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PROMOTIONAL CAMPAIGN
contents.
SITUATIONAL ANALYSIS
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MARKETING PLAN
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CREATIVE PLAN
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MEDIA PLAN
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Zhane Rose 201139115
sector overview brand overview marketing mix competitor analysis brand positioning map current consumer potentional consumer marketing objectives target audiences positioning communications objectives communications mix costing creative objectives creative strategy the app instagram posts the event glamour ad mockups glamour front cover inpsiration media strategy media objectives influencers monthly plan budgeting 2
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ituational analysi
sector overview. Globally, the formal wear market is growing fast. There is a correlation between the rise of women in higher ranking jobs and the rise in the demand for formal wear (Market Watch, 2019). House of CB is one of many brands that cater to women who have a dressier style or have events that require occasion wear. The brands in the current marketplace offer products at a range of price points depending on how price sensitive their target consumer is. Formalwear is needed for parties, events and weddings. There has also been a casualisation in weddingwear, as “couples are building their wedding experiences around social media-worthy outfits and events, which means there’s less focus on splurging out on just ‘the dress’” (Garcia, 2017). Therefore, brands that provide dresses and formal outfits can capitalise on the ongoing trend of versatile wedding attire. Fast fashion is generally cheap and accessible to consumers. This is because the industry is built on cheap overseas labour and low quality materials (Lavile, 2019). Fast moving supply chains and shorter fulfilment times are allowing businesses to keep up with the changing tastes of young women in particular, who want to remain on trend affordably. However, this constant need for newness means that there is an increase of disposable mentality in which consumers are ready to throw out their garments within a matter of 5 weeks (Laville, 2019).
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House of CB is a brand that combats this by offering a limited range at higher prices and more classic styles. The brand does not fall victim to trends, and instead incorporates them in a way that means their designs will not look out of place a year later. Globalisation of supply chains and the power of online have allowed brands like ASOS, Missguided, and Boohoo to become fast fashion powerhouses, pushing other ‘young’ brands like Forever 21 out. As an e-commerce brand with few physical stores, the brand relies on social media to build awareness of the brand and drive sales. This is the case for competitors like Oh Polly and Lavish Alice. Currently, around 3.1 billion people use social media, and on average Instagram has 1 billion active accounts used per month (Statista, 2020), demonstrating that the power of social media is massive. Brands that target young women are tapping into the potential that is Instagram; over 50% of the users are under the age of 34 (Statista b, 2020). 14% of all Instagram users are women aged 18-24, and 17% are women aged 25-34 (Statista b, 2020). This data shows that millennials and generation Z females are the main users (Posner, 2015), therefore many brands use targeted ads and paid promotion posts to insert themselves into the line of attention of their potential consumers.
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brand overview. House of CB was set up in 2010 by Conna Walker at the age of 17. Walker came up with a business plan and started the brand from her bedroom with a loan of £3000 from her dad (Dove, 2019). The label was originally called ‘Celeb Boutique’ as Walker offered glamourous dresses that were similar to those of female celebrities for a lower price (Dove, 2019). Walker explains that the brand is “affordable luxury” (Dove, 2019), with high quality pieces ranging from £59 to £209. The brand offers ‘night-out’ pieces that accentuate and create curves (House of CB, 2020). The Brand Identity system (Appendix C) proposed by Aaker (1996) informed the research House of CB; trend-driven and classic pieces every season they have iterations of previous best sellers in new colourways or lengths. The target consumer is a women who feels sexually empowered and strong, while simultaneously being feminine in a traditional sense. Walker and her brand are constantly engaging with customers online; through reposting customer posts wearing the brand, running competitions, releasing BTS footage of photoshoots and talking to them in comments.
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marketing mix.
table. 1
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brand positioning map.
competitor analysis.
high price Up and coming brand offers formal wear with an emphasis on “couture-inspired design techniques… [that are] effortless, timeless” (Lavish Alice, 2020). The style of the brand is clean, modern and feminine, and would attract consumers who look for more modest and muted pieces. The brand uses social media influencer and paid posts with sales promotions to market their products. They retail on their own website, on Next, Very and Selfridges. Therefore they have the benefit of coming into contact with different types of consumers, although they will be relatively older than those of House of CB.
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low quality
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table. 2
Online retailers such as Missguided, ASOS and PrettyLittleThing satiate the need of new, on trend fashions. These brands offer a large product range including casual wear, streetwear, work wear, holiday wear as well as formal wear that compete with House of CB. For example, Missguided has it’s Peace and Love range which offers more luxurious pieces at a higher price point. The same goes for the Pretty Little Thing Premium range, and ASOS EDITION. It is these premium ranges that compete with House of CB, due to the increased quality of the products.
