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Introducing Sabira Silcock to the UK Jewellery Market


FASH3002 N0301924 Aimee Robinson


Contents

Fig.1 - Mix Media Moodboard

Introduction

1-2

Methodology

3-7

The Jewellery Market

8-9

The Craft Market

10 - 11

Consumer Characteristics

12 - 14

Who Is Sabira Silcock?

15 - 25

Consumer Profiles

26 - 28

Design Aesthetic

29 - 47

Creating Communities

48 - 51

The Big Creative Idea

52 - 58

The Store

59 - 62

Online Presence

63 - 66

Future Recommendations

67 - 69

Conclusion

70 - 71

List of Illustrations

72 - 74

List of References

75 - 77

Bibliography

78 - 81

Appendices

82 - 118


Chapter 1

Introduction

Fig.2 - Artist Moodboard


W

ith a nation growing ever curious as to how things are sourced and produced we are therefore warming up to the idea of craft again. “The British have always been famous for having a spirit of ‘make do and mend’”(John Lewis, 2009: online) something which has recently been re-embraced due to the economic recession. In the same way the UK jewellery market has come to mirror the twists and turns of the UK economy. After a few tough and unpredictable years where economic difficulties have hurt both the general retail and jewellery retailers, we are starting to see some positive signs that the sector has found a new confidence. According to Marketline, the UK market for jewellery and watches will see compound annual growth of 2.1% from 2012-2017(Marketline, 2012: online) whilst Key Note market researchers say that the market will grow by 10.2% between 2013-2017 (Key Note, 2013: online).

With recent influxes in technology innovation, retail is suffering, “the high street still has a place in the shopping journey but the role has shifted, and it now needs to offer more dynamic experience” (Patel, D. 2013). This social shift is expected to develop this year, as it is predicted that in 2014 stores are set to become focal points of community. With the threat that 40% of high street shops could close in the next five years (Mintel, D, 2012: Online) it is crucial that stores recognise the importance of becoming places to socialise and relax rather than merely focusing on being places of consumption. If more brands achieve this it could present a way of silencing the ever growing concern of continuing decline of the British high street whilst re-connecting communities at the same time. With consumers turned off by commercialisation they are instead looking towards

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personalisation and therefore today ‘it’s all about personalising the retail experience and focusing on the individual’ (Bradweiner, N, 2013: Online). This report will therefore outline the executions needed for the implementation of branding Sabira Silcock and launching her into the UK market with the view to creating a marketing strategy, which is in unison with the social and cultural issues discussed above.


Chapter 2 Research Methodology

Fig.3 - Relaxation Moodboard


Methodology Overview Research was undertaken to launch a new brand into the Jewellery and Craft market. This involved understanding the contextual and cultural history of the market and researching into current trends within the market for the brand to be launched in. Primary and secondary research was carried out to gain an in depth understanding of cultural, social and global discourses influencing the big idea and interpreting consumer culture to identify a communication strategy which would attract their attention.

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Primary Research

Secondary Research

Primary Research was used to achieve a further understanding of the consumer and their needs, in addition, to extending knowledge and gaining authority on the subject area. Primary visual research was carried out with visits to Camden, Spitafields and Portobello market to provide inspiration for the big idea.

To create the big idea, secondary sources were vital to explore the brand subject area. Looking at a variety of mediums such as websites, newspapers, academic journals, books, trend forecasting agencies and attending their lectures built initial information. These all provided insight into the broader cultural trends and consumer needs.

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Interview with Sabira Silcock

Method

Appendix 1

Phone Interview with Selina Campbell Jewellery Designer

6

Phone Interview with Holly Sharpe Illustrator

7

Interview with Christine Fleming

3

Interview with Fiona Bowring

5

Interview with Julie Sharrock

4

LSN Global Trend Briefing Lecture Photographic Research

10

Interview with Phil Clarke (Student Enterprise Adviser)

2

Street Survey Design Aesthetic

11

Street Survey on Social Media Platform

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Purpose

To get an understanding of the designer, where the designs originated from, what inspires her and what is it she is trying to portray to her target audience. This phone interview was to ask jewellery designer Selina Campbell how she started, how she promoted herself to the general public and about the workshops she provides to her consumers. Due to research demonstrating that consumers want to buy into experiences I felt it would be interesting to gain feedback from a designer who provides workshops for consumers to make their own wedding rings. Due to Sabira Silcock’s brands essence being revolved around handcraft, I was interested to find out the overall feedback Holly Sharpe had from her collaboration with M&S, how people responded to the illustrated packaging. This interview further confirmed to me that Sabira Silcocks logo should be illustrated. To gain key insights to consumer lifestyle and buying behaviour. To gain key insights to consumer lifestyle and buying behaviour. To gain key insights to consumer lifestyle and buying behaviour. To gain insight into future trends in the industry. This lecture gave me a further understanding of how the retail landscape has changed and how it is important to consider collaborating with different markets. Furthermore gave me insight into the lifestyles of the target audience and the ‘Flat Age Society’. This entailed photographing and inspecting different jewellery trends within markets around London. How different designers presented themselves, how they communicated with their consumers (online or offline) to gain inspirationg for the visual identity and promotion of Sabira Silcock. Here I came across General Eyewear which provided key inspiration for instore layout. To help get an understanding on what is important in a start up brand, how to get the name out to the general public and what are important factors to consider For the consumers to decide on design elementes of the brands identity to succes in being visually appealing to the consumer To get a further understanding as to what social media platforms the target audience use.

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Chapter 3 The Jewellery Market

Fig.4 - Dusky Moodboard


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s precious metal prices have increased in recent years, sales of gold and platinum jewellery have dropped greatly. However the sales of silvery and ‘costume’ jewellery have increased. This is beneficial, as Sabira Silcock jewellery lies in between these two categories with her craftwork jewellery. In an industry worth £5 billion and supporting an estimated 5200 retailers, as to be expected there is plenty of variety, especially within UK jewellery (i2i Events, 2013: online). It’s a it’s a line of work that involves various levels of the British retail landscape, from the major department stores and quirky conceptual retailers, to still-maturing online ventures, as well as internationally recognisable standalone shops. The UK jewellery market is served by some major multiple retailers, with Argos the biggest followed by the Signet Group and Beaverbrooks as well as the department stores who are also important players, however for those that

have survived the tough times it is the independent retailer that are the driving force (i2i Events, 2013: online). According to market experts, the independents have learnt that to survive, it is even more vital for them to have products that differentiates them from the major multiples and are ever more keen to discover new brands and strong international looks that can appeal to their customers. Consumer confidence is showing signs of stabilising and even strengthening according to GfK’s analysis of the UK market (i2i Events, 2012: online). Like retailers, consumers have learnt to live with “the new normal” as many commentators are calling this economic landscape. Consumers are recognising that they want to spend their money on items that are special or deliver value that explains the growth of luxury jewellery at one end and costume jewellery at the other.

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About 10 years ago, the incentive to buy jewellery was prompted by the name of the brand itself. However, with the emergence of well-known, established names, has brought along change. With their rise to prominence, it has caused a backlash, and retailers are now looking for things that are a little bit different from their competitors. They are now looking for products that offer a story of the brand that they can communicate to the consumer. Due the economic climate, when it comes to jewellery an element of the personal is key, whether that’s in the way the consumer can pick and choose elements to create their own jewellery or the retailer being able to explain to the customer how they came across this brand that, as yet, no one knows about.


Chapter 4

The Craft Market

Fig. 5 - Ceramic Moodboard


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n recent years there has been a revival of cultural and political interest in craft. According to the Craft Council’s world leading high-end craft fair, COLLECT, the energy of contemporary craft is apparent. 40% of adults in England (16.9 million people) have purchased a craft object and 5.6 million craft pieces are purchased a year by people living in England (Morris Hargreaves McIntyre, 2013: online). Perhaps in reaction to an ever more screen-based entertainment culture, there is a hunger for the authentic and the hand-made. Justin McGuirk states in his article ‘The art of craft: the rise of the designermaker’, that though nothing may be new about the kind of products studios create, what’s new is the desire to reveal the process and not just the finished object, reasserting the value of the handmade over the machine-made. In a culture with a surfeit of branding and cheap mass-produced goods, we romanticise the handmade because we yearn for quality, not quantity. What we have here is a postindustrial nostalgia for the pre-industrial (Justin McGuirk, 2011: online).

Ironically, greatest parts of the population live in countries that provides craftsmanship in a variety of domains however they aspire to industrialisation, whilst western consumers are now looking for craftsmanship. In essence in western society, we’ll be seeing more crafted industrial objects coming our way, as we lust after craftsmanship we can’t afford and disdain the industrial products we can. A report from Morris Hargreaves McIntyre commissioned by the Crafts Council suggested there was significant untapped market potential for craft objects despite the economic downturn. It proposed reaching this market by building on the positive values consumers associate with craft, such as authenticity, craftsmanship, quality and intimacy. It also suggested specific strategies for market development, including connecting craft-specific lifestyle and cultural interests with leisure making, stimulating the hidden stories behind the craft object, and marketing craft as a more ethical alternative to luxury labels “Research has shown significant shifts in consumer demand, towards value-centred

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products, services and experiences which meet emotional – as well as functional – needs” (Morris Hargreaves McIntyre, 2013: online). Overall, it suggested that market potential could be optimised despite the tough economic climate, by understanding and acting on these types of consumer values and preferences in the positioning of the craft object in the marketplace.


Chapter 5 Consumer Characteristics

Fig. 6 - Creation Moodboard


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esearch has demonstrated, the consumer characteristics of the craft and jewellery market that Sabira Silcock will be entering are overall more culturally active. Research demonstrates that craft buyers are twice as likely as those not in the market to have attended a cultural event in the past 12months. In the same way, 57% of people that buy into craft are female and 53% of buyers are aged 45 or over (Morris Hargreaves McIntyre, 2013: online). Independent jewellery shops attract an older demographic and are skewed towards over 45s. Mintel also state that this same age group are more likely to buy into silver and are most inclined to own costume jewellery (Mintel, 2013: online). Following appear to be broad trends that are growing equally in importance for all section of the craft market:

- “I’d rather have an experience that an object” - “Where possible I avoid buying mass produced objects” - “I sometimes customise products to suit my needs” - “I think learning to make an object myself is better than buying it”

According to Morris Hargreaves Mcintyre, there seems to be an increasing interest in the stories and personal connections behind objects. Consumers are increasingly interested in knowing more about the origin of an object: where it comes from, who made it and how it was made. There has already been a connection made between having a relationship with the maker of the jewellery as a driving buying force, however an ascendant trend has been spotted involving a personal interest on the provenance of the craft. Buyers appreciate the ‘hidden stories’, ideas and skills behind craft objects. “Eliciting the ‘hidden stories’ or inspiration of craft objects at the point of sale, could become more important as this trend develops” (Morris Hargreaves McIntrye, 2013: online). Likewise learning about craft by doing craft is a trend set to grow. There has been an increasing interest in spending on experiences and on products that hold nostalgia about such experience to the consumer. These features have created new opportunities for craft business. We are starting to see this in the market with the popularity of craft activities at festivals, workshops and make-your-own kits developed by the maker. A survey done by the Crafts Council indicates strong potential to grow the market by offering integrated buying and leisure making opportunities. LSN Global also speak of this age demographic calling them the ‘Flat Age Society’, being the first wave of Baby Boomers (Aged 50-

68). They mention how the ‘Flat Agers’ are entrepreneurial, technology savvy and are travelling the world. “Consumers aged 50 and over control almost 75% of the UK’s wealth” (Future Laboratory, Lecture, 2014, March 26). These Flat Agers think very differently about money than previous generations, they have it and are used to spending it. They want to spend on the pleasures in life. That doesn’t mean ostentation, however instead they honour their environmental and social values“The things that they want- authenticity, truth, locality” (Future Laboratory, Lecture, 2014, March 26). They like retail that welcomes them with authenticity, sophistication and fun. Flat Age consumers seek brands that understand their youthful, open-minded outlook. Due to their interconnectivity in all aspects of society, the presence of brands within the networked environment is vital for the continuation and expansion of the brands. It should thus be noted that Britain is the biggest online shopping nation in the developed world, with almost two-thirds of adults using the Internet to buy goods or services (Hall, J, 2012: online). Female 49-67 year olds use Facebook at the same rate (90%) as Millennials. According to IPSOS (Global market research company) US consumer’s ages 48-68 are almost as likely to own a tablet computer as those ages 13-33 (Millennials).


