Alice Hammerton N0330978 / FASH30002
I confirm that this work has gained ethical approval and that I have faithfully observed the terms of the approval in the conduct of this project. This submission is the result of my own work. All help and advice other than that received from tutors has been acknowledged and primary and secondary sources of information have been properly attributed. Should this statement prove to be untrue I recognise the right and duty of the board of examiners to recommend what action should be taken in line with the Universityâ€™s regulations on assessment contained in its handbook. signed ....................................................................................................................
05/06/13 date ......................................................................................................................
Word Count: 2193
INTRODUCTION CREATIVE IDEA STAGE 1: ADDITIONAL SIZES A / PRODUCT B / PLACEMENT STAGE 2: COMMUNICATION STRATEGY
ANNUAL SCHEDULE LAUNCH SEASON: MODEL MAKING A / IN-STORE PROMOTION B / BRANDZINE CREATIVE PROCESS: SHOOTING THE BRANDZINE C / BLOG D / PROMOTIONAL VIDEO CREATIVE PROCESS: SHOOTING THE VIDEO E / EVENT
GETTING THE WORD OUT FUTURE APPLICATIONS CONCLUSION REFERENCES LIST OF ILLUSTRATIONS BIBLIOGRAPHY APPENDIX
At the beginning of this project, Universal Works gave us the task of developing a new and innovative support strategy for the brand, in order to strengthen the impressive positioning they have managed to create for themselves so far. Whilst the brand have experienced brilliant success and a strong international following since their beginnings in 2004, they felt that there was room for further evolution of the brand, particularly in terms of message and communication, in order to build upon and secure this success. As a result of our extensive research during stage 1 of this project, we as a team have developed a comprehensive 2-part strategy encompassing a product extension and a targeted communication strategy, in order to help fulfill the aims of the brand. Through adding additional sizes to the current collection, we will create a more inclusive product offer for the consumer and ultimately execute our big idea: to make Universal Works a truly universal brand. To further cement this brand identity, we have developed a supporting communication strategy which focuses on the varying relationships amongst the Universal Works target market. The â€˜Universal Works Presentsâ€™ series focuses on bringing people together through hobbies and shared interests, and is designed to interact and engage with a wide variety of consumers across multiple touch points.
Currently catering to a wide age range of 18-50 year olds, Universal Works pride themselves on a timeless, quality product, and an ageless style and appeal. In order to execute our big idea of making Universal Works a truly universal brand, our creative idea will build upon this concept, as we believe there is potential to push this age range further to include a younger audience, thereby introducing consumers to the brand earlier on in life and ultimately helping to secure brand loyalty. The first stage of this process will address how to do this in terms of product. Our previous research highlighted an opportunity to target a younger audience by extending the size range to include XS, XXS and XXXS products in a selected edit of the current collection. On discussing this idea with Universal Worksâ€™ agent, Martin Gill, we were able to confirm that this would not be a difficult process, as the brand are already producing smaller sizes for shipment overseas, catering to a growing demand from Japanese markets (Gill 2013: Appendix F) The second stage will encompass a supporting communication strategy which will help communicate Universal Worksâ€™ brand identity as truly universal and inclusive by speaking to the new, broader consumer base including the younger consumer.
STAGE 1: ADDITIONAL SIZES
A / PRODUCT When choosing an appropriate selection of the current Universal Works product offer to be created in these smaller sizes, we were advised by Martin Gill to focus mainly on lower-cost jersey and sweatshirt type materials, as these would translate well into smaller sizes in terms of design and production, as well as appealing well to a younger market (Gill 2013: Appendix F).
B / PLACEMENT Initially, the additional sizes of the chosen products will be distributed as an online exclusive via the brandâ€™s transactional website. The additional sizes will be sold alongside the existing collection as can be seen in Figure 4, as opposed to on a separate section of the website. We believe this better communicates the more inclusive offer that Universal Works are aiming to promote, and will not alienate the current consumer through segregation of the product and separating age groups. If the product extension is successful online, the additional sizes would later be distributed in-store.
