anya hindmarch
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anya hindmarch
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Sydney Turner Edwards N0631515 Hannah Wood N0642592 Nia Stiley N0643134
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contents
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anya hindmarch
anya hindmarch the brief 6-7 context 8-23 the market 24-33 the big idea 34-49 the consumer 50-57 bringing it to life 58 - 117 conclusion 118-119 the dull stuff 120-130
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introduction
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introduction
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march. 5
brief
the brief Anya H indmarch is looking to increase its brand awareness and presence within the Chinese market.
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There is huge potential for the brand, not just in China’s domestic market, but also, with the Chinese customer traveling overseas. How can Anya H indmarch enter the market ,in an impactful way, particularly in this increasingly digital age.
aims To increase Anya H indmarch brand awareness. To recruit the Chinese M il lennial. To create an engaging and impactful consumer experience. To create a service that leverages digital solutions and technologies al lowing the traveling Chinese consumer to stay connected.
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brief
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Fig. 1 - Anya Hindmarch, (2017). 7
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context
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con
context
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ntext. 9
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context
Fig. 2 - Stiley, N. (2018). 10
context
identifia bly British.
craftmanship personalization humour
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heritage
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context
Fig. 3 - Anya Hindmarch, (2017).
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context
anya as a brand
The tone of voice is confident, fun and playful, but due to the brand heritage, stil l maintains elements of sophistication. Through the use of their stickers and engaging graphics, they grab the attention of their consumer. There is, also, an interesting, conflicting element of bold and fun, versus elegant and refined. Their design recipe has a high-end feel, combined with a youthful approach, thus engaging their consumer, in an advancing digital age. (Stiley, N. Turner, S. & Wood, H. 2018).
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Anya H indmarch was launched in 1987, with British heritage at the helm. The proposition was to become a passionate advocate for British design and art. The pricing, luxury craftsmanship, and use of bespoke stores, invite a particular type of clientele. Anya’s ethos has become renowned for its innovation and creativity, through various presentations.
context
brand essence brand essence
brand values
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- inclusive - co-value - community driven - engaging - innovative - hospitable - playful - instagramable - creative - personable
brand actions - immersive instore experience - convenient servises - continue global expansion - interact and engage with consumers - networking events
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context
what does ‘anya & me� do for the consumer?
how would the consumer describe the brand?
- creates a shared sense of co-value - a strong sense of community creating longterm engagement. - personalized experiences. - interactive and immersive brand experience - networking opportunities.
- immersive - interactive - honest/transparent - innovative - friendly - all-inclusive - personal
what the brand makes the consumer feel?
- sociable - connected - culturally aware - creative - stylish - individual
- confident - elegant - a sense of belonging - in control - important
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what the brand makes the consumer look like?
context
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timeline
Fig. 4 - Turner, S. (2018)
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context
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Fig. 4 analyses Anya H indmarch’s development from a more conservative and sophisticated style into a fun and humorous brand. As you can see Anya has kept up with social trends and artistic movements, with several of her col lections taking mundane objects and transforming them into quirky accessories. Since 2015 the brand has been influenced by the rise of social media and the adoption of strong graphics which show clear links to the popular use of emoj i’s. (Stiley, N. 2018).
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context
Fig. 5 - Anya Hindmarch, (2018).
Fig. 6 - Anya Hindmarch, (2016).
Fig. 7 - Anya Hindmarch, (2017).
Fig. 8 - Anya Hindmarch. (2018).
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context
marketing mix
place
product
- london, LA, new york, japan, hong kong, malysia, singapor, south korea - consessions harrods, selfridages - stores
price
promotion
- ÂŁ50 stickers - ÂŁ2k
- Social media - Website - Print Ads - Webo - Campaigns
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- Purses and wal lets - Build a bag - Home fragrance - Shoes - Ready to wear - Bag accessories
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context
Fig. 9 - Turner, S. (2018).
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context
brand identity
Despite this, when conducting a simple I nstagram pol l, 76% of participants said they had never heard of the brand (refer to appendix_). This demonstrates a clear disconnection between brand and consumer. U nderstanding the development of Anya as a brand is critical, to shape and develop the brand, in order to penetrate the Chinese market. The juxtaposition between Anya H indmarch’s two visual identities, has been analysed through the Kapferer brand identity model, in order to further understand where the disconnect between brand and consumer lies. Key differences between the internal and external perceptions of the Anya H indmarch brand came to light. Fundamental ly, their personality has remained static, whereas their adopted self-image is definately trend-led: this contradicts their traditional outlook, and thus, causes a friction with consumers, as something cannot be considered timeless and trendy, at the same time. (Turner, S. 2018).
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Anya H indmarch is considered to be a market leader in luxury British accessories. This could be attributed to her quirky, humorous style. I nitial ly, her playful and graphic motifs may have been passed off as a marketing gimmick, they have, however, become iconic to her brand. Her bold designs ta ke inspiration from mundane objects, transforming them into unique and joyful accessories. “We are about fun and invention, and discovery and playfulness. I love taking the ordinary and creating something extraordinary. O ur crisp packet clutch is the perfect example� (H indmarch, A. 2018).
context
quirky
funny
luxury vibrant cute playful
retro
bubbly
Fig. 10 - Anya Hindmarch, (2018).
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It is very different, she switches between minimal and quirky, and from traditional and playful. Her visual identity is not very consistent, however, I do real ly like the bold and graphic designs.
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bold
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context
consumer opinions To further understand how Anya’s tone of voice, and visual identity resonate with the Chinese consumer, a focus group was set up (refer to appe ndix 1.j ). Through word association, keywords and characteristics were identified, that the Chinese M il lennial associates with the brand. From this, the disconnection between Anya H indmarch’s visual codes were highlighted. Moving forward, Anya H indmarch must bridge the gap between her minimal and playful styles. A coherent visual message wil l, in turn, resonate with the Chinese consumer, through true brand authenticity. (Turner, S. 2018).
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utopian iconic
high - quality
minimal
traditional
colourful
Fig. 11 - Anya Hindmarch, (2016). 23
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market
the chine marke 24
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ese et.
market
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market
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high digital IQ
low global presence
high global presence
low digital IQ Fig. 12 - Wood, H. (2018).
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market
the chinese market The luxury goods market, in China, currently worth £25 bil lion, has been on an uphil l rise since 2010 (Facts, 2018). This is due to the economy changing from a kapex-driven economy, to a consumer-driven economy. “The shift in ambition can be explained with Maslow’s H ierarchy of N eeds. Primary needs are increasingly being met and the Chinese are dealing more with the upper layers of Maslow’s pyramid” (Giele, F. 2009) (refer to appendix__).
