumers have less disposable income and are more prude with their money and donâ&#x20AC;&#x2122;t see why they should help out the less fortunate when they have little money themselves. Less consumers shopping on the highstreet - less footfall passing by Big Issue sellers.

61 The SWOT concludes on what primary and secondary research has highlighted regarding The Big Issue. Identifying external opportunities and threats also provides an insight into how The Big Issue can move forward. Figure 24: Photograph of stacked up Big Issues (Marjoram, 2014)

the obj 62

ectives

Increase The Big Issue’s readership and circulation by widening The Big Issue’s consumer base.

Objectives

Aim &

01 02 Change the public’s perceptions of The Big Issue vendors.

Update the magazine’s content and aesthetics bringing it into the 21st century. Make The Big Issue better than it’s free competitors with a unique selling point.

Re-evaluate The Big Issue’s point of sale and make it more approachable for consumers and less threatening.

he strategy

How will the objectives be achieved? These objectives will be achieved by focusing on; the before, during and after purchase of The Big Issue. At the moment The Big Issue only interacts with consumers at point of purchase which, as became apparent in primary research, can be deemed as annoying and intimidating for some people.

(Edelman: 2010) Figure 25: Consumer decision journey (Marjoram, 2014)

Consumer selects brand at moment of purchase

â&#x20AC;&#x2DC;Marketers now recognise that consumer behaviour is an ongoing process, not merely what happens at the moment a consumer hands over moneyâ&#x20AC;&#x2122; (Solomon 2013: 6). So in order to gain a more long lasting and successful relationship with consumers The Big Issue needs to connect with them before, during and after purchase. This will educate the consumer on the brand, magazine and vendor before purchase therefore driving more sales at a revised point of sale and finally, leaving the consumer with an experience after purchase which will hopefully keep them coming back and catch them in the loyalty loop.

Risky strategy? As shown on the ANSOFF model, selling existing products to existing markets has a low risk attached to it. In order to increase market penetration several strategies can be implemented such as, increasing the quality, productivity and marketing. All of which will be covered in the Before, During and After strategy.

Figure 26: Desk space (Marjoram, 2014)

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(Ansoff: 1957) Figure 27: Ansoff model (Marjoram, 2014)

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The big creative idea is, to make consumers align more with the big issue and its sellers through storytelling. Educating them and thus creating deeper emotive ties between consumers and the brand. This idea came about when undertaking primary research on the streets of Nottingham and speaking to “James” a vendor based outside Marks and Spencer’s. After having one of the most interesting conversations about Jazz, Art and The Big Issue, the word association primary research task was undertaken and highlighted disappointing results.

It seemed so sad that people could have such low and negative points of views towards The Big Issue vendors when they hadn’t in fact ever given them the chance. “James” had also told me that the day before he had made £9 from sales which he then took to the charity shop up the road and bought an oil painting with! It made me think that if people just knew the stories behind the vendors and understood that they are just normal, interesting people then they wouldn’t feel so apprehensive towards them.

Figure 28: The man behind the jacket (Bartley, 2014)

‘

You might not wish to emulate the homeless by being … homeless but you would do well to emulate them in this way: by slowing down … then stopping … and taking the time for a long look around where you actually are, not where you think money might remove you to

‘

(Self 2013: online)

This trend derives from an over saturated marketplace. With many different strands of communication nowadays and every brand competing for a space within these strands the complexity of modern day an age is one that baffles many consumers.

The consequences of this trend are that brands are turning back to their roots and highlighting their provenance through meaningful brand storytelling. The vaster and more in-depth the background a brand has, the more truthful it is deemed.

The impact of this trend is the curious consumer. A consumer who is smart and searches around for authenticity in an over-saturated digital age. This consumers strives for something that is real and a brand who has a meaning deeper than all the competition. Consumers no longer want to buy a product just because, they want to buy into a lifestyle, idea or concept.

Figure 29: Trend Cartogram (Marjoram, 2014)

s can be seen from the trend cartogram, a lot of brands have already started using storytelling as an authentic way to engage with its consumers. Levis are leaders in the storytelling-ad-campaign market, creating moving ad campaigns which tell the story of what their products do and who they are in a humanised way. In 2010, Levi’s reported ‘an 8% increase in sales worldwide thanks to its “Go Forth” ad campaign’ (Cheyfitz 2010: online) which saw Levi’s teaming up with a town in the American Rust Belt, suffering immense decline through the collapse of the manufacturing industries. The campaign showed Levi’s tough spirit helping the town fight back and giving the people hope again.

Although there were many disputes about how real these stories being told were, it is still a strong example of how a brand has successfully engaged with consumers when giving itself a relatable narrative.

Figure 30: Levis go forth

campaign (Levis, 2011)

Another storytelling success is the “Humans of New York” blog (see appendix 11.3 for case study). With nearly four million followers on social media, “Humans of New York” provides a worldwide audience with daily glimpses into the lives of strangers in New York City’ (Brandon 2010: online). This has also been transferred into a number one selling book, showing the sheer amount of interest that the public has in the stories of strangers.

Figure 31: Humans of New York (Brandon, 2014)

‘‘ S

torytelling has already started to be seen in The Big Issue - in a section of the magazine named “Street lights.” This part of the publication is work submitted by homeless, ex-homeless and vulnerably housed people and features anything from artwork to poems.

age scans

p treet light

S Figure 32:

There is also a section called my pitch which is an interview with a vendor talking about how they became a Big Issue vendor and what it does for them. The Big Issue’s consumers act very positively towards this part of the magazine, writing in to say how interesting they found previous weeks sections.

78 (The

2014) Big Issue,

Figure 33: Street light page scans (The Big Issue, 2014)

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Figure 34: Street light page scans (The Big Issue, 2014)

These previous case studies validate the use of storytelling and show that consumers are interested in finding out the stories behind what they are experiencing. However it is important that when expanding on the storytelling theme, â&#x20AC;&#x153;Street lightsâ&#x20AC;? is used as a loose starting point and the storytelling doesnâ&#x20AC;&#x2122;t become too focused on the vendors themselves, as this will alienate a non-empathetic consumer. Instead the storytelling should be loosely based around The Big Issue and what they do, leaving a lot open to interpretation.

Figure 35: Lips speaking (Marjoram, 2014)

81 Figure 36: I tell a story, therefore I exist (Marjoram, 2014)

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App of where vendors are stood To tie in with the storytelling theme an app will be created which tells the stories and shows the journeys of vendors. This will use location services on smartphones to locate where the user is and then will provide them with a map (see figure 39 and 40), showing where the nearest vendors are. A consumer may be sat in Hyde Park, London eating their lunch, watching the world go by. She could then see a vendor and would be able to go on this app and identify what his story is and the journeys he has travelled today. It will show her when he picked up his Big Issues and where from, then the route he took to get to his pitch and how far he had to travel - maybe he walked, cycled, got the tube.

It will also show the vendorâ&#x20AC;&#x2122;s story (see figure 41 and 42). This could be why he started selling The Big Issue or something interesting that happened to him yesterday or how he spent his Big Issue earnings the day before. The vendor would have the opportunity to update his story how often or little he wants, so the more the creatively minded the vendor is, the more exciting story their would be to read! Who doesnâ&#x20AC;&#x2122;t like nosey-ing into someones lives whilst they eat their lunch and as shown in the Humans of New York case study (see appendix 11.3), the public do love stories of strangers.

Figure 38 - Mock up of iPhone homescreen with app (Marjoram, 2014)

Figure 39 - Mock up of app home screen Chancery Lane (Marjoram, 2014)

Figure 40 - Mock up of app home screen Oxford Circus (Marjoram, 2014)

Figure 41 - Mock up of app storytelling page Billy the vendor (Marjoram, 2014)

Word of mouth will pass round these interesting stories of the vendors and the lady sat in the park who found out that the vendor does tap dancing will go back to the office and tell everyone what she has found out and then a few people in the office will be inclined to download the app and then they will go home and as they are walking from the tube, find out their local town vendorâ&#x20AC;&#x2122;s story.

Figure 42 - Mock up of app storytelling page James the vendor (Marjoram, 2014)

Hopefully telling the vendorâ&#x20AC;&#x2122;s stories in this way and humanising them will make people feel more empathetic towards their situation and inclined to buy The Big Issue off them. Having a location centric app also turns The Big Issue vendor into a go-to location. When the special edition magazines start being sold, people will know exactly where to go to get them.

! !

Advertising campaign An advertising campaign, to promote the new storytelling app and to introduce The Big Issue’s storytelling theme will be created. It will be seen mostly in places used to commute eg. tube stations, train stations, bus stations etc but will be also seen in town centres. The campaign (see figure 44,45,46 and 47) will be in keeping with the storytelling trend and will use bold illustrations to challenge consumer’s current perceptions of Big Issue vendors, encouraging them to download the new app and prove themselves wrong. The adcampaign uses insights from primary research (see appendix 5) into the pre conceptions that consumers have of Big Issue vendors. These have been illustrated in quirky illustrations.

The boxing gloves (see figure 44) illustrate how consumers thought that vendors were aggressive. The needle (see figure 45) represents how consumers didn’t want to give vendors their money as they thought it would go on drugs and the Sloth (see figure 47) illustrates how Big Issue vendors are deemed as lazy for being homeless or not having a “real job.” Boldly challenging consumers in this way, to question their judgement of the vendors takes inspiration from the smoking ad campaigns as previously mentioned in the ‘vendors’ part of the report and also in the smoking case study (see appendix 11.2). By using shocking messages, the public will take notice and be intrigued by the storytelling app. Almost daring the consumers to download the app in this way will probe them to do so.

