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CONTENTS 4 - Introduction 6 - brand insight 8 - target audience 10 - marketing communications 26 - integrated marketing communications 34 - swot 35 - conclusion 36 - customer profile 38 - brand board 40 - phase 2 42 - brief 44 - objectives 46 - target market 47 - theme 48 - social media 50 - films, website & blog 52 - guerrilla marketing 53 - offline marketing 56 - event & exhibition 58 - timetable 61 - appendix 1 64 - presentation boards 70 - reference list 73 - figures list WORD COUNT WITHOUT TABLES: 3240
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Introduction This report sets out to examine and discuss Dr. Martens’ current approach to marketing communications, whilst also evaluating the brand’s practice of integrated marketing communications (IMC). In order to entirely comprehend this, one must first define and discuss a number of conceptual terminologies.
firms ‘inform, persuade, and remind customers’ about the brands and products which they sell; this can be performed directly, or indirectly. Here, the definition suggests that the strategy is a way in which the brand communicates with the customer, and therefore it can act as a visual or non visual ‘voice’ for the brand.
Firstly, the term ‘Brand’ can be defined as ‘a particular product, or line of products offered for sale by a single producer or manufacturer and made easily distinguishable from other similar products by a unique identifying name and/or symbol.’ (Bickle, 2011: 309). Although Bickle defines the term as a product or a line of products, in today’s society one could also assume that a single person can also be a brand, or be branded, meaning that the term is now much more complex.
To further develop upon the idea of marketing communications, we must define the term ‘Integrated Marketing Communications’ (IMC). Lascu and Clow (2007: 380), explain that a company can create a streamline program, which is intended to maximise the communication impact on consumers, by integrating and coordinating “all marketing communication tools, avenues, and sources”. This conceptual term means that in order to enlarge the impact on a consumer, a company must be able to incorporate all promotional techniques so that they work together in coherence.
According to Kotler and Keller (2009: 470), the term ‘Marketing Communications’ refers to the way in which
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brand insight Dr. Martens is a lifestyle brand that offers durablebut-fashionable footwear, apparel and accessories to “authentic characters who stand for something” (Drmartens.com, 2016). Dr. Martens explain that their footwear is “made like no other shoe on Earth” (Drmartens.com, 2016), suggesting that their USP is that their well known PVC air-cushioned soles are both comfortable and durable, yet still carry style. At the moment of the first Dr. Martens shoe being rolled off the production line on April 1st 1960 (Roach, 2015)., the plain 1460 boot seemed a far cry away from fashion and youth culture. However, by the end of the 1960s, it had been thrown into the world of music and street tribes, launching an association with youth subculture that arguably remains supreme. Beginning with Skinheads, the brand then bagan to appeal to everyone from “punks to policemen, skinheads to 4. socialists” (The Guardian, 2010).
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target market
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Today Dr. Martens is a globally recognisable brand, with a diverse target audience ranging from ages 16-50 (Roach, 2015). Although the demographic is wide, there is unification with the customers as the majority seek to find their own individual style through self expression. Analysing the marketing communication efforts by Dr. Martens is interesting, as the the brand must utilise online and offline marketing to target all ages, whilst also remaining authentic and relating back to their sub-cultural roots. In addition to this, the brand must target the contemporary consumer, and understand that consumer needs have developed since the 1960s. See Appendix 1 for more details on the development of the Dr. Martens target market.
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MARKETING COMMUNICATIONS
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DIGITAL MARKETING SoCIAL MEDIA Whilst digital marketing impacts on “growth, revenue and brand advocacy” (Straker and Wrigley, 2016), Posner (2014), also believes that promotion through new digital advertising channels is vital when interacting with a younger target audience. In today’s society it is interesting to note that modern consumers’ are argued to be ‘reporters’ for brands, as through the use of social media platforms they are able to post content that can promote or damage a company’s reputation (Beattie, 2014). It is consequently useful to outline Dr. Marten’s online presence, as this is a significant strategy to integrate offline marketing with online marketing, and allow for global consumers to become involved in the brand.
Site
Reach
Content
Links
1.6M Likes
Promotion of products and new styles. Promotion of in-store events. Competitions. Videos. Street style images.
Numerous links to the Dr. Martens website and blog. Frequent links to Instagram.
156K Followers
Street style images. Competitions. Instore events and promotions.
Numerous links to Frequently throughout Instagram, competition the day pages, ticket sales, the Dr. Martens blog and 4-5 times daily website.
1.1M Followers
Street style images. New collections. Artistic images. Odd video. Store photographs
Links to website, blog, and/or competitions in the bio, as links on posts cannot be clicked.
Twice daily
Youtube
21K Followers
Campaign videos, live music, interviews with musicians and brand stories
Links to all social media websites in the ‘about section’ of the page
Irregular 2-13 posts monthly
25K Followers
Music events, new collections, street style, brand story
Link to website in bio. Link to relevant product link on pin
Irregular
Artistic GIFs, music related images, street style. Images help to create an overall feel for the brand
Link to Instagram, Twitter, Youtube, Facebook and the store in the header. Link to blog if relevant.
Irregular – Daily
In-store events, SFS Tour
No links
Irregular – Last post September 12th. Only 14 posts overall
Tumblr
N/A
Vine
9K Followers
Frequency Twice daily 14:00 & 19:00
DIGITAL MARKETING BLOG 10.