Through primary research, we discovered that the Chinese M il lennial consumer favored luxury brands such as Celine, Stel la McCartney, Gucci, Louis Vuitton, Prada, J immy Choo (refer to appendix 1. k ). This has highlighted the significance brand awareness has, on the consumer, Therefore, going forward, it is essential that there should be an increasing brand presence, when entering the Chinese market. (Stiley, N. Turner S. & Wood, H. 2018).
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Chinese consumers are becoming increasingly selective with what they’re spending their money on: they are tending to favor premium brands, with foreign luxury goods stil l taking precedence (Daxueconsulting.com, 2016). ‘Materialistic values and the practice and attitudes surrounding conspicuous consumption, are especial ly important to examine, as these phenomena, once viewed as ,largely western, ideals, have begun to take hold in East Asian economy’s, that are rapid ly witnessing changes in social structures and traditional values’ (Podoshen, J et al. 2011).
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market
Fig. 13 -Turner, S. (2018).
Fig. 14 - Stiley, N. (2018).
Fig. 15 - Turner, S. (2018).
Fig. 16 - Stiley, N. (2018).
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market
in-store visit Purpose; To compare the customer service at the Anya store and a brand concession stand. Visiting the Bond Street store, the experience was very friend ly and informative about the products, which provided a memorable customer experience.
Key I nsights: For Anya to invest in key stores, rather than concessions as these seem to resonate with the consumer, more effectively, due to the persona ble experience, and in turn, would successful ly increase brand awareness and presence within China. Al l brand touch points must be consistent, in order to create a seamless and positive brand identity. Esta blishing a clear brand identity wil l empower Anya to be understood as a brand.
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However, when visiting the Harrods concession, the overal l experience was poor and nonattentive, with the VM not being memorable. This could be seen to devalue the brand.
market
macro trends The rise of conscious consumption: consumers are seeking new levels of transparency within business. Technology is connecting us digital ly, but creating a sense of disconnection physical ly and emotional ly.
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The service-dominant logic- services transcend products in a convenience-driven culture.
micro trends Thirst for knowledge. The consumers seek to derive meaning from understanding their culture. A shift in values from brands to family and friends. The maker-movement consumers, creating their own personalised experiences and products. The Chinese consumers look to the western world for consumer- driven lifestyle values. Visually attracted to fun, colourful packaging that’s cute and humorous.
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market
Fig. 16 - Gu, T. (2017)
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Fig. 17 - Diego, J. (2018).
Fig. 18 -Stantiago, T. (2018).
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case study
case study paul smith: entering the chinese market
Role: Managing Director at Paul Smith
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Purpose: To gain a greater understanding of how to successful ly penetrate the Chinese market. To ta ke inspiration from an, already successful, brand. I nsights: Educate consumers of the craftsmanship and heritage of the brand, through a digital exhibition. China has a large number of wealthy young people, meaning sales are more fashion-led, and very unpredictable. N eed to be very aware of the cultural differences, and geographical differences, across China. The experience economy is affecting the way in which consumers interact with the brand. An immersive experience is a clever way to engage the consumers. Showcase the brand as a real person, with history.
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case study
Fig. 19 - Paul Smith, (2017).
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Fig, 21 -Paul Smith, (2017).
Fig. 20 - Paul Smith, (2017).
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We ran a very successful exhibition in Shanghai ‘Hel lo my name is Paul Smith’. The exhibition attracted over 60,000 visitors. The social media on the back of this was enormous.
Fig. 22 - Paul Smith, (2017). 33
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- Long, A. 2018.
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the big idea
the chine big id 34
the big idea
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ese dea. 35
the big idea
social isolation
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With the rise of digital technology, our physical connections with one another have decreased, in correlation with digital advancements. Ultimately, we are a social species; this sense of isolation is a vital motive in humanistic values, as seen in Maslow’s Hierarchy of needs (refer to appendix 3.d ). Fundamentally, human beings are programmed to want certain things. Chief among these ‘needs’ are belonging and feeling understood. Being a part of something, such as a family, club or community, often meets these needs. The Chinese Millennial generation were born after the onechild policy came into effect in 1980, meaning that they were the first ‘lonely generation’. Growing up within a sixto-one family structure, mean’t that this demographic, ironically, grew up in social solitude (WGSN, 2015). As a result, this generation have sought solace in the internet and social media, as a way to interact with their peers. This quick-fix to loneliness, has taken presidence over social situations. Netographic research highlighted the fact that consumers have never been so connected digitally, but lack person to person interactions and friendships, with social media users even hashtagging #lonely, #lonelytodeath and #lonelyphotographer (refer to appendix 1. p ). A wave of social communitity-based shopping has begun to spread across China as a direct result, attracting consumers through hybrid lifestyle stores, and in-store coffee shops, with the aim to fulfill the human need to connect. (Turner, S. 2018).
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the big idea
66% of consumers global ly feel their relationship [with a brand] is one-sided. (Whelan, R. 2016)
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Fig. 23 - Farirey, P. (2018).
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the big idea
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“ The commercial opportunity
we need to belong at a fundam We have a crisis of belonging, wil l step into the vacuum crea isolation. I ronical ly, technolog in the disconnection, as we’re emotion-driven in-person rela superficial online relationship (Sebastian, B. 2018)
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the big idea
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exists because mental level. and great brands ated by social gy is playing a role e replacing deep, ationships, with ps.
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the big idea
rise of the brand community
As a direct result of this feeling of social isolaion, the concept of a branded community has surfaced. For all brands, whose focus is based on their consumer, or consumer driven sales, an engaged community is the ultimate asset. Through co-value creation, brands and consumers a-like are able to share, build and grow. According to Comblu’s 2012 report : ‘The State of Online Branded Communities’, feedback, advocacy and support are the vital pillars behind a successful brand community.
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Research has indicated the potential power of branded communities: ‘they, not only, drive a greater reach, but also add value at other points of the user journey, such as encouraging conversations, or improving existing customer relationships’ (Hong, P. 2015). The power of community marketing, not only costs less, but also grows loyalty, and supports natural reinvention, through innovation. Word-of-mouth offers authentic exposure, drawing from a consumer’s positive relationship with a brand, and commercial opportunities arise through a deep brand loyalty. (Turner, S. 2018).
what is co-value creation?
definition Co-value creation, a brand strategy focusing on consumer experience and interactive relationships. Co-creation al lows and encourages a more active involvement from the consumer, to create a value-rich experience.