STAGE 2: COMMUNICATION STRATEGY
In our initial briefing for this project, Universal Worksâ€™ founder David Keyte expressed that the brand are interested in creating more of a story behind the brand through the lifestyle of their consumers (Keyte 2012: Appendix E). Our interviews from stage 1 of the project also highlighted a desire to from the current consumer for more of a lifestyle approach around the brand, with more of a narrative and context communicated, as opposed to just product information (UW Consumers 2013: Appendix I). Up until now, Universal Worksâ€™ marketing and communications efforts have been largely product-focused, with little to no narrative or wider brand values or personality demonstrated. In order to communicate Universal Worksâ€™ strengthened identity of a truly universal brand, we have created a scheduled communication strategy which aims to bring people of all ages together through targeted and relevant hobbies. The Universal Works Presents series will focus on a different hobby for each 6-month season of the year. This will demonstrate a brand interest in timeless activities with universal appeal, which will span a large and more inclusive age range, to include and engage with our new broader consumer base.
A - IN-STORE
B - BRANDZINE
C - BLOG
D - VIDEO
STRATEGY OF CO
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his message of coming together, each ts series will follow this scheduled for both seasons, SS and AW.
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“I like the that
e idea of the consumers making something isnâ€™t directly related to our productsâ€? (Keyte 2013: Appendix H)
To introduce this new strategy, the AW13 season will launch with Universal Works presents Model Making. The hobby of model making has been chosen to launch the series as it is an extremely diverse and creative pastime, making it an ideal option to bring together younger and older age groups and create a very broad and inclusive concept for consumers to engage and get involved in. When discussing the idea of Model Making with Universal Worksâ€™ founder David Keyte, he agreed that engaging consumers with the brand through a hands-on and creative hobby like this was a brilliant and refreshing approach, as it moved away from the product-focused communications currently used (Keyte 2013: Appendix H).
A / IN-STORE PROMOTION
To coincide with the launch of each new season, there will be a range of in-store promotions and visual merchandising to also online, incorporating a custom graphic or illustration and designed by David Keyte. For Universal Works presents M inspired print. These limited edition prints will be inexpensive to produce and can appeal to the wide age range of the targ
complement the chosen hobby. A selection of limited edition products will be available each season to buy in-store and Model Making, we have the designs for a limited edition jersey t-shirt and pocket square incorporating a model airplane get market.
To accompany these in-store limited edition products, sm merchandising touches around the store would be updated each coincide with the current hobby. Tying in the visual identity of with the theme of the season will help to communicate a strong message and implement the marketing concept in a more person as consumers can experience a touch of the hobby for themselves Small props and touches such as postcards and model making com as shown in Figure 9, can prove a simple addition to the store to consumers shopping experience and immerse them in the seasonal
DELIVERY -Warehouse packaging - online & in store - origami crane
mall visual season to f the store ger brand nal sense, s in-store. mponents, o enhance l hobbies.
In order to enhance the shopping experience for online consumers, and ensure that they are also involved in the model making theme, a traditional origami crane will be sent out with the delivery of every order from the website as well. This ensures that online consumers are not excluded from the opportunity to engage with the hobby, and enables consumers to receive the brandâ€™s message across all touch points, both offline and online.
B / BRANDZINE The primary offline communications tool will be the Universal Works Presents brandzine, launching instore at the beginning of each season. It will be a small-scale and in-depth publication, offering a personal approach from the brandâ€™s point of view, to give consumers an insight into the seasonâ€™s hobby of choice with a modern and interactive perspective. The brandzine aims to engage consumers in a dialogue with the brand, building a more personal relationship between the two, through a pastime which encourages people to come together and share in an experience or try something new. Brand publications are seen to be an effective and timely tool in communicating brand personality to consumers, offering a subtler marketing approach and consequently more emotional offline engagement.