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low price
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high quality
Scottish e-commerce brand Oh Polly was set up by Claire Henderson and Mike Branney in 2013 (LDC, ND). They achieved over £21m in turnover in 2019 (Essential Retail, 2019). Like House of CB, Oh Polly has an engaging social media presence with 3 million followers. Their USP is going-out dresses, but they also sell swimwear, loungewear and activewear. Their price points are slightly lower than House of CB, and they receive 20% of revenue from the US. They faced a lot of criticism for setting up a separate Instagram account called Oh Polly Inclusive, in which they featured plus sized and minority models that were not posted on their main page (Essential Retail, 2019). In an insensitive attempt to be more inclusive, the account backfired for enforcing segregation and being the exact opposite of inclusive (Flood, 2019).
current consumer.
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House of CB’s current consumer is young, sociable and social-media savvy. She is an early adopter and gets inspiration from her favourite Instagram influencers and celebrity style. She has a healthy expendable income, and uses it to consume fashion, beauty and have an active social life. This money may come from a job, student loan, or parents. She does not think too much about her purchases before buying, if she likes it and can afford it, she will buy it.
table. 3
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potential consumer.
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This consumer is older than House of CB’s current target market, between 25-45. She is a late majority fashion adopter and does not actively buy into trends; when she is shopping she looks for pieces that she knows will flatter her body and stay true to her personal style. This consumer has a busy social calendar, and has a variety of formal events throughout the year (Appendix A, 2020). She has a lot of expendable income for fashion, and likes to look glamorous and sexy for formal events.
table. 4
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marketing plan.
marketing objectives.
awareness
Increased awareness of House of CB would benefit them greatly. Out of the 44 people surveyed, only 15.9% had heard of the brand (Appendix A, 2020). By placing promotional material in channels outside of Instagram, the brand could reach older consumers. Additionally, more awareness of their brick and mortar stores and concessions will drive footfall and therefore sales. The brand has been featured in publications such as Billboard, Drapers and the Evening Standard over the past few years, but as the brand has grown, renewed interest from publications will bring awareness.
action
Brand loyalty is strong with House of CB, with many customers repeat spending as they love the fit and quality of the products. The November-January period is especially good for occasion wear, with Christmas and New Year’s party events, but consumers may be initially put off by the premium price. The brand could attract first-time purchasers with print ads and awareness of their physical stores. With the development of a House of CB app, the brand will have an additional channel to shop through, making the shopping experience even more accessible.
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target audiences. primary The new potential consumer is older, more affluent and values quality of clothing. They may shop designer or luxury-wear brands that they are loyal to (Appendix A, 2020), and therefore they may be unaware of young brands like House of CB. Other middle market brands like COS, Whistles or Jigsaw might not appeal to them as they are not as glamourous or sexy. This older consumer tends to be loyal to a brand when they feel they are treated well as customers (Bedgood, 2019).
secondary
This audience will be House of CB’s current target cohort, who may already be consumers of the brand, or are at least aware of the brand. They may shop at its competitors, but a strong campaign will shift interest. These women have the expendable income for House of CB products, and will most likely prefer to shop the figure-hugging and on-trend pieces they offer. Like many millennials and generation Z, they enjoy shopping online because of the ease and convenience. A House of CB app will level the playing field with its competitors like Oh Polly and ASOS, who have made the app experience simple and innovative. Millennials often spend more time researching products online than other generations, however female millennials are more likely to impulse shop so the campaign must create a strong desire (Nielsens, 2018). .