Fig. 24 & 25 - Anya Hindmarch. (2018). 40
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I n an age where marketing is becoming increasingly customer-centric, online communities are merely the evolution of the standard business website. (Whelan, R. 2016)
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Fig. 26 - Patagonia, (2018). Fig. 27 - Nike, (2017).
the big idea
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the big idea
Fig. 28 - Anya Hindmarch, (2018).
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the big idea
identifying the opportunity
An example of this was the Chubby Heart exhibition which took place in London, celebrating Valentine’s Day. Described as a ‘love letter to London’ this has already started a conversation about who Anya Hindmarch is as a brand. That said, it could be perceived as impersonal, and so, moving forward Anya Hindmarch must convey who she is as an individual, rather than who the brand is aspiring to be. This notion has been supported by the Paul Smith exhibition (see pages 32-33). (Stiley, N. Turner, S. & Wood, H. 2018).
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After researching further into the Chinese market, it became apparent that the traveling Chinese consumer favors experiences over products, and seeks to create deep meaningful connections. In order for Anya Hindmarch to resonate with this particular Chinese consumer, they must prioritise constructing a connection with their consumer through experiences. This is something we feel would be achievable, as Anya Hindmarch is already opting to focus on ‘consumer happenings’ instead of their runway presentations.
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the big idea
I ncreasing consumer intera creating a comm through co-value 44
the big idea
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actions, munity, e creation. 45
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the big idea
Fig. 29 - Anya Hindmarch, (2018).
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the big idea
aims To build an Anya Hindmarch community . To integrate technology and personalised services. To engage consumers with Anya Hindmarch, through the introduction of co-value.
To increase presence and brand awareness in China. To create an in-store social hub for Anya community members. To encourage consumers to join the Anya community by subscribing and downloading the app.
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objectives
the big idea
is it appropriate?
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Seeing as other luxury brands in the market are seen to be utilising the trend of co-value, Anya should adopt these strategies in order to best serve her consumers when penetrating the Chinese market.
is it relevant to anya? The heritage behind Anya is identifiably British, which supports the appropriation of Western cultural values within the luxury Chinese market. Craftsmanship explores the detailed art behind the designing process. Personalisation will resonate with the Chinese consumer, due to the maker-movement trend currently growing in all Chinese markets. Anya’s sticker shop is visually attractive, fun and colourful, the Chinese consumer already resonates with youthful and humorous branding.
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the big idea
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Fig. 30 - Turner, S. (2018).
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the consumer
the consu 50
the consumer
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umer. 51
the consumer
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Fig. 31 - China Daily, (2018).
Fig. 32 - Spoki, (2017).
For the former, col lective identity remains a core value while, the latter is more focused on the western concept of self-fulfil lment. - WGSN, 2018.
Fig. 33 - Jin Xing, (2018). 52
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The Chinese mil lennial is segmented into two age groups. Referred to as post 80’s and post 90’s by the Chinese, these decades represent two opposing ideologies.
the consumer
identifying the consumer
The Chinese refer to each group according to the decade in which they were born, i.e post 80’s and post 90’s, with their core values. separating them. The post 80’s group prioritises the ideals of traditional Chinese Collectivism, whereas, the post 90’s generation favour the Western concept of self-fulfilment. ‘This is largely due to a slowing economy and rising cost of living has put traditional goals out of reach for post 90’s middle-class millennials. As the economy continues to change jobs which were valued by their parents have come to represent a lack of stability, making alternative careers such as self-employment more attractive’ (Chu, S. 2017). (Stiley, N. Turner, S & Wood, H. 2018).
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There is a broad range of consumer archetypes within the Chinese Millennial category. With this in mind, our consumer profiles outline two clear nuances. Within these, there separate focus on attitudes, values, and demographics. According to WGSN, the Chinese Millennial is divided into two groups, separated by age.
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the consumer
modernisation of the Chines “ The that the days of broad-based
coming to an end. Consumers a selective about where they spend from products to services and fro segments. They are seeking a where wealth, family, and exper (Zipser, D and Chen, Y. 2016).
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the consumer
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se consumers found market growth are are becoming more their money, shifting m mass to premium more balanced life riences ta ke priority.
the consumer
the socialite of selfies
age 21 full time student digital IQ 70/100 favourite show: fighter of destiny
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go to outfit: mukzin
by day she is a dedicated student cant stop listening to: k pop, hiyoona & girls generation
obessed with oolong bubble tea
by night she is a karoke superstar
first thing she checks: QQ video
Fig, 34 - Turner, S. (2018).
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the consumer
the shopper of stories
age 35 interior archetect digital IQ 45/100
favourite show: national treasure
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by day she is at a morning tai chi class or at a local exhibtion
colour palette: han - simple, elegant and natural tones.
cannot live without macha tea
cant stop listening to: vanessa woo
first thing she checks: her cultural calendar by night she is a home cooked meal with her family Fig. 35 - Turner, S (2018). 57
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bringing it to life
bringi the it to li 58
bringing it to life
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ing ife.
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the brief
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the brief
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Fig. 36 - Turner, S. (2018).
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competition
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the competition
As the luxury brand community is still very niche, comparison to competitors can be limited. Therefore, when analysing the market, non-luxury brands have been taken into consideration for comparison. It has been suggested that there are three types of branded community (see fig 37 ). Similar competitors can be well established brands, with a worldwide reach, such as Patagonia and Harley Davidson. This could, indeed, indicate that Anya + Me would be the first to offer a luxury community brand extension, that bridges the gap between the online and offline, allowing them to have a significant advantage over key competitors, such as Paul Smith. Anya Hindmarch’s strategy towards personalisation, through their Build-a-Bag and Pimp Your Phone, indicates a strong commitment and dedication towards building consumer relationships in order to become market leaders. Their continual growth and innovation suggests that a community brand exenstion would be easily accomodated.
(Turner, S. 2018).
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competition
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Fig. 37 - Turner, S. (2018). 63
idea testing
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“ By combining the online and
seamless fashion, brands fee integral part of their custome The extra services add value normal ‘buy and sel l’ function They also cement the brands experts in their field, al lowing that expertise in an interestin way. The offline offerings exte community, and let consume from right around the world. that wherever they go the cu connected to the same brand (Trotter, C. 2016)
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idea testing
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offline in a el more like an ers’ hobbies. outside of the ns of a store. s’ positions as g them to offer ng and interactive end the size of the ers tal k to people It also means ustomers stil l feel d.
case study
case study the harley davidson owner club
Who? Harley Davidson Owners’ Group (HOG)
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What? A community built around the brands which organise social gatherings and meetups. Why? ‘Too often, companies isolate their community-building efforts within the marketing function. That is a mistake. For a brand community to yield maximum benefit, it must be framed as a high-level strategy supporting businesswide goals’ (Fourniner, S. 2009). What does HOG do? The HOG provides a networking opportunity for people with shared interests to socialise. It creates brand loyalty and engagement through shared interests. What do we want to take from HOG? To create authentic consumer engagement through an open and honest relationship between brand and consumer. A close-to-the-consumer philosophy; creating a ‘togetherness’ through feed back and experiences. Personify the brand through a shared immersive experience. To learn about consumers in a way which is real ly valuable. Word-of-mouth successful ly creates brand authenticity. Sel ling a lifestyle and experience to the consumer, rather than a singular product.