Blogging is becoming one of the fastest-expanding areas, that is referred to as “consumergenerated media (CGM)” (Posner, 2014: 168); However, if the ‘blogosphere’ is becoming so dominant in the consumer world, it is useful for brands to also become involved with this movement, and this is evident with Dr. Martens. On the company blog, consumers can explore pages such as: “Music, Self Expression, Heritage, #standforsomething, 40 Years of Punk, #dmslite, and shop” (Dr. Martens, 2016a). Such pages emphasise the brands values and interests, whilst also adding an extra dimension to the brand’s offerings. The blog provides a platform for fans to check recent events and interviews, whilst it also allows the consumer to keep up to date with recent collaborations, and in general sustains constant interaction and increases contact time with the brand.
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PUBLICITY EVENTS 15.
Dr. Martens’ strategy of increasing publicity plays on their strong connection with music, allowing them to sponsor and host events around the world. Throughout 2015 and 2016 Dr. Martens have supported events such as: Rebellion Festival, No.6 Festival and Roundhouse Punk Weekender (Dr. Martens, 2016b). Sponsoring and attending events and festivals allows for a combination of online and offline marketing, as the attendance of an event can then be shared online, reaching a wider audience. Hosting and attending music events also allows for authentic marketing, as Dr. Martens state that “music is the heartbeat of the brand� (Drmartens.com, 2016). Furthermore, this offline presence allows for experiential marketing, as the brand are able to create a strong connection with the customer and leave them with lasting memories of the brand name. This experiential marketing is argued to be a strong desire for the millennial consumer (Cohwolfe.com, 2014), and it also allows the brand to overlap experience with merchandise (Cowling, 2015).
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PUBLICITY IN-STORE EVENTS 17.
Dr. Martens’ store launches are a crucial publicity strategy, as they bring consumers into brick-and-mortar spaces and create a personal connection. These store openings provide a space for retail, whilst also integrating online and offline marketing, as a store opening acts as an event for the brand and an opportunity to connect with consumers in-store and online. In 2007 the brand launched their concept store in Covent Garden, after the closure of the King Street Megastore in 2003 (Marketing Week, 2007). The store opening was used as an opportunity to promote their FREEDM campaign, which showcased creative talent and self-expression through a number of mediums. This concept store features “website portals, lounging areas Page 20
and notice boards to encourage people to exchange ideas and information” (Marketing Week, 2007), which again reinforces Dr. Martens’ brand identity and personal approach to marketing. Most recently, the brand is reported to be opening a new concept store in Camden Town. In partnership with amplification seller Marshall, the store will house a new music area which will host events and “virtual reality tours of its factory and memorabilia from famous Dr. Martens’ wearers” (Roberts, 2016). The use of virtual reality immerses the consumer into the Dr. Martens history, and closes the gap between retail and design (Cyrus, 2016).
PUBLICITY CELEBRITY ENDORSEMENT 18.
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2012 saw Dr. Martens’ sales surge by 230 per cent from 2011-2012; this rocket in sales figures was not due to a new collection, but rather the fact that the three-hole shoe was being worn by celebrities such as Alexa Chung, Agyness Deyn – brand ambassador – and Rihanna (Sowray, 2012). Following this, in 2014 Dr. Martens were referred to as ‘cool’ again due to being worn by numerous celebrities – and baby celebrities – such as Daisy Lowe, Pixie Geldof, and Harper Beckham (Burns, 2014). This figures relate back to theory, as according to Bohdanowicz and Champ (1994), the key purpose of promotion is to inform and persuade the customer, and influential figures wearing Dr. Martens has evidently persuaded the consumers to believe that brad is ‘cool’ again. It can be argued that the success of a celebrity endorser depends on the strength of the celebrity’s style, and whether they represent the entire brand image (Gonsalves, 2013). Alternative, influential and selfexpressive celebrities such as Miley Cyrus and Avril Lavigne wearing Dr. Martens integrates the brand into popular culture, and again expands the customers reach (Roach, 2015). Furthermore, without Pete Townshend of The Who wearing them on stage in the 1970s, it is questionable whether the shoes would have created such a defining image, that has demarcated so many British sub-cultures (Roach, 2015).
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SALES TECHNIQUES 23.
Dr. Martens often use sales promotions as a form of marketing through the use of the internet, or direct marketing methods such as emails to subscribed customers (Dr. Martens, 2016). Such promotions often follow a seasonal pattern; however, the brand have been known to create token sales promotions that could arguably be used for publicity. In 2014, the brand held a one-off event at a select number of stores across the UK, offering original Dr. Martens styles to customers for just £3.00 (Yorkshire Evening Post, 2014). It is unknown how many pairs of symbolic styles were sold to customers, however this sales technique certainly attracted crowds of customers and was again promoted online. Dr. Martens have also made a conscious effort to create personalised email newsletters, tailored specifically to the consumer’s browser history and behavior. Brogan Savage, global digital marketing manager at Dr. Martens, explained that previously the company only targeted their audience through gender and region (Millington, 2015), which was limiting and allowed for little personalised marketing. By partnering with technology company Sailthru (Millington, 2015), and tailoring emails specifically to the customer, this adds an additional dimension to their sales techniques; creates a personal approach, and shows that the brand is moving with the times.
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Over time Dr. Martens have explored the use of integrated marketing campaigns, and such campaigns have increased sales, brand image, and consumer engagement. One of their most successful campaigns is #Standforsomething. #Standforsomething is a
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INTEGRATE
ED MARKETING COMMUNICATIONS
INTEGRATED MARKETING COMPARISON OF CAMPAIGNS
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Dr. Martens have explored the use of integrated marketing campaigns, and such campaigns have increased sales, brand image, and consumer engagement (The Drum, 2012). The use of integrated marketing in campaigns such as - #Standforsomething, #Firstandforever and #DMsLite – are evaluated over the next pages, as these utilise marketing mix elements, such as: advertising, public relations and direct marketing (Posner, 2014).