If the app is successful and receives a lot of downloads and interaction then slowly consumer’s perceptions will start to change. They will feel more positively towards the vendors once they know their story. Visual inspiration was taken from The Big Issues previous advertising campaign (see figure 43 to the right). Making the posters graphically on trend by using the mock-letterpress type and hand drawn images will also create publicity in the design world, as the previous Big Issue ad campaign did, causing people that interact with this world to take an interest and download the app. An inspiration moodboard can be found in appendix 12. (Two more mocked up posters can be seen in appendix 10.) The campaign will also be reeled across The Big Issues digital platforms such as Facebook and Twitter.

Figure 43: The Big Issue - rebranding the vendors campaign (M&C Saatchi, 2013)

Figure 44: New Big Issue ad campaign mock up (Marjoram, 2014)

Figure 45: New Big Issue ad campaign mock up (Marjoram, 2014)

Figure 46: Ad campaign on wall (Marjoram, 2014)

Figure 47: New Big Issue ad campaign mock up (Marjoram, 2014)

Instagram Instagram will be used as a main online tool to talk to consumers and get them involved with the brand, which is what The Big Issue is lacking at the moment. Instagram has been chosen as a key social networking platform to use for its ever increasing popularity. 2013 saw a 23% jump in users which raised Instagram’s following to more than 200 million (Smith 2014: online). With 43% of Top 100 brands posting daily on Instagram (Smith 2014: online), it is key that The Big Issue creates a voice on this platform.

An Instagram campaign will run alongside the special edition magazine every month. At the start of the month, next months theme of the magazine will be announced and followers will be asked to post their interpretation of the theme for a chance for their work to be featured in the issue (see figure 50). For example one theme may be “what is a home?” and Instagram users would be asked to interpret this in any way they like, inspiring all creatives to get involved.

Figure 48: Instagram Graphic (Marjoram, 2014)

Any winners will have their work featured in the next months magazine with a brief interview about them and how they have interpreted the theme - their “story behind their submission.” The competitions will be localised so as to create more personalised content within the magazines, in keeping with The Big Issue’s current different distribution outlets such as The Big Issue North and The Big Issue South West.

An example of a brand who have successfully used Instagram to involve their consumers is Ford Fiesta. In 2012 the brand started the first ever Instagram campaign called “#Fiestagram.” The idea was that every week for six weeks Ford released a new hashtag that its followers had to interpret with a photo (see appendix 11.4 for case study). By doing this Ford managed to innovatively create a larger community online and more importantly, they managed to successfully attract the attention of its new target demographic: fashion, style and technology trendsetters (Klamm 2012: online).

Taking inspiration from the “#Fiestagram” campaign, the storytelling campaign will be used to reach out to a more creatively driven target market, who go out and buy “interest specific” print publications every week. This is the target market we want to convert from buying “Kinfolk magazine” or “i-D magazine” to The Big Issue. By involving the consumer in the creative process of the magazine, it is putting them at the heart of the story which will inspire greater engagement with the publication.

Figure 49: Fiestagram Campaign (Ford, 2012)

#lightstories

Figure 50: The Big Issue competition brief on Instagram mock up (Marjoram, 2014)

Figure 51: #Lightstories mock up (Marjoram, 2014)

Figure 52: The Big Issue Instagram Feed mock up (Marjoram, 2014)

Figure 53: #Lightstories mock up on iPad (Marjoram, 2014)

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Figure 54: An entry to the ‘Light’ competition mock up (Marjoram, 2014)

Figure 55: An entry to the ‘Light’ competition mock up (Marjoram, 2014)

Figure 56: An entry to the ‘Light’ competition mock up (Marjoram, 2014)

If The Big Issue remains a constant presence on Instagram, they will soon see their follower count rise and gain more submissions every week, which will lead to more interest in the magazine and then hopefully more purchases.

A more detailed analysis of how success can be gauged can be found on page 136, in the ‘future’ section of the report.

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Educational Campaigns As previously mentioned a key way to change perceptions and attitudes is start with the younger generations. Taking inspiration from the case study “Changing negative perceptions of unpopular animals in the USA”(Rule 2012: 226) featured in “The Problem” section of this report, a recommendation for The Big Issue is that it should do outreach work within primary schools about what The Big Issue does and what the vendors are doing by selling the publication. Educating possible consumers from a young age will mean that they have more of an understanding of the publication and therefore have a completely different attitude towards the vendors.

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Primary research showed one participant responding on why they don’t buy The Big Issue with ‘I don’t know where my money is actually going when I buy The Big Issue, it might be funding a drug addiction,’ however if she had knowledge on The Big Issue she would know that to be a vendor you have to be completely clean, off drugs, and you see a doctor every month to ensure this. These educational campaigns could ensure consumers no longer have these false perceptions.

With the overall success of the animal study (see appendix 11.1) owing thanks too ‘learning about the natural history and lifestyle… in visually appealing ways’ (Rule 2012 :226) The Big Issue should take this on by running competitions throughout primary schools, for the students to produce posters which will advertise where their local vendor is based and what their story is. These could be done over a series of workshops with The Big Issue members of staff going in with a vendor once a week over a month long period. Please see educational teacher pack that comes with the report, for an example lesson plan.

Figure 57: Educational Campaign teachers pack (Marjoram, 2014)

Figure 58: Educational Campaign teachers pack (Marjoram, 2014)

during

A-boards A-boards (see figure 59 and 60) will be placed where the vendor is stood to show what is in the magazine. Primary research showed that one of the reasons for some consumers not buying The Big Issue is because they didn’t know what is in the magazine or they didn’t think what was in there would appeal to them. By showing off The Big Issue’s content in this way, consumers are more inclined to buy. Obviously carrying an A-board for a vendor is not always practical and may not be implemented for this reason, so instead A-boards could be placed at the entrance of tube/ train stations or in a central street of a town.

Figure 59: Vendor with A-board mock up (Marjoram, 2014)

Figure 60: A-board mock up (Marjoram, 2014)

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Take away content sheets “Take away” content sheets (see figure 61) will be a smaller version of an A-board but feature more writing. They will be in the format of an A4 tear off sheet which will feature all the best bits from that months magazine on it, with a few first lines of articles, tempting the consumer to go buy the copy. They will be displayed within buses/trains/ tubes (see figure 62 and 63) and would be a point of interest for a commuter/traveller to look at on their journey but then hopefully entice them into a purchase. The sheets will also be placed in university student union’s. They will come in a very aesthetically pleasing format in order to catch the eye.

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Figure 61: Tear away content sheets mock up (Marjoram, 2014)

Figure 62: Tear away content sheets on tube, mock up (Marjoram, 2014)

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Figure 63: Tear away content sheets on bus, mock up (Marjoram, 2014)

Revised point of sale As highlighted in primary research (see appendix 6), many problems surrounding The Big Issue’s current point of sale were halting sales of the magazine. Booth/kiosk Firstly, it became apparent that some consumers had a problem with going up to The Big Issue sellers and taking a magazine out of their hands.

It meant they a) couldn’t properly assess what was in the magazine and b) were intimidated by the sellers. Giving the vendors a kiosk of some type, will break up the face to face interaction between the consumer and vendor and will also create a place for the magazines to be placed where the consumer can look at them in their own time. It was first thought that a kiosk could be used which the vendor sits inside, however after watching the sellers at the Evening Post kiosk in Nottingham, Market Square, it seemed to alienate consumers even more.

There was also the problem of how would the Kiosk be transported there in the first place. Then the idea came of giving sellers a bike with a box attached on the back which the magazines could be sold from and stored in (see figure 64 and 65). Thus making it easier for the vendors to get around in and something interesting for consumers to approach. This idea takes inspiration from “Kamishibai” - Japanese style story telling out of the back of a bike.

Figure 64: The Big Issue Bike mock up with magazines (Marjoram, 2014)

Contact-less payment Secondly, installed onto the bikes there will be a contact-less payment option for consumers to pay with their phones or cards. This will enable a swift option of payment for consumers who donâ&#x20AC;&#x2122;t have the right change and who feel bad about asking for change back. It also brings The Big Issue into the 21st century and updates it from how it was first sold back in the 90s.

Figure 65: The Big Issue Bike mock up (Marjoram, 2014)

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Magazines in packaging Finally, The Big Issue will be presented in a clear plastic magazine bag (see figure 66). This will prevent any dirt getting onto the magazine whilst its in the vendors property and solve consumerâ&#x20AC;&#x2122;s concerns about a poor quality magazine. However one copy of the magazine will be left without a bag on, to encourage consumers to browse the issue and see if whats inside appeals to them.

Figure 66: The Big Issue in clear branded bag (Marjoram, 2014)

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after

The magazine Initially, The Big Issues content was going to be changed completely as this was something that was identified as a problem through primary research. However this is too much of a drastic step for the publication and the brand would never make that move for fear of alienating their current consumer base. Also the new magazine was going to be monthly, as it was going to be of a higher quality with more content which is not feasible to do every week. However this does not work for vendors as by the end of the second week, everyone who is going to buy the magazine has and they won’t make anymore sales, leaving the next two weeks a very dry period for money for the vendor.