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case study
Fig. 38 - Harley Davidson, (2016). Fig. 40. Harley Davidson, (2018).
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Fig. 39. Harley Davidson, (2015).
Fig. 41. Harley Davidson, (2017). 67
bringing the idea to life
anya hindmarch
bringing the idea to life A multitude of mood boards have been constructed to visualise our big idea and how it would be brought to life. The mood boards showcase the initial inspiration behind the colour palette, tone of voice, promotion, packaging, logo and event. To assist I n the understanding of the big idea showing, a ‘what it’s not’ mood board was also created. (Wood, H. 2018).
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bringing the idea to life
what it is not
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Fig. 42. Stiley, N. (2018).
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bringing the idea to life
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artistic influence
Fig. 43. Turner,S. (2018).
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bringing the idea to life
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bringing the idea to life
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creative concept
Fig. 44. Turner, S. (2018).
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bringing the idea to life
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bringing the idea to life
Design Recipe
Design R
Fig. 45 - Wood, H. (2018). 74
Recipe
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design receipe
bringing the idea to life
Recipe
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Design Recipe
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Desig
bringing the idea to life
summary of insights
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Researching trends and current visual inspiration has ensured that our visual codes fit with Anya Hindmarch’s brand identity and the big idea. Cohesion amongst our executions, creating an integrated visual message, was of utmost importance, through an integrated visual brand identity that consumers would instinctively recognise. It was important to consider colour theory, when finalising the big idea’s visual identity. Anya Hindmarch, as a brand, always uses strong, bold colours, and more often than not, a predominant use of primary colours. The primary colours have an effective and positive influence over consumers: red symbolises strength and power, yellow connotates joy and happiness, blue has a calming effect on the body. It was also vital to consider the symbolism each colour has within the Chinese culture. The colours red and yellow are considered lucky, with red symbolising happiness, success and good fortune. Yellow holds the values of power and royalty. The colour blue is also very significanct to the Chinese, connoting healing, trust and a long life - it is thought to bring feelings of postivity into the home (Mitra, A. 2018). With this in mind, a variation of each of the primary colours was selected to be at the core. A slight diiferentiation of hue ensured that the colour palette remained fresh, bright and relevant, whilst still harnessing the postitive associations of each. (Turner, S. 2018).
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bringing the idea to life
brand autonomy
brand anatomy fonts anjasmoro
logo
ANYA
happy brown cat shadow
and me anya hindmarch
visual aesthetic
colours
Fig. 46. Wood, H. (2018). 77
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anya and me
Fig. 47 - Stiley, N. (2018). 78
anya and me
introducing anya + me
It would be a subscription-based service, which would allow the consumer to gain a personalised marketing package, including things such as invites to cultural events and talks, which would be specific to their current location - perfect for the traveling Chinese consumer - as well as stickers , and lookbooks for inspiration. Anya + Me would aim to bridge the gap between people and technology, through the integration of a personalised service, aiming to ensure that the consumer feel equally as connected in person , as they do online. The concept of co-value would be vital, ensuring that, both, Anya Hindmarch and the consumer, benefit from this community, with each party learning valuable information about the other. In turn, this would strengthen the relationship between the two. (Stiley, N. Turner, S & Wood, H. 2018).
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To make sure that this idea resonates with the Chinese Millennial, it would be put forward as “Anya + Me”. Anya + Me is a brand community extension of the Anya Hindmarch brand. It would enable a more sociable lifestyle for the Chinese consumer, allowing them to interact , both on and offline with each other and the brand. Anya + Me would host regular events - showcasing the history of the brand - focusing on craftsmanship, heritage, and Anya as an individual. There would be an app to feed the consumer’s thirst for more knowledge, providing them with detailed information about the products’ design and manufacturing process.
anya and me
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Fig. 48 - Turner, S. (2018).
who will the consumer become? In order for the Big Idea to successfully infiltrate the Chinese market, it is fundamental to understand who our consumer wants to become; recognising this would ensure that necessary developments were made, in order to get them there. Providing consumers with value, would encourage the adoption of the brand, thus tapping into the idea that brand innovation is not just an investment in products or customer experience: innovation contributes to your consumer’s future. An example of this is Henry Ford recognising that his consumer wanted to become a driver, rather than just facilitating mass production of a car. Consequently, Anya and Me would enable the consumer to become a socialite. (Stiley, N. Turner, S. & Wood, H. 2018).
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marketing mix
product
place
- A membership to Anya and Me which would include access to events, exhibitions, tal ks e.g cultural events, heritage, craftsmanship - Personalised marketing through physical care packages which would include a brand magazine, invitations and stickers - An app acting as a platform for the digital community to interact with the brand and other members and opportunities to shop or engage with exhibitions
App: App, App Store, Android Store (free only download) Membership- Purchase from Anya website, get code, entre code on app- account is launched (one use per pin) Store: within lifestyle centres in large cities within the urbanised east side of china, such as: Shanghai, Zhej ianj, J iangsu
promotion
Membership would be free to consumers who make a purchase of ÂŁ2000 or more within a single.
- WeChat campaign - Social media campaign - O utdoor marketing (to create awareness of Anya as a brand) - Guerril la Marketing- big screen - Direct Mail - Launch Event
Alternatively, consumers may sign up at any time, and pay a membership fee of ÂŁ500 for the year.
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price
case study
case study soho house membership club
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Who? Soho House What? A home from home, for people working in creative industries which have since grown into a community of like-minded individuals with Houses al l over the world. Purpose? To understand how a luxury paid membership community works and the understanding the price consumers are wil ling to pay I nsights? People are wil ling to pay into an elitist lifestyle. An annual membership fee is £1400 per person, with the additional cost of staying within one of the ‘Houses’. I ndicating that this type of consumer is wil ling to invest into a community and experience which surrounds them with a certain type of individual. They have ‘Houses’ al l around the world highlighting the potential of a worldwide luxury brand community.