2. BRANDZINE -Quote about brand magazines -Free distribution in store - in a way that gives it value and credibility- not a throw away leaflets What is the zine setting out to achieve? refer to zine throughout report The brandzine will be offered free to consumers, but with a high break down a few of the elements quality print and considered and interesting content in order to engage consumers of all ages. Sitting in line with Universal Worksâ€™ values of timeless quality, the brandzine will be encouraged to be seen as a keepsake item, for consumers to collect and value from season to season.
â€œConsumers are turning to brands for information and entertainment as they feel the pinch. Customer magazines continue to offer a tangibility and engagement that no-other medium affords.â€? (Hutchinson in Baker 2011: online)
At the back of the brandzine readers will find an interactive feature, inviting them to use the supplied spare page from the publication and follow the instructions to make their very own Universal Works Interceptor model. This encourages consumers to participate in the hobby and become involved in the concept of model making themselves.
3D PRINTING Aiming to replace the ubiquitous photobooth, another Japanese wonder-company, Omote 3D, have conceived a miraculously innovative process, that reproduces personally detailed miniature action figures. Ranging from 10 to 20 centimetres in height, the system utilizes a three-dimensional camera and printer to process and scan users, creating custom scale reproductions. The user must keep still for 15 minutes while the scanners capture all the necessary data, then your very own mini-me is ready to be printed!
‘Model makers are problem solvers who combine their ability to adhere to strict specifications and dimensions with their talent for envisioning a finished product and bridging the gap between concept and reality. model makers may find themselves walking through life saying, “i could make that” when they see something that sparks their interest.’
Model making needs a lot of planning and designing, what is the first thing you do to begin creating your new collections? More often than not, I usually start from where the last season ended. It’s about moving things on and adapting. So that is often where the collection begins, what are we going to re-offer as we want to continue the life of those things. It is also very much led by the fabrics we choose. So instead of saying ‘I really want to make that sweater’ I might say ‘I really want to use this yarn or this stitch. I really like the way this fabric falls, so what garment will that work in well?’ It’s about understanding what is working and how to take it forward. What are the essential pieces in your toolkit? Good question. There is very rarely just a clean sheet design. You tend to say ‘well I’ve got those shapes, where am I going with them?’ For me, also I’d say a huge part of it is understanding menswear and where its all come from. Having the knowledge about the design is the biggest tool. And sometimes it is just travel and building research of where things come from. A model maker often plays around with different materials what’s the strangest fabric you’ve worked with? Although a lot of what we have done can be perceived as heritage fashion as it has an understanding of its traditions and has that blue collar type of feel, but I really like working with new modern sports fabrics as I think they can be great with not just only sportswear. I think technically advanced fabric is really interesting. So we are doing a couple of our more ‘traditional’ pieces in really mad tech fabrics this season which I love as its probably not what people expect. When you are designing what is the one thing you cant live without? Coffee. 2
KYLE BEAN BRITISH MODEL MAKER & CREATIVE An individual that stands out for his innovative model making skills is artist Kyle Bean, a young and very talented creative. This season, the Universal team have been inspired by his passion for craft and conceptual thinking. Encompassing set design, illustration and sculpture, Kyle’s work is usually characterised by a whimsical and meticulous reappropriation of everyday and handcrafted techniques. It is his use of unlikely materials that continue to fascinate us here at Universal Works only encouraging us to push our model making skills further. Kyle explains how, similar to us, his interest in model making began from a young age and continued to grow alongside his degree in illustration at Brighton University. Since graduating he has continued creating tactile illustrations and bespoke set pieces for a variety of clients the editorial, advertising and fashion industries. ‘I generally work alone or with a photographer. Occasionally, if a big project comes up I have a couple of assistants who help me with the making.’
Kyle was a huge inspiration for our oragami clothing shoot featured within these pages due to his incredible work with paper. Universal Works: What is your favourite material to use when model making in particular? Kyle Bean: Of course paper is a material I often like to use, mainly for its versatility and graphic finish. I work with a lot of materials, but paper is by far the most accessible. It comes in so many varieties of colour, texture and thickness that it has the ability to look totally different from one project to another. Here are a some of our favourite hand crafted models made from a range of materials from the young Englishman himself.