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#STANDFORSOMETHING EVALUATION
Objectives
Online Marketing
Offline Marketing
Strengths
Weaknesses
• Explore and reinforce the history and ethos of Dr. Martens • Drive brand awareness • Increase consumer engagement • • • •
Use of the hashtag on social media “Bespoke Facebook app” (OddLondon.com, 2016a) 30 and 90 second films Use of Tumblr
• • • •
Stand for Something music tour Print advertising (OddLondon.com, 2016a) Visual Merchandising Billboard advertisement
• • • • • • •
30% sales uplift by March 2014 500% over-delivery of target impressions 75k film views Most successful sales month in its history (OddLondon, 2016a) An extra dimenson of brand experience for the consumer - memories made New and exciting way to fans with top indie acts (Langford, 2015).
• Whether Dr. Martens can continue increasing consumer engagement is debateable. The consumer may eventually become uninterested in the campaign if it continues for much longer, subsequently having a negative effect.
#Standforsomething conforms to Quin’s (2015) theory, that in order for a marketing campaign to “embody the spirit of a brand”, control of the online community and integrating their own content into a campaign is key. Along with this, Quin (2015) believes that giving “popular older campaigns a new lease of life” is necessary. In 2014, Dr. Martens revamped the Stand for Something campaign, bringing it back into the public eye (Quin, 2015), and again continuing that social interaction with the consumer.
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#firstandforever EVALUATION
The 2011 campaign created a platform for consumers to provide information on their own experiences; model Agyness Dean featured in the campaign’s film speaking about her first experience with heartbreak (Wang, 2011). According the David Sudden, Dr. Martens’ CEO, the inspiration for the campaign stemmed from the fact that “everyone remembers their first pair of Dr. Martens” (Wang, 2011), and this personal strategy in turn created a real bond between the brand and the consumer.
Objectives
Online Marketing
Offline Marketing
Strengths
Weaknesses
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• • • • •
Increase brand awareness Display Dr. Martens’ extensive product range Increase online interaction Promote the brand beyond the image of the iconic 8-hole boot Allow consumers to share their ‘first time’ experiences on social platforms creating an online community
• • • • •
Creation of First & Forever website Use of the hastag on social media “Heartbreak” film Interactive ‘experience maps’ in partnership with Google Maps TV advertisement
• • • •
First & Forever event Keepsakes such as beer mats and chip cones were used at the even Print advertising Outdoor advertising (OddLondon, 2016b)
• • • • •
35% increase in buying considerations across all markets 50% increase in social buzz during the first week of the SS campaign 13% increase in consumer perception of the brand’s style credentials 2m global views of the ‘First Heartbreak’ film (OddLondon, 2016b) Dr. Martens have since become the first brand to utilise advertising through Twitter with their #Firstandforever campaign (The Drum, 2012).
• The campaign only allowed consumers to see a “sneak peek at the brand’s new fall styles” (Wang, 2011), when one of the aims was to display the “extensive product range” (OddLondon, 2016b)
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#DMSLITE EVALUATION Objectives
• Promotional activity surrounding the release of the new ‘Dr. Martens Lite’ range • Show that the brand is innovative, and that there is a ‘new revolution’ beginning with this product launch • Broaden the Dr Martens appeal (Guyot, 2016).
Online Marketing
• Online look book of the collection • Article and look book released on Hypebeast (Heavener, 2016), and Crack Magazine (Black, 2016) • New blog section dedicated to #DMSLITE • Interviews and images on the blog page featuring creative professionals in the new collection • Social media product postings • Online film showing how the new collection is made, and also stating that there is a ‘new revolution’ • Pinterest #DMSLITE board
Offline Marketing
• #DMSLITE van, also posted on social media • Manchester gig with a band called The Real Ghetts, to celebrate the product launch • Launch event in Amsterdam • Utilised experiential marketing by attending the Music Fest NW, and allowing fans to immerse themselves in a diving experience. At the end of the dive they were gifted with a GIF of their dive as a memento of their dive (Blog.drmartens. com, 2016).
Strengths
• Dr. Martens Lite range has become the best-seller on the European e-commerce website. “The ‘contemporary casual’ range currently weighs about 15%.” (Guyot, 2016). • “Dr. Martens Lite mostly appeal to first-time buyers, and are positioned to court today’s Streetwear customer” (Bergstein, 2016), which suggests that the marketing strategies surrounding the product range have introduced new, young consumers to the Dr. Martens brand
Weaknesses
• The update of product construction can be argued to go against the “AirWair” technology and “Bouncing Soles” (Bergstein, 2016). • This change in product construction can mean that the whole campaign becomes less authentic, and moves away from tradition. • The attendance at Music Fest NW had little promotion online, which suggests that the online and offline marketing is separate and not seamlessly linked.
The #DMsLite product launch is interesting to discuss, as it again integrates both online and offline marketing in order to connect with the consumer, whilst promoting the new range of Dr. Martens. The offline marketing strategies are particularly interesting, as the brand attended the Music Fest NW, and used experiential marketing to connect with the fans, without solely focusing on the new product range. Along with this, as stated in the table, a launch event took place in Amsterdam, and following this it has been said that the new range has become the best-seller the European e-commerce website (Guyot, 2016). This could be argued to have been influenced by the launch event in Amsterdam, which increased the overall hype surrounding the new range.