What does this mean for how we approach Sabira Silcock’s consumers? - Products and communication strategies that bring out their youthful spirit - Original and easy ways to enjoy the finer things. - Get savvy. Youth is no longer where growth is. - Be generationless- Flat Agers have more in common with Millennials than anyone else. - Be fun. Age Wave surveys show the number one thing 50-68 year olds want is more fun.

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Chapter 6 Who Is Sabira Silcock? This chapter will reflect the layout and details of Sabira Silcock’s brand book.

Fig. 7 - Nude Moodboard

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Who Is Sabira Silcock? Sabira Silcock is a craft business, which will produce a range of precious material jewellery pieces. The collections seek to produce contemporary, unique jewellery pieces inspired through her sketches of the earth’s natural materials.

“What I love about jewellery is its longevity, it is often handed down through generations, which is rare in our throwaway society, where everything is disposable, so what I want to do is provide that timelessness piece” – Sabira Silcock (Silcock, S, 2014. See Appendices 1)

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Mission + Vision Sabira Silcock’s mission is to create a start-up brand, offering women across the nation handmade, modern and precious jewellery pieces at affordable prices. Providing the option of a bespoke personalisation service that entices all. The brand will provide insight into real experiences, so that the consumer connects with the brand in expectation of creating a community. Through creating relationships with the consumer, awareness shall gradually be built, aiding the vision of becoming a recognised nationwide lifestyle brand.

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Values The main value behind Sabria Silcock´s brand is to quite simply be authentic. Whether it is through creating ranges that are completely unique or a bespoke piece specifically commissioned so that it is personal to that consumer, the aim is to be distinctive. Authenticity shall be achieved through breaking down the barrier of a ‘brand’ and a consumer. The consumer will integrate with the brand through providing leisure experiences, making Sabira Silcock a lifestyle brand. Consumers will desire the collections due to the handmade qualities that shall ensure it is completely individual and evoke exclusivity making luxury accessible.

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Brand Positioning

GAP

When entering the UK market it is vital that all possible competitors are identified beforehand. The following mood boards and perceptual map are designed with the intent of identifying potential threats for Sabira Silcock. The perceptual map is designed to show where Sabira Silock would position herself within the current UK market. With the heavily saturated jewellery market both in high street and independents a perceptual map is necessary in order to highlight any possible USPs (Unique Selling Point) and niche markets for her to expand into. From the map it is evident that Sabira Silcocks main identified competitors would be Amy Logan, Amy Wilkinson and Noritamy. However there does appear to be a gap for a purely independent and more classical brand.

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Amy Logan’s work focuses on ‘drawline’ collections. Her work is a unique interpretation of hand drawings where a fluid line encircles space in a simple yet elegant way. Each piece of jewellery is handmade by Amy Logan, who is based in Birmingham’s historic Jewellery Quarter. Her work is elegant, simple yet quirky. Her pieces are sold in only three stores within the UK and her work is not available to be purchased online. Though she may have created a consistency within her aesthetic (logo, online, designs), what Amy Logan seems to be missing is the communication platform with her target audience. Though she has marginal social media platforms, there is little information about her and her work, making it hard for consumers to build a relationship with the brand.

Amy Logan

Fig. 8 - Amy Logan Moodboard

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Noritamy Noritamy is a jewellery label that reflects the innovative encounter of fashion and architecture. Designed by jeweller Tammar Edelman and architect Elinor Avni, the label brings about the modern in a classic way. The combination of high-end metals with a variety of other materials such as wood, polymers, fabric and leather gives the jewellery a luxurious and exclusive look and feel. Distributed worldwide, the choice of materials, the architectural artwork, craftsmanship that is evident in each piece, creates a sense of the classic and the ageless. Noritamy has been featured in many well renowned magazines generating recognition for the brand. However the number of followers on their social media is minimal.

Fig. 9 - Noritamy Moodboard


Amy Wilkinson

Amy Wilkinson is an independent jewellery designer who designs and makes jewellery at ‘Studio One’ in ‘The Manchester Craft and Design Centre’, a growing innovative and artistic community. This retail space combines with a workshop open to the public enabling them to produce their work whilst interacting and building relationships with their customers. Amy Wilkinson currently does not have any social media pages nor is her work available to buy online. Amy Wilkinson does not have a general aesthetic to her brand. Her work is represented through the Manchester Craft and Design Centre, which makes her harder to identify in a pool of various craft designers. She does not have a logo that makes it harder for customers to relate to or recognise.

Fig. 10 - Amy Wilkson Moodboard


After analysing the competitors there seems to be a lack of followers for all three. Therefore it is evident that a creative promotional strategy is necessary to generate a buzz around the brand using the powerful promotional strategy of word of mouth, which Selina Campbell states is most powerful PR tool (Refer to Appendices 6). This will set Sabira Silcock aside from her competitors enabling the brand to stand out.

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Tone of Voice When considering the overall visual identity of Sabira Silcock, it is important to choose a theme, which has longevity whilst still representing the brands ethos, which is providing quality craftsmanship. Likewise the brand aims to provide a sentimental touch provoking an emotive buy creating a connection between the brand and consumer. It is also vital to take into consideration the age demographic the brand is targeting, therefore the brand will be transparent in its communications and personal within their customer care.

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Sabira Silcock Aaeker Model Brand as a product

Brand as a person

Delicate Silver Jewellery Precious stones Classical Well made, good quality

Honest Generous Fun Sensitive Creative Adventurous

Brand as organisation

Brand as symbol

Dedicated to excellence and the consumer Communicative Organic Friendly Innovative

Neutral colours Organic Craftsmanship Distinctive Recognisable Feminine

Brand as experience Interactive Memorable Welcoming Homely Contemporary Fig. 11- Brand Aaeker Model Moodboard


Chapter 7

Consumer Profiles The following consumers were chosen as they fall into both the age and ABC1 demographic that Sabira Silcock is targeting. Whilst both consumers lead very different lifestyles, their shopping habits are similar. Nevertheless, though their shopping habits may be similar the way in which Sabira Silcock reaches out to them, will have to differ.

Fig. 12 - Organic Moodboard


Fiona Bowring, 55

Designer Fiona Bowring enjoys the finer things in life. She spends her days photographing markets and finding new upcoming designers to spot new trends. Her favourite city in the world is London, “London is filled with hidden gems, independent designers, boutique cafes, restaurants and salons, its la crème de la crème”. Fiona Bowring has her flat in Wandsworth and her family home in Haslemere, where she makes her own fresh jam, elderflower and has chickens to have fresh organic eggs. Fiona raises the importance of fresh organic food for her wellbeing. (Full Interview found in Appendices 5)

Fig. 13- Fiona Bowring Moodboard


Now that both Julie Sharrock’s sons have left home and are becoming independent, Julie is travelling the world with her pilot husband. Her family home is in Milford, Surrey, however states that in the last 2 years she hasn’t been home longer than 3 weeks. Her recent holiday getaways have been, St Tropez, Brazil and Tokyo. Julie constantly is researching tourist guides on ‘must see places’ within different areas such as TripAdvisor and TimeOut. Julie is a vegetarian and too is health conscious; when she is home she goes to her local food market on Sundays to collect her fresh fruit and vegetables for the week. (Full interview found in Appendices 4)

Julie Sharrock, 48

Fig. 14- Julie Sharrock Moodboard

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Chapter 8

Design Aesthetic It is important that the brands visual identity is continuous and reflects the brands ethos of craftsmanship. Taking the brands age demographic into account it is also important that it’s personality is sophiscated and minimal, furthermore providing the brand with longevity.

Fig. 15- Grey Tones Moodboard


This trend explores intangible atmospheres such as dust and smoke, creating an ethereal mood. This is balanced with essential neutrals that hover between tones plus dusty, grey-tinted pastels layered with metallics that shift in shade: Red-Bronze, Blush-Gold, Smoky-Bronze, Celadon-Silver and Anthracite.

WGSN Obsereved MacroTrend 2015

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Fig. 16- Observed Moodboard


WGSN Transcend MacroTrend 2015

This trend is about understanding the powerful need for nature and poetry that has developed as a reaction to the technology-driven speed of our lives. Focusing on the present and connect with our environment. Taking a lyrical look at the natural world and its many colours as layers of serene greens, greys and lilacs are framed with shadowy summer darks to help define the season.

Fig. 17- Transcend Moodboard


Taking inspiration from both the ‘Transcend’ and ‘Observed’ colour direction macro trends for 2015/16 from WGSN (WGSN, 2014: Online) Sabira Silcock’s colour palette has been defined by neutral and pastel tones. These tones portray a delicate, emotive feel, which depict both the brands products and personality. The neutral palette provides the brand with longevity making Sabira Silcock timeless.

Fig. 18- Colour Palette Moodboard

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Sabira Silock’s Colour Palette

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8.1

Logo Development

As Sabira Silcock is a hand crafted jewellery brand, its ethos must be delivered through its logo and visual representations. For this reason illustrations would be imperative. “There is something wholly nostalgic and emotive of our inner child when it comes to illustration and hand crafted lettering, people relate to it” (Charlotte Mary Rose: 2013). Delivering communications in handcrafted lettering and illustrations shows a distinct personality that is moulded specifically around, within and through the brand. “Perhaps it is appreciated more in an age where anyone can be a photographer, with smart phones and filter apps etc, but few can really master the art of drawing/ painting, so maybe this is why illustration is more prominent right now” (Sharpe, H, 2014. See Appendices 7). With the brand having an illustrated visual, the audience will know someone used their skill to create an identity for the brand, making the brand more intimate.


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By adopting the name of the designer, Sabira Silcock as the brands name, the company has longevity, as it isn’t limited by a characterising word or phrase. This allows the work to naturally evolve and change over the years while the name remains relevant. Likewise, it reinforces the quality, handmade image of the company. As the name is unique, it is memorable and likewise easy to find in online search engines.

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Empathic research was undertaken to decide on the final logo (Refer to Appendices 11). This logo and it’s shape has also been converted into the brands business card, providing the brand with a different style business card, thus making Sabira Silcock more memorable (Refer to Appendices 12 to see the Business Card Development).

Final Logo

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8.2 Packaging Development Within my research I came across the packaging trends of ‘temiyage’, the most common practice of gift giving in Japan, which is done to express appreciation, respect and friendship towards one another (WGSN, 2012: Online). Gift-giving is a tradition in Japan that is not only practiced for special occasions, but also for social obligation. The etiquette is specific to whom, under what circumstances and when; but the gift can be as simple as sweets, gourmet foods, a bottle of wine or flowers. What is most important is that you show thoughtfulness by your choice of product, as well as through the visual appeal of beautiful wrapping and packaging. Images shown demonstrate the simple yet elegant packaging of Higashiya’s Kinomigashi, who present their food in jubako-style boxes tied with red and white leather strips.

Fig. 19- Higashiya Kinomigashi Moodboard


As research demonstrated that women’s jewellery in the UK is mostly bought as bridal and giftware and as Sabira Silcocks collection is inappropriate to be sold as bridal jewellery the brand will focus on how the products can be presented as gifts, which has been noted as the second strongest trigger to purchasing both in craft and jewellery. Thus consideration to the packaging and how it is presented is fundamental. Therefore taking inspiration from Higashiya’s Kinomigashi, research conducted to look into different examples of classical and elegant packaging.

Fig. 20- Higashiya Kinomigashi Moodboard 2


From this moodboard I’ve decided to take key inspiration from the packaging done by ‘Brook & Lyn’. They are a creative studio (husband and wife team) who produce original textiles, furniture and art that express their personal vision of beauty and simplicity. “Our work draws inspiration from fashion, art, and culture to blend the new and the nostalgic.” (Brook&Lyn: Online). They collaborate with private clients and brands on custom projects, where they created personal packaging (As seen in moodboard). This style of packaging is unique and furthermore reflects the notion of gift giving as opposed to a standard box packaging.

Brook & Lyn Packaging

Fig. 21- Packing Inspiration Moodboard


Taking inspiration from Brook & Lyns packaging, I decided to be creative and play around with materials, creating a similar form of packaging. These images were taken when was testing a mix of materials that I found amongst Nottingham Trent’s textiles department. The following two pages are images taken from my next attempt with different materials that were chosen specifically for the packaging, as I felt it best represented both the craftsmanship ethos and brands personality.

Fig. 22- Packing Prototype Moodboard

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Fig.23: Packaging Development Moodboard (2014) by Robinson, A

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Fig.24: Final Packaging (2014) by Robinson, A

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In Store Layout 8.3 Inspiration Fig. 25- Instore Layout Inspiration Moodboard


The in-store layout must maintain Sabira Silcocks neutral, minimalist yet classy feel. Therefore inspiration has been taken from Scandinavian interior design. Scandinavian design is a design movement characterised by simplicity, minimalism and a neutral colour tones which embodies Sabira Silcocks visual identity.