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positioning. our statement House of CB offers beautiful pieces in flattering silhouettes and luxury materials. Pieces fit your body perfectly; we want to be your go-to shop for dresses for formal events, or a new top for a night out. Our pieces are classic, with trendy twists that are designed to last. Increased awareness of the brand will come when House of CB campaign reaches a wider audience than its usual target cohort. By becoming more inclusive with ages and sizes, a multitude of women will envision themselves in House of CB. An app will make the shopping experience more convenient for you
trendy fig. 69
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high quality
low quality
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table. 5
classic 22
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communications objectives & mix
The mix will have all aspects of the Integrated Marketing Communications (Appendix B). While advertising and PR will be major parts of the campaign season, the importance of personal selling should not be overlooked, as it can be more effective (Olario, 2016)
This series of communications are to boost awareness of House of CB, and drive purchases from new and current consumers. 1. Drive traffic to website through influencer social media posts and printed advertisement in Glamour 2. Create desire through social media competitions and coverage of store opening event 3. Generate excitement through the festive/party tone of the campaign 4. Promote an instore and online seamless integration to entice customers who enjoy shopping online and instore equally (Appendix A, 2020)
1. An app: Another channel to shop through will generate more sales. During the holiday season, consumers spend 121% more in apps (Crets, 2018), and it is predicted that mobile app purchases will account for 50% of all e-commerce sales by 2022 (Kohan, 2020) 2. Social-media campaign: A successful Instagram campaign should generate traffic to House of CB’s website and drive app downloads. House of CB will pay social media influencers to advertise the app whilst wearing the new collection and generate a buzz about the event. 3. An store-opening event: Social media coverage should create a buzz, influencers and YouTubers will be invited and asked to create content. The winners of House of CB’s previous CB Women for Women initiative will also be invited.
Measures
Cope and Maloney (2016) wrote that there are 4 types of media; Paid, Earned, Owned and Shared. These forms can be used effectively for a promotional campaign.
• Website analytics using Google analytics which shows bounce rates, session lengths, conversion rates etc. • The number of app downloads will be monitored closely, with any bugs or problems addresses and fixed as quickly as possible. A badly run app will deter people from using it. • The number of online transactions and the amount those transactions are that have come through the online campaign (swipe ups, links in bio, Instagram shop) will be tracked. • In-store conversion rates. Measure footfall compared to number of till transactions. fig. 28
table. 6
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table. 7
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creative plan.
costing.
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creative objectives & strategy. 1. Make the shopping experience easy and seamless 2. Integrate online and in-store experience 3. Create promotional material that embodies a festive/party feel with House of CB elegance 4. Create material that will entice new customers 5. Bring awareness to House of CB’s ‘Like a Star’ collection and app
It will put House of CB at the forefront as a go-to for formal and party wear. There needs to be a balance of trend-driven and classic pieces, and this will be reflected in the creative direction. A classic, glamourous and modern feel to the app will give consumers a feel for the brand. Neutral colours with hints of pinks will emanate a feminine feel that is seen in the House of CB stores. Loyal customers to the brand will already know of the Christmas and New Year collections and their success and will be eager to see the newest drop. Starry, glamourous imagery will be seen all-through the campaign to give off a festive feel and capitalise on the excitement that surrounds the season. In order to achieve an easy shopping experience, once the collection is launched, all Instagram posts will be shoppable, and campaign material that features on the website will have ‘Shop the campaign’ links. Thorough the A/W 2020 collection, a few competitions will be run, where followers will be able to win pieces from the collections, and win invites to the store opening event.
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like a
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the app. As the majority of House of CB’s competitors have a mobile app, it would be advantageous to have one as well. It shows that the brand is keeping up with the times and will work well for their target cohort who have a high mobile usage compared to older generations (Hall, 2018)
It is important that the app is cohesive with House of CB’s website visuals and messaging. Customers will be able to filter their options by size, colour, length etc. They will also be able to see if a piece is at their nearest store.
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The landing page will be visually engaging and feel modern and glamorous. There is a drop down menu, as well as a preview of the new ‘Like a star’ collection. Customers can scroll to the bottom of the page and click ‘Store Locator’ to find our where there nearest House of CB is. fig. 31
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Previous campaigns will be available to view, and app-users can shop the looks. By keeping previous campaigns up rather than just focusing solely on the newest creates a longer-lasting, and less ‘throwaway’ culture. House of CBs products are often classic pieces that are adapted each season and are meant to last a long time fig. 34
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instagram posts.
Through this campaign, the message of House of CB community should be pushed. The House of CB team pride themselves on being women supporting women, and the brand often runs initiative for aspiring business women. The feeling of female empowerment will be brought through to the app. Using the hashtag #HOCBSTYLE customers can post pictures on Instagram wearing their pieces and be featured on the app and on House of CB’s Instagram page.
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1 week to go
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House of CB Instagram posts can build excitement and attention. Competitions run through Instagram will generate engagement. Pictures of Christmas packaging will set the festive mood. fig. 35
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the event.
