Marketing branding lecture

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.

•

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

•

Fashion needs

•

Where and how they shop

•

Magazines and blogs

•

Brands they aspire to wear

•

Social Media

•

Brands they wear

•

Demographic

•

Emotional motivations

•

Fashion trends they follow

4 Fashion marketing application

The promotional mix •

The fashion press

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Fashion shows

•

Window displays

•

Visual merchandising and signage

Fashion advertising and digital campaigns •

Fashion magazines

•

Content marketing

•

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