Fig. 26- Instore Layout Inspiration Moodboard 2


Chapter 9 Creating Communities

Fig. 27- Charcoal tones Moodboard


“T

echnology isn’t king. The consumer is king. They need us as retailers. Technology can’t beat happy to help. Our biggest challenge is trust and it can’t be bought, it must be earned” (Clarke, A, 2013: online) stated Asda CEO Andy Clarke. This demonstrates great reliance on emphasising the importance of customer care, and as an extension, trust. As an aftermath of the horsemeat scandal, consumers are actively seeking close engagement with brands as to build upon trust. A strategy that overcomes lack of trust between consumers and retailers would be breaking communication barriers. Brands should have a welcoming, friendly and engaging voice towards the consumer. Clarkes quote “How consumers are looking for stores to become focal points of the community.” (Clarke, A, 2013: online) reminds us of the essentiality of creating an optimal environment for the consumer, as to create focal community points. Community points will enable engagement between consumers and retailers, not only becoming places of consumption but also of socialisation. Taking these features into account could present a way of silencing the ever-growing concern for the continuing decline of our British high street.

In 2013, US retailers received half the holiday traffic they did in 2010, despite the brighter economic picture (Jessica Wohl, 2013: Online). As consumers become increasingly accustomed to the convenience of e-commerce, they need to be convinced that a trip to a physical store is worth their time. If stores become focal points for local communities then it may be a way of ensuring that the high streets of Britain begin to flourish again. In sight of this, it is important to mention how the Internet can save “the high street” (Graham Charlton, 2012: Online). With the use of the Internet communications, retailers can manage to drive the masses into the physicality’s of the shop, not only as a consumption point but also as a community hub. Other retailers have already adopted this strategy across the globe, changing the face of the retail landscape.

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The Well (Los Angeles) The Well, designed by H+I Design, created a multi-faceted fashion retailer with the addition of a hair salon and an event space, which offers shoppers, clients, stylists and event-goers an all-around lifestyle experience. The dynamic and versatile space has a 4000 square foot area available for private events, filming/ photography, fashion shows, galleries and most happenings one could think of. Featuring a state-of-the-art projection lighting system, a fully furnished built-in DJ setup and offering full service in-house event production support, The Well is a place known to showcase a brand or artists work.

Fig. 28- The Well Moodboard

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The Intersect by Lexus (Tokyo) Intersect By Lexus is a unique space where people can experience Lexus without getting behind the steering wheel of the car. Guests are able to engage with Lexus through events, activities, food and culture. The retail offers the ‘Lexus’ experience through design, art, fashion, culture, film, music and technology. In its two floors it accommodates a café, a garage that can function also as a gallery, a store, and a library lounge, which serves as a restaurant. The fact that the store is located not in a business district but in the very hip Aoyama neighbourhood (a luxury retail destination where brands like Prada and Cartier also have flagships) further reveals that Lexus has launched its Intersect flagship as a multifaceted retail experience addressed to a wider audience. Fig. 30- The Intersect Moodboard


Chapter 10 The Big Creative Idea

Fig. 30- Bare Moodboard


In order for the proposed idea of Sabira Silcock launching a store to be a success, a marketing strategy needs to be considered with the consumer in mind. Therefore the marketing strategy will revolve around targeting the consumer through analysing their daily routine.

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Products

Price

The Jewellery is the product and will be promoted in a way that emphasises the ways in which they provide a USP to the current jewellery and craft market: High quality, unique, craftsmanship.

Sabira Silcock will have a higher price point to the high street however will still be accessible to the C1 demographic. In order to encourage purchases and build brand awareness introductory offers, deals and promotions will be considered.

Place

Promotion

Sabira Silcock will sell her products predominantly online but the main focus will be on the proposed store in Nottinghill, London.

The launch of Sabira Silcocks store will be promoted through online social media (inviting bloggers and editors to the launch), further online platforms, guerilla marketing and boutique salons.

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Wear me on the Tube Looking into the daily routines of the target audience, the correlation between all consumers was that they take public transport in London, tube, bus and trains. “The tube now regularly carries more than four million people a day. London now accounts for almost half of all bus trips in England: 2.3 billion passengers” (Prynn, 2014: online). For this reason public transport would be a prime place for guerrilla marketing to raise brand awareness. Guerilla marketing is classified as “any promotion that unconventional, unexpected and usually evocative of a unique, memorable reaction from or interaction with the viewer”(Business Insider, 2010: Online) Likewise due to Sabira Silcock being a start-up brand, advertising would be very costly. For this reason guerrilla marketing seems most appropriate. “Guerilla marketing is often ideal for small businesses that need to reach a large audience without breaking the bank” (Vadhar, 2013: online). Taking inspiration from watchmakers IWC, Sabira Silcock will design onto the bus and tube handles. Designing them to look like bracelets, with her logo and details to the launch of the store as shown on Fig.31.

Fig. 31- Tube Handle Mock Up


Top 10 Shops to Visit Consumer research has demonstrated that women within this demographic tend to go onto websites such as TripAdvisor and TimeOut to suss out new restaurants and boutique shops within big cities “I like seeing pictures that are not photoshopped by the company and other personal opinions of their experience so I can get an overall feel for the place before I go”(Sharrock, J, 2014. See Appendices 4). TripAdvisor offers advertisers the right vehicles to reach out to over 260 million travellers “Our unique platform reaches the most desirable audience at the most relevant moment, boosting awareness, recall and sales” (TripAdvisor: online). TimeOut London website has more than 6 million unique users (Omniture, 2013: online) and it has a combined audience of more than 500,000 fans across Facebook, Twitter and Youtube. With the considerable number of followers and research demonstrating that consumers of the brand fall into this category of followers, Sabira Silcock could benefit from collaborating with these websites and advertising the store through them.

Fig. 32- Travel Websites Mock Up


Point Of Sale within Leisure experiences Consumer research shows that impulse purchasing for women within the age demographic targeting tends to happen when they are in a ‘pampering’ environment. A popular reoccurring location mentioned was boutique hair salons. Therefore Sabira Silcock will collaborate with different boutique hair salons around London where she will offer the hairdressers commission on each product sold. The hairdressers will be carefully selected depending on who their target audience is. The hairdressers that shall be targeted will be exclusive, and understated, renowned for having a good relationship with their consumers so that trust will already be in the brands favour. A small crafted jewellery box with samples of Sabira Silcocks jewellery will be displayed at the counter in hope of an impulse purchase. Along with the Jewellery there will be leaflets of the brand and special offers for clients to take home with them. These will be placed both at the counter and waiting area. This strategy could also be used in other locations such as Gym Cafes, Spa waiting rooms and other leisure activities.

Fig. 33- Leaflet Mock Up


To create further buzz around the launch of the store, invitations to the launch will be sent out inviting media, editors and bloggers to the event to increase brand awareness. Sabira Silcocks invitation design was inspired by graphic designer Sarah Thorpe (Refer to Appendices 9 for Case Study). The invitation has to offer somethng different to intice the media to want to come to the event. Furthermore the invitation must maintain Sabira Silcock brand ethos- craftsmanship.

Fig. 34- Launch Invitation

58


Chapter 11

In Store

Fig. 35- Neautrals Moodboard

59


T

This will further reinforce Sabira Silcock’s exclusivity, quality, creativity and timeless products (Loredana Tarsia, 2012: Online). The in store environment will be a community hub with a busy schedule of events. These will include activities within store such as craft workshops, demonstrations, concerts, book signing, blogger events and fashion shows. In addition to these activities, a juice bar will be integrated within the store. This has been an evident trend within consumer research and furthermore Lakeland recently reported a 4,000% sales rise in juice bars (Tim Jonze, 2013: Online). The brand will not only be recognised for its products but for its lifestyle. Sabira Silcock will gain a reputation as an energetic, engaging and consumer orientated brand. By doing so Sabira Silcock will be responding also to the issues highlighted earlier in this report such as the urge for stores to become focal points of the community and providing consumers with an experience. This will give consumers a reason to come into store and form a deeper relationship with the brand.

he physical Sabira Silcock store itself will be more than just a place of consumption; it will embody a community and a lifestyle. Sabira Silcock’s store will also be her studio, so consumers will have a chance to see her sketches, where she works breaking down the barrier of ‘brand’ and consumer building a relationship by making it more intimate “I want people to speak to me about my work, understand the process of where it has been created from and not only do I feel that relationship is important as a designer but also I feel people appreciate that more too”(Silcock, S, 2014. See Appendices 1). The studio space will be a place where consumers can relax, interact and create. Taking inspiration from General Eyewear in London (Case Study found in Appendices 8) the table where Sabira Silcock designs and creates her Jewellery will provide a bespoke section for consumers to come in and have the opportunity to design their own products which will then be created for them by Sabira. A bespoke service would benefit Sabira Silcock by reaffirming that exclusivity to the brand. “A bespoke service places customers at the centre – their desires are handmade for them.” states Loredana Tarsia (Director of Lingerie d’Elia).

60


Location The location of this studio will be in Notting Hill. Due to the target market saying they tend to look for new designers within markets, it seems most appropriate. As Portobello market is most popular not only among Londoners however amongst tourists and people outside London, it would raise awareness to a wider target audience. Furthermore the people living within the area would be the suitable target audience as they fall into the ABC1 demographic. “The average resident of Kensington and Chelsea, which includes Notting Hill, has an annual income in excess of £100,000” (Sarfraz Manzoor, 2007: Online). This location further reinforces the atmosphere of the brand, “Portobello’s energetic and interactive environment is perfect any time of the day” (Fairemont: Online)

61

The studio will be located on Bleinheim Cresecent, a short walk from both the tube and Portobello market to avoid the masses of people, so that the studio maintains its emotive feel. It is hidden off the opposite end of Portobello road. When speaking to the target audience another reoccurring trend found was ‘I always love to find a hidden gem’. The hidden position provides an air of exclusivity to the brand and product, ensuring it evokes desire within the consumer. This links to the accessible luxury sector, as the products are rare but still available to the ABC1 demographic as they dispose of the income to invest in these products.


Store Mock Up The in-store layout has been determined through the simplistic nature of Scandinavian interior design as it best meets the brands visual identity with its neutral colour tones. Both sketches and images of the jewellery have been placed on the walls to maintain that studio feel. Likewise Sabira’s design desk and sketch book will be open to the general public to create that intimacy with the consumer which Sabira states is of most important to her (Refer to Appendices 1). Both the juice bar and studio will be designed with the same colour tones and wooden feel to remain consistent.

Fig. 36- Mock Up of Store


Chapter 12

Online Presence The aesthetic of Sabira Silcock’s website is of most importance as it will be where most of the consumers will navigate to. It needs to keep consistent with the visual identity of the brand and offering as much information of the brand and the events held within the store.The following two pages demonstrates the layout of Sabira Silcocks website.

Fig. 37- Fresh Moodboard


Sabira Silcock’s Website

64 Fig. 38- Website Mock Up 1


65

Fig. 39- Website Mock Up 2


A street survey was executed in Nottingham asking 30 women between 40-60 years old which social media platforms they used (Refer to Appendices 12 for results). The three most popular platforms were Facebook, Instagram and Twitter, for this reason it is imperative for Sabira Silcock to have all three websites to further build a relationship with her consumers. Social media channels are proactive tools in increasing a company’s trustworthiness. “A significant 89% of all businesses that have a dedicated social media platform as part of their marketing strategy reported an increase in their market exposure” (Angelova, V. 2013: Online). Social media is rapidly turning into a vital part of modern marketing, “word of mouth is the most powerful tool of promotion so it was essential to be on social media, anyone nowadays without social media will never exist”(Campbell, S, 2014. See Appendices 6) therefore as a start-up brand it is vital that Sabira Silcock is present on these platforms.

66

Fig. 40- Social Media Mock Ups


Chapter 13 Future Recommendations

Fig. 41- Stripped Moodboard


I

n terms of the bigger picture as well as in-store activities and demonstrations, it would be beneficial for Sabira Silcock to come up with an additional way of continuing the theme of craft and creating. One way in which this could be done could be through the introduction of a brand zine available in-store, providing another medium in which to communicate with consumers whilst also further emphasising the brands lifestyle.

What could the zine contain? - Step by Step instructions to make jewellery - Competition opportunities

Zines are all about self-publishing, do it yourself self-promotion; it focuses on the notion of individuality, which goes hand in hand with the representation of Sabira Silcock. Through the publication of a brand zine, it would further reinforce the brands essence of embracing craft and expressing individuality.