The event will take place at the opening of a 4th House of CB UK store in the Bullring, Birmingham. Bullring sees a footfall of 39 million per year, proving to be a successful shopping arena (Hammerson, 2020) and a perfect place for a House of CB store. Since the opening of Bullring in 2003, Birmingham has seen a boost in the local economy, and it has “been transformed into one of the UK’s foremost retail centres” (Wightman-Stone, 2019) Online retailing misses the connectivity of people and personal selling, which can be important for a consumer’s decision making. As Batra and Keller (2016) writes, personal selling gives the brand a way to connect with people, meaning more engagement with the brand and advocacy post-purchase. An evening event with drinks, food, music and shopping. UK-based influencers will be invited to attend the event. They will not be paid to attend, but will be gifted pieces from the Like A Star collection and travel and accommodation expenses will be paid for. Celebrity DJ Maya Jama will generate social media buzz, and a selfie booth means a lot of branded Instagram content post-event. The House of CB account will livestream the DJ set and event.
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glamour print ad mockup.
LIKE A STAR
glamour digital cover inspiration.
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SHOP THE NEW COLLECTION AT HOUSE OF CB ONLINE OR IN-STORE
MANCHESTER Arndale Centre
LONDON Westfield Stratford
BIRMINGHAM Bullring (NEW)
LIVERPOOL The Metquarter
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media plan.
media objectives & strategy. 1. To reach current and potential consumers on social media through sponsored posts and House of CB account posts 2. October-December to be most promotionally intense months as it is the festive period 3. UK focus with online and printed advertisements: Influencers are British/live in the UK, UK edition of Glamour Glamour Magazine Online: With 2.1 million monthly unique users (Condé Nast, 2020), placing House of CB on the front cover of the November issue means a lot more exposure to a different audience than usual. Print: The UK issue has a 350k readership (Condé Nast, 2020), and with a back page advertisement it will bring more awareness to House of CB. The readership has a lot of expendable income, with an average monthly spend of £236 on beauty (Condé Nast, 2020). Influencers and Event Guests Jayde Pierce Patricia Bright Sophia Tuxford Cinzia Baylis-Zullo Lidia Baylis-Zullo Sarah Ashcroft Sarah-Jo Holder Sydney-May Crouch Ellie Jarret
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Flossie Misha Grimes Kasha Grimes Georgia-May Ling KT Amber-Rose Gill Yewande Biala Anna Vakili Mandi Vakili
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influencers.
Sophia Tuxford and Cinzia Baylis-Zullo are YouTubers whose target demographic is gen Z, whereas Patricia Bright and Kasha Grimes has an older audience. Sophia and Cinzia have a solid aesthetic which fits in with House of CB perfectly, and they have worked for the brand before.
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Jayde Pierce has also worked with the brand, and attended events. She is also a mother, and like Patricia Bright, offers authentic content and pushes a female empowerment message. Melachild is a young creator who frequently works with Instragram brands and offers styling advice to her followers. These female influencers have a broad reach, consistent engagement and have tones that work for House of CB.
As one of the aims of this campaign is to reach a broader audience, the brand will use micro- and mega-influencers of different ages between 2158. They do need to be a good match for the brand and their followers should fit into the target cohorts of House of CB. 47% of females follow fashion influencers (Rakuten, 2019) and engage with photo and video content related to beauty and fashion. With 65% of consumers discovering new products or brand at least once a week (Rakuten, 2019), influencers are a powerful marketing tool for fashion brands. The Like A Star campaign will be advertised by a range of influencers. Patricia Bright is a mother of 2 and her content is fashion, beauty and business related. She is an honest influencer and posts relatable content which has proven to be important to followers (Rakuten, 2019).
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budgeting.
monthly plan.
table. 9
advertising total = £49,874
IG content total =£13935
Event total =£12126.60
table. 8
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TOTAL = £75,935.60
APPENDIX A
APPENDIX B
APPENDIX C
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figure references.