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case study
Fig. 49 - Soho House, (2018),
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Fig. 50 - Soho House, (2018).
Fig. 51 - Soho House, (2018).
Fig. 52 - Soho House, (2018). 83
the app
joining anya + me 1. Buy membership through the website or in-store – personal data will be collected and the consumer will receive a single-use activation code. 2. The consumer will download the app from the Anya Hindmarch website 3. Enter your membership activation pin into the app.
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4. Portal is launched - a personal profile will already be complete due to the data collected on purchase.
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the app
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Fig. 53 - Wood, H. (2018).
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the app
getting to know the app
Landing Page The landing page asks the user to enter their unique single use code; once entered their membership would be activated and they would be directed to their own personal profile. 1. Home Page The home page welcomes the user, each time they open the app. Through the use of the tool bar, the user is able to easily navigate the app. 2. Profile Each member wil l have their own profile, containing their personal details, such as age, favourite colour, and top Anya picks. This information would then be used to generate personalised marketing. anya hindmarch
3. Social Consumers would be able to interact with each other through an instant messaging service; this would al low them to network and meet people with similar likes and interests.
Fig. 54 - Wood, W. (2018).
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4. Discover Through the discovery page, the consumer would be able to gain access to behind-the-scenes videos, giving them an inside view into the manufacturing process of their favourite Anya items, exclusive interviews with Anya, al lowing the user to learn more about the person behind the brand as wel l as live streams of events that they may be unable to attend, such as exhibitions, tal ks and events. 5. Shopping The user would be able to purchase and browse Anya products through the app. When in-store, consumers would be able to scan codes to discover the history of any product, it’s design, and manufacturing process.
(Turner, S. 2018).
Fig. 55 - Wood, H. (2018).
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6. Cultural The cultural calendar would create localised content for the user, by asking them which city they reside in. O nce the city has been selected, al l cultural events, exhibitions and tal ks within that area would be listed. This would al low the consumer to easily find out about events within specific areas which would be ideal for the traveling consumer wanting to discover new things to do in different cities, as wel l as enabling them to keep up to date with the cultural happenings within their neighbourhood.
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the store
An Anya and Me community space would be available to the member. The community member would be able to scan their individual member codes, in order to gain access to the Anya + Me club space. Within this area, they would be able to socialise, visit exhibitions, events and talks. (Stiley, N. 2018).
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The store would be conceptual, with products placed in a gallery format, whereby, only one of each product would be on show, adopting a minimalist approach in VM. Next to each product there would be a small graphic, which could be scanned within the app, in order to access more product information, taking the consumer to the ‘discovery’ section of the app, and, or, purchase. Non-app members could purchase through the sales assistants, whereby the product would be delivered to a specified address, within one day, thus being perfect for the travelling consumer.
the store
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Fig. 56 - Turner, S. (2018).
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the
floor plan
a nya h i n d m a rc h: sto re d es ig n/g ro u n d f
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entrance
gallery style display units Fig. 57 - Wood, H. (2018).
bringing th 92
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floor plan structural glass wall between first floor and members area stairs to mezzanine social area
members only area water drop pendant feature lighting drinks station
social area
drinks station
modular area for exhbitions, events and talks.
he idea to life 93
social area
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stairs to mezzanine social area
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the store
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nya h i n d m a rc h: sto re d es ig n/stru ctu ra l g l ass members access a l l b e tw e e n f i r s t f l o o r a n d m e m b e r s a r e a
structural glass wall between first floor and members area Fig. 58 - Wood, H. (2018).
bringing the idea to life 94
the store
(Chu, S. 2017)
“
“
Social, community-focused shopping experiences have become a retail priority for brands operating in china as a way to attract these consumers, in line with the global importance of lifestyle stores on the rise as retailers strive to fulfil the human need to connect.
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membership door scanner
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raising brand awarness O ur initial marketing strategy would begin by increasing brand awareness within China, prior to the Anya + me marketing campaign taking place. We would initial ly start promoting the Anya H indmarch brand, through outdoor marketing, and a WeChat campaign. Despite outdoor advertising being one of the most expensive ways of brand promotion, it’s a highly effective way to communicate value and identity to the consumer (H, Posner. 2011). Placing Anya H indmarch within the consumer’s reach would be vital to the success of Anya + Me. Fol lowing this, we would launch the first Anya H indmarch store in Shanghai, due to the fact Westernised culture is more widely adopted here.,Guerril la marketing would be our next promotional strategy for Anya + Me: this would come 6 months after the store launch, al lowing for maximum brand awareness to be established. (Stiley, N. 2018).
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wechat campaign
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Fig. 59 - Turner, S. (2018).
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outdoor marketing
wechat campaign
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Fig. 60 - Turner, S. & Stiley, N. (2018).
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Grant McCracken suggests that structures of meaning in advertising, reflect the structures within culture, cal ling advertising a ‘cultural system’ that is regulated by the way consumers read meanings and perceive the world. Therefore, an approach that is meaningful, ritualistic, and applies cultural ly constituted marketing, must be adopted, for the consumer to successful ly transfer their own values and beliefs about the brand (see appendix 3.c ).
Despite WeChat being one of the most prominent social media platforms among the Chinese consumer, I nstagram must also be considered: through net-o-graphic research, it became clear that the travel ling Chinese consumer adopts I nstagram, in order to feel more connected to Western society (see appendix 1. q ). Therefore the hashtag #anyahindmarchchina would be created, al lowing the Anya H indmarch account to repost WeChat content, and engage with the travel ling consumer. This, in turn, would support the Anya + Me community, keeping the conversation going between brand and consumer across al l social media platforms. (Turner, S. 2018).
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O ne of the most successful ways of creating brand awareness through consumer communities is usergenerated content (U GC). Prior to the launch of Anya and me, the hashtag #anya+me would be implemented, as a fol low-on from the initial brand awareness strategy. A select number of consumers’ own photos, using the hashtag, would be used, to be turned into il lustrations (see fig 60). These il lustrations would be reposted on the Anya H indmarch WeChat, and projected into various locations around major cities across China, with the aim to create mystery and hype around the new community. Consumers would be excited to see whether they, themselves, would get transformed into a graphic art piece, which would, effectively, create an artistic visualisation of someone’s connection with the brand, transforming the idea of a ‘selfie’ into something new and contemporary.