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SWOT ANALYSIS Strengths
• Strong, globally recognisable brand image • Heritage and authenticity is carried throughout all promotional strategies • The brand have been able to adapt over time in order to fit consumer needs • Brand have successfully moved into mainstream fashion, without losing their brand heritage • Dr. Martens are still manufacturing in the UK, again reinforcing their British roots • The brand have come back from financial difficulty and are now in a sound financial position from the use of their IMCs • Sales rose by 13% to £235.3m in the full year to March 2015 (Carlson, 2016)
Opportunities
Weaknesses
• Although the #standforsomething campaign was incredibly successful, it could be said that it has been overused because it has been continuing for a number of years • Although there is still some manufacturing in the UK, the brand can not longer say that their production is solely in the UK • The brand is also no longer owned by the original family • Dr. Martens shoes are known for taking time to wear in, which means they are not comfortable at first • Heritage is at the forefront of many campaigns, which could seem overpowering • Dr. Martens blog does not have a high SEO ranking; this means that promotion on the blog may not reach its full potential of customer reach
• Expansion of product ranges – Dr. Martens already sell apparel, but this Threats could be focused on more to create a • Dr. Martens Lite range could hinder the signature stronger aesthetic of clothing aesthetic of the Dr. Martens product • Development of online customer service • New competitors enter the market could be worked on – an online ‘chat’ • Brand is known for being made in the UK, however could help with complaints not all of their products are made in the UK, in the • A Dr. Martens customer query page could future there is a threat all production will leave the be included on Twitter, following the likes UK, overall affecting the authenticity of the brand of Asos • Result of Brexit has altered exchange rates, • Following the introduction of the Lite meaning that customers from around the globe range, this could be expanded further into may be able to come to England and buy Dr. childrens footwear making the shoes more Martens for a cheaper rate comfortable for young children • Following the plummet in the pound, UK buyers • Marketing footwear directly to Chinese may not be willing to pay £100+ for a pair of customers because of manufacturing shifts– shoes, and instead opt for a cheaper alternative Large Chinese market, nothing like Dr. Martens over in China
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COnclusion 31.
Overall, by comparing the marketing communications utilised by Dr. Martens, one could say that the brand has displayed competence in creating a social media buzz; an increase in consumer engagement; and a success in sales. Due to integrating both online and offline marketing, the brand is allowing fans to get involved completely by attending the events stated throughout this analysis. Integrating both online and offline marketing also allows for a number of platforms to be reached by consumers, and therefore increases the buzz around the campaigns.
Although the aforementioned campaigns have proven to be successful, in the future Dr. Martens may need to shift the focus of campaign away from only past experiences. If a new campaign was to focus on subcultures, it should show how these subcultures are still evident, and evolving over time, rather than merely relying on nostalgia. As the majority of manufacturing has shifted over to China due to financial issues (Roach, 2015), this also creates an issue when promoting the fact that Dr. Martens are solely a British brand. Furthermore, with innovative Dr. Martens product lines, it is important that marketing strategies adopted also take the same innovative approach.
British. music lover. gig-attender. nostalgic. proud. alternative. artistic. confident. urban living. educated. traditional. tribe. labour. rebel. self expressive. politics. festival-goer. youthful. collector. working class. ANTI-CONFORMIST.
CUSTOMER PROFILE
32.
Brand
British. ICONIC. GLOBALLY RECOGNISABLE. MUSIC LOVER. BOLD. TRADITIONAL. UNISEX. DURABLE. INNOVATIVE. CUlTURAL. tribe. FESTIVAL-GOER. self expressive. REBELLIOUS. AUTHENTIC. PROUD. UNISEX . youthful. EMOTIONAL. UNITED. REVOLUTIONARY.
Board
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PHASE Page 40
E two
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CREATIVE BRIEF
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Build upon the success of the #Standforsomething campaign, whilst keeping the interests of the brand’s wearers at heart. Celebrate the anniversary of punk music, whilst maintaining relevance to younger wearers. Drive engagement and emotional connection through online and offline marketing strategies. Celebrate old and new wearers of Dr. Martens by uniting wearers together through punk music and fashion.
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36.
My Dad introduced me to punk. we all have black Dr. Martens
#PUNKSATHEART DRmartens.com
OBjectives • Maintain brand image and reputation by staying true to brand ethos • Create a stronger sense of communication and emotion between brand and consumer, on a personal level • Promote the brand authentically and display Dr. Martens’ strong links to music, whilst exhibiting new emerging music talent to stay relevant and up-to-date • Promote the S/S 17 Line • Tap into the older target audience of Dr. Martens, bringing together new punks and old punks from across England • Drive engagement and continue growth across all digital and social platforms
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35.
#PUNKSATHEART DRmartens.com
Target Audience 38.
39.
As aforementioned, Dr. Martens products are not specifically targeted at a concentrated age group. Rather, the brand’s products are popular among men and women that share the same interests and state of mind. The consumers of the Dr. Martens S/S 17 campaign will therefore be united together through their rebellious, free-thinking spirit, and strong interest in music, and in particular punk music. As the target audience is ranging in age, it is vital for the campaign to integrate offline and online marketing, as consumers of the higher age bracket may be less likely to take part in online interaction.
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theme 40.
It is argued that punk “was less a musical genre than a state of mind” (Youngs, 2002), and as Dr. Martens wearers are united by their own state of mind, the punk era can be seen to embody everything that Dr. Martens stand for. With this in mind, the theme for the S/S 17 campaign will have reference to Punk London’s 2016 celebration of the 40th anniversary of Punk. Following on from the 40th anniversary, the Dr. Martens S/S 17 campaign will celebrate the 40th anniversary of both the Sex Pistols and the Clash’s debut albums in 1977. The campaign will celebrate the roots of punk music, rebellion and self expression, whilst exhibiting new musical talent, and uniting fans from all ages by expressing what Punk means to them.
