Concept Development Marketing & Branding BA (Hons) Fashion Contour BA (Hons) Fashion Design and Development BA (Hons) Fashion Sportswear
Objectives of the Concept Development Unit •
This unit will provide a foundation from which you will be able to formulate an innovative and enterprising concept and strategy to take forward into the rest of your final year of study.
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This will enable you to embody knowledge and experience gained on the course and presents a major piece of product design and development work which is industrially relevant and informed by appropriate research.
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This unit will explore and justify the means by which your proposal can be realised.
Learning Outcomes / Index 1 Concept Description • Research • Product concept • SWOT • Mission statement
4 Fashion marketing application • The promotional mix • Advertising and digital campaigns
2 Market identification • What is marketing • The scope of marketing research • The marketing environment
5 Branding • Building brand loyalty • Price architecture • Brand touchpoint • Brand position
3 Identify customers • Understanding consumer • Segmentation variables • Generational cohort • Hierarchy of needs • Motivators • Consumer profile
1 Concept Description
Type of Research It is imperative that you use a wide range of research methodology including both primary and secondary sources to inform your project. Qualitative data about people thoughts, opinions, ideas or feelings. Quantitative data that enables you to measure numbers or percentage Primary research involves the collection of new information, for example market surveys, questionnaires and focus group research in direct contact with customers. Secondary research (also known as desk research) - involves accessing data that is already available, for example economic trends and specific industry sector reports.� Evaluation is making a judgment based on the evidence, about the values and quality of an idea.
Strategies for research Secondary research or desk research Investigate and review existing data published either on the internet, in books, magazines, trade journals or via academic government or industry sources This will be useful to determine the size and make-up of a particular market sector
Primary research or field research Market research surveys, questionnaires, focus groups and individual interviews. Primary research can also be used to collect data on products in the market to investigate competitors. Field research does not have to be complicated – visits to high shops, recording information on products, styles colours, prices etc. If research is conducted on a regular basis, then it should be possible to both subtle and dramatic changes that occur in the market place over time. The feasibility of the concept may also need to be tested through sampling, this is also considered 
 primary research.
The Total Product concept The potential product This represents the potential features not yet offered. It is also about innovation and concerns what the product could be in 
 the future
Intangible associations
Added value
Design features Quality
Price
Warranty
The actual or expected product The real product is a combination of the of the generic product plus the tangible attributes. The generic product This is the core product, such as a coat, a jumper or dress
Packaging Styling Branding
Perceived value
The augmented product This is what Levitt calls he augmented product. It represents everything the customer receives.
The total product concept was introduced by Theodore Levitt in a 1980 Harvard Business Review publication
Product Example: Rapha Team Sky Kit
Team Sky 2013
Applying the concept to the Rapha Team Sky Kit
“Clothing part of tactical awareness, details win races”
Intangible associations
Servais Knaven Directeur Sportif
Added value
Design features Quality
Rapha Team Sky Kit
Fabric innovation; cold weather, extreme conditions, compression for reduction of drag
Price
Warranty
High price point, is justified by quality and rigour of design
Packaging Styling Branding
Perceived value
“Kit is good but he athlete feels good” Rod Ellignworth Coach and performance manager
Beauty in the reduction Association with success
Mission Model Strategy The competitive position and distinctive competence
Purpose
Mission
Why the company exists
Values What the company stands for
Standards & Behaviour The policies that underpin the company’s value system – its behaviour towards staff, intermediaries and customers
Example: Christopher RĂŚburn
Christopher Raeburn for Victorinox Remade In Switzerland.
Christopher Ræburn Mission Model
Strategy To gain traction in the highly competitive luxury market through strategic collaboration and resourcefulness
Purpose
Values
Mission
Clothes that protect
To create and sell desirable clothes practising a sustainable business model and supply chains
man and the planet.
Standards & Behaviour Repurposing / up-cycling / Alchemy. Functionality and Pragmatism Does not pander to micro fashion trends. Creativity and Humour
This is purely a projection and was not supplied by Christopher Ræburn
Inspiration A mission statement or concept is not the same thing as your design inspiration. Your mission statement establishes core ideals that are consistent throughout the life of your brand / project. Design inspiration may change seasonally.
All imagery taken from Christopher Raeburn S16 BORNEO⁄SARAWAK Lookbook
For Spring ⁄ Summer 2016 Christopher Ræburn takes inspiration from the maverick anthropologist Tom Harrison and his aptly named biography ’The Most Offending Soul Alive’.
Mission Statement •
The purpose of the mission statement is to define why a business exists, what makes it distinctive, and where it is going.