A new proposal has been put in place - initially the monthly magazine will be an add on publication on top of the usual Big Issues and it will be sold on the last week of every month. This will happen for 6 months and then the success rate of the monthly special issue will be looked at. If there is a high success rate then this could become a more regular magazine or even replace the normal weekly magazines, but by testing the success first it means that The Big Issue will feel more confident in taking on this new way of thinking in its publication. Having the new publication as a monthly one off, will create a high demand to get the magazine within that one week it is being sold and will also create a PR buzz around The Big Issue, and may lead to increased sales of the normal weekly magazines too.

The monthly magazine will be aimed more at the young professional who is always on the go and likes things aesthetically pleasing. Following in the lead of ‘The Big Issue Taiwan,’ the magazine will aim itself towards the Generation Y consumer, a consumer more inline with whats going on in the world than ever before, with interests in the cultural and social aspects of their country. Generation Y are a skeptical generation interested in ‘brands that create a feelgood factor via personalised storytelling and a sense of authenticity’ (Gray 2013: online). The aim for this updated version of The Big Issue is to bring this to them.

Figure 67: The Dalai Lama interview (The Big Issue, 2012)

S S I IG

B HE

Case study The Big Issue in Taiwan is a more artistically driven magazine compared to The Big Issue UK. It covers a ‘broad range of topics, including global issues, arts and culture, green philosophy, business and technology’ (Aberhart 2011: online). Although like The Big Issue UK, the publication covers a lot of different topics, they are a lot more focused and inline with the modern day - the UK publication has no features on technology, green philosophy or business which are key issues that the modern citizen faces. The Big Issue Taiwan have identified their consumer, which is what makes the magazine a lot more successful than the UK version: the target demographic market are members of the socalled “Generation Y.”

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A T UE

By identifying who they want to reach out to they have been able to create a magazine with more streamline visuals and editorials, and interest specific content. The Big Issue Taiwan has a following of 144,100 (Facebook 2014: online) on Facebook which is always on the rise with a 0.8% rise over the past week. This is a strong figure compared to the UK’s poor 6,500 followers (Facebook 2014: online) on Facebook. With the Taiwan Big Issue still being sold monthly, some vendors have been known to sell ‘600-700 copies a month, making for a monthly income of over NT$30,000’ (Aberhart 2011: online), which is a lot more than the £9 James, the vendor outside M&S in Nottingham makes per day.

By aligning the new magazine with a clear target market in mind, The Big Issue can progress forward with a magazine which people want to buy for its content and aesthetics. There is also reason to support aligning with the “Generation Y” consumer and this is because The Big Issues current following on Facebook are mostly ’25-34 year olds’ (Facebook 2014: online) showing they are currently the keenest consumers to engage with The Big Issue. Its new brand positioning will be “a monthly provocation for independent minds and urban lifestyles.” This isn’t a complete change for The Big Issue as this is what the magazine was in the 90’s, so this strategy will just move it forward into the modern day as it has lost its way in previous years.

N A W I A

Figure 68: The Big Issue Taiwan Spread (The Big Issue Taiwan, 2011) Figure 69: The Big Issue Taiwan Front Cover (The Big Issue Taiwan, 2011)

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E V I T A

E R C T

As shown in â&#x20AC;&#x153;The trendâ&#x20AC;? part of the report, storytelling is something consumers are seeking from brands in this over saturated digital day and age. They want to be shown the provenance of what they are buying and understand it.

There has also been the success story of OWT creative, who decided to produce a zine for every month of the year with each one based solely around one theme. Artists then interpreted this theme they wanted and the zine became a colourful array of a whole story made up in different ways. The zines sold out every month and were in such high demand.

Inspiration will be taken from the OWT creative zines (see figure 70). Every month will have a different story which is told throughout the publication by all different types of people in all different ways. The magazine will have a different theme of story each month and it is up to contributors to portray it as they will. Each theme will be loosely related to matters surrounding The Big Issue vendors and things which they face/deal with every day. The publications will be something which enables the consumer to think differently about that topic and appreciate it wholly.

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Figure 70: OWT creative ‘Bon Voyage’ Zine (OWT creative)

Theme The first theme of the publication will be ‘Light.’ This is reflecting on what an important role light plays in someone’s life who is without a static home. We see light as an everyday thing, that is there whenever we need it. However for a homeless citizen it determines when they wake up, when they stop doing things for the day and how safe they feel. They appreciate light a lot more than we do. The publication will identify this but not dwell on it in a depressing way but just act as a celebration of light and how important it is.

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Here is an initial mind-map (see figure 71) of the theme of light, which helped me to gather inspiration for what people associate with light. These words were gathered by simply asking a range of people “what three words do you think of when I say the word light?” I then created a moodboard, a colour palette for the magazine, font which will be used and inspirational images.

Figure 71: Light moodboard (Marjoram, 2014)

127 Figure 72: Light Colour palette (Marjoram, 2014)

It is important to create a magazine that carries on engaging with the consumer after they have bought it home. In order to do this the magazine will feature interactive elements. There will be peel off stickers (please see the mock up magazine that comes with this document), scannable magazine elements to unlock video content (see figure 73) also including localised content (see figure 74) and offers in the magazine - adding an element of personalisation. The examples below are in the mock up magazine.

Scannable content RICHARD BRANSON talks on

flying at the speed of light

( s c a n R i c h a r d s fa c e f o r e x c l u s i v e b e h i n d t h e s c e n e s v i d e o f o o t a g e of thi s interview) When Virgin Galactic first broke the sound barrier it was one of the most exciting moments of our lives. It got me thinking about other barriers that will surely be broken in the future – especially the speed of light.

Albert Einstein’s theory of special relativity famously said nothing physical could break this barrier because the speed of light is a cosmic constant and to do so would mean travelling back in time. Since then, scientists at Cern have shown particles apparently travelling faster than light. If it’s possible with particles, who is to say it won’t be possible with spaceships one day? There’s nothing wrong with talking ahead of yourself!

Until then, it is worth remembering another famous Einstein line: “We all know that light travels faster than sound. That’s why certain people appear bright until you hear them speak.”

Figure 73: Scannable page in Light edition of The Big Issue mock up (Marjoram, 2014)

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Localised Instagram campaign t h i s m o n t h s i n st a g r a m w i n n e r i n l o n d o n i s

Hannah Marshall

Hannah, what does light mean to you? I see light as art. I think it is one of the most beautiful things on our planet and we take it for granted so easily. I use the over exposure tool to make the light really stand out from its background, just to show how strong and prominent it is in our lives.

* remember this page will be different in each region of the UK, so for your chance to be in your local Big Issue, head over to our Instagram and enter!

Figure 74: Instagram Competition winner in Light edition of The Big Issue mock up (Marjoram, 2014)

The paper of the magazine will also be thicker and of a rougher texture, as can be seen in the prototype magazine - symbolising the roughness and tactile qualities of being homeless or vulnerably housed. Using more tactile paper will create a magazine that is not so throw-away and consumers will want to hold on to it and read it. (This can be felt in the physical mock-up of the magazine).

Lastly, the monthly special edition Big Issue’s will become a collectable item for consumers. Encouraging them to come back month on month will be the promise that by collecting all of the issues, the magazines can then be laid out to create one ‘Big Issue’/ ‘Big Image’ (see figure 75), a piece of artwork which will lead consumers to take pictures and tweet about, Instagram about, creating another buzz around The Big Issue. These final touches will hopefully close the consumer within the loyalty loop of the consumer decision journey and keep them coming back month of month for their magazine.

Figure 75: dOCUMENTA 100-notes-100-thoughts (Leftloft, 2012)

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BEFORE PURCHASE

will be focused on changing consumer perceptions towards The Big Issue vendors. This will be done by educating consumers through:

An app showing where The Big Issue vendors are based, featuring stories of each one.

promotion

An advertising campaign.

Instagram campaign which will relate to the new magazine content - making consumers aware of what the new magazine is about and what will be in it. Educational campaigns throughout schools teaching children from a young age about The Big Issue and the work it does.

product

AFTER PURCHASE

will be focused on leaving the consumer with an experience to take away - something that leaves them engaged with brand and wanting more. This will be achieved with: A more interactive magazine monthly magazine - peel off stickers, tactile paper to make the magazine more engaging. More focused content in the magazine. Scannable magazine elements to unlock video content.

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Magazine will be a collectable item - spines stack up to create one ‘Big Issue’/ ‘Big Image’. Localised content and offers in the magazine - adding an element of personalisation.

(Eldmen: 2010) Figure 76: Consumer decision journey (Marjoram, 2014)

This model is a round up of the 360 degree strategy, presented on the previous pages. This will need to be implemented by The Big Issue in order to bring their publication out of decline. It also shows how the strategy follows the 5 P’s of marketing.

DURING PURCHASE

“Take away” content sheets - placed in tubes/ on buses/ within universities so consumers can read teasers of what is in the latest issue but they will have to buy the magazine for more information.

Contact-less payment installed to overcome the short change problem.

price

place

A-boards showing what is in each issue of the magazine placed near the vendor.

Revised POS: As an alternative to vendors approaching consumers in the street and making them feel uneasy, a booth or kiosk could be put in place for the consumer to approach.

people

will be focused on engaging with the consumer in a new way at point of sale. This will be done with:

The magazine wrapped individually in clear envelopes so the magazines keep clean and presentable.

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the

future

Reinvention launch timeline This timeline shows when the separate parts of this strategy should be implemented to achieve maximum impact. It is important that the Instagram campaign comes first to create a talking point and get people initially involved in The Big Issueâ&#x20AC;&#x2122;s revamp.

The diagram also illustrates timely goals for the future with a one year and two year plan of targets that should be achieved.