- Organic, original photography - An offline version of content on Sabira Silcocks blog bringing it to life in a physical form - Sabira Silcock illustraions

68


Fig. 42- Illustrations

69


Chapter 14

Conclusion

Fig. 43- End of the Road Moodboard


F

rom this body of research, it can be concluded that there is a gap in the UK Jewellery market for a jewellery brand which communicates with its customers in emotive, humane marketing. Research into the current retail environment has demonstrated that the where, when and why we shop; has evolved over time. Great Britain is experiencing a heavily saturated retail market with e-commerce changing the purchasing landscape. As stated within the report, Sabira Silcock will need to steer clear of mass selling tactics instead looking to enhance brand awareness by focusing on innovation with events and a multi functioning shopping environment by incorporation a juice bar within her London store, to surprise and delight her customers. Furthermore, using craft within the brands visual language, such as the logo and packaging, represents Sabira Silcocks brand essence. In addition, to incorporating the social and cultural trends and issues witnessed within the current UK market. The future possibilities for implementing the proposed marketing and communication strategy centres around the idea ‘word of mouth is the most powerful tool of promotion’ consumers will want to be a part of the Sabira Silcock community. Sabria Silcock would build a society in the UK market, and with that niche starting point see the brands physical and online market expand.

71


Chapter 15 List of Illustrations

Fig. 44- Pale Moodboard


Fig. 1: Mixed Media Moodboard (2014) by Robinson, A

Fig.19: Higashiya’s Kinomigashi Moodboard (2014) by Robinson, A

Fig.2: Artistic Moodboard (2014) by Robinson, A

Fig.20: Higashiya’s Kinomigashi Moodboard 2 (2014) by Robinson, A

Fig.3: Relaxation Moodboard (2014) by Robinson, A Fig.4: Dusky Moodboard (2014) by Robinson, A

Fig.21: Packaging Inspiration Moodboard (2014) by Robinson, A

Fig.5: Ceramic Moodboard (2014) by Robinson, A

Fig.22: Packaging Prototype Moodboard (2014) by Robinson, A

Fig.6: Creation Moodboard (2014) by Robinson, A Fig.7: Nude Moodboard (2014) by Robinson, A

Fig.23: Packaging Development Moodboard (2014) by Robinson, A

Fig.8: Amy Logan Moodboard (2014) by Robinson, A

Fig.24: Final Packaging (2014) by Robinson, A

Fig.9: Noritamy Moodboard (2014) by Robinson, A

Fig.25: Instore Layout Inspiration (2014) by Robinson, A

Fig.10: Amy Wilkinson Moodboard (2014) by Robinson, A Fig.11: Brand Aaeker Model (2014) by Robinson, A

Fig.26: Instore Layout Inspiration 2 (2014) by Robinson, A

Fig.12: Organic Moodboard (2014) by Robinson, A

Fig.27: Charcoal Tones Moodboard (2014) by Robinson, A

Fig.13: Fiona Bowring Moodboard (2014) by Robinson, A

Fig. 28: The Well Moodboard (2014) by Robinson, A

Fig.14: Julie Sharrock Moodboard (2014) by Robinson, A Fig.15: Grey Tones Moodboard (2014) by Robinson, A

Fig.29: The Intersect Moodboard (2014) by Robinson, A Fig.30: Bare Moodboard (2014) by Robinson, A

Fig.16: Observed Moodboard (2014) by Robinson, A

Fig.31: Tube Handle Mock Up (2014) by Robinson, A

Fig.17: Transcend Moodboard (2014) by Robinson, A

Fig.32: Travel Websites Mock Up (2014) by Robinson, A

Fig.18: Colour Palette Moodboard (2014) by Robinson, A

Fig.33: Leaflet Mock Up (2014) by Robinson, A

73


Fig.34: Launch Invitation (2014) by Robinson, A Fig.35: Neautrals Moodboard (2014) by Robinson, A Fig.36: Mock Up of Store (2014) by Robinson, A Fig.37: Fresh Moodboard (2014) by Robinson, A Fig. 38: Website Mock Up (2014) by Robinson, A Fig.39: Website Mock Up 2 (2014) by Robinson, A Fig.40: Social Media Platform Mock Ups (2014) by Robinson, A Fig.41: Stripped Moodboard (2014) by Robinson, A Fig.42: Illustrations (2014) by Robinson, A Fig. 43: End of the Road Moodboard (2014) by Robinson, A Fig.44: Pale Moodboard (2014) by Robinson, A Fig. 45: Clay Moodboard (2014) by Robinson, A Fig.46: Autumn Moodboard (2014) by Robinson, A Fig. 47: Delicate Moodboard (2014) by Robinson, A

74


Chapter 16 List of References

Fig. 45- Clay Moodboard


Sean Poulter. (2009). Make do and mend: Thrifty tips to help you ride out the recession. Available: http://www.dailymail.co.uk/news/ article-1209530/Make-mend-Thrifty-tips-help-ride-recession.html. Last accessed 3 April 2014.b Marketline, 2012. United Kingdom - Jewellery & Watches [online]. Available via: Marketline [Accessed 3 April 2014] Key Note, 2013. Jewellery & Watches Market Report 2013 [online] Available via: Key Note [Accessed 3 April 2014] Dharmendra Patel. (2013). The importance of in-store video for retailers. Available: http://www.theguardian.com/media-network/media-networkblog/2013/apr/25/video-in-store-importance-retail. Last accessed 3 April 2014 Marketline, 2012. United Kingdom - Jewellery & Watches [online]. Available via: Marketline [Accessed 3 April 2014] Natalie Brandweiner . (2013). From retail to me-tail: 2013’s most important customer experience changes . Available: http://www.mycustomer.com/ topic/customer-experience/customer-experience-management-2013experts-predictions/161617. Last accessed 3 April 2014. i2i Events, 2013. The UK Jewellery Market Opportunity Report [online]. Available at: i2i Events [Accessed 3 April 2014] i2i Events, 2012. The UK Jewellery Market Opportunity Report [online]. Available at: i2i Events [Accessed 3 April 2014] Morris Hargreaves McIntyre, 2013. Consuming Craft: the contemporary craft market in a changing economy [online]. Available at: Crafts Council [Accessed 3 April 2014] Justin McGurik. (2011). The art of craft: the rise of the designer-maker. Available: http://www.theguardian.com/artanddesign/2011/aug/01/ rise-designer-maker-craftsman-handmade. Last accessed 3 April 2014.

Morris Hargreaves McIntyre, 2013. Consuming Craft the contemporary craft market in a changing economy Executive summary [online] Available at: Crafts Council [Accessed 3 April 2014] Mintel, 2013. Women’s fashion lifestyles: UK [online] Available via: Mintel [Accessed 3 April 2014] Future Laboratory. (2014, March 26). Student LSN Global Trend Briefing. Nottingham. James Hall. (2012). Britons are biggest online shoppers in developed world. Available: http://www.telegraph.co.uk/news/uknews/9054400/Britonsare-biggest-online-shoppers-in-developed-world.html. Last accessed 3 April 2014. Sabira Silcock, 2014. Expert Interview. See Appendices 1. WGSN. (2014). 15/16 Global Colour Direction. Available: http://www. wgsn.com.ezproxy.ntu.ac.uk/content/report/Creative_Direction/Autumn_ Winter_2015_16/Colour/a_w_15_16_global_colourdirection.html. Last accessed 23 April 2014. Charlotte Mary Rose. (2013). Typography and illustration as effective marketing tools. Available: http://culturehive.co.uk/resources/ typography-and-illustration-effective-marketing-tools. Last accessed 23 April 2014. Holly Sharpe, 2014. Expert Interview. See Appendices 7. WGSN. (2012). Temiyage, Japan: packaging inspiration. Available: http://www.wgsn.com.ezproxy.ntu.ac.uk/content/report/HBL/Trend_ Analysis/2012/February/temiyage_japan_packaginginspiration.html. Last accessed 23 April 2014. Brook & Lyn. Brook & Lyn. Available: http://brookandlyn.com/woven. html. Last accessed 23 April 2014.


Andy Clarke. (2013). UK retailing: insights from Retail Week Live. Available: http://www.wgsn.com.ezproxy.ntu.ac.uk/content/report/ Business_Strategy/Thought_Leadership/Conference_Reports/2013/ March/uk_retailing_insightsfromretailweeklive.html. Last accessed 23 April 2014.

TimeOut. TimeOut. Available: http://www.timeout.com/. Last accessed 23 April 2014.

Jessica Wohl. (2013). U.S. holiday sales expected to rise less than last year: ShopperTrak. Available: http://www.reuters.com/article/2013/09/17/ us-usa-retail-shoppertrak-idUSBRE98G05E20130917. Last accessed 23 April 2014. Graham Charlton. (2012). Why the high street needs the internet.Available: https://econsultancy.com/blog/10766-why-the-high-street-needs-theinternet#i.1x4fj2l4iodd3z. Last accessed 23 April 2014. Jonathan Prynn. (2011). Half world’s population’ is crammed on Tube: Record 3.4bn riding London transport. Available: http://www.standard. co.uk/news/half-worlds-population-is-crammed-on-tube-record-34bnriding-london-transport-6567996.html. Last accessed 23 April 2014.

Loredana Tarsia. (2012). The art of bespoke: how fashionable shoppers are investing in individuality. Available: http://www.independent.co.uk/lifestyle/fashion/features/the-art-of-bespoke-how-fashionable-shoppers-areinvesting-in-individuality-8229654.html. Last accessed 23 April 2014. Tim Jonze. (2013). Give me the (green) juice: confessions of a juicing fanatic. Available: http://www.theguardian.com/lifeandstyle/2013/sep/29/juicediet-health-juicing. Last accessed 23 April 2014. Sarfraz Manzoor. (2007). Down and Out in Kensington and Chelsea. Available: http://www.theguardian.com/commentisfree/2007/aug/24/ downandoutinkensingtonand. Last accessed 23 April 2014. Fairmont. Portobello Market & Fresh Bakery. Available: http://www. fairmont.com/whistler/dining/portobellomarketfreshbakery/. Last accessed 23 April 2014.

Bianca Male. (2010). How To Pull Off A Guerrilla Marketing Campaign. Available: http://www.businessinsider.com.au/guerilla-marketing-20104#what-is-guerrilla-marketing-1. Last accessed 23 April 2014. Jaysukhlal Vadhar. (2013). Ethical Issues of Guerilla Marketing. Available: http://www.theglobaljournals.com/ijar/file. php?val=August_2013_1375513372_1c067_141.pdf. Last accessed 23 April 2014.

Velly Angelova. (2013). 7 Reasons Why Social Media is an Absolute Must for Business Branding. Available: http://www.likeable.com/blog/2013/09/7reasons-why-social-media-is-an-absolute-must-for-business-branding/. Last accessed 30 April 2014. Selina Campbell, 2014. Expert Interview. See Appendices 6.

Julie Sharrock, 2014. Consumer Interview. See Appendices 4. TripAdvisor. TripAdvisor. Available: http://www.tripadvisor.co.uk/. Last accessed 23 April 2014.

77


Chapter 17

Bibliography

Fig. 46- Autumn Moodboard


Books

Reports

Blythe, J, 2013. Consumer behaviour. London: SAGE publications Ltd

i2i Events, 2013. The UK Jewellery Market Opportunity Report [online]. Available at: i2i Events [Accessed 3 April 2014]

Blythe, J, 2000. Essentials of marketing communications. Essex: Pearson education limited.

i2i Events, 2012. The UK Jewellery Market Opportunity Report [online]. Available at: i2i Events [Accessed 3 April 2014]

Chernatony, L et McDonald, M, 2003. Creating Powerful Brands. 3rd ed. Oxford: Elsevier/Butterworth- Heinemann.

Global Business Policy Council. (2013). What Do Mature Consumers Want? [online] Available at: At Kearney [Accessed 30 April 2014]

Clifton, R et Maughan, 2000. The Future of Brands. London: Interbrand Group

Key Note, 2013. Jewellery & Watches Market Report 2013 [online] Available via: Key Note [Accessed 3 April 2014]

Gobe, M, 2009. Emotional Branding: The New Paradigm for Connecting Brands to People . New York: Allworth Press.

Marketline, 2012. United Kingdom - Jewellery & Watches [online]. Available via: Marketline [Accessed 3 April 2014]

Jones, R, 2000. The big idea. London: Harper Collins publishers. Kerpen, D, 2011. Likeable Social Media: How to Delight Your Customers, Create an Irresistible Brand, and Be Generally Amazing on Facebook . New York: McGraw Hill Levinson, C, J, 2007. Guerrilla Marketing, 4th edition: Easy and Inexpensive Strategies for Making Big Profits from Your Small Business . Boston: Houghton Mifflin Company. Okonkwo, U, 2007. Luxury Fashion Branding. New York: Palgrave Macmillan.