list of references. Batra, K., and Keller, KL. 2016. Integrating Marketing Communications: New Findings, New Lessons and New Ideas. Journal of Marketing. 80(6), pp.126-145 Bedgood, L. 2019. Consumer Shopping Trends and Statistics by the Generation: Gen Z, Millennials, Gen X, Boomers and the Silents. [Online]. [Accessed 13 April 2020]. Available from: https://www.business2community. com/trends-news/consumer-shopping-trends-and-statistics-by-the-generation-gen-z-millennials-gen-x-boomers-and-the-silents-02220370 Cope, J., and Maloney, D. 2016. Fashion Promotion in Practice. London: Bloomsbury Publishing Crets, S. 2018. Mobile accounts for nearly half of all orders placed over the Cyber 5 weekend. [Online]. [Accessed 2 May 2020]. Available from: https://www.digitalcommerce360.com/2019/03/04/time-spent-in-retail-appsgrows-in-2018/ Dove, R. 2019. Meet the multi-millionaire owner of House of CB. [Accessed 11 March 2020] Available from: https://www.standard.co.uk/lifestyle/esmagazine/conna-walker-house-of-cb-interview-a4096036.html Essential Retail. 2019. [Online]. [Accessed 14 March 2020] Available from: https://www.essentialretail.com/interviews/interview-oh-polly/ Flood, R. 2019. PRETTY POLLY Fashion fans slam UK brand Oh Polly as ‘disgusting’ after they create a separate Instagram page for plus-size and minority women. [Online]. [Accessed 14 March 2020] Available from: https:// www.thesun.co.uk/fabulous/9099972/oh-polly-instagram-inclusive-plus-size-models/ Garcia, T. 2017. More shoppers are saying ‘yes’ to their wedding dress by clicking ‘buy’online. [Online]. [Accessed 5 March 2020] Available from: https://www.marketwatch.com/story/more-shoppers-are-saying-yes-to-their-wedding-dress-by-clicking-buyonline-2017-05-23 Hammerson. 2020. Bullring, Birmingham. [Online]. [Accessed 23 April 2020]. Available from: https://www.hammerson.com/destinations/flagships/bullring/ House of CB. 2020. About Us. [Online]. [Accessed 23 March 2020]. Available from: https://www.houseofcb.com/ about-us-2.html Kohan, S.E. 2020. Mobile Commerce To Grow 68% By 2022 As More People Shop On Their Phones. [Online]. [Accessed 2 May 2020]. Available from: https://www.forbes.com/sites/shelleykohan/2020/02/09/mobile-commerce-to-grow-68-by-2022-as-more-people-shop-on-their-phones/#4c31a13c652d Laville, S. 2019. The story of a £4 Boohoo dress: cheap clothes at a high cost. [Online]. [Accessed 5 March 2020] Available from: https://www.theguardian.com/business/2019/jun/22/cost-cheap-fast-fashion-workers-planet Lavish Alice. 2020. About Us. [Online]. [Accessed 14 March 2020] Available from: https://lavishalice.com/pages/ about-us LDC. ND. Mike Branney and Claire Henderson. [Online]. [Accessed 5 March 2020] Available from: https://ldc. co.uk/top-50/mike-branney-and-claire-henderson/ Market Watch. 2019. Global Women Formal Wear Market Overview By Share, Size, Industry Players, Revenue And Product Demand Forecast Till 2024. [Online]. [Accessed 5 March 2020]. Available from: https://www.marketwatch.com/press-release/global-women-formal-wear-market-overview-by-share-size-industry-players-revenueand-product-demand-forecast-till-2024-2019-08-08 Olario, I. 2016. Personal Selling in Marketing. Studies and Scientific Researches, Economics Edition. Posner, H. 2015. Fashion Marketing. London: Laurence King Publishing Rakuten. 2019. Influencer Marketing Report. [Online]. [Accessed 2 May 2020]. Available from: https://www.iab. com/wp-content/uploads/2019/03/Rakuten-2019-Influencer-Marketing-Report-Rakuten-Marketing.pdf Statista b. 2020. Instagram: distribution of global audiences 2020, by age and gender. [Online]. [Accessed 13 February 2020]. Available from: https://www.statista.com/statistics/248769/age-distribution-of-worldwide-instagram-users/ Statista. 2020. Number of global social media users 2010-2021. [Online]. [Accessed 13 February 2020]. Available from: https://www.statista.com/statistics/278414/number-of-worldwide-social-network-users/ Wightman-Stone, D. 2018. Bullring makes “significant positive impact” to local economy. [Online]. [Accessed 23 April 2020]. Available from: https://fashionunited.uk/news/retail/bullring-makes-significant-positive-impact-to-local-economy/2018101839516