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Fig. 61 - Stiley, N. (2018). 100
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aim To build an Anya H indmarch community through the integration of technology and personalised services.
audience The target consumers are the female Chinese mil lennials ages 21-35 who strive for connection and acceptance. They engage with brands that present a fun and personable tone of voice.
what do we want them to do? Generate word of mouth
To download the Anya and Me app. To join the community. To share and recommend Anya and Me, as wel l as the brand itself.
what do we both care about? Creating connection through online and offline experiences.
tone of voice Fun Playful Light Hearted Personalised Sociable Engaging
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To purchase Anya H indmarch.
route to consumer
where can they be reached? Through disrupting their daily routine through outdoor advertising. Through social media creating intriguing content which will make them want to get involved. Through personalised emails which would directly target the consumer. Through a care box which they will receive quarterly .
when are they most receptive? anya hindmarch
During the morning when they wil l be on their commute to work. When shopping and exploring the city – outdoor adverting wil l be around cities. I n the evening through social media or socialising around the city with friends.
what is the message ? Encourage social connectivity bridging the gap between online and offline and consumer and brand. Al lowing the traveling consumer to maintain a relationship with the brand wherever they are in the world.
why should they listen ? Anya wants to have a positive impact on her consumer, applying their passion for quality and craftsmanship and transforming this into a co-valued relationship between brand and consumer.
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Fig. 62- Wood, H. (2018).
Direct E-mail marketing would be used in conjunction with the Anya + Me quarterly boxes, in order to keep in contact with the Anya + Me members regularly. Anya H indmarch would email the consumer to ensure that they continue to use the Anya + Me app, by sending reminders of up and coming events,as wel l as the launch of new products in the consumer’s favourite styles and colours. (Turner, S. 2018).
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shopper of stories a day in the life: the socialite of selfies
awareness
awareness
7.00am: Wakes up, scrolls through social medias and sees WeChat campaign of Anya and Me.
9.00am: Travels into the city center for work and sees billboard on commute in.
3.00pm: Whilst being in city center she see�s multiple advertisements of Anya Hindmarch as well as Anya and Me.
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awareness
Fig. 63 - Wood, H. (2018).
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reflection
engagement endorsement
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5.00pm: Travels back home.
8.00pm: Relaxing at home, scrolls through social media seeing friends engage with campaign through WeChat.
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8.30pm: Goes onto Anya Hindmarch’s website and clicks to download the app.
route to consumer
socialite of selfies a day in the life: the shopper of stories
awareness
awareness
9.00am: Wakes up, scrolls through social medias and sees WeChat campaign of Anya and Me.
11.00am: Travels into the city centre to spend the day in the lifestyle centre with friends.
3.00pm: Whilst in city centre she see�s user generated content billboards.
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awareness
Fig. 64 - Wood, H. (2018). 106
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reflection
engagement endorsement
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7.00pm: Walks home, see’s advertisements of Anya Hindmarch as well as Anya and Me.
9.00pm: Considers posting a photo of herself, posing with an Anya Hindmarch product to be used as an ambasdor of the brand though UGC.
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10pm: Goes onto Anya Hindmarch’s website and clicks to download the app, fills out her persoanl information to become a meber.
measuring success
route to consumer
The #anya+me integrated strategy will be monitored using data analytics.
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loyalty loop
bringing the idea to life
Fig. 65 - Turner, S. (2018). 108
Creating continuous co-value loyalty loops, influencing highly sustainable levels of brand engagement.
the launch
the launch How Anya + Me presents itself to start with is crucial: the launch event would be the first place for consumers to get a feel for the brand community, fol lowing on from the brand awareness and Anya and Me U GC campaign. The event would be a chance for like-minded individuals, with similar interest and passions, to network and connect with each other, and begin to learn about the person behind the brand.
U pon the exit of event al l guests would be presented with an Anya and Me box (see fig 68 ). The box would serve as a thank you gesture from Anya H indmarch, containing stickers, a zine, and a cultural calendar, giving members a taster for what the quarterly boxes would include. (Turner, S. 2018).
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The event would take place in the Shanghai store. Members who have signed up in the months between the Anya + Me launch in February and May would be offered the opportunity come to the in-store event. Local artists and creative influencers would also be invited. This should hopeful ly gain a large online traction, as wel l as consumer engagement amongst their friends and fol lowers. This, in turn, should spread the message of Anya +Me to a wider consumer demographic. During the event, the first projected exhibition would be shown, featuring Anya, al lowing consumers to get to know Anya herself, rather than just the brand. This would al low her to be seen as more authentic. They would be greeted with refreshments, and presented with the opportunity to network and begin to form connections with other members of Anya + Me.
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Fig. 66 - Stiley, N. (2018). 111
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Fig. 67 - Stiley, N. (2018). 112
the launch
anya + me care boxes
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Fig. 68 - Turner, S. (2018). 113
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communication timeline
the social media will impliment the #anya+me encoraging consumers to engage with the brand through user generated content
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outdoor marketing will be infultrated in order to generate hype around the brand.
the Anya Hindmarch store will be launched in Shanghai
initial social media campaign will be launched to raise brand awareness of Anya Hindmarch
Fig. 69- Stiley, N. (2018). 114
the us genera content w transfor into illusta which w be proje around th
the social media will continue to re-post user generated content to engage consumers with the promotional material
projections
anya+me will launch. Consumers will recieve a care box containing personalised content giving them a teaser into the up and coming boxes
projections
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ser ated will be rmed ations will ected he city
the launch
mesasuring success
future proof plan
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one year During the first year, Anya + Me would aim to launch a store in Shanghai, with supporting app and web. I nterest would be generated through digital, print, and physical advertising campaigns being shared on social media, branded zines, as wel l as U GC being projected onto bil l boards around major cities. Clips of events would be live-streamed, encouraging consumers in-store to join the community, and get involved, which, in turn, would generate word of mouth and enhance person to person interactions.
five years As Anya + Me gains popularity in Shanghai, the concept would be rol led out to al l compatible stores, al lowing the travel ling Chinese consumer to connect with the brand in multiple locations. I nteractive and cultural ly relevant events would be promoted to members through the physical box, personalised emails, app and web posts. Ensuring the concept stays relevant and future-proof is key, by continual ly moving the concept forward. (Wood, H. 2018).
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measurring success
measuring success
What does success look like? The main aim of content would be to create a community of Anya+me consumers who regularly connect with the brand, and network with one another. Conversation rate from ‘likes’, ‘shares’ and comments, user-generated content, click-through rate, and attendance to events would al l be compared against stock sales and in-store visits, therefore, creating continued co-value loyalty loops, influencing highly sustainable levels of brand engagement.
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The #anya+me integrated strategy would be monitored using data analytics. The future progress would educate and inform decisions relating to the strategy development al lowing Anya+Me to continuously grow.