Integrated marketing Social media
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The S/S 17 campaign will utilise all social media platforms, carrying the hashtag #PunksAtHeart on channels such as Pinterest, Twitter, Facebook, Tumblr and Instagram. Facebook and Twitter pages will carry the S/S 17 campaign banner, streamlining the channels and allowing for seamless marketing. Dr. Martens wearers will be encouraged to post images, memories and statements online with the hashtag #PunksAtHeart. Images that are posted could show wearers in their Dr. Martens throughout the punk era, or they could be new images, that show how punk fashion is still ongoing. As Dr. Martens sponsor the annual punk festival in Blackpool, attendees of this
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festival may also post images of them at the festival, showing that punk music, and fashion is still popular. Any posts that utilise the #PunksAtHeart hashtag will be entered into a social media competition. The image, video, or quote that best describes why the fan is a ‘punk at heart’, will win the competition. Punks often opted for the high cut Dr. Martens boots, which were “customised and tightly laced with brightly coloured thread” (Shahnavaz, 2016), making the competition particularly interesting, as it will allow fans to show their own customised Dr. Martens. The winner of the competition will be gifted with a pair of S/S 17 Dr. Martens, along with vinyls from The Clash, The Sex Pistols, Slaughter and the Dogs, and The Cut Ups.
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45.
Want the chance to win a pair of S/S 17 Dr. Martens? Send us a Punk pic of you in your docs with hashtag #PunksAtHeart
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Integrated marketing FILMS There will be two promotional, short films for the campaign. The first film will focus on highlights of the punk era, and will display Punks and members of Punk bands – especially the Sex Pistols and the Clash – wearing Dr. Martens. The film will also show new punk bands, wearing Dr. Martens, and will have interviews with musicians explaining why they love Dr. Martens; how Punk makes them feel, and why they believe Dr. Martens and Punk go hand-in-hand. This first film will create an overall feel for the campaign, and will allow consumers to feel nostalgic, whilst it will also stay relevant as it includes new music and new punks. The second film will be posted online following the in-store event; this video will display highlights of the event, and will show fans talking about what punk
means to them, who inspires them, and punk’s relation with Dr. Martens. The second video will enable the hype surrounding the event to carry on. These films will be posted on social media, the Dr. Martens website, and the blog; the films will not be shown on television, as this is not common for the brand, and would also increase the budget substantially. In order to increase hype before the first film is released, ‘sneak peeks’ will be released on social media to create an exciting atmosphere surrounding the campaign. These release dates are shown in the timetable on page 58.
Website and blog 47.
Parallel with social media accounts, the S/S 17 banner will also be displayed on the Dr. Martens website and blog. The campaign will contribute to the ‘40 Years of Punk’ page on the Dr. Martens blog, and will act as the finalisation of this this page.
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Integrated marketing Guerrilla Marketing
49. Sticker bombing and flyer posting will be utilised, in order to draw attention to the campaign in an uncostly manner. This technique is also going to be used as it will enable older Dr. Martens wearers – who do not use social media to the extent that Millennials do – to become involved in the campaign. The flyers and stickers will utilise the hashtag #PunksAtHeart, so that consumers can then go online and view the online promotional materials if they wish. The posters and stickers - mock up on the right - will only be distributed across London, as this was the hub of the punk era (Hebdige, 2002), and is where the Dr. Martens #PunksAtHeart event and exhibition will be held. Flyering solely around London will also save on cost, however the flyers will still reach a large audience because of the population size of the city.
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#PUNKSATHEART FREE EVENT Saturday April 8th intimate sets by: The Cut Ups (7pm - 7:30pm) Slaughter and the dogs (8pm - 8:45pm)
DR. MARTENS STORE Oxford street, london. #PUNKSATHEART
Integrated marketing Offline advertising
51.
#PunksAtHeart advertisements will be installed on advertising boards across the London Underground; Millions of people use the London Underground every day, which means that the advertisements will be presented to a diverse range of consumers. Furthermore, as the event is targeting Dr. Martens wearers of all ages, this means that professionals will also see the advertisements when commuting, and may be influenced to search the #PunksAtHeart hashtag whilst on their way to work. In order to fulfil this strategy in an uncostly manner, the majority of the Underground advertisements will be solely printed – see Figure 51 – whilst a small number will be digital - Figure 50.
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52.
53.
Integrated marketing EVENT/EXHIBITION
54.
As the Dr. Martens campaign will not be shown on television, a large section of the budget will be spent on an in-store event and exhibition. This creates a strong sense of communication between brand and consumer, and again integrates online and offline marketing strategies. The one-night event will be held on 8 April 2017, marking the 15th anniversary of the Clash’s debut album, at the Oxford Street store, London, as this store has a number of floors (Retail Week, 2012). Bloggers and press will be invited, along with the public.
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What Will Happen at the Event?
Why Will This Happen?
Punk bands: Slaughter and the Dogs and The Cut Ups, punk bands will play short sets to customers. The members of the bands will be wearing the S/S 17 line.
• As The Cut Ups are an up-and-coming punk band (Noisey, 2016), this will exhibit emerging talent within the punk genre, keeping the night current and relevant. • As Slaughter and the Dogs are well known on the Punk scene and have been together since 1975 (Slaughterandthedogs.co.uk, 2016) this act as a name to bring punks to the event • By wearing the new S/S line this will also discretely promote the products without being too overpowering
• One floor will host memorabilia from the Sex Pistols’ and the Clash’s time as bands; this will be displayed in an exhibition format. • The exhibition will include old records that are available to purchase; photographs of the bands in Dr. Martens, and other memorabilia such as musical instruments • The exhibition floor will continue for a two week period
• The exhibition will be used to promote Punk music and display Dr. Martens’ link with punk music. • As Dr. Martens’ target audience is interested in music, arts and culture, an exhibition based on music is therefore fitting for all ages • A two-week period will allow for more consumers to enter the brick-and-mortar store, and will help to push in-store sales
On one wall there will be a large screen showing the S/S 17 campaign video to consumers
This integrates online marketing into the real world
There will be a donation point to contribute money to the Joe Strummer Foundation.