Thinking about the future of The Big Issue and how it can continue to stay current in the modern day is an important area to look at, as it needs to keep progressing as a company and publication. This new strategy cannot simply be a one off stunt which is not followed up.

EDUCATIONAL CAMPAIGN NEW POINT OF SALE IMPLEMENTED

CONTENT SHEETS & A-BOARD LAUNCH

ASSESS SUCCESS OF NEW MAGAZINE

LAUNCH OF NEW MONTHLY PUBLICATION

LAUNCH OF VENDOR APP LAUNCH OF AD CAMPAIGN

INSTAGRAM CAMPAIGN

6 MONTH

1 MONTH

1 WEEK

START

GOAL: 10,000 new Instagram followers. Sales of the special edition publication to of matched the sales of oridinary Big Issues in the one week that it is sold. Conversations online driven by consumers about the new magazine. Sales of the normal publication to of increased by 50% with new POS and storytelling app.

THE BIG ISSUE POP UP SHOP IN BOXPARK - SELLING THE CULT MAGAZINE AND OTHER ETHICALLY SOURCED PRODUCTS.

FULL UP AND RUNNING DIGITAL VERSION OF THE BIG ISSUE FOR DEVICE DOWNLOAD. WITH INTERACTIVE QUALITIES - ACTING AS A LEADER IN DIGITAL MAGAZINES

IF THE SUCCESS OF THE NEW MONTHLY PUBLICATION WAS GOOD LAUNCH AS THE MAIN MAGAZINE AND DISCARD THE OLD WEEKLY BIG ISSUE.

2 YEAR

1 YEAR

GOAL: Special edition magazine readership at 24000 (including paid for digital versions), back at what it was at its peak in 2000. Conversations online driven by consumers. Sales of the normal publication, steady and no longer in decline. Much more highly respected brand - moving into pop-up shops and interactive brand experiences.

GOAL: 20,000 Instagram followers. Special edition magazine readership at 125,000. Conversations online driven by consumers. Sales of the normal publication, steady and no longer in decline. 16,000 Instagram submissions.

Conclusion The concept of this research document was to reinvent The Big Issue, ensuring its future as a publication. Within this task key goals were identified from research insights, which needed to be met to ensure the regrowth of The Big Issue, these were - change consumer perceptions of the vendors, update the magazine’s content and aesthetics and make The Big Issue’s point of sale more approachable for consumers. These goals have been achieved through a detailed three step plan focusing on before, after and during purchase.

Each stage was clearly mapped out and has a number of creative outcomes to inspire and engage the consumer. Obviously a lot of these ideas do not take into account the tight budget that The Big Issue works with. The magazine as it is at the moment is produced in such a way so it is of minimal cost to make, so creating a higher quality magazine, supplying vendors with bikes, sending out-reach officers into schools is all very costly and time consuming but it is what needs to be done to help The Big Issue achieve its full potential. The proposed strategy can be broken down into manageable portions and executed one section at a time.

The Big Issue has been pushed forward into the 21st century with this new strategy with a consistent ‘storytelling’ message throughout all of its consumer touch points, in keeping with the brands ethical stance. Realistic goals have been set to show how the publication can continue to expand their presence well in to the future.

£2.50

England

theissue light

139

Figure 77: Front cover of ‘Light’ edition of The Big Issue (Marjoram, 2014)

A hand up. Not a hand out.

No. 001 July 2014

illustrations references bibliography

... page 144 -147

... page 148-149 ... page 150- 154

list of illu Figure 1 - Wikipedia, 1990. Phil Ryan (right) and John Bird at The Big Issue office in Richmond in 1990. [Photograph]. [online] Available at: http://en.wikipedia.org/wiki/File:John_Bird_and_Phil_Ryan_Big_Issue_ office_Richmond_1990.jpg [Accessed 28 March 2014] Figure 2 - Own drawing, 2014. Brand Lifecycle model. [Drawing].

Figure 3 - Own Image, 2014. Big Issue vendor outside burlington house. [Photograph]. Figure 4 - The Big Issue, 2014. The Big Issue magazine scan. [Photograph]. Figure 5 - Own Image, 2014. Evening standard kiosk. [Photograph]. FIgure 6 - Stylist magazine, 2014. Stylist magazine scan. [Photograph]. Figure 7 - Shortlist magazine, 2014. Shortlist magazine scan. [Photograph]. Figure 8 - TimeOut magazine, 2014. TimeOut magazine scan. [Photograph]. Figure 9 - Own Image, 2014. Big Issue vendor on St Martins Lane. [Photograph]. Figure 10 - Own Image, 2014. Big Issue consumer after buying the magazine. [Photograph]. Figure 11 - Own Image, 2014. Big Issue consumer after buying the magazine. [Photograph]. Figure 12 - Own Image, 2014. Big Issue consumer after buying the magazine. [Photograph]. Figure 13 - Own Image, 2014. Big Issue consumer. [Photograph]. Figure 14 - Own Image, 2014. Lady reading The Big Issue. [Photograph]. Figure 15 - Own Image, 2014. Assortment of magazines. [Photograph]. Figure 16 - Own Image, 2014. Perceptual Map. [Graphics]. Figure 17 - Bartholomew, 1992. Bartholomewâ&#x20AC;&#x2122;s Road Surface Map of London. [Graphics]. [online] Available at: http://www.roadswerenotbuiltforcars.com/wood/ [Accessed 28 March 2014] Figure 18 - Own Images, 2014. The general public word association task. [Photograph]. Figure 19 - Own Image, 2014. The jolly Big Issue vendor. [Photograph]. Figure 20 - Own Image, 2014. The chatting Big Issue vendor. [Photograph]. Figure 21- M&C Saatchi, 2013. The Big Issue - rebranding the vendors campaign. [Graphics]. [online] Available at: http://uk.phaidon.com/agenda/design/articles/2013/march/13/big-issue-sellers-make-theirown-ads/ [Accessed 25 April 2014] Figure 22 - The Big Issue, 2014. Magazine front cover scan. [Photograph]. Figure 23 - Own Image, 2014. Big Issue vendor and dog. [Photograph]. Figure 24 - Own Image, 2014. Photograph of stacked up big issues. [Graphics]. Figure 25 - Own drawing, 2014. Consumer decision journey. [Drawing].

ustrations Figure 26 - Own Image, 2014. Desk space. [Photograph].

Figure 27 - Own graphic, 2014. Ansoff model. [Graphics].

Figure 28 - Thom Bartley, 2014. The man behind the jacket. [Photography]. [online] Available at: http:// thombartley.wordpress.com [Accessed 15 March 2014] Figure 29 - Own Image, 2014. Cartogram on the wall - created by me. [Photograph].

Figure 30 - Levis, 2011. Levis go forth campaign. [Photographs]. [online] Available at: http://thestylistadiaries.blogspot.co.uk/2010/07/ready-for-work.html [Accessed 5 March 2014] Figure 31 - Brandon, 2014. Humans of New York. [Photographs]. [online] Available at: http://www.humansofnewyork.com [Accessed 5 March 2014] Figure 32 - The Big Issue, 2014. Street light page scans. [Photographs]. Figure 33 - The Big Issue, 2014. Street light page scans. [Photographs]. Figure 34 - The Big Issue, 2014. Street light page scans. [Photographs]. Figure 35 - Own Image, 2014. Lips speaking. [Drawing and graphics]. Figure 36 - Own Image, 2014. I am a story, therefore I exist. [Drawing]. Figure 37 - Own Image, 2014. Someone reading The Big Issue. [Photograph]. Figure 38 - Own Image, 2014. Mock up of iPhone home screen with app. [Graphics]. Figure 39 - Own Image, 2014. Mock up of app home screen - Chancery Lane. [Graphics]. Figure 40 - Own Image, 2014. Mock up of app home screen - Oxford Circus. [Graphics]. Figure 41 - Own Image, 2014. Mock up of app storytelling page - Billy the vendor.[Graphics]. Figure 42 - Own Image, 2014. Mock up of app storytelling page - James the vendor. [Graphics]. Figure 43 - M&C Saatchi, 2013. The Big Issue - rebranding the vendors campaign. [Graphics]. [online] Available at: http://uk.phaidon.com/agenda/design/articles/2013/march/13/big-issue-sellers-make-theirown-ads/ [Accessed 10 April 2014] Figure 44 - Own Image, 2014. New Big Issue ad campaign mock up. [Graphics]. Figure 45 - Own Image, 2014. New Big Issue ad campaign mock up. [Graphics]. Figure 46 - Own Image, 2014. Ad campaign on wall. [Photograph]. Figure 47 - Own Image, 2014. New Big Issue ad campaign mock up. [Graphics]. Figure 48 - Own Image, 2014. Instagram Graphic. [Graphic]. Figure 49 - Ford, 2012. Fiestagram Campaign. [Graphics]. [online] Available at: http://instagramers.com/ destacados/fiestagram-ford-contest-in-instagram/ [Accessed 19 March 2014] Figure 50 - Own Image, 2014. The Big Issue competition brief on Instagram mock up. [Graphics].

list of illu Figure 51 - Own Image, 2014. #Lightstories mock up. [Graphics].

Figure 52 - Own Image, 2014. The Big Issue Instagram Feed mock up. [Graphics]. Figure 53 - Own Image, 2014. #Lightstories mock up on iPad. [Graphics].