Mintel, 2013. Women’s fashion lifestyles: UK [online] Available via: Mintel [Accessed 3 April 2014] Mintel, 2013. Watches and Jewellery Retailing - UK - September 2013 [online] Available via: Mintel [Accessed 3 Aril 2014] Morris Hargreaves McIntyre, 2013. Consuming Craft: the contemporary craft market in a changing economy [online]. Available at: Crafts Council [Accessed 3 April 2014] Morris Hargreaves McIntyre, 2013. Consuming Craft the contemporary craft market in a changing economy Executive summary [online] Available at: Crafts Council [Accessed 3 April 2014]

Wheeler, A, 2013. Designing Brand Identity. New Jersey: John Wiley and sons.

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WGSN, 2014. Native American influence: emerging US footwear, accessories, & jewellery trend. [online] Available at : WGSN [Accessed 3 April 2014] WGSN, 2014. 15/16 Global Colour Direction [online] Available at : WGSN [Accessed 3 April 2014] WGSN, 2012. Temiyage, Japan: packaging inspiration [online] Available at : WGSN [Accessed 3 April 2014] WGSN, 2014. Kalyan Jewellers targets INR150bn turnover following expansion [online] Available at : WGSN [Accessed 3 April 2014] WGSN, 2013. UK retailing: insights from Retail Week Live [online] Available at : WGSN [Accessed 3 April 2014]

Websites Amy Logan. Amy Logan. Available: http://www.amylogan.co.uk/. Last accessed 30 April 2014. Amy Wilkinson. Amy Wilkinson. Available: http://www.awjewellery. co.uk/. Last accessed 30 April 2014. Bianca Male. (2010). How To Pull Off A Guerrilla Marketing Campaign. Available: http://www.businessinsider.com.au/guerilla-marketing-20104#what-is-guerrilla-marketing-1. Last accessed 23 April 2014. Brook & Lyn. Brook & Lyn. Available: http://brookandlyn.com/woven. html. Last accessed 23 April 2014. Charlotte Mary Rose. (2013). Typography and illustration as effective marketing tools. Available: http://culturehive.co.uk/resources/ typography-and-illustration-effective-marketing-tools. Last accessed 23 April 2014.

Craft and Design Centre. Mnahcester Craft and Design Centre. Available: http://www.craftanddesign.com/. Last accessed 20 April 2014. Dharmendra Patel. (2013). The importance of in-store video for retailers. Available: http://www.theguardian.com/media-network/media-networkblog/2013/apr/25/video-in-store-importance-retail. Last accessed 3 April 2014 Fairmont. Portobello Market & Fresh Bakery. Available: http://www. fairmont.com/whistler/dining/portobellomarketfreshbakery/. Last accessed 23 April 2014. Graham Charlton. (2012). Why the high street needs the internet.Available: https://econsultancy.com/blog/10766-why-the-high-street-needs-theinternet#i.1x4fj2l4iodd3z. Last accessed 23 April 2014. Higashiya. Higashiya. Available: http://www.higashiya.com/ mailnews/018/. Last accessed 30 April 2014. James Hall. (2012). Britons are biggest online shoppers in developed world. Available: http://www.telegraph.co.uk/news/uknews/9054400/Britonsare-biggest-online-shoppers-in-developed-world.html. Last accessed 3 April 2014. Jaysukhlal Vadhar. (2013). Ethical Issues of Guerilla Marketing. Available: http://www.theglobaljournals.com/ijar/file. php?val=August_2013_1375513372_1c067_141.pdf. Last accessed 23 April 2014. Jessica Wohl. (2013). U.S. holiday sales expected to rise less than last year: ShopperTrak. Available: http://www.reuters.com/article/2013/09/17/ us-usa-retail-shoppertrak-idUSBRE98G05E20130917. Last accessed 23 April 2014.


Jonathan Prynn. (2011). Half world’s population’ is crammed on Tube: Record 3.4bn riding London transport. Available: http://www.standard. co.uk/news/half-worlds-population-is-crammed-on-tube-record-34bnriding-london-transport-6567996.html. Last accessed 23 April 2014. Justin McGurik. (2011). The art of craft: the rise of the designer-maker. Available: http://www.theguardian.com/artanddesign/2011/aug/01/ rise-designer-maker-craftsman-handmade. Last accessed 3 April 2014. Lexus. The Intersect by Lexus. Available: http://www.lexus-int.com/ intersect/tokyo/. Last accessed 30 April 2014. Lily Kamper. Lily Kamper. Available: http://www.lilykamper.com/. Last accessed 30 April 2014. Loredana Tarsia. (2012). The art of bespoke: how fashionable shoppers are investing in individuality. Available: http://www.independent.co.uk/lifestyle/fashion/features/the-art-of-bespoke-how-fashionable-shoppers-areinvesting-in-individuality-8229654.html. Last accessed 23 April 2014.

Sarah Thorne. Sarah Thorne Portfolio. Available: http://www.sarahthorne. co.uk/. Last accessed 30 April 2014. Sarfraz Manzoor. (2007). Down and Out in Kensington and Chelsea. Available: http://www.theguardian.com/commentisfree/2007/aug/24/ downandoutinkensingtonand. Last accessed 23 April 2014. Scandinavian Design. Scandinavian Design. Available: http://www. scandinavia-design.fr/design-scandinave_en.html. Last accessed 30 April 2014. Sean Poulter. (2009). Make do and mend: Thrifty tips to help you ride out the recession. Available: http://www.dailymail.co.uk/news/ article-1209530/Make-mend-Thrifty-tips-help-ride-recession.html. Last accessed 3 April 2014. The Well. The Well. Available: http://www.thewell.la/. Last accessed 30 April 2014.

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Tim Jonze. (2013). Give me the (green) juice: confessions of a juicing fanatic. Available: http://www.theguardian.com/lifeandstyle/2013/sep/29/juicediet-health-juicing. Last accessed 23 April 201 TimeOut. TimeOut. Available: http://www.timeout.com/. Last accessed 23 April 2014.

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Chapter 18

Appendices

Fig. 46- Delicate Moodboard


Contents

1 Sabira Silcock Interview

84 - 85

2 Phil Clarke Interview

86 - 88

3 Christine Flemming Interview

89 - 91

4 Julie Sharrock Interview

92 - 94

5 Fiona Bowring Interview

95 - 97

6 Selina Campbell Interview

98 - 99

7 Holly Sharpe Interview

100 - 101

8 General Eyewear Case Study

102

9 Sarah Thorpe Case Study

103

10 Market Photographic Research

104 - 105

11 Street Survey Results

106

12 Business Card Development

107

13 Marketing Mix

108- 111

14 Consumer Decision Journey

112

15 SWOT

113

16 Original Launching Ideas

114

16 Tutorial Record Sheets

115 - 117


1 Sabira Silcock Hi Sabira, I just wanted to ask you a few questions just to kind of get an idea of who you really are where did the brand come from- what is its story? Where are you from? Did you always know you wanted to be a jewellery designer? Hiya, well I am from Wilmslow, which is just outside of Manchester. Did I always know I want to be a jewellery designer? Hmm well, I have always been passionate about high-end crafts from a young age. I don’t think I knew I wanted to go into jewellery till about two years ago when I worked in Manchester craft and design centre in a jewellery studio where I got to make and sell my work there- that gave me some sort of encouragement. But yes, I’ve always loved working with my hands in a studio; there is something very soothing in it, it tend to go into my own little world and disappear for hours. It’s very freeing. Do you remember the first craft piece you ever made? Yea… (She smiles) My granddad actually got me into craft. He was a carpenter and he used to hide himself away everyday in his workshop which was a little shed at the bottom of the garden. My parents were both working parents when I was growing up so I used to spend my afternoons doing my homework and stuff after school at my grandparents’ house as they only live round the corner. But I remember I used to sit in my granddads little shed with him whilst he made whatever he was making… and I used to find it fascinating. I remember I used to help him sometimes make bits and bobs here and there and that used to be our thing. He made me my first ever dollhouse- it was beautiful! So delicate, had so much little detail to it, but yea I remember we then used to make little things to put in the dollhouse. But yea we did all sorts and I guess that sparked my initial interest and love for craft. I guess I’ve grown up always

making things and it was something even I remember when I was stressed doing my GCSE’s I used to just go into the workshop, put my headphones in and just lose myself for hours. That’s so lovely, the work your working on now what inspires you to create it? The collection you’re working on now- what’s inspired it? Well I know it sounds cliché but everything really! The environment around me, nature, natural materials, textures things like that. I tend to just walk around with my sketch book sit in a remote corner somewhere and just sketch. I mean all my designs come from my sketches, I have my own style in sketching and what I sketch won’t always actually reflect what I’ve seen but it is my own interpretation and from the sketches I bring that into my jewellery. I tend to love looking at eroded stones the interior of them, that’s what a lot of this collection has stemmed from, precious stones. I mean when you look at stones such as amethyst, you see them a lot nowadays when they have been broken into, the reflection from the light it creates I mean it’s beautiful, but not only do they look beautiful but also it’s about the energy they give off and create. Depending on each different stones they give off a natural energy and that’s what I try to do within my sketches is interpret that energy into a drawing, which will then become a precious jewellery piece and in hope that then a person feels that same energy when wearing or even observing the jewellery piece. It’s like a little circle and I’m the middle man, I try to perceive the energy from I guess nature if you will and present it to the people around me. What I love about jewellery is its longevity, it is often handed down through generations, which is rare in our throwaway society, where everything is disposable, so what I want to do is provide that timelessness product. My work is a representation of me, from when I wake up, look around, take in what I see around and sketch, depending on the mood I am in also my sketches will


differ naturally which will evoke for my pieces to end up looking different. But that is what I love about design, art, craftsmanship, you can get as carried away as you want and just create. I don’t create for my consumers obviously everyone wants their jewellery to be liked and wanted but I don’t create for them, I create for me, it’s my sense of expression and it’s my eyes essentially, what I see around me is what I create. You sound like a true artist, so what kind of brand would you associate yourself with? I don’t. I don’t like calling myself a brand. I’m a person and I’m just sharing my work with the people around me who are interested. I feel the term ‘brand’ makes you lose that connection with people personally. I mean you think ‘Zara’ or ‘Links’ or even let’s say a less high street brand ‘Lily Kamper’ there is no direct connection between the artist behind who creates that and their audience and that’s what I don’t want. I want people to speak to me about my work, understand the process of where it has been created from and not only do I feel that relationship is important as a designer but also I feel people appreciate that more too. I agree- if I am honest that is something that has come up a lot actually that brands become transparent with their consumersYes I really do feel it is important. I am afraid I actually have to cut this conversation short because I have to go however if you need to ask me any further questions you know where to find me, Thank you Sabira, I think I’ve got what I needed- Thank you My pleasure- looking forward to seeing what you create!