ADAM BEANE CLAY Adam Beane is quite a unique sculptor. Since beginning sculpting in 2002 he is known for dynamic compositions, action poses, nuanced drapery work and his ability to capture likenesses with expressions. For the work he uses CX5, an extremely versatile material developed by Beane himself, which handles like clay when warm but is as hard as plastic when cool. He has made minitaure scupltures of many different celebrities, from actors to football players, many of which were made for toys companies and may even be available in your local supermarket! If you look hard enough (they’re pretty small).
1. Photographers Jack and James adjust the lighting. 2. Stylist Alice gets involved. 3. Shooting from all angles.
SHOOTING THE BRANDZI
We shot with photographer Josh Fisk to create imagery for shoots in the brandzine: an origami-inspired still life featu showcase the UW product in a creative model-making con and matchstick design-session with models of differing age order to communicate the message of coming together thro this seasonâ€™s hobby.
INE WITH JOSH FISK
r two ure to ntext, es in ough
C / BLOG Universal Works do currently run a blog, under the â€˜Journalâ€™ section on their transactional website. However we feel it would be beneficial to separate the blog from the main website and create a more focused online platform which will adapt to the new hobby each season and deliver related content in a broader fashion. Giving the blog its own more defined identity creates a better opportunity to develop an online community around the Universal Works Presents series. The blog will feature more interactive content such as interview videos and behind the scenes features delving into the story of the brand, as well as product information and hobby-based articles and stories, all of which will help to promote and support the overall communication strategy throughout each entire season.
D / PROMOTIONAL VIDEO Leading on from the online content on the blog, a series of promotional videos will be released throughout the season in order to create ongoing interest and engage consumers and online users who have not yet come into contact with the Universal Works Presents series. Launched via Vimeo in order to reach a more creative audience appropriate to the brand, there will be 3 videos released per season at 2-monthly intervals, which would then be shared on the blog and other social networking sites in order to spread the brand message. The films are intended to create an emotive representation of the hobby, featuring potential consumers of varying ages coming together and participating in a shared interest. This communicates the overall aim and purpose of the communication strategy in delivering a message of a universal appeal and an inclusive invitation to engage with the brand.
For the first promotional video of the Universal Works presents Model Making season, we have created a narrative which focuses on two cousins who share an interest in model making, coming together to assemble and paint a model aircraft. In order to create an authentic and intimate atmosphere to the film, we have used a close-up, hand-held filming style, subtly focusing on both the products worn and the activities unravelling. The soundtrack of â€˜Placesâ€™ by Shlomo was chosen for its gentle pacing and universal appeal to differing ages, after testing showed positive reactions across a wide age range. As a prototype film we deemed the outcome very successful, however in producing a final edit further attention would be paid to enhancing the lighting and model interactions, as the choice of natural lighting has resulted in a darker aesthetic than intended and the models are slightly more engaged with the activity than each other, throwing the intended message slightly off balance in this instance.
CREATIVE PRO SHOOTING THE VIDEO
We shot with photographer Jack Crofts in order to cre Works presents Model Making. Having worked for th understanding of Universal Works helped us to work vision for the video, with a relaxed and personal atm took some still shots for use within the brandzine and the whole campaign together visually.
OCESS: WITH JACK CROFTS
eate the first prototype video for Universal he brand himself, Jackâ€™s experience and together to create an appropriate tone and mosphere about sharing experiences. We also d other promotional material in order to tie
E / EVENT Finally, a celebratory event will be held at the end of each season in order to round off the chosen Universal Works Presents hobby and introduce the next seasonâ€™s choice. Similarly to the brandzine, the offline engagement opportunities of an event will lead to a more personal relationship with consumers, helping to build the desired community and lifestyle around the brand. Each event will be take a different format, relevant to the hobby of that season, but will generally act as an opportunity for consumers to come together and take part in the hobby that they have spent the last 6 months learning about through the rest of the seasonâ€™s communications.