• Attendees will gain 20% off the S/S 17 line, and will be given a free tote bag specifically designed for the event. Inside the tote bag will be a Dr. Martens beer mat keep sake, the S/S 17 Dr. Martens look book and the 20% off voucher • Fans aged 18+ will be able to help themselves to complimentary craft beer, in collaboration with UK craft beer brewery Beavertown (Atherton, 2015).
Event will be streamed live on Snapchat, as well as the new Facebook live option
• 2017 will mark the 15th anniversary of The Clash’s front man – Joe Strummer’s, death (Dennis, 2002). • The Joe Strummer Foundation raises money for aspiring musicians and “supports projects around the world that create social mobility through music” (The Joe Strummer Foundation, 2016). • Contributing to the Joe Strummer Foundation reinforces Dr. Martens link to music, and how they want to help young talent.
These keepsakes and free beverages will allow for a personal and exclusive approach, as only attendees of the one-night event will be gifted with the items.
• This will allow for everyone to become involved in the campaign, and will allow for free advertisement to users of both Facebook and Snapchat. • Using these social media platforms will also encourage word of mouth, and will keep consumers talking about the event.
Campaign Timeline Week and Task Pre-Launch Accumulate memorabilia for the event and exhibition Press release to bloggers and press inviting them to the event Social media banners created First film created Snippets of first campaign film posted across social media
Post-Launch Social media banners are posted, competitions and posts start First film released on social media and blog Guerrilla marketing around London Oxford Street store prepared for event Winner of social media competition announced Event takes place and second film is created at the event Exhibition continues Second film released onto social media Social media hype surrounding competition, films and event continues Final post on the 40 Years of Punk blog page
Week 1 - Week Commencing 6th February
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Week 10 - Week Commencing 1st May
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APPENDIX 1 55.
The 1980s is arguably the decade that transformed the future of Dr. Martens forever, as unlike previous decades where the shoe was worn by underground sub-cultures, the 1980s saw the shoe being filtered into mainstream and pop culture (Drmartens.com, 2016). In terms of significance to the brand’s history, the adoption of the boot by female customers is argued to be on par with the moment that Pete Townshend first picked up a pair of Dr. Martens, and when the Skinheads first embraced the brand in 1969 (Roach, 2015: 119). Without Dr. Martens being circulated into female wardrobes all over the world, the boot may have remained a largely male, subcultural item, only popular among alternative tribes. With a need for smaller sizes bought by girls, the brand was given a new lease of life, and new styles, colours and patterns were created – developing a genderless brand (Roach, 2015).
THE CONCEPT
#PUNKSATHEART
punk
divers
subcultures continue
BRICK-and-mortar
se age range NEW TALENT
online advert streamlined channels
Want the chance to win a pair of S/S 17 Dr. Martens? Send us a Punk pic of you in your docs with hashtag #PunksAtHeart
competition
tising
#PUNKSATHEART create a sense of community
OFFLINE ADVER
RTISING #PUNKSATHEART
EVENT & EXHIB
beverages
punk bands
goody
BITION
y bag
#PUNKSATHEART
in-store
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Slaughterandthedogs.co.uk. (2016). Slaughter and the Dogs History. [online] Available at: http://www. slaughterandthedogs.co.uk/history.htm [Accessed 29 Nov. 2016]. Sowray, B. (2012). Sales of Dr. Martens soar - Telegraph. [online] Fashion.telegraph.co.uk. Available at: http:// fashion.telegraph.co.uk/news-features/TMG9414487/Sales-of-Dr.-Martens-soar.html [Accessed 4 Nov. 2016]. Straker, K. & Wrigley, C. 2016, "Emotionally engaging customers in the digital age: the case study of "Burberry love"", Journal of Fashion Marketing and Management, vol. 20, no. 3, pp. 276-299. The Drum. (2012). How Dr. Martens increased brand awareness and buying consideration with integrated FIRSTANDFOREVER campaign. [online] Available at: http://www.thedrum.com/news/2012/12/06/how-drmartens-increased-brand-awareness-and-buying-consideration-integrated [Accessed 1 Dec. 2016]. The Guardian. (2010). 50 years of Dr Martens. [online] Available at: https://www.theguardian.com/culture/ gallery/2010/oct/31/dr-martens-anniversary [Accessed 20 Oct. 2016]. The Joe Strummer Foundation. (2016). About Us - The Joe Strummer Foundation. [online] Available at: http:// joestrummerfoundation.org/about-us/ [Accessed 25 Nov. 2016]. Twitter.com. (2016). Dr. Martens (@drmartens) | Twitter. [online] Available at: https://twitter.com/drmartens [Accessed 20 Oct. 2016]. Vine. (2016). Dr. Martens. [online] Available at: https://vine.co/u/906592060604297216 [Accessed 20 Oct. 2016]. Yorkshireeveningpost.co.uk. (2016). Hundreds of Leeds shoppers queue for a ÂŁ3 pair of Dr. Martens. [online] Available at: http://www.yorkshireeveningpost.co.uk/news/hundreds-of-leeds-shoppers-queue-for-a-3-pair-of-drmartens-1-6823040 [Accessed 4 Nov. 2016]. Youngs, I. (2002). BBC NEWS | Entertainment | A brief history of punk. [online] News.bbc.co.uk. Available at: http://news.bbc.co.uk/1/hi/entertainment/2601493.stm [Accessed 25 Nov. 2016]. YouTube. (2016). DrMartensOfficial. [online] Available at: https://www.youtube.com/user/DrMartensOfficial/ videos [Accessed 20 Oct. 2016]. Wang, W. (2011). Dr. Martens New 'First and Forever' Campaign. [online] ELLE. Available at: http://www.elle. com/fashion/accessories/news/a7078/dr-martens-new-first-forever-campaign-27124/ [Accessed 30 Nov. 2016]. Welsh, A. (2016). Fashion Profile: Dr. Martens. [online] Clash Magazine. Available at: http://www.clashmusic. com/features/fashion-profile-dr-martens [Accessed 30 Sep. 2016]. West, G. (2013). Dr. Martens unveils global campaign celebrating real-life wearers of the brand. The Drum. [online] Available at: http://www.thedrum.com/news/2013/08/01/dr-martens-unveils-global-campaign-celebratingreal-life-wearers-brand [Accessed 30 Sep. 2016].