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conclusion In response to the insights gathered from analysing current trends with the Chinese luxury goods market, digital advancements and consumer behaviour, Anya and Me will offer a personalised product service through the theory of co-value, creating an engaging brand presence within the Chinese luxury good market. This marketing strategy will stimulate longterm, sustained, brand loyalty: globally, physically and digitally.
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Fig. 70 - Anya Hindmarch, (2018). 119
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the dull st 120
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illustrations
list of il lustrations :Fig. 1. Anya Hindmarch, (2017). SS18 Collection. Available at: http://in.fashionnetwork.com/news/AnyaHindmarch-gets-10m-boost-as-it-eyes-further-expansion,875490.html [Accessed 20 April]. Fig. 2. Stiley, N. (2018). Anya Hindmarch Moodboard. Own Image. Fig. 3. Anya Hindmarch, (2017). Sticker Shop Bag. Available at: https://www.ymatou.com/product/ e70383d9-a183-4ba2-9341-c63c10d87de8.html [Accessed 22 April 2018]. Fig. 4. Turner, S. (2018). Anya Hindmarch Timeline. Own Image. Fig. 5. Anya Hindmarch, (2018). It’s The Small Things That Count. Available at: https://www. anyahindmarch.com/ [Accessed 25 April 2018]. Fig. 6. Anya Hindmarch, (2016). New LA Flagship Store. Available at: https://www.anyahindmarch.com/ en-GB/la-opening-nov-2016.html [Accessed 30 April 2018]. Fig. 7. Anya Hindmarch, (2017). The Sticker Shop. Available at: https://twitter.com/anyahindmarch/ status/920996463076958208 [Accessed 02 May 2018].
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Fig. 8. Anya Hindmarch, (2018). See Who’s Wearing The Chubby Collection. Available at: https://milled. com/AnyaHindmarch/see-whos-wearing-the-chubby-collection-MvbouTzfB6pO_x7r [Accessed 25 April 2018]. Fig. 9. Turner, S. (2018). Kapferer Brand Identity Prism. Own Image. Fig. 10. Anya Hindmarch, (2018). The Chubby Collection. Available at: https://instagrammernews.com/ detail/1742973763354691087 [Accessed 05 May 2018]. Fig. 11. Anya Hindmarch, (2016). SS17 London Fashion Week. Available at: https://www.youtube.com/ watch?v=zlJb7jZuabw [Accessed 08 May 2018]. Fig. 12. Wood, H. (2018). Brand Perceptual Map. Own Image. Fig. 13. Turner, S. (2018). Anya Hindmarch Instore. Own Image. Fig. 14. Stiley, N. (2018). Anya Hindmarch Instore. Own Image. Fig. 15. Turner, S. (2018). Anya Hindmarch Instore. Own Image. Fig. 16. Gu, T. (2017). Shanghai. Available at: https://unsplash.com/photos/QsKWFBXK0_4 [Accessed 08 May 2018]. Fig. 17. Diego, J. (2018). The Great Wall of China. Available at: http://www.millennialmanagers.com/ [Accessed 08 May 2018]. Fig. 18. Stantiago, T. (2018). Chaoyang. Available at: https://unsplash.com/search/photos/chaoyang%2Cchina [Accessed 08 May 2018]. Fig. 19. Paul Smith, (2017). Hello My Name Is Paul Smith Exhibition. Available at: https://designmuseum. org/exhibitions/touring-exhibitions/exhibitions-for-hire/hello-my-name-is-paul-smith-touringexhibition# [Accessed 15 March 2018]. Fig. 20. Paul Smith, (2017). Hello My Name Is Paul Smith Exhibition. Available at: https://designmuseum. org/exhibitions/touring-exhibitions/exhibitions-for-hire/hello-my-name-is-paul-smith-touringexhibition# [Accessed 15 March 2018]. Fig. 21. Paul Smith, (2017). Hello My Name Is Paul Smith Exhibition. Available at: https://designmuseum.
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illustrations org/exhibitions/touring-exhibitions/exhibitions-for-hire/hello-my-name-is-paul-smith-touringexhibition# [Accessed 15 March 2018]. Fig. 22. Paul Smith, (2017). Hello My Name Is Paul Smith Exhibition. Available at: https://designmuseum. org/exhibitions/touring-exhibitions/exhibitions-for-hire/hello-my-name-is-paul-smith-touringexhibition# [Accessed 15 March 2018]. Fig. 23. Fairey, P. (2018). Social Isolation. Available at: https://medium.com/@kdagan/design-forunderstanding-not-distraction-3099f41180eb [Accessed 15 May 2018]. Fig. 24. Anya Hindmarch, (2018). Rainbow Sticker. Available at: https://www.anyahindmarch.com/en-GB/ rainbow-sticker-5050925913614.html#sc=1&start=25&cgid=stickers [Accessed 25 March 2018]. Fig. 25. Anya Hindmarch, (2018). Mickey Victory Leather Sticker. Available at: https:// www.anyahindmarch.com/en-GB/mickey-victory-leather-sticker-5050925894562. html#start=16&cgid=stickers [Accessed 25 March 2018]. Fig. 26. Patagonia, (2018). Worn Wear. Available at: https://wornwear.patagonia.com/ [Accessed 08 May 2018]. Fig. 27. Nike, (2017). Become a Member. Available at: http://landt.co/2017/01/brand-community-examples/ [Accessed 08 May 2018]. Fig. 28. Anya Hindmarch, (2018). Chubby Hearts Over London. Available at: https://www.youtube.com/ watch?v=xhcXEK4gq-Q [Accessed 05 May 2018].
Fig. 30. Turner, S. (2018). Idea Justification. Own Image. Fig. 31. China Daily, (2018). The Chinese Millennials. Available at: https://wgsn.com/chinese_millennials_ the_power_of_me [Accessed April 2018]. Fig. 32. Spoki, (2017). The Chinese Millennial. Available at: https://wgsn.com/chinese_millennials [Accessed 20 April 2018]. Fig. 33. Jin Xing, (2018). The Millennial. Available at: https://wgsn.com/chinese_millennials [Accessed 20 April 2018]. Fig. 34. Turner, S. (2018). The Socialite of Selfies. Own Image. Fig. 35. Turner, S. (2018). The Shopper of Stories. Own Image. Fig. 36. Turner, S. (2018). Pulling Apart The Brief. Own Image. Fig. 37. Turner, S. (2018). Competitor Analysis. Own Image. Fig. 38. Harley Davidson, (2016). The Aging Rebel. Available at: http://quickbooksproadvisor.us/harleydavidson-patches-for-jackets/ [Accessed 20 May 2018]. Fig. 39. Harley Davidson, (2015) Harley Davidson Bikers Club. Available at: https://enoanderson.com/ blog/2015/01/12/jenis-sepeda-motor-cruiser-bikes-original-style-ala-amerika/2/ [Accessed 20 May 2018]. Fig. 40. Harley Davidson, (2018). The Harley Davidson Logo. Available at: https://www.harley-davidson. com/gb/en/index.html [Accessed 20 May 2018]. Fig. 41. Harley Davidson, (2017). The Harley Davidson Bikers Club. Available at: https://www.harleydavidson-hangout.com/ [Accessed 20 May 2018]. Fig. 42. Stiley, N. (2018). What It’s Not Moodboard. Own Image. 123
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Fig. 29. Anya Hindmarch, (2018). Pimp Your Phone. Available at: https://www.anyahindmarch.com/ [Accessed 10 May 2018].