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Figure 1. House of CB. 2020. Valentines Collection Part 2. [Online]. [Accessed 15 April 2020]. Available from: https://www.houseofcb.com/lookbooks/valentines-collection-part-2.html Figure 2. House of CB. 2019. Denim Renaissance. [Online]. [Accessed 17 April 2020]. Available from: https:// www.houseofcb.com/lookbooks/denim-renaissance.html Figure 3. House of CB. 2020. Valentines Collection Part 2. [Online]. [Accessed 15 April 2020]. Available from: https://www.houseofcb.com/lookbooks/valentines-collection-part-2.html Figure 4. House of CB. 2019. Christmas Collection. [Online]. [Accessed 3 April 2020]. Available from: https:// www.houseofcb.com/lookbooks/christmas-collection.html Figure 5. US Magazine. 2019. Photograph of Conna Walker. [Online]. [Accessed 3 March 2020]. Available from: https://www.houseofcb.com/lookbooks/christmas-collection.html Figure 6. Stoker, J. 2018. Photograph of model backstage at Elie Saab’s haute couture A/W 18. [Online]. [Accessed 12 April 2020]. Available from: https://www.vogue.com.au/vogue-codes/news/meet-the-hair-care-guruwhose-big-business-is-saving-your-hair-and-health/news-story/91664f701d69f80e02499283cc257dfb Figure 7. Cuneo, L. 2020. Photograph of Roses. [Online]. [Accessed 2 April 2020]. Available from: https://shop. lucycuneo.com/shop/rose/ Figure 8. House of CB Twitter. 2019. Photograph of Desi Perkins. [Online]. [Accessed 23 April 2020]. Available from: https://twitter.com/houseofcb/status/1141329850826989568 Figure 9. Pro, A. 2019. Photograph of yacht. [Online]. [Accessed 23 April 2020]. Available from: https://unsplash. com/photos/tL5RIAYxObs Figure 10. Instagram. 2020. Photograph of House of CB Instagram. [Online]. [Accessed 29 April 2020]. Available from: https://www.instagram.com/p/B9lmp27F6yV/ Figure 11. Fernando, F. 2018. Photograph of disco balls. [Online]. [Accessed 24 April 2020]. Available from: https://unsplash.com/photos/249DzAuJTqQ Figure 12. de Lotz, G. 2019. Photograph of phone. [Online]. [Accessed 24 April 2020]. Available from: https:// unsplash.com/photos/CiSizRTO8U8 Figure 13. Friehl, T. 2019. Photograph of cocktail pouring. [Online]. [Accessed 19 April 2020]. Available from: https://unsplash.com/photos/p7kUyCns1SA Figure 14. Pinterest. 2020. Photograph of girl in makeup. [Online]. [Accessed 23 April 2020]. Available from: https://www.pinterest.co.uk/pin/93027548542458010/ Figure 15. Guart, E.V. 2018. Photograph of plane. [Online]. [Accessed 23 April 2020]. Available from: https://unsplash.com/photos/Nukqi6L_5DU Figure 16. House of CB. 2020. Merveille dress. [Online]. [Accessed 23 April 2020]. Available from: https://www. houseofcb.com/merveille-black-wrap-sleeve-maxi-dress.html Figure 17. Pinterest. 2020. Photograph of shopping bags. [Online]. [Accessed 23 April 2020]. Available from: https://www.pinterest.co.uk/pin/553309504217381154/ Figure 18. Alas, M., and Piggott, M. 2019. [Online]. [Accessed 23 April 2020]. Available from: https://www.vogue. co.uk/article/madonna-june-issue-british-vogue-2019 Figure 19. Bazzocco, M. 2019. Photograph of Pilates class. [Online]. [Accessed 23 April 2020]. Available from: https://unsplash.com/photos/1YC7ejBTHek Figure 20. Virgin Experience Days. 2020. Photograph of champagne. [Online]. [Accessed 1 May 2020]. Available from: https://www.virginexperiencedays.co.uk/champagne-at-the-view-from-the-shard-for-two Figure 21. Pinterest. 2020. Photograph of woman in sunhat. [Online]. [Accessed 23 April 2020]. Available from: https://www.pinterest.co.uk/tshirtxy/womens-floppy-beach-hat-summer-sun-protection-hats/ Figure 22. Lavish Alice. 2020. Photograph of yellow dress. [Online]. [Accessed 22 April 2020]. Available from: https://lavishalice.com/products/eyelet-belted-halterneck-midi-dress-in-lemon-yellow?variant=31092126580780https://lavishalice.com/products/eyelet-belted-halterneck-midi-dress-in-lemon-yellow?variant=31092126580780&currency=GBP&gclid=CjwKCAjwh472BRAGEiwAvHVfGn0BwsBp2iNSvXP1BDQ2NwedgltpgX3MFjdky00-Q9Enkt_HFBQ_OBoCINYQAvD_BwE#fo_c=2450&fo_k=66732c9df7e5fa4623ccdef5f5ec96d1&fo_s=gplauk Figure 23. Bruce, L. 2017. Photograph of hands. [Online]. [Accessed 15 April 2020]. Available from: https://unsplash.com/photos/odIhQypCuUk Figure 24. House of CB. 2020. Valentines Collection Part 2. [Online]. [Accessed 15 April 2020]. Available from: https://www.houseofcb.com/lookbooks/valentines-collection-part-2.html Figure 25. The Ancient Home. 2020. Venus Sculpture. [Online]. [Accessed 2 April 2020]. Available from: https:// theancienthome.com/products/venus-bust-sculpture-goddess-of-love Figure 26. Cuneo, L. 2020. Photograph of Roses. [Online]. [Accessed 2 April 2020]. Available from: https://shop. lucycuneo.com/shop/rose/ Figure 27. House of CB. 2019. Secret Garden. [Online]. [Accessed 27 March 2020]. Available from: https://www.