For the Universal Works presents Model Making event, consumers will be invited to come together and discover their creative side in an informal workshop environment, held at the Old Truman Brewery Boiler House in London. The evening will encourage Universal Works consumers of all ages to participate in their own version of model making, with a range of tools and materials provided to help them come up with whatever theyâ€™d like to make.
Each seasonâ€™s celebratory event will feature a special guest in the form of a contemporary cultural representative with expertise in the relevant hobby. For Universal Works presents Model Making our special guest will be artist Kyle Bean, after featuring heavily in the brandzine. An experienced speaker, Bean will act as the host for the event, giving a talk on his own take on model making and the extremely diverse creations he has come up with throughout his career, as well as leading the workshop and offering advice or inspiration to those seeking it.
To tie the seasonâ€™s brandzine into the event, and encourage the sentimental keepsake identity of the publication, there is a polaroid sized space on the final page which sits above the event details and invitation. At the event consumers will have the opportunity to take away a polariod photo of their unique creation, which can then be placed into the provided space in the brandzine to act as an individual memento of the day and personally tie in the consumer with a unique experience of the seasonâ€™s hobby.
GETTING THE WORD OUT Aside from the scheduled communication strategy which targets the consumer directly via the brand, a press release (see Appendix D) detailing the launch of the Universal Works Presents series will be sent out to targeted outside platforms and channels such as blogs and online magazines relevant to our consumer, as can be seen in Figure 23.
Moving forward, we can now simply apply the scheduled communication strategy to future seasonal hobbies for the Universal Works Presents series for years to come. This creates an excellent opportunity for the brand to achieve secured longevity of their message to consumers and their identity of Universal Works as a truly universal brand.
Universal Works presents
Universal Works presents
The next two hobbies chosen for the following year after the Model Making season has ended are Fishing and Cycling. These are both hobbies that Universal Works and David Keyte have already expressed an interest in, with good opportunities to incorporate their products through styling and technical fabrics currently being developed by the brand.
By extending the size range on selected products, Universal Works can broa begin attracting consumers at a younger age, creating greater loyalty and a m This unique new approach will ensure that Universal Works stand ap strengthen their new
The Universal Works Presents series will communicate this new identity t wide age range we are targeting, encouraging consumers of all ages to c interests. A marketing focus and brand message that moves away from the pr engaging for the consumer, allowing for a more meaningful relationship The scheduled communication strategy will also ensure the longevity of this b consistent identity to be communicated of Universal Wor
aden their market appeal and more inclusive brand offering. part from competitors and will identity as a universal brand.
to consumers and speak to the come together through shared roduct is more rewarding and between them and the brand. brand message, allowing for a rks as a truly universal brand.
(Gill 2013: Appendix F) (Gill 2013: Appendix F) (Keyte 2012: Appendix E) (UW Consumers 2013: Appendix I) (Keyte 2013: Appendix H) (Keyte 2013: Appendix H) (Hutchinson in Baker 2011: online)
LIST OF ILLUSTRATIONS
Fig 1. Universal Works Folded Shirt (2013) own image. Fig 2. UW Matchstick Shoot Hands (2013) own image. Fig 3. UW Product Selection Big to Small (2013) own artwork. Fig 4. UW Additional Sizes Website Mock (2013) own artwork. Fig 5. UW Shirt with Origami (2013) own image. Fig 6. Annual Schedule of Communications (2013) own artwork.