Figure 54 - Own Image, 2014. An entry to the ‘Light’ competition mock up. [Graphics]. Figure 55 - Own Image, 2014. An entry to the ‘Light’ competition mock up. [Graphics]. Figure 56 - Own Image, 2014. An entry to the ‘Light’ competition mock up. [Graphics]. Figure 57 - Own Image, 2014. Educational Campaign teachers pack. [Photograph]. Figure 58 - Own Image, 2014. Educational Campaign teachers pack. [Photograph]. Figure 59 - Own Image, 2014. Vendor with A-board mock up. [Graphics]. Figure 60 - Own Image, 2014. A-board mock up. [Graphics]. Figure 61 - Own Image, 2014. Tear away content sheets mock up. [Graphics]. Figure 62 - Own Image, 2014. Tear away content sheets on tube, mock up. [Graphics]. Figure 63 - Own Image, 2014. Tear away content sheets on bus, mock up. [Graphics]. Figure 64 - Own Image, 2014. The Big Issue Bike mock up with magazines. [Graphics]. Figure 65 - Own Image, 2014. The Big Issue Bike mock up. [Graphics]. Figure 66 - Own Image, 2014. The Big Issue in clear branded bag. [Photograph]. Figure 67 - The Big Issue, 2012. The Dalai Lama interview. [Photograph]. [online] Available at: http://www. bigissue.com/mix/latest-issue/1160/issue-1007 [Accessed 19 March 2014] Figure 68 - The Big Issue Taiwan, 2011. The Big Issue Taiwan Spread. [Graphics] [Online] Available at: http://blog.shao-yen.com/2011/01/07/the-big-issue-taiwan/ [Accessed 1 March 2014] Figure 69 - The Big Issue Taiwan, 2011. The Big Issue Taiwan Front Cover. [Graphics] [Online] Available at: http://pagetsou.blogspot.co.uk/2011/06/page-x-big-issue-taiwan.html [Accessed 12 April 2014] Figure 70 - OWT Creative. Bon Voyage Zine. [Photographs] [Online] Available at: http://www.owtcreative. com/voyage.html [Accessed 22 March 2014] Figure 71 - Own Image, 2014. Light Moodboard. [Photograph] Figure 72 - Own Image, 2014. Light Colour palette. [Graphics] Figure 73 - Own Image, 2014. Scannable element in Light edition of The Big Issue mock up. [Graphics] Figure 74 - Own Image, 2014. Instagram Competition winner in Light edition of The Big Issue mock up. [Graphics] Figure 75 - Leftloft, 2012. dOCUMENTA 100-notes-100-thoughts. [Scanned in photograph] Figure 76 - Own Image, 2014. Consumer decision journey. [Drawing]

ustrations Figure 77 - Own Image, 2014. Front cover of ‘Light’ edition of The Big Issue. [Graphics] Figure 78 - Own Image, 2014. Shortlist magazine. [Photograph]

Figure 79 - Own Image, 2014. Male respondent looking over publication. [Photograph]

Figure 80 - Own Image, 2014. Female respondent looking over publication. [Photograph] Figure 81 - Own Image, 2014. Young Female respondent looking over publication. [Photograph] Figure 82 - Own Image, 2014. Vendor at Burlington house shown on map. [Graphics] Figure 83 - Own Image, 2014. Vendor at Burlington house shown on map. [Graphics] Figure 84 - Own Image, 2014. Vendor at Burlington house shown on map. [Graphics] Figure 85 - Own Image, 2014. Vendor on St Martins Lane shown on map. [Graphics] Figure 86 - Own Image, 2014. Vendor on St Martins Lane shown on map. [Graphics] Figure 87 - Own Image, 2014. Word association task - gained answers. [Photograph] Figure 88 - Own Image, 2014. Infographic of why people don’t buy The Big Issue. [Graphics] Figure 89 - Own Image, 2014. Mood board of the theme ‘Light’. [Graphics] Figure 90 - Own Image, 2014. Mood board with text of the theme ‘Light’. [Graphics] Figure 91 - Own Image, 2014. Mock up of ‘Light’ edition’s front cover. [Graphics] Figure 92 - Own Image, 2014. Mock up of ‘Light’ edition’s front cover. [Graphics] Figure 93 - Own Image, 2014. Mock up of ‘Light’ edition’s front cover. [Graphics] Figure 94 - Own Image, 2014. Moodboard of next months ‘Home’ edition. [Graphics] Figure 95 - Own Image, 2014. Moodboard of next months ‘Home’ edition. [Graphics] Figure 96 - Own Image, 2014. Colour palette of ‘Home’. [Graphics] Figure 97 - Own Image, 2014. Moodboard of next months ‘Home’ edition. [Graphics] Figure 98 - Own Image, 2014. Mock Up of Print campaign. [Graphics] Figure 99 - Own Image, 2014. Mock Up of Print campaign. [Graphics] Figure 100 - Own Image, 2014. Ad campaign inspiration mood board. [Graphics] Figure 101 - Own Image, 2014. Report layout inspiration mood board. [Graphics] Figure 102 - Own Image, 2014. Magazine layout inspiration mood board. [Graphics]

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WEBSITES: Aberhart, G., 2011. A Street Magazine for the Age of Fools-- Fines Lee and The Big Issue. [online]. Taiwan: Taiwan Panorama. Available at: http://www.taiwan-panorama.com/en/show_issue. php?id=201170007048e.txt&table=3&cur_page=1&distype=text. [Accessed 2 April 2014]. Andrews, M., 2000. The Big Issue: An experts view - The relaunched magazine is eye-catching and informative. [online] London: Campaignlive. Available at: http://www.campaignlive.co.uk/news/36203/ [Accessed 18 March 2014]. Annear, S., 2013. Signs for the homeless brings recognition to often ignored population. [online] Boston: Boston magazine. Available at: http://www.bostonmagazine.com/arts-entertainment/blog/2013/08/07/ signs-for-the-homeless-tumblr-kenji-nakayama/ [Accessed 14 February]. BBC, 2003. Are Yorkâ&#x20AC;&#x2122;s big issue vendors an exception? [online]. London: BBC. Available at: http://www. bbc.co.uk/northyorkshire/have_your_say/big_issue/index.shtml [Accessed 24 February]. Berry, K., 2014. Shoppable storytelling [online]. London: WGSN. Available at: http://www.wgsn.com. ezproxy.ntu.ac.uk/content/report/HBL/Retail/2014/February/shoppable-storytelling--retail-best-practice. html [Accessed 28 March 2014]. Bird, J., 2012. Does it help to turn the homeless into wi-fi hotspots? [online] London: John Bird. Available at: http://johnbird.co.uk/does-it-help-the-homeless-to-turn-them-into-wi-fi-hotspots/ [Accessed 14 February]. Bird, J., 2012. Poverty is not a failure of capitalism but its backbone [online] Ceasefire magazine. Available at: http://ceasefiremagazine.co.uk/john-bird-poverty-failure-capitalism-backbone/ [Accessed 14 February]. Brammall, S., 2014. Alison Steadman and other celebs sell the big issue. [online]. London: The Big Issue. Available at: http://www.bigissue.com/the-mix/news/3494/alison-steadman-and-other-celebs-sell-thebig-issue [Accessed 14 February]. Brandon, 2010. Humans of New York [online]. New York: Humans of New York. Available at: http://www. humansofnewyork.com/about [Accessed 18 March 2014]. Burns, A., 2014. Sir Alex Ferguson picks up his big issue. [online]. London: The Big Issue. Available at: http://www.bigissue.com/the-mix/news/3519/sir-alex-ferguson-picks-up-his-big-issue# [Accessed 14 February]. Cheyfitz, K., 2010. To sell jeans, Leviâ&#x20AC;&#x2122;s tells a news story of urban distress [online]. New York: Huffington post. Available at: http://www.huffingtonpost.com/kirk-cheyfitz/to-sell-jeans-levis-tells_b_681336.html [Accessed 18 March 2014]. Daily Mail, 2009. Does anyone buy the big issue magazine? [online]. London: Daily mail. Available at: http://boards.dailymail.co.uk/news-board-moderated/10233421-does-anyone-buy-big-issue-magazine. html [Accessed 18 February]. Edelman, D., 2010. Consumer decision journey [online]. Boston: Harvard business review. Available at: http://hbr.org/2010/12/branding-in-the-digital-age-youre-spending-your-money-in-all-the-wrong-places/ ar/1 [Accessed 11 February]. Edwards, C., 2013, The Big Issue blog. [online]. Manchester: Cherwell. Available at: http://www.cherwell. org/lifestyle/features/2013/08/09/big-issue-blog [Accessed 24 February].