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They should be based in reality and may incorporate achievable aspirations.
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In order to establish a brand or a product or a service, a company must define its distinctive purpose, qualities, values, standards and competitive advantage
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It is an anchoring mechanism, which needs to be supported by SWOT analysis
SWOT Analysis
Strengths • The population of a the company, brand or fashion label • Distinctive signature style and USP • Expertise of Staff • Strong relationship with suppliers • Loyal customer base
Weaknesses • Undifferentiated products with no clear USP • Lack of skilled staff or support • Weak relationship with suppliers • Cash flow or financing problems
Opportunities • Strategic alliance or opportunity to partner with others • New market identified • New fabric or manufacturing technology • New supply source available • Government trade incentives
Threats • Changes to fashion trends, signatures look goes out of style • New competitors enters market • Changes in import ahead affect prising or supply • Rising operational cost • Buyer drops the label
2 Market identification
What is marketing Products. Services. Values. Ideas. Communication
Business
Customers
Venture
Money. Information. Data. Ideas. Communications
The Scope of Marketing Research Details
1. 2. 3. 4.
Finance Business models Business opportunity Political and economic
1. 2. 3. 4.
Internet Bricks and mortar stores Catalogue Logistics
Competitors
1. Market share 2. Operations and services 3. Product and Prices
Marketing Research Business
Distribution and routes to market
The Marketplace
1. Retail trends 2. Emerging markets and trends with the markets 3. Size of the market and state for the market 4. Prices
1. 2. 3. 4.
Fashion Research
Market Research
Consumer
1. Consumer Trends and behaviours 2. Psychographic 3. Demographics
Product Research
1. Fabrics, materials and components 2. Product manufacture and supply chain 3. Pricing 4. Product design 5. Technological developments
Consumer fashion trends Designer catwalk trends Trends picked up by press Fashion Forecasting
Promotional Research
1. 2. 3. 4. 5.
Sales promotion Public relations (PR) Viral marketing Advertising Personal Selling
Environmental Scanning •
Environmental scanning can be defined as the study and interpretation of the political, economic, social and technological events and trends which influence a business, an industry or even a total market.
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The factors which need to be considered for environmental scanning are events, trends, issues and expectations of the different interest groups.
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Issues are often forerunners of trend breaks.
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A trend break could be a value shift in society, a technological innovation that might be permanent or a paradigm change.
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Issues are less deep-seated and can be 'a temporary short-lived reaction to a social phenomenon.
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A trend can be defined as an environmental phenomenon that has adopted a structural character
The Marketing Environment The internal environment • Company structure • Finance • Resources and capabilities • Personnel
Taxation
Exchange rates Business relationships Suppliers
Interest rates
Customers
Competitors
Internal Stakeholders Legislation End-consumers
Technology
The micro marketing environment • Customers • Competitors • Suppliers and supply-chain logistics • Distributors and distribution channels • Stakeholders
Distributors
Cultural influences
Social trends
The macro marketing environment • Political and legal factors • Economics factors • Social and cultural factors • Technological factors • Environmental • Legal
3 Identify customers
Understanding Customers Marketing Strategy
Product Design and Range Plan
Business Strategy
Understanding of the customer
Customer Service
Brand Identity
Distribution and Sales Channels
Segmentation variables
Demographic variables
Psychographic and behavioural variables
Gender, Age, Generation, Ethnicity, Marital status, Occupation, Education, Income, Social grade classification
Lifestyle, Social aspirations, Self-image Value perceptions, Purchasing motives and behaviour, Interests and hobbies, Attitude and opinions
Geographic variables
Usage benefit variables
Geographic variables, Region, Urban suburban rural, Residential location, Housing type, Size of city or town, Climate
Benefits sought from products, Usage rates, Volume of purchases, Price sensitivity, Brand loyalty, Enduse of product
Generational timetable
Generational Jones 1954-65 (Jonathan Pontell)
Baby Boomers 1946-64 (US Census Bureau)
Baby Boomers 1943-60 (Howe & Strauss)
1940
1950
Gen x 1968-79 (US C. B.)