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FIGURES Figure 1: Tyndall, H. (2016). Dr. Martens Logo. [image] Available at: http://www.affilinet-inside.com/general/drmartens-has-launched-on-affilinet [Accessed 20 Oct. 2016]. Figure 2: Pearson Howes, J. (2014). Skinheads. [image] Available at: http://www.jamespearsonhowes.com/drmartens-ss14/ [Accessed 2 Dec. 2016]. Figure 3: Dr. Martens, (2016). Afro Punk. [image] Available at: http://blog.drmartens.com/category/dms-lite/ [Accessed 20 Oct. 2016]. Figure 4: Dr. Martens, (2016). South East London based designer Kay Davis. [image] Available at: http://blog. drmartens.com/page/3/ [Accessed 20 Oct. 2016]. Figure 5: Pinterest, (2016). Skinheads in Dr. Martens. [image] Available at: https://uk.pinterest.com/ pin/539446861600981743/ [Accessed 20 Oct.. 2016]. Figure 6: Pinterest, (2015). Mens Target Audience. [image] Available at: https://uk.pinterest.com/ pin/122441683596985440/ [Accessed 1 Dec. 2016]. Figure 7: Pinterest, (2016). Target Audience Womenswear. [image] Available at: https://uk.pinterest.com/ pin/539446861600995502/ [Accessed 1 Dec. 2016]. Figure 8: Odd London, (2015). First and Forever Campaign. [image] Available at: http://www.oddlondon.com/ wp-content/themes/odd-london/includes/thumb.php?src=/wp-content/uploads/2014/10/landscape31. jpg&w=1518&h=1077&zc=1&q=100 [Accessed 20 Oct. 2016]. Figure 9: Odd London, (2014). Stand for Something Campaign Tumblr. [image] Available at: http://www. oddlondon.com/case-study/dr-martens-stand-for-something/ [Accessed 20 Oct. 2016]. Figure 10, 11, 12, 13: Dr. Martens, (2016). Dr Martens blog images. [image] Available at: http://blog.drmartens.com [Accessed 1 Dec. 2016]. Figure 14, 15, 16: Dr. Martens, (2016). Rebellion Festival. [image] Available at: http://blog.drmartens.com/category/40years-of-punk/ [Accessed 20 Oct. 2016]. Figure 17: Dr. Martens, (2016). In-store Music. [image] Available at: http://blog.drmartens.com/category/music/ [Accessed 20 Oct. 2016]. Figure 18:
Abarca, J. (2014). Pete Townshead. [image] Available at: https://www.buzzfeed.com/justinabarca/things-youdidnt-know-about-dr-martens?utm_term=.cvV4oq4LZ#.sse4KV4vz [Accessed 20 Oct. 2016]. Figure 19: Celebitchy.com, (2014). North West. [image] Available at: http://www.celebitchy.com/396156/north_west_ seems_extra-concerned_about_her_doc_martens_yeezus_jacket/ [Accessed 20 Oct. 2016]. Figure 20: Pinterest, (2016). Alexa Chung. [image] Available at: https://uk.pinterest.com/mrseaves/alexa-chung/ [Accessed 20 Oct. 2016]. Figure 21: Glick, H. (2012). Agyness Deyn for Dr. Martens. [image] Available at: http://whatshisisyours.com/2012/09/01/ agyness-deyn-for-dr-martens/ [Accessed 20 Oct. 2016]. Figure 22: Dr. Martens, (2016). Purple Dr. Martens Boot. [image] Available at: http://www.drmartens.com/ uk/?gclid=CP2e9bu-j9ACFUK7GwodeWoOxQ&gclsrc=aw.ds [Accessed 20 Oct. 2016]. Figure 23: Dr. Martens, (2016). Dr. Martens Shoes. [image] Available at: http://blog.drmartens.com [Accessed 20 Oct. 2016]. Figure 24: Youtube, (2013). We Stand for Nonconformity. [image] Available at: https://www.youtube.com/ watch?v=Dkv1UVKF608 [Accessed 20 Oct. 2016]. Figure 25: Odd London, (2016). First and Forever Social Media Marketing. [image] Available at: http://www.oddlondon. com/case-study/dr-martens-first-forever/ [Accessed 1 Dec. 2016]. Figure 26: PhotoSnack, (2015). Stand for Something Campaign. [image] Available at: http://www.photosnack.com/ snoochieshy/dr-martens-stand-for-something-campaign.html [Accessed 20 Oct. 2016]. Figure 27: Odd London, (2016). First and Forever Offline Marketing. [image] Available at: http://www.oddlondon.com/casestudy/dr-martens-first-forever/ [Accessed 1 Dec. 2016]. Figure 28: Langford, T. (2015). Circa Waves. [image] Available at: https://www.bandwagon.asia/articles/dr-martensannounces-stand-for-something-tour-2015-with-circa-waves [Accessed 1 Dec. 2016]. Figure 29: Blogspot, (2016). First & Forever Campaign. [image] Available at: http://4.bp.blogspot.com/-9dq3_7vEQnU/ TyPJpGwNo6I/AAAAAAAAKpM/0q7Xn2HRpHU/s1600/SS12+FIRST+AND+FOREVER+2.jpg [Accessed 20 Oct. 2016]. Figure 30: Hype Beast, (2016). Dr. Martens Lite Collection. [image] Available at: https://hypebeast.com/2016/9/dr-martensdms-lite [Accessed 20 Nov. 2016]. Figure 31: Dr. Martens, (2016). DMSLITE dive [image] Available at: http://blog.drmartens.com/category/dms-lite/ [Accessed 20 Nov. 2016]. Figure 32: Customer Profile All Images found at:
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Pinterest, (2016). Customer Profile Board. [image] Available at: https://uk.pinterest.com/abbiefranksx/dr-martenscustomer-profile-mood-board/ [Accessed 20 Oct. 2016]. Figure 33: Brand Board All Images found at: Pinterest, (2016). Brand Board. [image] Available at: https://uk.pinterest.com/abbiefranksx/promotions-module-drmartens-brand-board/ [Accessed 20 Nov. 2016]. Figure 34: Day, L. (2015). The Clash. [image] Available at: http://cdn2.thelineofbestfit.com/images/remote/https_cdn2. thelineofbestfit.com/media/2014/The-Clash1.jpeg [Accessed 1 Dec. 2016]. Figure 35: Dr. Martens. (2016). Rebellion Festival. [image] Available at: http://blog.drmartens.com/category/40-years-ofpunk/ [Accessed 1 Dec. 2016]. Figure 36 & 37: Dr. Martens. (2016) Street Style. [image] Available at: http://blog.drmartens.com/tag/street-style/ [Accessed 20 Nov. 2016]. Figure 38: Dr. Martens. (2016). Rebellion Festival. [image] Available at: http://blog.drmartens.com/category/40-years-ofpunk/ [Accessed 1 Dec. 2016]. Figure 39: Pinterest. (2016). Girls in Docs. [image] Available at: https://uk.pinterest.com/pin/539446861600965718/ [Accessed 20 Nov. 2016]. Figure 40: Pinterest. (2016). Punks in London. [image] Available at: https://uk.pinterest.com/abbiefranksx/dr-martenspunksatheart/ [Accessed 20 Nov. 2016]. Figure 41: Pinterest. (2016). Punks At Heart. [image] Available at: https://uk.pinterest.com/abbiefranksx/dr-martenspunksatheart/ [Accessed 20 Nov. 2016]. Figure 42: Pinterest. (2016). Dr. Martens Pinterest Homepage. [image] Available at: https://uk.pinterest.com/ DRMARTENS/?etslf=1101&eq=dr%20martens [Accessed 20 Nov. 2016]. Figure 43: Instagram images: tokyofashion.com. (2015). Dr. Martens Boots. [image] Available at: http://tokyofashion.com/punk-cake-harajukumookee-duran-duran-dr-martens/tk-2013-11-024-002-005-harajuku/ [Accessed 1 Dec. 2016]. Pinterest. (2016). Punk Boots. [image] Available at: https://uk.pinterest.com/pin/460282024394748701/ [Accessed 1 Dec. 2016]. Dr. Martens. (2016). Punk Weekender. [image] Available at: http://blog.drmartens.com/category/40-years-ofpunk/ [Accessed 1 Dec. 2016]. Figure 44: Instagram Background Instagram. (2016). Dr. Martens Homepage. [image] Available at: https://www.instagram.com/drmartensofficial/ [Accessed 1 Dec. 2016]. Figure 45: Twitter. (2016). Dr. Martens Page. [image] Available at: https://twitter.com/drmartens [Accessed 1 Dec. 2016].
Figure 46: Flickr. (2016). Punk Man. [image] Available at: https://www.flickr.com/photos/25951314@N06/8929358942 [Accessed 1 Dec. 2016]. Figure 47 & 48: Dr. Martens. (2016). Punk Homepage [image] Available at: http://blog.drmartens.com/category/40-years-ofpunk/ [Accessed 1 Dec. 2016]. Figure 49: andy-matthews.co.uk. (2012). Bus Stop. [image] Available at: http://andy-matthews.co.uk/blog/2012/11/02/busstops-by-richard-hooker/rzh-bus-stop-124-jpg/ [Accessed 1 Dec. 2016]. Figure 50: Punks at Heart Poster All images found at: Pinterest (2016). Punks at Heart. [image] Available at: https://uk.pinterest.com/abbiefranksx/dr-martenspunksatheart/ [Accessed 1 Dec. 2016]. Figure 51: Pinterest (2016). Underground. [image] Available at: https://www.pinterest.com/meppen0531/tube/ [Accessed 1 Dec. 2016]. Figure 52: Exterionmedia.com (2016). Escalator Advertising. [image] Available at: http://www.exterionmedia.com/uk/whatwe-do/our-media/london-underground-advertising/ [Accessed 1 Dec. 2016]. Figure 53: Blogspot.com. (2011). Bus Stop. [image] Available at: http://adspirationforall.blogspot.com/2011_12_01_archive. html [Accessed 1 Dec. 2016]. Figure 54: Dr. Martens. (2016). Oxford Road Store. [image] Available at: http://www.drmartens.com/uk/dm-store-locator [Accessed 1 Dec. 2016]. Figure 55: Pinterest. (2012). Pete Townshend. [image] Availabe at: https://uk.pinterest.com/pin/154529830935653799/ [Accessed 1 Dec. 2016]. Presentation Boards: All Images found at: Pinterest. (2016). Presentation Boards. [image] Available at: https://uk.pinterest.com/abbiefranksx/module-drmartens-presentation-boards-images/ [Accessed 1 Dec. 2016].
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the end