2 Phil Clarke Trends that I have been reading up on tell me that it is important for a brand to have a narrative, to have a story behind itYes with craft products the story is everything. It sounds awfully stupid but if you go and look at Flog It and Antiques Road Show and what have you a lot of the time they will products that are not valuable per say so they are not worth hundreds and thousands of pounds but because of the provenance and the story that it is telling they achieve a value so you may just have, lets say for the sake of argument it could be a piece of craft art that in its own right is almost valueless, its not precious metal, its not a precious stone of any kind, its quite well worked but not extraordinarily crafted, but it used to belong to – or was made for – or it was commemorative of something so the story gives it the value- the two going together, which changes it from being 20 quid to maybe 120 pounds in value, so the story of where your coming from either about you as an individual, whats driven you what’s brought you to this state where you have your own jewellery collection or whats behind the design rationale. What are you trying to do? Like if someone picks up one of your pieces and says ‘I understand now what this is saying’ and I think that Is very much part of the craft movement. It represents something and therefore that is going to assist and support almost when you create pieces, it has an individual story, as opposed to just designing something for the sake of it, designing something as a result of something and it represents this or that, that kind of thing will help sell. At the end of the day though this brand is one in a thousand jewellery designers so you have to get your name out there anyway you can and although I appreciate that places such as facebook and twitter etc almost goes against the grain in terms of craft industry, none the less they are means of access a huge number of people or at least putting yourself in and your name should always go hand in hand with your product. Every time. Espouse it don’t fear it- your name and a product so

people can identify the name with and also they need to know where they can get it. Available at, available from, now at etc. Have you investigated Debbie Bryan? Can’t say I have noIf you get hold of Debbie Bryan, she’s in the lace market, a) she could be someone to contact as she may be interested in stocking the jewellery but Debbie and her group if you like, she represents herself plus lots of other people from the Uni and she sells a whole range of different stuff, it’s a way of getting the name out there and if you start networking with people she works and networks with there all similar craft type consumers. I mean Jayne; she used to work for me at one time for a couple of years and when she left she set up her own company, Jayne C Middlebrook is her name and she makes lace but she makes lace jewellery but Jayne has created her own identity using social media. She really loves social media, Facebook, Twitter, Blogs she’s developed a huge thing and she’s become part of this twinning operation that Debbie, Jayne and I think there is someone else that are the driving force between young creative’s twinning with Nottingham city. There is one in Germany they have twinned with and on Debbie Bryan’s shop you can see how they are helping promote young designers on her website there will be a jewellery piece where it will say how it’s been handmade by a young designer in Germany. So you can see it is very much a case of putting yourself out there and espousing social media, I don’t think there is a short cut. As well as using other methods such as sending out advertorials, nice photographs of pieces with a little bit about the designer and the story of the piece and you send those to magazines and newspapers, there is no guarantee they will do anything with them but you still have to put yourself out there, I mean it depends who your target market is as well of course. It’s all about creating a buzz isn’t it. Have


got a website? No, not yet, that is in need of developing. You desperately need a website. You can’t go out to the public without a website Yes next weekend I’m planning on photographing the pieces so can start developing things like the lookbook and website. People have to be able to see it and you have to be pushing it out there. You may just go the standard route, take a nice bit of card with a picture and your logo and story and contact details and just leave them in hairdressers for instance. I’m not talking about the ones that the teenagers go to or students but theres one here on castle boulevard for instance which caters, high end hairdressers it caters for higher earning people and Ellie who runs it has an interior design shop attached to it at the side itself- now that’s the kind of place you’ve got to be going to infact if you have something ready she would be someone worth talking to. A brand is defined by the customers not by you, you create the image, you create a persona for yourself and your jewellery, but it is only when the customer recognises it, that it means something you know such as if someone says ‘Oh Sabira Silcocks jewellery is all about passion, or its about sex or animals” you know that’s when you start to get the brand. The brand is the relationship between the customer and your product and your business it’s the gut feeling, they espouse the brand value and when you have established the brand value that’s when it becomes a true brand. It is recognising that it has to say something, lots of good nice design jewellery, I think not. You see so many manufactures of silver jewellery and its just the same old stuff in shop after shop after shop. There is nothing different about it and it is creating that uniqueness that is going to make the difference between you and everyone else. So you need to tell the story about what’s behind you and the actually jewellery I mean craft is craft is craft is craft, what’s different about this jewellery?

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Well this collection is focusing on the mixture of precious and non precious materials- making other peoples waste your own beautiful product Now that’s the story! That’s the story behind the product and you can have a story that is your inspiration but what you are actually trying to do with your design- that’s what people are interested in. My motivation is that I don’t want waste products to just be thrown away that there is an inherent value there. That kind of thing that’s what people will buy into. It already makes it more desirable than a selling a standard silver piece jewellery in a high street store here in Nottingham. People want something that is more personal that has the story behind it. There’s a woman in Germany that actually has done silver lace, she has taken Jayne’s design and made them out of silver- now that is different- the trouble is its 500 quid. I was going to buy one at Christmas because its different from the standard silver bangles you get and that’s really what yours trying to look for make it stand out either as a product or what it represents but I can’t justify spending that money on a bangle. If it has been about 150 quid or maybe even 200 I think I would have bought it but not 500. That’s the problem with craft products they tend to get vastly overpriced. Yes if you’re in London, yes if you shop in Liberties or Harrods you pay that but in Nottingham or Debenhams you don’t and so it goes on. Hand-made, craft products are lovely but tend to be very pricey so not a lot of people will buy them- they might want to but the price over rules everything, generally, not all the time but generally. I like what you’ve mentioned about going to specific hairdressers where I would find people that fall into my target market and leaving leaflets there etcThe other thing I really like is when people place their jewellery or objects at the counter so like almost creating impulse buys. You know how in super markets or even in places such as Primark when your queuing at the counter all the sweets you have there so people can browse, looking into doing something like that to get yourself out there. Finding places where your consumer will go to and placing perhaps little stands or something that could be sold at counter so


people can get an idea of your jewellery, as I said it is getting yourself out there your name and products. That’s things I think you should consider. So those are some thoughts Aimee, Thank you very much, you’ve been hugely helpfulContact me if ever in need of anything else- was a pleasure Thank you.


3 Christine Fleming Hi Christine, how are you? I just want to ask you a few questions based on just who you are, what are your hobbies/leisures etc just a mix of questions, so for starters tell me a little about out?

Sounds very nice, I take it from the fact you shop or eat in whole food, health and nutrition is important to you? Are you selective of where you go to eat or get your food?

Well I am a mother of two children, a boy and a girl, the eldest is 28 working in Spain and the youngest is 23 currently in London doing a graduate scheme. I live in between Spain and England, which is how I know your mother in fact, we used to go to the same gym and same yoga lessons. We have a house in Barcelona, which is our getaway home and our family home in Earlsfield, London and I am a Reiki and Shiatsu therapist.

Well my work involves health and nutrition. Through my awareness of different foods, hormones being injected into our food and the toxins within some of our drinks, I would say I am very selective with my choice of where I shop for food. It is also quite expensive so I understand why always buying organic foods isn’t everyone’s first choice however I am I’m willing to spend that extra money on it so my family and myself don’t end up having problems in the future- that’s the way I see it.

Could you talk me through perhaps one of your general routines? Any daily routine? Yes, I know they will obviously differ depending on the day but the usual things you do from when you wake up to when you go to bed? When I wake up? (She laughs) Put on the kettle perhaps (She laughs). Well I will make my fresh vegetable juice, that’s like my morning coffee to wake up to. Then normally I’ll get the tube or drive to work ‘The Reflexology shop” on the kings road- so if your ever in need of detox, or if your stressed oR feeling your immune system is low, you know who to contact. Then if I haven’t already made my own lunch I’ll go to whole foods where I’ll have my lunch and my next fresh juice (She laughs) or Daylesford and then go back to work and after work I’ll either go for a run around Hyde Park or go to the gym before going back home to my husband. I’d say that is a standard working day, but I only work part/time so that I can also have time to do my own thing or go away for a long weekend if I wish.

That’s fair, now on a different note, when you buy jewellery what are the main things you take into considerations? It has to stand out; I’m not one of those people who will buy because I like it as though it is another standard piece of silver jewellery it has to say something more. I have to look at it and be like WOW I love the colours, or the vibrations that it creates. I’m someone if I really like it I will wear it a lot, I won’t buy something and then wear it for 2 weeks and throw it away, so it really has to offer something different, be statement piece, chunky, things like that. What are the main brands you buy? Hmmmm, Uno de 50 I would say is the main jewellery brand I buy. I don’t tend to buy brands, I’m not really a fashion follower, I hate standard high street jewellery, if I see lots of people wearing it I will instantly hate it. Such as Pandora’s, when that first launched I liked their rings but now you see everyone buying


those charm bracelets everywhere and I’ll just never step foot in there now I mean it seriously caught the market and then did nothing with it did it? What did their jewellery offer that no other brand did? So yea I won’t buy a brand unless I identify with it, so I would say the only brand I buy in Uno de 50. When was the last time you bought your last piece of jewellery? Good question…. Hmmm…. God I don’t know. Probably in France… I don’t buy jewellery on a regular basis; I guess yea… it would have been last summer when I was in Biarritz. Where was it from? Well I do tend to like a lot of the French chunky typical style and in Biarritz they have markets all the time where young designers sell their stuff and you always find really unique little find and that’s probably where I last bought my last piece of jewellery, think my last buy was this quirky little ring from a young French recent graduate. I steer away from designers, high street, I tend to buy in markets because I a) love the vibes of a market its so nice spending the day outside and seeing all these unique finds, it makes a day of it and then you tend to want to buy something there that will remind you of that day out in the market. I don’t know many people that are capable of going to a market and not buying anything (She laughs). Whereas high street stores, shopping centres, you automatically associate it with mainstream don’t you? Well I know I personally do- so I tend to buy my jewellery anywhere else other than- such as markets or even like days out such as exhibitions or even I remember there was this hair dresser in New York that I went to… I can’t remember the name it was in midtownanyways besides the point, it was a serious leisure day out (She laughs) it was a hairdressers where I spent the whole day there, got a manicure, pedicure, my hair done it was a small boutique hairdressers, the hairdressers was the brilliant gay man we were dancing it was brilliant and the salon had collaborated I think with this really interesting designer and whilst I was getting

my nails done being totally pampered he showed me her collection and it was amazing! He obviously had picked his timing perfectly I was feeling totally pampered and spoilt so just wanted to spoil myself a bit more (She laughs) and yea it was this amazing chunky necklaces with loads of stones, big rock rings- just exactly my style and yea I came out with this chunky blue long stone necklace was fabulous. But I also will always look back on I bought it in that hair dressers in New York that day and when I wear it I’ll always remember that day and have a smile on my face and I know no one else will have it which for me is hugely important! Nothing worse that wearing a bracelet you love and then seeing someone else have the same one, makes yours feel less special and unique- I love it when someone see’s my necklaces and say ‘wow I love it where did you get it?’ And I can tell them about my day and my lucky little find which will be the jewellery. Also my friends always say to me how I always find the best little finds when it comes to jewellery so you know a woman has to maintain that reputation (she laughs). So yes- I’ve already forgotten the initial question you asked me but I hope that slightly answered it (She laughs). Yes, definitely, I’m trying to look into where women tend to find their jewellery and what prompts a buyWell the jewellery is obviously got to be different; you have to let your audience know it is- that you can’t find it anywhere else. I mean I personally think say where is it you kids shop today places like Topshopyes lets say Topshop, if you are unsure if you want to buy those shoes then and there you can say, oh its fine I’ll wait and see and you know you’ll stumble into another Topshop around the corner if you have changed your mind. Now if you come across a market that it like a little treasure find and your unsure if you want to buy the piece, because maybe you cant dignify spending that much on a necklace, but you know if you don’t buy it then you may not be able to buy it again- that slight feeling that you may regret it will change that decision

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into buying it. That’s my personal opinion. Such as at the hair dressers as I just said- I knew I wasn’t going to be back in New York again in that hairdressers with that necklace probably ever again- so that was a buy. Interesting you should say hairdressers as well because I spoke to someone the other day that said to me to consider displaying the jewellery within hair dressersDefinitely! It leisure places, like Spa’s, hairdressers where you tend to have a cheeky impulse buy isn’t it (she laughs). But also be careful not just any hairdressers I mean I wouldn’t buy it if I was in Tony and Guy for instanceit’s boutique hairdressers that you know are a lot pricier but when your already spending that money- also the people who tend to go to those sort of hair dressers are also the people willing the spend the money on more expensive jewellery so I guess it’s things like that you have to think about. There’s a hairdresser I tend to go to because my husbands best friend owns it, off Sloane Square in London called ‘Richard Ward’- now that’s somewhere where I know women would buy jewellery as it is a hairdressers in London where women go to be pampered. It has that reputation- as I am sure a lot of London hairdressers do but I’m just mentioning this one because I go there. Thank you so much Chris, you really have been very helpful, No worries my pleasure! And when you have the look book for this brand let me have a look I may consider a purchase, I shall! Thank you

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4 Julie Sharrock Hello Julie, how are you? I just want to ask you a couple of question on your shopping habits, your daily routine and so forth, just want to get to know a bit more about you. Fire away Ok, so tell me a bit about your daily routine, from what you do when you wake up to go to bed. Oh god ok (she laughs) So first thing I do when I wake up is put on my iTunes and play my wake up playlist through the house, put on my dressing gown and make my morning juice. Make your fresh juice? Yes always, beetroot, broccoli, spinach, avocado, celery, ginger and lemon. It just makes me feel like I’m starting the day fresh and healthy, if I start my day being healthy it will encourage me to be healthy all day (She laughs) and then next, I guess I shower and head down to my local coffee shop where I’ll sit on my IPad normally updating myself on current affairs. My day to day activities change a lot because I don’t work, I used to be a teacher but now my kids have left home, my husband is a pilot and I guess I just thought I want to make the most of life now and I have the luxury of being able to not work so I can travel with my husband. So I guess I couldn’t say exactly what a day to day would be, if I am in England, which to be fair I rarely am, I’ll normally get the train into London and go to an exhibition or shop, have a mooch around, what you do in any big city really. I live in Milford, not much goes on around here so I’ll always get the train into London and keep myself occupied and see friends. You say you are rarely in England? How often would you say you are

in the UK? Hmm, well my husband is always jetting off every other week and I normally will go with him. I think since he’s become a pilot for long haul flights, which was two years ago, I don’t think I’ve stayed at home longer than 2-3 weeks. The way I see it, is why would I? Last three trips I’ve been on has been Brazil, Tokyo and St Tropez. Do you think I’m going to let my husband buggar off there on his own when I can pop on the plane and get free accommodation too? (She laughs) I don’t think so. Too right, sounds like you lead a very exciting life Well I definitely try now that my kids have left home So when you are shopping, in England or any of these holiday destinations, where do you tend to go? Focusing primarily on jewellery. Well if I am away, such as when I was in Brazil, I tend to go on websites such as TripAdvisor, I know a lot of people may not trust those websites but I do, I like seeing pictures that are not photoshopped by the company and other personal opinions of their experience so I can get an overall feel for the place before I go. But yes, when I was in Brazil I found on TripAdvisor an old prison that had been converted into a museum and they sold amazing jewellery and precious stones and antiques and it had loads of 5 stars on the website, so I decided to give it a go. I do tend to use TripAdvisor for anywhere I go or even TimeOut when I am in London. Such as Top 10 restaurants to go in London and so forth, I find them really helpful. Yea definitely, I hadn’t really thought of that, Yes definitely I mean I know so many people that use TripAdvisor and TimeOut, do you not?