Gen X / Yupsters 1961-81 (Howe & Strauss)
1960
1970
Gen Y / Millennials 1982-2002 (Howe & Strauss)
1980
Alpha Generation 2010-2024 (McC. Research)
Gen Z 1995-2009 (McCrindle Research)
1990
Gen Z 2004-2025 (Howe & Strauss)
2000
2010
2020
Generational Differences
Gen X / Yupsters 1961-81 (Howe & Strauss)
Gen Y / Millennials 1982-2002 (Howe & Strauss)
51 million
75 million
Accept diversity
Celebrate diversity
Pragmatic / practical
Optimistic / realistic
Self-reliant / individualistic
Self-inventive / individualistic
Reject rules
Rewrite rules
Killer life – living on the edge
Killer lifestyle – pursuing luxury
Mistrust institutions
Irrelevance of institutions
Pc
Internet
Use technology
Assume technology
Multitask
Multitask fast
Maslow’s Hierarchy of Needs
Selfactualisation
Self-fulfilment or fulfilling own potential. Consumer may purchase equipment or travel or hobbies. Individual style might be created to express fun or a sense of freedom.
Esteem
Social belongings
Safety, Shelter, Protection, Security Clothing and protection
Physiological - Basic life needs, Food, Water and Sleep
Status, achievement, level of responsibility. Consumer may choose status brands or designer clothing to signify importance or position.
Relationships, acceptance, family, peer group, work group. Dressing to fit in style tribe
Holistic needs Maslow’s Hierarchy of Needs is arguably out of step with contemporary society, as the advent of social media and increased prosperity have altered priorities. A more holistic model weighs selfactualisation and esteem as a similar value to physiological needs.
Selfactualisation
Physiological Basic life needs, Food, Water and Sleep
Safety, Shelter, Protection, Security Clothing and protection
Esteem
Consumer
Social belongings
Diffusion of innovators Levis fall 2015
H&M April 2016
Tommy Ton style photo Spring 2015 Karen Millen June 2016
Vetements Fall 2014
Early Adopters 13.5%
Early Majority 34%
Late Majority 34%
Laggards 15%
Context of design
The Clash 1979 Maison Martin Margiela Fall 2000
Life cycle of a fashion fad
SALES
Fad
Trend Classic
TIME Introduction
Growth
Maturity
Decline
Matrix of motivators Defining yourself against the crowd • Buys from independent stores and boutiques • Makes an effort to seek new trends and ideas • Makes own clothes or customises • Shop in street markets
Looking like a celebrity • Avid reader of celebrity gossip • Attracted to stores and websites that are current with celebrity trends • Would queue to purchase special celebrity or designer fashion collection
Getting a bargain • Shops in sales • Attracted to promotional offers • Goes to designer outlets, warehouse sales • Sources vouchers and deals on the internet
Fitting in and belonging • Buys similar to style to friends • Connected to peers via social media • Shops where friends shop • Personal style fits with chosen tribe
Caring about the environment • Tries to buy from ethical brands • Recycles and epicycles clothing • Won’t buy ‘fast fashion’ • Likes smaller local fashion labels
Trying to avoid clothes shopping • Shops infrequently for clothes • Purchases mainly for replacement items • Does not browse - heads straight to required item • Abandons store if queue pay is too long
Consumer profile chart •
Interestes and opinions
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Fashion needs
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Where and how they shop
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Magazines and blogs
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Brands they aspire to wear
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Social Media
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Brands they wear
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Demographic
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Emotional motivations
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Fashion trends they follow
4 Fashion marketing application
The promotional mix •
The fashion press
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Fashion shows
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Window displays
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Visual merchandising and signage
Fashion advertising and digital campaigns •
Fashion magazines
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Content marketing
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Celebrity endorsement
Digital promotion
Images Status updates
Gifs
Videos
Blogs
Digital Content Webinars
Surveys
Apps
Podcast Info-graphics
4 Branding
Identity and image
Hedi Slimane
Dior Homme Autumn Winter 2001
YSL logotype, Cassandre, 1961
Hedi Slimane rebrand
Hedi Slimane designed Saint Laurent store in Paris
“I really love to design but when it’s a big luxury house there is so much things around the design. Like the global branding, like the window displays. Oh, it’s so much. You just have to be happy doing it.” Hedi Slimane
Hedi Slimane
Pioneer Girl, Alexander Rodchenko, 1930
Hedi Slimane cites Alexander Rodchenko as his biggest design inspiration
Steps, Alexander Rodchenko, 1930
Hedi Slimane, 2006
There is a strong correlation between brand and consumer identity. Consumers are likely to connect with the brands that affirm their personal viewpoints and ideas
Consumers will use the external expressions of the brand to form their own perceptions and options of the brand. This is known as the brand image