Facebook, 2014. The Big Issue UK [online]. San Francisco: Facebook. Available at: https://www.facebook. com/bigissueuk [Accessed 14 February]. Facebook, 2014. Big Issue UK [online]. California: Facebook Available at: https://www.facebook.com/bigissueuk/likes. [Accessed 2 April 2014]. Facebook, 2014. Big Issue Taiwan [online]. California: Facebook Available at: https://www.facebook.com/ bigissue.tw/likes [Accessed 2 April 2014]. Folk Digital, 2013. Folk Digital - storytelling. [online]. London: Folk digital. Available at: http://www.wearefolk.com [Accessed 2 April 2014]. Gilson, M., 2014. Generaiton Y: who are they and what do they want for their future? [online]. Belfast: The Belfast Telegraph. Available at: http://www.belfasttelegraph.co.uk/news/local-national/northern-ireland/ generation-y-who-are-they-and-what-do-they-want-for-their-future-30159916.html [Accessed 28 March 2014]. Go Promotional, 2013. Go promotional big issue big list subscriber. [online]. London: The Big Issue. Available at: http://www.bigissue.com/features/1893/gopromotional-big-issue-big-list-subscriber [Accessed 14 February]. Gray, R., 2013. Generation Y: What every marketer needs to know. [online] London: The Marketer. Available at: http://www.themarketer.co.uk/analysis/features/generation-y-what-every-marketer-needs-toknow/. [Accessed 2 April 2014]. Handley, L., 2011. Why the big issue brand needs a rethink. [online]. London: Marketing week. Available at: http://www.marketingweek.co.uk/opinion/blogs/lucy-handley/why-the-big-issue-brand-needs-a-rethink/3030458.article [Accessed 14 February]. Inman, P., 2013. ONS figures show squeeze on household budgets. [online] London: The Guardian. Available at: http://www.theguardian.com/money/2013/dec/11/ons-figures-squeeze-household-budgets [Accessed 14 February]. Inman, P., 2014. Living standards have fallen across the board since 2010, says report. [online] London: The Guardian. Available at: http://www.theguardian.com/uk-news/2014/mar/18/household-income-fall-general-election [Accessed 14 February]. Kapur. Quotes on storytelling. [online]. New York: TED. Available at: https://www.ted.com/quotes?q=storytelling&cat=quotes [Accessed 18 March 2014]. Klamm, D., 2012. How ford used Instagram to promote the Fiesta [online]. New York: Mashable. Available at: http://mashable.com/2012/02/02/ford-fiesta-instagram/ [Accessed 18 March 2014]. Lakhani, 2011. The big issue doesnâ&#x20AC;&#x2122;t stand out in a crowd admits founder. [online]. London: The independent. Available at: http://www.independent.co.uk/news/media/press/big-issue-doesnt-stand-out-ina-crowd-admits-founder-2349315.html [Accessed 14 February]. MacLeod, H., 2012. A big issue? Your views on homelessness in the UK. [online]. London: YouGov. Available at: http://yougov.co.uk/news/2012/06/19/big-issue-your-views-homelessness-uk/ [Accessed 14 February]. McNamee, P., 2013. Righteous Revolutions: Why you should buy the Big Issue now [online]. London: Huffington post. Available at: http://www.huffingtonpost.co.uk/paul-mcnamee/big-issue_b_4475899.html. [Accessed 14 February]. Nakayama, K., 2014. Signs for the homeless. [online] New York: Signs for the homeless. Available at: http://homelesssigns.tumblr.com [Accessed 14 February]. Neate, R., 2014. More than half of Britons cutting back on heating, shopping and takeaways. [online] London: The Guardian. Available at: http://www.theguardian.com/business/2014/feb/03/britons-cutting-back-heating-takeaways-clothes [Accessed 14 February]. NHS, 2004. The effectiveness of public health campaigns [online]. London: NHS. Available at: http://www. nice.org.uk/niceMedia/documents/CHB7-campaigns-14-7.pdf [Accessed 18 March 2014].

Phaidon., 2013. Big Issue sellers make their own ads. [online]. London: Phaidon. Available at: http:// uk.phaidon.com/agenda/design/articles/2013/march/13/big-issue-sellers-make-their-own-ads/ [Accessed 14 February]. Ponsford, D., 2012. Mag ABC’s: Breakdown of circulation for all 500 titles. [online] London: Press gazette. Available at: http://www.pressgazette.co.uk/node/48769 [Accessed 14 February]. Pullman, P., 2008. Interview with Philip Pullman. [online] London: Scholastic Book Club. Available at: http://clubs-kids.scholastic.co.uk/clubs_content/7922 [Accessed 18 March 2014]. Sedghi, A., 2013. Vogue, Tatler and other high-end women’s magazines target teen market. [online]. London: The Guardian. Available at: http://www.theguardian.com/media/2013/aug/30/womens-magazines-teen-market. [Accessed 14 February]. Self, W., 2013. The Big issue birthday. [online] London: Will Self. Available at: http://will-self. com/2013/10/02/big-issue-birthday/ [Accessed 14 February]. Smith, C., 2014. Important Instagram Stats [online]. Available at: http://expandedramblings.com/index. php/important-instagram-stats/#.U0aciV5hd0U [Accessed 18 March 2014]. Sweney, M., 2012, Timeout goes free: London edition of magazine to drop cover price [online]. London: The Guardian. Available at: http://www.theguardian.com/media/2012/aug/02/time-out-free-london-edition [Accessed 14 February]. Taipei Times, 2012. The Big Issue Taiwan - a social enterprise empowering the destitute. [online] Available at: http://www.taipeitimes.com/News/lang/archives/2012/09/20/2003543168/2 [Accessed 2 April 2014]. The Big Issue, 2011, The big issue circulation and readership. [online] London: The Big Issue. Available at: http://www.bigissue.com/circulation-and-readership [Accessed 14 February]. The Big Issue. The big issue press pack. [online]. London: The Big Issue. Available at: http://www.bigissue.com/sites/bigissue/files/media_pack.pdf [Accessed 14 February]. The Big Issue, 2014. Your crazy idea might be just what we’re looking for. [online] London: The Big Issue. Available at: http://www.bigissue.com/features/3447/george-clarke-interview-your-crazy-idea-might-bejust-what-we-re-looking-for [Accessed 14 February]. The Big Issue, 2013. Wayne Hemingway judges build your vendor shop competition. [online] London: The Big Issue. Available at: http://www.bigissue.com/mix/news/2940/wayne-hemingway-judges-build-your-vendor-shop-competition [Accessed 14 February]. The Economist, 2012. Help the homeless! [online] London: The Economist. Available at: http://www.economist.com/node/21542406 [Accessed 14 February]. Williams, R., 2011. Big Issue celebrates 20 years on the streets. [online] London: The Guardian. Available at: http://www.theguardian.com/society/2011/may/17/john-bird-homeless-big-issue-20-years [Accessed 14 February]. Williams, M., 2010. The big issue about the big issue [online]. Sheffield: Vanguard online. Available at: http://www.vgpolitics.f9.co.uk/martbi.htm [Accessed 14 February]. VIDEO: Ray Gosling: Moving on the broadcaster investigates homelessness, 2006. [TV] BBC, 15 December 2006. Shekhar Kapur: We are the stories we tell ourselves. [TED] Ted, November 2009. Available at: https:// www.ted.com/talks/shekhar_kapur_we_are_the_stories_we_tell_ourselves?quote=672

APPEN

NDICES Project declaration form Tutorial record sheets Critical Path Appendix 1: Methodology Appendix 2: Online forums Appendix 3: Which magazine? Appendix 4: A good read? Appendix 5: Word Association Appendix 6: Why don’t you buy? Appendix 7: Ethical consent Appendix 8: ‘Light’ Inspiration Appendix 9: Next months issue Appendix 10: Other advertising mock ups Appendix 11: Case studies Appendix 12: Visual Inspiration

18/03/14

critical p

path

method The research for this report was aimed at answering the question of ‘Why is The Big Issue’s readership in decline?’ This involved identifying key research questions such as ‘Why don’t you buy The Big Issue?’, ‘What do you think of the content of the magazine?’, ‘Who currently buys the magazine’ and ‘Why do they buy it?’ Primary research was an integral part of this project, and this enabled me to make valid insights into why people are n’t buying the magazine. Through a varied and extensive range of qualitative and quantitive research methods reliable data has been collected and expanded on to produce timely findings.

AIM

METHOD

WHERE?

ADVANTAGES

Initially gain an understanding of perceptions of The Big Issue.

Looked on online forums discussing The Big Issue

Online daily Mail Forum. YouGov - The Big Issue Forum. BBC - Big Issue Forum. Marketing week Forum.

Quick results. Might be really honest answers as someone is sat behind a computer.

To find out if it is the content of The Big Issue and its magazine visuals that are a contributing factor to its decline and if its competitors are doing it better.

Placed 3 magazines infront of 3 different consumers aged 20, 33 and 52 and asked them to rate them in order of their favourite magazine to worst. The magazines branding was obscured.

Nottingham. Leeds. London.

Made a conscious effort to ask 3 respondents who didn’t know what my project was so they wouldn’t be thinking about one of the magazines being The Big Issue and change their answers accordingly. So for this reason the answers are very reliable. The magazines branding was obscured so no bias towards brands would occur.

To understand if current consumers of The Big Issue buy the magazine for its content or out of sympathy for the vendor.

Stood in two locations in London by Big Issue sellers for around an hour and watched who bought The Big Issue. When someone bought a copy, I then followed them to see what they did with that copy.

St Martins lane, London WC2. Burlington House, Piccadilly, London W1.

Good un-biased way of finding out motives behind buying The Big Issue as if you asked people outright they might lie. Got a good feel for the way in which people buy the magazine and for what reasons - very interesting/ insightful research.

To understand what people thought/ knew about The Big Issue.

Word association task was carried out and consumers were asked ‘whats the first word that comes into your mind when you think of The Big Issue?’

Streets of Nottingham.

Caught people off guard and they were honest with the first thing that came to mind - this highlighted an interesting problem for me.

To understand what are consumers’ main reasons for not buying the magazine.

Asked a range of different consumers ‘Why don’t you buy the magazine?’

Nottingham. Leeds. London.

Got clear to the point answers and a good range of different ones.

To gain an insight into who The Big Issues current consumers are.

Consumer profiles

London. Nottingham.