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houseofcb.com/lookbooks/secret-garden.html Figure 28. House of CB. 2020. Valentines Collection Part 2. [Online]. [Accessed 15 April 2020]. Available from: https://www.houseofcb.com/lookbooks/valentines-collection-part-2.html Figure 29. House of CB. 2019. Denim Renaissance. [Online]. [Accessed 17 April 2020]. Available from: https:// www.houseofcb.com/lookbooks/denim-renaissance.html Figure 30. Rose, Z. 2020. App design on Adobe XD. Figure 31. Rose, Z. 2020. App design on Adobe XD. Figure 32. Rose, Z. 2020. App design on Adobe XD. Figure 33. Rose, Z. 2020. App design on Adobe XD. Figure 34. Rose, Z. 2020. App design on Adobe XD. Figure 35. Rose, Z. 2020. App design on Adobe XD. Figure 36. Instagram. 2020. House of CB. [Online]. [Accessed 3 May 2020]. Available from: https://www.instagram. com/p/B-O8dYnl045/ Figure 37. Instagram. 2020. House of CB. [Online]. [Accessed 3 May 2020]. Available from: https://www.instagram. com/p/B6QUTE-lJaV/ Figure 38. Instagram. 2020. House of CB. [Online]. [Accessed 3 May 2020]. Available from: https://www.instagram. com/p/B6fYnkoF25l/ Figure 39. Pinterest. 2020. Photograph of mirror selfie booth. [Online]. [Accessed 2 May 2020]. Available from: https://www.pinterest.co.uk/pin/699465385848611808/ Figure 40. Coman, S. 2020. Photograph of canapés. [Online]. [Accessed 2 May 2020]. Available from: https://unsplash.com/photos/ZGgIYaL9lYk Figure 41. Popov, A. 2019. Photograph of DJ Decks. [Online]. [Accessed 2 May 2020]. Available from: https://unsplash.com/photos/k6MxhKAC6gk Figure 42. Naglestad, A. 2020. Photograph of champagne flutes. [Online]. [Accessed 5 May 2020]. Available from: https://unsplash.com/photos/xzKtOI1Cnxo Figure 43. Twitter. 2015. Photograph of House of CB store front. [Online]. [Accessed 9 May 2020]. Available from: https://twitter.com/houseofcb/status/653281890804219904 Figure 44. LA Guestlist. 2016. House of CB LA opening party. [Online]. [Accessed 5 May 2020]. Available from: https://laguestlist.com/khloe-kardashian-shows-off-fabulous-figure-house-cb-flagship-store-opening/ Figure 45. Leung, J. 2018. Photograph of pink balloons. [Online]. [Accessed 5 May 2020]. Available from: https:// unsplash.com/photos/FAsrFrWSIqA Figure 46. Van Hel, J. 2019. Photograph of glitter. [Online]. [Accessed 5 May 2020]. Available from: https://unsplash.com/photos/O3L_-DetWpI Figure 47. Twitter. 2019. Photograph of Maya Jama. [Online]. [Accessed 5 May 2020]. Available from: https://twitter.com/mayajama/status/1195084447739260937 Figure 48. Loke, M. 2018. Photograph of COS store, Kuala Lumpur. [Online]. [Accessed 5 May 2020]. Available from: https://unsplash.com/photos/xXJ6utyoSw0 Figure 49. Spiske, M. 2019. Photograph of star decorations. [Online]. [Accessed 5 May 2020]. Available from: https://unsplash.com/photos/NDaENZB88vc Figure 50 House of CB. 2019. Christmas Collection [Online]. [Accessed 3 April 2020]. Available from: https://www. houseofcb.com/lookbooks/christmas-collection.html Figure 51. Rose, Z. 2020. Figure 52. Lubormirski, A. 2016. Keira Knightley on front cover of Bazaar UK. [Online]. [Accessed 2 May 2020]. Available from: https://www.harpersbazaar.com/uk/fashion/fashion-news/news/a38442/keira-knightley-is-our-december-cover-star/ Figure 53. Bayley, L. 2017. Gal Gadot on front cover of Glamour UK. [Online]. [Accessed 2 May 2020]. Available from: https://www.glamourmagazine.co.uk/gallery/gal-gadot-december-2018 Figure 54. Smith, J. Jessie