illustrations
Fig. 43. Turner, S. (2018). Artistic Influence Moodboard. Own Image. Fig. 44. Turner, S. (2018). Creative Concept Moodboard. Own Image. Fig. 45. Wood, H. (2018). Design Recipe Moodboard. Own Image. Fig. 46. Wood, H. (2018). Brand Anatomy. Own Image. Fig. 47. Stiley, N. (2018). Anya + Me. Own Image. Fig. 48. Turner, S. (2018). Who Will Our Consumer Become. Own Image. Fig. 49. Soho House, (2018). Soho House Chicago Rooms. Available at: https://www.sohohouse.com/ [Accessed 22 May 2018]. Fig. 50. Soho House, (2018). Soho House New York Rooms. Available at: https://www.sohohouse.com/ [Accessed 22 May 2018]. Fig. 51. Soho House, (2018). Soho House Farmhouse. Available at: https://www.sohohouse.com/ [Accessed 22 May 2018]. Fig. 52. Soho House, (2018). Soho House Chicago Rooms. Available at: https://www.sohohouse.com/ [Accessed 22 May 2018].
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Fig. 53. Wood, H. (2018). Become a Member. Own Image. Fig. 54. Wood, H. (2018). The Anya + Me App. Own Image. Fig. 55. Wood, H. (2018). The Anya + Me App. Own Image. Fig. 56. Turner, S. (2018). The Store Visuals. Own Image. Fig. 57. Wood, H. (2018). The Store Floor Plan. Own Image. Fig. 58. Wood, H. (2018). The Members Area. Own Image. Fig. 59. Turner, S. (2018). Brand Awareness Campaign. Own Image. Fig. 60. Turner, S & Stiley, N. (2018). Anya + Me Campaign. Own Image. Fig. 61. Stiley, N. (2018). Anya + Me Illustrations. Own Image. Fig. 62. Wood, H. (2018). Email Marketing. Own Image. Fig. 63. Wood, H. (2018). A Day In The Life: The Socialite of Selfies. Own Image. Fig. 64. Wood, H. (2018). A Day In The Life: The Shopper of Stories. Own Image. Fig. 65. Turner, S. (2018). Loyalty Loop. Own Image. Fig. 66. Stiley, N. (2018). The Launch Event. Own Image. Fig. 67. Stiley, N. (2018). The Launch Event. Own Image. Fig. 68. Turner, S. (2018). The Anya + Me Box. Own Image. Fig. 69. Stiley, N. (2018). Communication Timeline. Own Image. Fig. 70. Fig. 10. Anya Hindmarch, (2018). The Chubby Collection. Available at: https://instagrammernews. com/detail/1742973763354691087 [Accessed 05 May 2018]. 124
references
references Chu, S. (2018). The_Modern_Chinese_Consumer. China. [online] WGSN. Available at: http://www.wgsn. com [Accessed 17 Jan. 2018]. ComBlu, (2012). The State of Branded Communities. [PDF Document]. [online] Available at: http://comblu. com/comblu-pov/the-state-of-online-branded-communities-2012/ [Accessed 30 March 2018]. Daxueconsulting.com. (2016). Market Trends: Chinese Consumer Behavior and Motivation. [online] Available at: http://daxueconsulting.com/market-trends-chinese-consumer-behavior-andmotivation/ [Accessed 8 May 2018]. Facts, L. (2018). Topic: Luxury Goods Market in China. [online] www.statista.com. Available at: https:// www.statista.com/topics/1186/luxury-goods-market-in-china/ [Accessed 8 May 2018]. Giele, F. (2009). 2009 Chinese Consumer Behaviour - [PDF Document]. [online] vdocuments.mx. Available at: https://vdocuments.mx/2009-chinese-consumer-behaviour.html [Accessed 25 Mar. 2018]. Hong, P. (2015). 10 Exceptional Examples of Brand Communities. [online]. Available at: https://www. linkdex.com/en-gb/inked/10-exceptional-examples-of-brand-communities/ [Accessed 25 March 2018].
Podoshen, J., Li, L. and Zhang, J. (2010). Materialism and conspicuous consumption in China: a crosscultural examination. International Journal of Consumer Studies, 35(1), pp.17-25. Pople, L. (2018) Interview with Anya Hindmarch. [online] Available at: https://www.amara.com/luxpad/ interview-anya-hindmarch/ [Accessed 05 May 2018]. Posner, H. (2011). Marketing Fashion. Second Edition. England: Laurence King Publishing. Rosen, E. (2018). Top 10 Luxury Brands in China. [online] Gartner L2: Benchmarking Digital Performance. Available at: https://www.l2inc.com/daily-insights/top-10-luxury-brands-in-china [Accessed 5 Mar. 2018]. Sebastian, b. (2018). Brands that build belonging – enso ideas – Medium. [online] Medium. Available at: https://medium.com/enso/brands-that-build-belonging-a273131f2341 [Accessed 2 Jan. 2018]. Trotter, C. (2016). With the brand: should you be building a brand community? - Insider Trends. [online] Insider Trends. Available at: https://www.insider-trends.com/with-the-brand-should-you-be-buildinga-brand-community/ [Accessed 6 Mar. 2018]. Whelan, R. (2016). Consumers View Relationships with Brands as One-Sided, Limited in Value edelman.com. [online] Edelman.com. Available at: https://www.edelman.com/news/consumersview-relationships-brands-one-sided-limited-value/ [Accessed 8 May 2018]. Zipser, D. and Chen, Y. (2016). Here comes the modern Chinese consumer. [online] McKinsey & Company. Available at: https://www.mckinsey.com/industries/retail/our-insights/here-comes-themodern-chinese-consumer [Accessed 4 Jan. 2018].
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