Fig 7. Model Making Airplane Shoot (2013) own image. Fig 8. Limited Edition Model Making Designs (2013) own artwork. Fig 9. Model and Origami Visual Merchandising Tools (2013) own artwork. Fig 10. Universal Works presents Model Making brandzine (2013) own artwork. Fig 11. UW Interceptor Spread (2013) own artwork. Fig 12. UW Brandzine Spreads (2013) own artwork. Fig 13. Shooting the Brandzine Moodboard (2013) own artwork. Fig 14. Universal Works Blog Mock (2013) own artwork. Fig 15. Promotional Video Shoot (2013) own image. Fig 16. Promotional Video Storyboard (2013) own artwork. Fig 17. Promotional Video End Still (2013) own image. Fig 18. Shooting the Video Moodboard (2013) own artwork. Fig 19. Old Truman Brewery Boiler House 1 (2013) online: canvas-events.co.uk Fig 20. Old Truman Brewery Boiler House 2 (2013) online: canvas-events.co.uk Fig 21. Kyle Bean with Model Making Components (2013) online: mbike.com Fig 22. Event Polaroid Brandzine Page (2013) own artwork. Fig 23. Press Release Blog Mocks (2013) own artwork. Fig 24. Universal Works presents Fishing Moodboard (2013) own artwork. Fig 25. Universal Works presents Cycling Moodboard (2013) own artwork. Fig 26. David Keyte with Airplane (2013) own image.
BIBLIOGRAPHY PRIMARY SOURCES: Keyte D 2012. Universal Works Briefing [Lecture to Fashion Communication and Promotion]. 25/10/2012 Keyte D 2013. Founder of Universal Works: Interview with team, UW Headquarters, Nottingham. 20th May. Lyle J 2012. Brand Director of Purple Circle: Interview with Ellena Barron via email. 12th November. Crofts J 2012. Head Sales Assistant at Sa-kis: Interview with Alice Hammerton, Sa-kis store, Nottingham 23rd November. Morgan J 2012. Sales Assistant at Universal Works: Interview with Stefanie Sword Williams, Universal Works Store, London. 6th November.
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http://trendland.com/nyc-paper-subway-station-by-terada-mokei/ (Accessed 23/05/2013) Designboom: Miniature Paper Subay by Terada Mokei, available at: http://www.designboom.com/art/miniature-paper-nyc-subway-by-terada-mokei/ (Accessed 23/05/2013) Kyle Bean, available at: http://kylebean.co.uk (Accessed 23/05/2013) LA Times: Legoland Staff Play Prank with Lego Volvo, available at: http://latimesblogs.latimes.com/lanow/2011/06/legoland-staff-plays-joke-on-boss-byreplacing-his-car-with-lego-volvo.html (Accessed 23/05/2013) Beautiful Life: Incredibly Realistic Sculptures by Adam Beane, available at: http://www.beautifullife.info/art-works/incredibly-realistic-sculptures-by-adam-beane/ (Accessed 24/05/2013)
APPENDIX A - TEAM RESEARCH TEAM PINTEREST: http://pinterest.com/teamthumper7 RESEARCH BLOG: http://universalworks7.tumblr.com
B - TEAM CRITICAL PATH
C - PRESS RESLEASE
Press Release Embargoed for September 2013
Universal Works 8 Provident Works Newdigate Street Nottingham NG7 4FD
“Universal Works Present” Series In order to promote their new extended size range, broadening their appeal to a younger customer with the addition of new XS, XXS and XXS sizes to their collections, Universal Works are embarking on an exciting “Universal Works Presents” series. The series will focus on a different hobby for each new season, the first of which is Model Making for AW13. At the heart of the promotions for each new season, will be an in-depth and illuminating brandzine, exploring the current hobby and coinciding collection. Issue one focuses on creative Model Makers such as the ever-innovative Kyle Bean and respected matchstick enthusiast Patrick Acton, along with Universal Works founder David Keyte’s insight into the chosen hobby, encouraging you to learn and try something new, no matter what your age! The release of the new brandzine at the launch of each season, will be accompanied by creative visual merchandising, limited-edition hobby-based products and multimedia updates and information via their newlook blog. To celebrate the end of each season, Universal Works invites you to take part in a specialised workshop or event, with rumours of special guest speakers from the contemporary arts scene and creative industries. Universal Works introduce this series by saying: “At Universal Works we’ve aligned ourselves with a new type of living, a sense of community and a commitment to bringing people together: friends, family, those in a club, or those in a team, to embrace a hobby that you may or may not have tried before.” To find out more, and get involved yourself, visit the Universal Works flagship store on London’s Lamb’s Conduit Street, or visit the website at: www.universalworks.co.uk.