Ware on front cover of Glamour UK digital. [Online]. [Accessed 2 May 2020]. Available from: https://www.glamourmagazine.co.uk/article/jessie-ware-glamour-cover-interview-2020 Figure 55. Cameron, R. 2017. Elsa Hosk on front cover Harper’s Bazaar Germany. [Online]. [Accessed 2 May 2020]. Available from: https://fashioneditorials.com/harpers-bazaar-germany-december-2017-elsa-hosk-regan-cameron/ Figure 56. House of CB. 2020. Valentines Collection Part 2. [Online]. [Accessed 15 April 2020]. Available from: https://www.houseofcb.com/lookbooks/valentines-collection-part-2.html Figure 57. Instagram. 2020. Patricia Bright. [Online]. [Accessed 11 May 2020]. Available from: https://www.instagram.com/p/B9wy46iH1mq/ Figure 58. Instagram. 2020. Cinzia Baylis-Zullo. [Online]. [Accessed 11 May 2020]. Available from: https://www. instagram.com/p/B6x0dSylUTh/ Figure 59. Instagram. 2020. Sophia Tuxford. [Online]. [Accessed 11 May 2020]. Available from: https://www.instagram.com/p/B8Rb2V-gzOI/
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Figure 60. Instagram. 2020. Melachild. [Online]. [Accessed 11 May 2020]. Available from: https://www.instagram. com/p/B9bxzxdpB3J/ Figure 61. Instagram. 2020. Kasha Grimes. [Online]. [Accessed 11 May 2020]. Available from: https://www.instagram. com/p/B6U7igGH5Ig/ Figure 62. Instagram. 2020. Jayde Pierce. [Online]. [Accessed 11 May 2020]. Available from: https://www.instagram. com/p/Bw44UcglW3T/ Figure 63. Missguided. 2020. Landing Page. [Online]. [Accessed 18 April 2020]. Available from: https://www.missguided.co.uk/ Figure 64. ASOS. 2020. ASOS Edition. [Online]. [Accessed 18 April 2020]. Available from: https://www.asos.com/ women/a-to-z-of-brands/asos-edition/cat/?cid=27673 Figure 65. House of CB. 2020. Landing Page. [Online]. [Accessed 18 April 2020]. Available from: https://www. houseofcb.com/ Figure 66. Lavish Alice. 2020. Landing Page. [Online]. [Accessed 18 April 2020]. Available from: https://lavishalice. com/ Figure 67. Pretty Little Thing. 2020. Landing Page. [Online]. [Accessed 18 April 2020]. Available from: https://www. prettylittlething.com/ Figure 68. Oh Polly. 2020. Landing Page. [Online]. [Accessed 18 April 2020]. Available from: https://www.ohpolly. com/ Figure 69. Pretty Little Thing. 2020. Landing Page. [Online]. [Accessed 18 April 2020]. Available from: https://www. prettylittlething.com/ Figure 70. Missguided. 2020. Landing Page. [Online]. [Accessed 18 April 2020]. Available from: https://www.missguided.co.uk/ Figure 71. Oh Polly. 2020. Landing Page. [Online]. [Accessed 18 April 2020]. Available from: https://www.ohpolly. com/ Figure 72. ASOS. 2020. ASOS Edition. [Online]. [Accessed 18 April 2020]. Available from: https://www.asos.com/ women/a-to-z-of-brands/asos-edition/cat/?cid=27673 Figure 73. House of CB. 2020. Landing Page. [Online]. [Accessed 18 April 2020]. Available from: https://www. houseofcb.com/ Figure 74. Lavish Alice. 2020. Landing Page. [Online]. [Accessed 18 April 2020]. Available from: https://lavishalice. com/
list of table references. Table 1. Rose, Z. 2020. Marketing Mix. Table 2. Rose, Z. 2020. Brand Positioning Map. Table 3. Rose, Z. 2020. Based off AIDA model. Table 4. Rose, Z. 2020. Based off AIDA model. Table 5. Rose, Z. 2020. Brand Perceptual Map. Table 6. Rose, Z. 2020. Based off Cope and Maloney (2016) Table 7. Rose, Z. 2020. Costing. Table 8. Rose, Z. 2020. Monthly Plan Table 9. Rose, Z. 2020. Budgeting
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