The consumers were directly asked after they had been seen to be interacting with The Big Issue. So it was interesting to initially watch them and how they buy it and then ask them what their feelings towards the magazine are.

dology

appendix 1

Throughout out research, I used ethical guidelines to aid data collecting and made sure I took the appropriate ethical requirements for each one of the research techniques. Full consent was given by each participant who was interviewed or had their picture taken. For my secondary research, please see my bibliography and list of references to get an overview of the reading material I looked at and used within this report.

DISADVANTAGES

SAMPLE SIZE

DATE

APPENDIX

I couldn’t ask specifically what I wanted to ask. Wasn’t very detailed questions being discussed.

April 2014.

Small sample size. Had to probe the respondents to go into more detail about what they liked/ didn’t like about the magazines by saying things like ‘What do you think of the layout’ or ‘What do you think of the tone of voice,’ this could of swayed the respondents thought process.

3 people

8th - 16th April 2014. 3

Small sample size - could of stayed there for longer. Obviously not totally reliable data as many of the people followed could of taken the magazine home to read.

5 people

8th April 2014.

Small sample size. Could of done it in a different city as Nottingham point of veiws may be more negative than a large city like London.

12 people

27th March 2014.

May not of gained truthful answers as people could of been ashamed of saying exactly why when being asked face to face. Friends and family were asked this question so bias might of occured as they knew my project.

33 people asked: 18 women, 15 men.

March 2014.

Obviously a small sample size and there may be different ways that people buy The Big Issue.

4 consumers

8th - 18th April.

In the main document - see pages 24-31

online fo Online Forums were consulted to gain initial understanding of perceptions of The Big Issue. This was an insightful form of research as it gave opinions from a wide range of people and helped me to initially start to think about what further research needs to be carried out to form more in-depth insight.

Daily Mail Forum â&#x20AC;&#x2DC;Does anyone buy The Big Issue magazineâ&#x20AC;&#x2122;

http://boards.dailymail.co.uk/news-board-moderated/10233421-does-anyone-buy-big-issue-magazine-2.html

YouGov Forum ‘A Big Issue? Your views on homelessness in the UK’

orums http://yougov.co.uk/news/2012/06/19/big-issue-your-views-homelessnessuk/ BBC forum ‘Are York’s Big Issue vendors an exception?’ http://www.bbc.co.uk/northyorkshire/have_your_say/big_issue/index.shtml Marketing Week ‘Why The Big Issue brand needs a rethink’ http://www.marketingweek.co.uk/opinion/blogs/lucy-handley/why-the-bigissue-brand-needs-a-rethink/3030458.article

appendix 2

which ma To find out how The Big Issue compares to its top 3 competitors, a research task was carried out. The branding of Timeout, Stylist, Shortlist and The Big Issue was obscured and 3 respondents were asked to rate the magazines from the best to the worst with reasons why. The male consumer was given Shortlist magazine whereas the females were given Stylist because they are gender specific publications but made by the same company - so have the same tone of voice. The results are visualised on the next 3 pages.

Figure 78: Shortlist magazine (Marjoram, 2014)

agazine?

appendix 3

No1 - Shortlist - Good size to hold as its smaller than A4. The layout is appealing. No2 - The Big Issue - Contents page is very confusing and unclear. No3 - TimeOut - Very higgledy piggledy. Paragraph structure not so good. Good comment.

Age: 52 Sex: Male Occupation: Building Surveyor

Its an easy read. I can get to a specific point of the magazine at ease thanks to the good navigation system. Can’t pick out the specific bits I want to read very well. The visuals don’t appeal to me. Not an easy read as the eye is taken all over the place. Don’t like the form of photos in text. Figure 79: Male respondent looking over publication (Marjoram, 2014)

No1 - Stylist - Nice style of magazine, looks very womanly. I like the colours on each page. No2 - TimeOut - Bold colours and imagery but can sometimes look over the top. No3 - The Big Issue - Not really sure what this magazines about so wouldnâ&#x20AC;&#x2122;t read.

Age: 33 Sex: Female Occupation: Advertising Executive

The style of writing is also very appealing and I would definitely choose to read this magazine. Seems to be mostly about London so I wouldnâ&#x20AC;&#x2122;t read it. Good bold titles compared to the body of text. I like the boldness of some pages but some look very clustered. Seems very thin and of poor quality.

Figure 80: Female respondent looking over publication (Marjoram, 2014)

No1 - Stylist - Right balance between formal and informal. Nice layout, seems very organised. No2 - TimeOut - Seems to be well written. Wouldnâ&#x20AC;&#x2122;t read it out of choice, it seems bland. No3 - The Big Issue - Contents needs to be bigger. The colour scheme looks tacky.

Age: 20 Sex: Female Occupation: Student

I would pay for this magazine. I like the consistent colour schemes on each page and how girly they are. Too much text on the page looks overbearing. Needs more colour and imagination on the page. Good difference between bold title font and content text. Some pages are good and some are awful. Figure 81: Young Female respondent looking over publication (Marjoram, 2014)

a good When discussing innovative research methods with Michelle, in a tutorial, it was decided that it was important to find out if The Big Issue content does need updating and do this buy watching consumers who buy The Big Issue and then follow them to see what they do with their copy. It was decided the best place to do this would be in London, in a busy spot with lots of workers and tourists around. Two locations were chosen: St Martins Lane, London W2 Outside Burlington House, Piccadilly, London W1 These locations were chosen for their central and busy qualities. Around an hour was spent in each location and strong ethnographical research was undertaken. This research went then on to form The Big Issue consumer profiles, shown in the report and some consumers who were seen to buy The Big Issue were then asked why they buy it etc. The results for the â&#x20AC;&#x2DC;a good read?â&#x20AC;&#x2122; research task are shown on the next few pages.

read?

appendix 4

Outside Burlington House, Piccadilly, London W1- Middle aged man, dressed in a suit. Greeted The Big Issue seller like he knew him and had a chat to him, then gave him some money but did not take the magazine.

Figure 82: Vendor at Burlington house shown on map (Marjoram, 2014)

A good read?

Outside Burlington House, Piccadilly, London W1- Woman in her mid 30’s. The seller caught her attention by making a joke with her. She then said ‘oh go on then’ and bought an issue of the magazine. She proceeded on her way with a copy of the magazine and looked in great detail at the front of it and then flipped it over to the back. Followed her to St James Square where she sat down to have her lunch. She put The Big Issue away in her carrier bag and pulled out a Heat magazine and read that instead.

Figure 83: Vendor at Burlington house shown on map (Marjoram, 2014)

Outside Burlington House, Piccadilly, London W1- Man in his early 30â&#x20AC;&#x2122;s, dressed casually. Greeted The Big Issue seller like he knew him and handed over some money in exchange for the magazine. Walked into a nearby the starbucks with his magazine tucked under his arm and came out with a tray of coffees still with the magazine tucked under his arm. Walked off too quickly so lost him.

Figure 84: Vendor at Burlington house shown on map (Marjoram, 2014)

A good read?

St Martins lane, London WC2 - Young woman, late 20s. Fashion focused and well dressed. Went into Pret-aManger to get her lunch and came out with the exact change to give to the seller who was stood outside. Flicked through the pages quickly as walking away from the seller and then shoved the magazine in her other hand which she was carrying her lunch in. Followed her for 2 minutes until she got to a shop called Frenchologie. Greeted her colleague and then put The Big Issue away in her handbag, then sat down beside the counter and started eating her lunch. Why did she not read The Big Issue with her lunch? Was she ever going to read it. Maybe this is a weekly routine?

Figure 85: Vendor on St Martins Lane shown on map (Marjoram, 2014)

St Martins lane, London WC2 - A man in a suit. Around 40 years old. Held The Big Issue in his hand as he rushed into the tube station. Took it onto the tube and looked at it for a very brief period of time, reading one interview flicking over the rest and then put it on the seat next to him. He then proceeded to get off the tube leaving his copy of The Big Issue behind.

Figure 86: Vendor on St Martins Lane shown on map (Marjoram, 2014)

word asso A word association task was carried out on the streets of Nottingham. Random members of the public were asked to write down the first word that came into their mind when they thought of The Big Issue in general. All of the comments were to do with the vendors and not the publication or organisation. All the words have been collated and are shown to the right. More images of the public holding their phrases can be seen in the main document.

ociation

appendix 5

Figure 87: Word association task - gained answers (Marjoram, 2014)

why don’t A range of people, all different ages, who were known to not buy The Big Issue were asked the simple question of ‘Why don’t you buy The Big Issue?’ This was an important piece of primary research to carry out in order to get people to buy it! The question was in the form of face to face and also email. Respondents were given this paragraph of consent before answering: ‘This questionnaire is for a University project with Nottingham Trent University. All responses will remain confidential. By filling out this questionnaire you give permission for your answers to be used as part of a research project. You may withdraw at any time. Any questions feel free to contact simarjoram@gmail.com’ The results have been visualised below and all the respondents answers are shown on the next few pages.

WHY DON”T YOU BUY THE BIG ISSUE? because...