Consumer identity
Brand image
Logo + Products + Packaging + Display + Promotion + Digital Media and Content
Brand Identity is controlled internally from within the company. It is reflected externally through every outward expression of the brand. Each aspect of the brand must be consistent and congruent in order to build a strong and coherent brand identity
Brand identity
Building Brand Loyalty
When Supreme opened in ’94, New York had a style of skating like no other… These skaters were your trainhoping, taxi-jumping, runaway kids – born and raised in the city Aaron Bondaroff
Supreme Lafayette Street
Barbara Kruger, photographic silkscreen/vinyl, 1987
Kids Director: Larry Clark 1995
2004
2012
Mr PHOMER - ‘Get it Together’ Series
Kermit the Frog
Mike Tyson
Lou Reed
2007
2008
2009
Edie Sedgwick
Alan Ginsberg
Lou Reed
Jeff
Takashi
Damien
George
Koons
Murakami
Hirst
Condo
2006
2007
2009
2010
Warhol realised the in the future, art was going to be much different from the traditional ideas of it. There was no more nature to imitate. Art was going to be inextricably linked with commerce. But does not mean it has to betray its spirit. Glenn O’Brian
Supreme x Nike Air Foamposite One
Supreme Foamposite release April 2, 2014
Building Brand Loyalty
Step 1 Customer drawn to brand Believes in values and ethos Connects to brand identity Likes what is offered
Step 3 Positive image of the brand Brand meets expectations Delivers promises and brand values Loyalty built - return custom Customer spreads positive message
Step 2 Customers purchases brand
Step 2 Negative image of brand Brand fails to deliver or meet customer expectations
Traditional Price Architecture
Top-price products may be stocked in lower volumes: this helps maintain exclusivity
Top-price product
Premium-price product
A high number of styles stocked in relatively large volumes occupy the mid-priced tier
Mid-price product
Lowest-price product
The lowest price tier offers consumers affordable entry-level products
Premium products extends the offering of a high end brand, making it available to more consumers Or a high street brand can offer premium products to extend a range upward
Supreme Price Architecture Supreme skew the usual supple and price architecture. By limiting runs and stocking similar quantities of higher price point pieces and the more accessible pieces.
Top-price product
Premium-price product
Mid-price product
Lowest-price product
Brand Touchpoint
Martin Margiela
Maison Martin Margiela, Spring/Summer 1989
Maison Martin Margiela, labeling system
Signage – Stores are never listed in phone books or identified with signage. Uniforms – Staff at stores and at Margiela HQ wear standard white lab coats. Colours – White – called “whites” in Margielaspeak – is the ubiquitous colour of all stores, Margiela HQ, and of the sheets that covered all in-store furniture and displays. Packaging – Margiela packaging is monochrome and logo free. Models – Runway models at MMM more than any other designer often appear on the runway with covered faces. Runway shows – Seating is mostly first-come, first-served, avoiding the industry standard of seating hierarchy. Collective speaking – The brand used a first person plural response to all requests, emphasising the collaborative, disciple-like consensus of their thoughts.
Maison Martin Margiela ‘20’ The Exhibition
“Martin has not been there for a long time. He is here but not here. We have a new fresh design team on board. We are focusing on young, realistic energy for the future; this is really Margiela for the year 2015.� Renzo Rosso in October 2009, President of OTB Group, the holding group of Margiela
Brand touchpoint
Pre-purchase
Purchase
Post-purchase
Website
Online purchase experience
Garment performance,
Blog
Sales person
cleaning and care
Social Media
In-store experience
Returns policy
Advertising
Windows and displays
Loyalty Programme
Promotion
Packaging and carrier bag
PR Media Sales
Labelling Garment, fit, quality and style
Brand positioning 2012
Before Johnathan Anderson appointment as Creative Director
Luxury
Prada
Bottega Veneta
Loewe Burberry London Acne Studios
Contemporary
Classic Self-Portrait
J.Crew
Premium
Brand repositioning 2016
Luxury
Prada
Bottega Veneta
Loewe Burberry London Acne Studios
Contemporary
Classic Self-Portrait
J.Crew
Premium
Loewe 2015 Spring Summer
Visual identity Graphic duo M/M (Paris)Â have been tasked with interpreting the brand's essence with a new face. They looked to the achieves as part of the 'Past, Present and Future' is the mantra that is guiding the fashion house's reinvention
A selection of the house's logos from circa 1900 to 1970
Parisian pair in a typeface inspired by German-born typographer and calligrapher Berthold Wolpe. Wolpe’s work include, from left: a Faber & Faber book cover, featuring his famous Albertus font
'We tried to understand why the original 1970-design Anagram from Vicente Vela had this specific structure and discovered it was based on branding irons used to mark the cattle and the leather skins,' they explain. 'We studied the branding irons from all around the world to comprehend how metal is folded to make these structures’ M/M Paris
Sketches of cattle branding irons that M/M (Paris) drew inspiration from for the logo
Loewe's new logo and the former incarnations of the 168-year-old house's branding