Yes, I do actually yes Yes it’s so useful, but yes what was your original question again (She laughs) ? Just asking about where you tend to buy your jewelleryAh yes. Well if I am honest when it comes to jewellery I am very picky. I feel when one brand becomes big everyone goes crazy for it and you look around and everyone is wearing the same thing- such as around me Thomas Sabo? How average is that? And people will pay like 60 pounds of a rubbish charm. I don’t tend to buy into anything I see a lot of. You will never find me walking into Topshop, I mean I know it is not aimed at my age demographic anyways, so maybe that’s a bad example, Zara, I will very, very rarely go into Zara, more now than ever because it’s become massive. My friend bought recently this green necklace which was really unique, went for a cocktail girly evening with her last Friday I think it was and there was another girl a lot younger than her wearing it and I just had a little giggle at her about it. She felt old wearing it, though she shouldn’t have she looked great on her, but the older you get when you’re standing next to a 20 year old wearing the same thing you feel a bit of a numpty- its like that scene in sex and the city? Yes, with Samantha and Miley Cirus Exactly. So for that reason I’m very picky as to where I go. I love finding unique one of stores or stands. Markets is the most obvious thing to me for jewellery especially when your abroad, everyone loves it when you get a compliment for something original your wearing and you say ‘I found it in this cute market is so and so’. I found my favourite Jewellery shop actually in New York, my eldest lives in New York so I visit him a lot. In Nolita kind of Soho there is this little hidden shop where the owner gets materials jewellery pieces shipped from Tibet and hand makes things in the store and its beautiful to watch him making it and you know they are one of pieces.

It isn’t very visible either so it makes you feel like you’ve found a little hidden gem, which I know sounds ridiculous but it makes you appreciate the store more doesn’t it? So does he hand make it to you personally? No he makes all sorts of his own designs, but because I’ve got to know him a bit more he knows I am a loyal customer, if I wanted to put together my own necklace, lets say for instance I love this ribbon and this coin, he would put it together for me. But don’t know if he would do that for any old customer, he trusts me which makes me also want to go back there more. Do you like designing your own jewellery? I don’t think I’m personally hugely creative, but if I had in front of me a mix of materials I would have a little go I guess But if you could design your own jewellery but have someone make it for you, would that entice you to buy more? I guess it once again focuses on the fact I know it would be a one off so I guess it would, but I would ask for the designers help as well (She laughs) But I can imagine a lot of people would buy into that yes, I’ve spoken to a few people who buy into jewellery at hairdressers or even locations of leisure, when your being pampered etc- is that something you do? Oh you know what, yes actually. I hadn’t thought of that. Hairdressers is something again I am very picky on, I go to this hairdressers in Guildford because I love the owner, he’s amazing and when I’m there he’ll straight away pour me a glass of champagne


and we’ll gossip for the whole hour (She laughs). But he tends to have some really interesting jewellery pieces on display for people to have a look at. I guess because also I have a great relationship with the owner, he’ll be like oh if you like it I’ll give you a cheeky discount and when I’ve had a glass of champagne and got my hair done I probably will say yes (She laughs). Definitely! I don’t think I have anything else to ask you, but you have been very helpful Julie! Thank you very much Not at all, if you need to ask me anything else you know where to find me! Thank you


5 Fiona Bowring Hi Fiona, so I just want to ask you a few questions on your buying habits and your daily routines and so forth just to get an idea for the consumer this Jewellery brand is targeting. So am I right in thinking you’re actually a designer yourself? I used to be, a few years back I designed lingerie for Marks and Spencer’s, some of my collections are actually still being sold and M&S which is amazing because it was quite a few years back now. But now I do a lot of interior work and I actually also design and make Jewellery pieces myself That’s amazing, sounds so creative and also a lot of work I can imagine! Do you make your jewellery pieces at home or do you go somewhere to make them? Well I go to different classes actually on a Monday I go to this class in Guildford and Thursdays a class in Hatton Gardens where I can make pearl earrings or funky rings, I don’t normally design with the intention of selling my pieces, if people are interested in buying of course always a bonus and I shall but I tend to make pieces and then give them as a present to my daughter or sister. There’s something more special about giving a present to someone special to you that you have made yourself. I agree- when did you start going to these classes? About 5 years ago I’d say. Ever since I retired I love to keep myself occupied with hobbies, maybe tomorrow I’ll set myself a task of designing and making a new arm chair, which is actually what I did last week or maybe I’ll design and make a dress for my daughter and these Jewellery classes are another thing that involves something I love, designing and creating and it also keeps me busy. I love

learning how to make new things, I love constantly teaching myself new things and as I said earlier I think a lot more gratification comes out of wearing something you’ve made yourself or even when you give a present to someone close to you they are wearing something that they know has required specific effort for them. It’s like now a days with Facebook when it’s your birthday and someone sends you a happy birthday on Facebook it’s not the same as to if someone has hand written you a letter to post to your house, which back then was the norm, now the small details of something that requires more thought and effort, it makes it more special. Definitely , so would you say you buy into Jewellery a lot or you would rather make it yourself? To be honest I don’t normally like wearing my own Jewellery maybe the odd ring I enjoy more the making and giving away. I prefer wearing jewellery that perhaps another friend has made or designed for me or finding one off boutique shops that sell quirky jewellery. There’s this jewellery shop actually in Courchevel where the lady who makes the jewellery makes these necklaces of women wearing designer dressers out of silver. I know it sounds rather tacky but they are so interesting and I had never seen them before or am yet to see anywhere else, I bought about 5 different necklaces and I wear them all the time. Things like that I buy into. They need to be different or provide a little something extra if I am going to buy into it. That is why I tend to buy my jewellery abroad. Having said that I mean London has the most exquisite boutiques everywhere, I challenge anyone to go into London for the day and not buy an item of clothing or jewellery (she laughs). London is filled with hidden gems, independent designers, boutique cafes, restaurants and salons, it really is as you would say ‘la crème de la crème’.


So you live just outside of London? Yes, I live in Haslemere its about 40 minutes outside of central London, I love the city, I love the access to the city but I love coming home to the countryside and quiet. I used to live in Parsons Green in London but when I had a family we moved to Haslemere which has been the best decision, you have more of your own space, I love gardening, I love growing my fresh vegetables, I actually have 4 chickens at home (She laughs) so I can have my fresh eggs in the morning. Imagine if I was in London, don’t know how many neighbours would be pleased to have chickens next door (She laughs). There seems to be the reoccurring trend with everyone I have spoken to, the need to have fresh organic food, fresh juice in the morning etc- is this important to you?

Yes, I found that when I was in New York for the summer every corner I turned was Whole Foods and if I went in to get something for myself the queue would just be ridiculous! So in London is there somewhere in particular you go to buy your jewellery? No not really, I mean I go around markets a lot but that’s normally because I am photographing them, spotting trends and looking for inspirations for designs, so when I do that I tend to find interesting new designers but I don’t go to one particular place to buy my jewellery no. Well thank you very much Fiona for your time you’ve been hugely helpful, Your very welcome, Good Luck!

Yes definitely. I know organic food is not necessarily everyone’s first choice because it is costly but it is worth it. The amount of hormones that is pumped into our foods nowadays is horrific, you wonder why are so many people getting cancer, falling ill, I bet if they investigated further into our food there would be more answers, so yes for me growing my fresh vegetables and having my fresh eggs and also yes juices! I’ve actually got my daughter into a routine as well at university, every morning she had her own fresh juice as do I. It is true though what you say it is also a ‘trend’ isn’t it. With celebrities constantly talking about their juice diets and seeing them being papped on the front of magazines with their green detox juice (she laughs) and also celebrities such as Gwenyth Paltrow glorify organic food doesn’t she? So I can imagine people who are not necessarily conscious of the things I’ve just mentioned will buy into organic fresh food because celebrities speak about it so well and you can lose so and so amount through buying into it, so yes I would agree with you it is a trend, especially in metropolitan cities, London and New York juicing and shops such as Whole Foods are everywhere!

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6 Selina Campbell Hi Selina, how are you? I’m very well thank you I just wanted to ask you a few questions about yourself and your company, such as when did you start? Well I graduated from university in 2007 and I did lots of shows and entering trade shows etc and that’s how I started to get noticed and grew bit by bit, through a mixture of things but we definitely underestimate nowadays the power of word of mouth and then I started doing workshops in 2009 as a side line and it progressed and that’s when I thought of the idea of wedding ringsYes, such an interesting idea, I love it, you do workshops for couples teaching them how to make their own wedding rings? Yes, I mean I didn’t know any other brand that were doing it and I love doing them so I decided right, I’m going to start this up and it has been very successful. I have lots of people coming in who want to do it, it’s not even the idea of having some fancy diamond ring, though I’m sure they have that on the side a lot of couples I know who have been in my workshop wear the ring we make in the studio under their engagement ring, but it’s the personalisation of it, the fact they’ve made it themselves and they can say that you know it gives it that something little extra doesn’t it? So yea its been very successful that now I have expanded into my own space 2.1 studio and plan to help other jewellery set up by providing bench hire and onsite equipment. A lot of the things I have done have been a knock on effect of speaking to my customers who I have become friends with that and also expanding into what I enjoy doing but I listen a lot to my consumers and that’s probably why also the workshops and

things have been successful through word of mouth knowing that a friend has recommended me to someone, it’s very important to build relationships with your consumers and gain feedback etc it’s what created the trust in the brand and without trust, you don’t have a brand. So when did you start branding yourself? When you came straight out of uni? No actually after 5 years of actually being in the business I decided to look at my branding. Create a logo and expanding on my online presence with twitter etc. As I said word of mouth is probably the most powerful tool of promotion so it was essential for me to be on social media, anyone nowadays without social media will never exist, especially in such saturated markets. I think because I started out as a silversmith, I didn’t really think of myself as a brand so I didn’t look or develop my visual identity if you will, but now I classify myself as a jeweller I started to take that more seriously. I still feel I have lots to learn and I am expanding and learning every day, I feel sometimes it’s about who you know and meet that will help you progress, I mean to think I am in my 7th year now! I can’t believe it! But already I’ve come a long way in 7 years so who knows what’s yet to comeI wanted to ask you also I mean your workshops are very successful as you;ve mentioned and the fact they’ve made it themselves, do you feel that’s the same with bespoke jewellery? Offering consumers a chance to design their own jewellery? Definitely I think bespoke at the moment is a growing trend! I almost feel nowadays a jeweller has offer something slightly bespoke like even just engraving initials or something into a jewellery piece just to give it that little bit extra making it more special the consumer.