Figure 88: Infographic of why people don’t buy The Big Issue (Marjoram, 2014)

you buy?

appendix 6

1 PERSON DOESN’T BUY THE BIG ISSUE BECAUSE OF THE CONTENT...

1. I just think that the magazine would be too focused on the ills of life on the streets and that it might be preachy or boring. (Joe, 28)

8 PEOPLE DON’T BUY THE BIG ISSUE BECAUSE OF THE POINT OF SALE... 1. I don’t like taking the magazine out of someones hands, want to buy in my own time because I then I can make proper decisions on what I want. I can’t look at what actually is in the magazine - so I will never buy it. (Steven, 48) 2. Cant get change - £2.50 is an awkward amount. (Kath, 50) 3. Sometimes the magazines seem dirty and I just think where have they been! (Nicola, 38) 4. I don’t know what is in the magazine so why would I but it?! (Nick, 42) 5. I don’t think there is anything in their that I would want to read or that would appeal to me. (Jack, 18) 6. I don’t buy it because £2.50 is an awkward amount and I feel like I can’t ask for change. (Sarah, 40) 7. I would prefer to buy a magazine from a shop where I can look whats in it before I buy it. (Josh, 21) 8. I think the whole way The Big Issue is sold is everything that an English person hates - face to face interaction with a stranger! This is why I don’t buy it. I would prefer there to be a kiosk or something! (Patrick, 25)

why don’t 24 PEOPLE DON’T BUY THE BIG ISSUE BECAUSE OF THE VENDORS...

1. I feel intimidated by the sellers and I’m not sure where my money is going if I buy the magazine. (June, 53) 2. “I don’t agree with the way the vendors guilt-trip people into buying something that probably isn’t worth reading. (Richard, 55) 3. ’After all what’s the selling pitch that you most often hear to persuade you to buy the magazine? Great interviews? Fascinating viewpoints? Interesting and enlightening documentaries? No. Help the homeless? Yes.’ (Mick, 52) 4. I just think the people who sell them are rude. A lot of them are foreigners, they smoke, they drink and sometimes are very rude when you do not buy the magazine. (Tim, 45) 5. I just don’t really trust the people who sell the magazine, I have heard stories of them living in big houses paid for by the council and plenty of money. I don’t have much money myself, so why would I give it to other people?! (Claire, 49) 6. I just get annoyed by the sellers pestering me and it makes me not want to buy it. (Natasha, 16) 7. I don’t know how much the magazine is. I would like to buy it but I would feel embarrassed if the magazine was too expensive for me. (Alana, 20) 8. I always find it awkward saying no but then again, I also feel slightly annoyed that they put me in the position of having to refuse. I feel that they shouldn’t ask me to buy and that if I wanted the magazine I would have approached them. (Izzy, 23) 9. Find the people who sell them intimidating and too pushy so I try steer well clear (Judy, 24) 10. I don’t know where my money is actually going when I buy The Big Issue, it might be funding a drug addiction (Jess, 29) 11. Its because of the people who sell them. I hate how they just come in front of me when I’m trying to get somewhere and come right in my face. It makes me not want to buy it (Evie, 19) 12. The sellers of the magazine are scary and I find the whole thing really awkward. They make me feel guilty for not buying it. (Anna, 25) 13. I do feel sorry for the people that sell the magazine but I would just never go up to them and buy it, it makes me feel so uneasy (Cheryl, 55)

you buy?

appendix 6

14. I am generous person, but I would rather give money to homeless charities, where I know the money is going to a good cause. (Dan, 26) 15. I have heard that if someone sells the big issue they are considered self-employed and can claim housing benefit, which could amount to hundreds of pounds a week, which in my eyes is very wrong. So I don’t buy it for this reason. (Brad, 24) 16. The people who sell the magazine are always too pushy and over the top. I know they are trying to sell it but it puts me off. (Sally, 54) 17. I don’t buy the magazine because I am too nervous to go up to the sellers. (Jill, 78) 18. If I bought the magazine, I don’t have a clue where my money is going or what the vendors are doing with it. (Jonny, 25) 19. I think I would prefer to give my money to a charity instead of someones pocket where they might be irresponsible with it. (Cliff, 56) 20. I find the people who sell them really awkward and they always make me feel guilty for not buying a copy but I hate going up to them because I don’t know what they would say to me. (Samantha, 36) 21. I think its mostly because of the people who sell them. I find them really scary. (Sophie, 22) 22. I no longer buy The Big Issue because I do not believe that the majority selling are homeless people, many are foreigners, some smoke, drink and can afford to have dogs. (Eric, 68) 23. I feel like the vendors are sometimes putting on an act and making me feel sorry for them when there is no need. (Leslie, 80) 24. I don’t really know what my vendors are doing with my money. (Loz, 22)

ethical co 7.1 consent to appendix 3

onsent

appendix 7

7.2 consent to consumer profiles

7.1 consent to appendix 5

‘light’ insp

piration

appendix 8

Figure 89: Mood board of the theme ‘Light’ (Marjoram, 2014)

Inspiration mood boards created for the ‘Light’ themed issue of The Big Issue.

Figure 90: Mood board with text of the theme ‘Light’ (Marjoram, 2014)

Figure 91: Mock up of ‘Light’ edition’s front cover (Marjoram, 2014)

Figure 92: Mock up of ‘Light’ edition’s front cover (Marjoram, 2014)

Figure 93: Mock up of ‘Light’ edition’s front cover (Marjoram, 2014)

These were other mock up front covers of The Big Issue ‘Light’ edition that I created. Various images were experimented with to get the perfect front cover.

next mont Next months magazine Across the next few pages is a mindmap, colour palette and inspiration for next months proposed theme - ‘Home’ so The Big Issue can carry on with the new way of working.

Figure 94: Moodboard of next months ‘Home’ edition (Marjoram, 2014)

ths issue

appendix 9

Figure 95: Moodboard of next months ‘Home’ edition (Marjoram, 2014)

Figure 96: Colour palette of â&#x20AC;&#x2DC;Homeâ&#x20AC;&#x2122; (Marjoram, 2014)

home

Figure 97: Moodboard of next months ‘Home’ edition (Marjoram, 2014)

other advertisin

Figure 98: Mock Up of Print campaign (Marjoram, 2014)

These were two other mock ups of the new print ad campaigns that I created. These posters have a positive spin on them in comparison to the more hard hitting ones I decided to stick with in the report. These could possibly be used instead of the more hard hitting posters in areas where there are children around etc.

ng mock-ups

appendix 10

Figure 99: Mock Up of Print campaign (Marjoram, 2014)

case stu

11.1 HOW TO CHANGE NEGATIVE PERCEPTIONS OF UNPOPULAR ANIMALS IN THE USA

A study on “how to change negative perceptions of unpopular animals in the USA”(Rule 2012: 226) was conducted, due to large percentages of the population mistreating species such as skunks and snakes.

The researchers decided it was best to start with attempting to change children’s perceptions, even though it is mostly adults mistreating these species, as they will respond to different ways of thinking more positively than adults.

The study educated children into the natural history of an animal and also its lifestyle through doing fun tasks such as designing posters and creating poems. Overall the study proved very successful and concluded that learning about the natural history and lifestyle of an animal in visually appealing ways can change primary students liking for the animals (Rule 2012:226).

udies

appendix 11

11.2 DON’T GIVE UP, GIVING UP SMOKING AD CAMPAIGN

One of the most popular anti-smoking campaigns in the 1990’s “Don’t give up giving up,” which effectively reduced smoking by ‘about 1.2% over 18 months’ (NHS 2004: 2), highlighted these lessons: - Campaigns need to contain a variety of messages - ‘threatening’ and ‘supportive’ styles of delivery can compliment each other

- Anti-smoking advertising has to compete in a crowded media marketplace - hook is needed to engage the emotions of the target audience - Emotions can be engaged using humour, fear, sympathy or aspiration - Advertising should not tell people what they should do (NHS 2004: 2)

case stu

11.3 HUMANS OF NEW YORK BLOG

The “Humans of New York” blog was a personal project for a man who set out to photograph 10,000 New Yorkers, plotting their photos of a map. However this soon escalated and quotes and short stories started being collected of the muses in the photographs.

‘Taken together, these portraits and captions became the subject of a vibrant blog. With nearly four million followers on social media, Humans of New York now provides a worldwide audience with daily glimpses into the lives of strangers in New York City’ (Brandon 2010: online). This has also been transferred into a number one selling book.

udies

appendix 11

11.4 FIESTAGRAM

An example of a brand who have successfully used Instagram to involve their consumers is Ford Fiesta. In 2012 the brand started the first ever Instagram campaign called “#Fiestagram.” The idea was that every week for six weeks Ford released a new hashtag that its followers had to interpret with a photo (see appendix ? for case study). The hashtags were topics loosely related to their cars such as: #entry, #music and #hidden but conceptual enough for the public to portray however they want.

The best photos were selected to be in reallife galleries and digital billboards, and Ford gave weekly prizes to those submitting particularly striking images. The final prize was a Ford Fiesta. Through using Instagram as a platform for this competition, Ford were able to reach a target group of “early adopters” and amateur photographers. The brand made it to the “popular page” on Instagram several times meaning even more potential consumers saw the competition.

Over 160,000 photos were submitted and more than 120,000 new Facebook fans were gained, with particularly high dwell times experienced (Klamm 2012: online). By doing this Ford managed to innovatively create a larger community online and more importantly, they managed to successfully attract the attention of its new target demographic: fashion, style and technology trendsetters.

visual insp AD CAMPAIGN INSPIRATION - bold letterpress type - sketched illustration - bold imagery that has a meaning - imagery has a hidden meaning

Figure 100: Ad campaign inspiration mood board (Marjoram, 2014)

piration

appendix 12

REPORT LAYOUT INSPIRATION - bold type - black, white and red like The Big Issue - full bleed imagery - creating a “big” issue

Figure 101: Report layout inspiration mood board (Marjoram, 2014)

MAGAZINE LAYOUT INSPIRATION - unique quirky publication - hand drawn, personal elements - striking layout - image and column text - soft colours and tones

Figure 102: Magazine layout inspiration mood board (Marjoram, 2014)

the end.