But yes, I do, you always have people with their own ideas and you have to just go with it, for me its another way of making some side money, but yes I feel every jeweller should do it it’s not only beneficial for the customer but also it expands your skills as a jewellery, there can be a lot of sweat and tears but you get there in the end and the customer is always happy (She laughs). So where is your store currently? I have just moved into a new space and its closed, as before I was in a space where it was retail and people used to come in and out. Like a shop, however I felt my brand was suffering under the umbrella and it was suited being away from the building. I have always wanted my own identity which I feel is so important. Being on the high street in a shopping centre, your just one of many and you can’t stand out. You need to find a location which escapes all of that and makes you stand out. I don’t either want to be treated simply as a store, I want my store to be also my showroom, I feel by being a bit different and unique and not just another jewellery shop makes you seem more professional and I do have lots of interesting creative ideas on how to bring people into my showroom so watch this space and I’ll also doing a lot more online with my new shop (She laughs) Thank you very much Selina, you have been hugely helpful! Good luck with your new showroom I look forward to seeing your name come up again soon! Thank you to you Aimee! Good luck with your project!

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7 Holly Sharpe Hi Holly, thanks for taking time out to speak to me. I have been looking into some of your work, your illustration is really beautiful. I wanted to ask about your collaboration with M&S and how successful it was- did M&S at all speak to you about the different feedbacks from consumers on the packaging and the illustration of the make up? I haven’t had much direct feedback from M&S, although the stores that I have heard from have told me that it has been selling really well. Overall from the stores I have been in touch with and also the online hype I’ve not only seen but had people contacting me about it, everyone seem to love it. The sort of things they have said is that it is so great to see something so different, striking and eye catching in store. It sounds like it seems to stand out and brings something different to the store. I personally think that the range is just really fresh and contemporary, so yea the overall feedback that I have had has been very positive. When M&S contacted you did they say they were specifically looking for an illustrator to collaborate with? When M&S first contacted me they said they loved my work because it fitted well with the ‘carnival/mardi gras’ trend which they wanted for their Spring/Summer 2014 collection to focus on. I don’t think it was necessarily that they set out to find an illustrator to be honest, I think it was more specifically the images form my work which they were drawn to. Have you collaborated with any other Brands?

I have done a commission for Derwent pencils recently and an illustration for Chloe fragrances which was in last months issue of Marie Claire magazine, which you can actually see if you go on my facebook page, you should be able to see them both quite recently. I also sell work for interiors through DENY Designs, oh and also for a fashion company in Montreal, Schwiing. I would love to work with another fashion designer, but waiting for the right situation to arise. I am quite picky about who I collaborate with. I have turned down a number of proposals. Mainly because I feel like my work has it’s own brand, so I have to be careful about where, what, who that is associated with. Sometimes it is hard to know and you just have to take the gamble, but I think it is important to have a strong identity, ‘vision’ for your work and where it belongs in the industry. Do you feel that people connect differently with products that have illustrations perhaps as opposed to photography? I think illustrations can sometimes connect with people better than photography, it can often be more expressive and engaging. Of course it depends on the context and so forth, I also think that perhaps it is appreciated more in an age where anyone can be a photographer, with smart phones and filter apps etc, but few can really master the art of drawing/ painting, so maybe this is also a reason for illustration being more prominent right now What do you feel illustrations evoke to consumers? I feel that illustrations evoke different things to consumers depending on where it is and what it is... so that is a hard question to answer... But I guess in comparison to photography, since illustrations can more easily portray something that isn’t quite real,

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it helps to lead the imagination of consumers astray, in a good way I think. So yes, I guess you could say there may be a deeper connection with the viewer Well thank you very much Holly, I hope I have been of some help for you, Yes you have thank you very much, have a lovely day, You too, take care,

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8 General Eyewear Case Study

Dr Werner Von Braun once said, “Research is what I am doing, when I don’t know what I am doing”, which is what I decided to do within my weekend in London. I spent the weekend photographing markets (Refer to Appendix 10 for images) and examined independent jewellery stalls and how different jewellers presented themselves; to see if there was anything missing or exciting that I could take on as inspiration for Sabira Silcock. Within this research I came across ‘General Eyewear’ in Camden Market. General Eyewear is an eyewear boutique, which was also a design studio and workshop for luxury frames and sunglasses. It offered a curated selection of beautiful and unusual frames and sunglasses from 1790 to 1995 in a Victorian railway arch which “combines the authority of a museum with the atmosphere of Jean-Jacques Beineix movie”. The on site design studio/store, didn’t only offer a mix of vintage to modern day frames however also offered a bespoke section. The customer is able to alter the frames, lenses or even design the glasses from scratch using inspiration from what is already available, where then it will be carved and handmade to perfection.

The store was most luring, not only did you feel as though you were entering a designer’s studio however it had something extra to offer to the consumer, the chance for the consumer to become a designer. It had a sense of intimacy. This was also represented by the brands business card, as it has been made out of acetate with a print that reflects the glasses offered in store. General Eyewear is also 30 out of 100 best shops in London on TimeOut. General Eyewear overall I felt provided an intimate and special shopping experience and is a store I could take a lot of inspiration from. General Eyewear further reinforced my initial ideas of Sabira Silcock providing an opportunity for consumers to design and create their own jewellery in-store. As my previous research stated there’s an increasing consumer interest in spending on experiences by offering integrated buying and leisure making opportunities, General Eyewear further verified this. Likewise, General Eyewear gave me the inspiration of making the store also Sabira Silcocks design studio. This is what I felt created the emotive and intimate feel of the store, which was a prime factor I wanted to be played within the store.


9 Sarah Thorne Case Study Sarah Thorne is a Graphic Designer who specialises in print and packaging. Her work has included design of cosmetic ranges, fragrance bottles and boxes, magazines, websites, posters and invitations. These images are examples of her work, all three being invitations to Mulberrys shows that were sent out to designers, bloggers and editors. For the invitation to Sabira Silcocks launch, I took inspiration from Sarah Thornes Mulberry Invitation in the format of a ‘fortune teller’, where the corners unfold to reveal the various details of the event. I felt this invitation shook the preconceptions of a typical format and demonstrated the skills of handcraft which is something I’ve wanted to keep consistent within the overall visual identity of Sabira Silcock.

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10 Photographic Market Research

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11 Street Survey Results (30 Participants) Logo was tested and voted on by the consumer (30 participants) in order to ensure it was suitable. Likewise It was important to know which social media platforms the consumers used in order to know where to target her audience. These are the tally results.


12 Business Card Development Tester Buiness Card

Final Business Card When first designing the business card I was going to keep it as the ‘Tester Business Card’ however the general feedback was that it was too busy and whilst it was eye catching, for the demographic targeting, it was best to keep it simple and clean cut. Therefore to provide something slightly different I made the business card into a circle to make it somewhat more memorable however still clean and simple. The overall feedback of the final business card was positive.


13 Marketing Mix: Validity, Consumer & Product

VC P The Product on offer from Sabira Silcock will be Valid due to the current target Consumer. Sabira Silcocks products currently targets women between 40-60 and it has been proven that consumers of this demographic consider experiences, unique craftsmanship and value in their purchasing. This demographic also have the disposable income to purchase Sabira Silcock products.


Value, Cost & Product

VC P The Cost of the Products will be slightly higher than the usual high street market jewellery. This is due to the efforts of the craftsmanship and Cost of production by Sabria Silcock being higher, although the Value and quality of the Product is also perceives as high in the consumers mind.


Venue, Convenience & Place

VC P The collection will be available online and in-store. These Venues will be Convenient due the consumers normally purchasing their jewellery within a market Place and online broadens the target audience.


Vogue, Communication & Promotion

VC P Vogue shall be created through Promoting the collections via Social Media, Online, In-store and Point of Sale within hair salons. This shall Communicate with all demographics at various times and places.


14 Consumer Decision Journey

Marketing has one goal, it’s to reach consumers at the moments that most influence their decisions. By having jewellery stock available within hair salons, reaching consumers in ‘hot’ moments (pampering) will confidently lead to impulse purchasing of the products. This will also lead to brand awareness where online will advertise the store space for events luring in consumers to the store. The brands main focus within the consumer decision journey is building that ‘bond’ between the brand and consumer. By making Sabira Silcock a community and a space to relax and interact, it will build a relationship with the consumers forming that bond that will in aid lead to repurchasing without cycling through the earlier decision-journey stages.

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15 SWOT Weaknesses

Strengths Sabira Silcock has good technical skills and knowledge of materials

First business venture, therefore may experience teething problems.

Previous experience working in MCDC and therefore the customer base.

Limited start up funds Not yet a well established jeweller, so sales may be slow at first.

Innovative retail experience

Threats

Opportunities Designated space to run workshops in the future.

Direct jewellery competition within market areas (Portobello Road)

Pop up shop in Nottingham to trial run products. Can gain customer feedback and determine which pieces sell best within this market

More risks by renting a shop/ studio, rather than just a studio.

Market research shows there is a recent increase in consumer spending in both silver and ‘costume’ jewellery.

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16 Original Launching Ideas From a combination of primary and secondary research, The Big Idea was originally going to be defined by ‘Sabiras Story’. Research demonstrated that consumers desire to know the hidden story behind the brand or the jewellery they purchase. For this reason the launch was going to be centred around Sabira Silcocks story. After speaking to Sabira herself, I got to understand her story and how she got to be a craft jeweller today. From this conversation I turned it into a short story, giving her brand a narrative that could then be used within the design of her lookbook, online centred around ‘The Doll House’. “Sabira Silcock isn’t simply another jewellery brand; it’s a story of a young girl and her grandfather. Sabira Silcock remembers her magical childhood in Wilmslow alongside her family and especially so her grandfather. Her inspiration today is thanks to the special moments she shared with her grandfather. When she came from school she would go to her grandfather’s workshop, a shed in the bottom of the garden, and can remember most vividly one of her first presents, when her grandfather made her a rocking horse. His workshop was a treasure chest, full of all the things he would make. Going into her grandfather’s workshop was like going into Aladdin’s cave; full of objects he had made and calved with his hands. She learnt about the beauty of objects from watching her grandfather create. She could conceive beauty in objects from a young age through the eyes of her grandfather. After her grandfather built her first dollhouse, was when the adventure really began. For years, every day after school, Sabira would run home to her grandfather’s workshop where together they would bring the doll’s house to life. They made the furniture, curtains, props; the detail in the house is what awakened her artistic senses. The dollhouse became an escape and a story that they both could share, their secret, their world. Here is where the shapes, materials and forms were set alight. When her grandfather’s eyes began to fail, Sabira would describe the colours and shapes to him so they could carry on living their fairy-tale. She became his eyes. And since her grandfather past away Sabira was inspired to take on his legacy to make beautiful things to be shared with the rest ofthe world. Beauty is something to behold and to be shared.”

Though I was very pleased with this original idea, when speaking to Phil Clarke and consumers, the overall feel for the story was that it was too ‘cheesy’ and almost forced. Likewise as I did further research, there was more emphasis on the need for a shopping experience as opposed to the story of the brand. Therefore I chose to steer away from this story and focus overall on the experience that Sabira Silcock would provide within her store space.


17 Tutorial Sheets

18.2.2014.

25.2.2014.

Aimee Robinson

Aimee Robinson

N/A

Start primary research

What have I learnt from my 1st report? Good points and bad point to take into consideration for Implementation report.

Who are the competitors? What brands do the consumers already buy and why?

Primary Research should flow the report Concentrated too much on the outcome Don’t hold onto initial ideas Set deadlines Important to have market reports

Pick brand apart - start from scratch and build it Test visuals on consumers

Start on primary research

Research into statistics of the market I’m enterting

Chris Macdonald Aimee Robinson

Chris Macdonald Aimee Robinson


4.3.2014

18.3.2014

Aimee Robinson

Current research. Sell my idea

Aimee Robinson

Feedback from Research Report

Put my propsal into one line Go through the learning outcomes

Choose correct methods of research - focus on interview with professionals and consumers. Think of the consumers decision journey- What prompts a buy?

Good industry contacts A good breadth of historical technology Lack of visual style, the aesthetic has no empathy with the subject area No market reports used

Start interview consumers and professionals

Place more effort into the visual aesthetic for Implementation report Make sure it flows

Michelle Hughes Aimee Robinson

Christopher Macdonald Aimee Robinson


25.3.2014

6.5.2014

Aimee Robinson

Interim presentation

Aimee Robinson

Demonstrate the stage I am at.

Learning objective, what is currently missing within my report and what I could improve on

Focus on consumer. What triggers a buy from my consumers, focus on results from interviews within primary research. Visual aesthetic is not clear, can’t visualise store or website, make it clear

Have it clear who is your consumer, what are their needs and wants. Where do they tend to have their impulse buys, what are your consumers looking for?

Michelle Hughes Aimee Robinson

Font size drop to 11pt Include theories such as the 5Cs of marketing Go over learning objective

Get it printed and hand in.

Michelle Hughes Aimee Robinson

Final version