Notes to editors: Please find enclosed the accompanying imagery, produced by our photographers Jack Crofts and Josh Fisk, for use in relation to this subject only. For more information please contact: Lauren Garner on: firstname.lastname@example.org/+44(0)1159249363 David Keyte on: email@example.com/+44(0)1159249363
Photographer: Jack Crofts
Photographer: Josh Fisk
D - STAGE 1 RESEARCH PROJECT MOODBOARD - COMING TOGETHER/SHARED TIME
E - KEY FINDINGS FROM INITIAL BRIEF WITH DAVID KEYTE - 25/10/2012 - UW currently sold through many independent retailers, small boutiques, also Urban Outfitters now and trade shows/fairs - small independent/community aspect important to brand - Just opened new store and website, beginning to grow, brand needs to keep up - online presence, marketing, branding and communication needs improvement. - Currently don’t have a marketing strategy, other than putting their own products next to other products and brands of similar desirability (another reason stockists important) - Strengths - really good product that really works - now need to let everyone else know - Menswear is less about revolution, more about evolution (we want to evolve the brand, but subtly so that it is still understandable and accessible menswear, just extended) - Always considering womenswear but its an issue of time and a different market - Men are either really lazy or really loyal, women shop around across different brands more (Steph doesnt want to do womenswear) - David “doesn’t understand marketing” - understands product more as this is where it all starts - now need to work out how to get it in front of people. - All their “marketing” atm is about distributing, selling and clients (all internal operations, no consideration of consumer communications) - Methods of communication - old mediums seem to be dying - film seems to be very exciting, cheap and easy, engaging, looks more real to people - Wants to make products ageless, questioned people about age targeting, and all results and answers varied by and reflected the models’ and respondents’ own ages. - Stylish products - depending on style of person, not age brackett - “We happen to be of a time where age is very forgiving” - Brand extension would have to be in line with this ageless style etc - Story of the brand - small team of motivated, talented team - brand story never intended to be personal though, but have been wary of the ‘cult of celebrity’ - Wanted product success to be about strength of product, not celeb endorsement - But, brand story and authenticity and authority can be related through real people, and stories, and relatability. - UW is interested in lifestyle of consumers, particularly aesthetically - Want website to talk about music, fishing, chip shop on friday as well as newest shirts - Don’t want to sell stuff to people, just want to engage with them and let them buy if they like it - Want honesty, a bit of humour and wit, a “go on, buy something else” “lets just chat” vibe - Want to create dialogue with consumer - Think about realistic limitations of staff and time etc which comes with creative ideas - Could market menswear as unisex - Japanese buyers bought collection for women - but some sizing issues - need smaller
F - INTERVIEW WITH UNIVERSAL WORKS DISTRIBUTION AGENT - MARTIN GILL Carried out via email. See transcrpt below: Martin, it would be easier to email through some questions if you dont mind as I will be unable to record our phone call. I’m not sure if you remember but my group are looking at the potential of adding additional sizes to the range to appeal to a broader audience so we just have a few questions related to the idea. From a practical point of view how easy would it be to create additional sizes of the current collection? Practically it relies on grading and grade scales. Some factories are very good at grading across broad size ranges but some may be reluctant to have to grade down too far. It is though a not too difficult. We are aware that UW cater to the smaller sized market in other countries, is it a possibility that sizes made for japan could be translated to the uk? Absolutely it’s all proportionate; so it’s simply a case of the smaller sizes being more important commercially in the Japanese market. Which of the garments included in the current collection would the easiest to adapt into smaller sizes? It’s not so much about the easiest styles to adapt per se but more about the end consumer’s ability to accept those garments. A mini version of a parka for example may prove too expensive whereas jersey and sweat styles can be manufactured more cheaply as the fabric rating is lower. More complex garments such as outerwear still have lots of sewing work and component parts that will keep the price up and not so child or youth friendly. That’s in crude terms about consumer expectation of pricing. Which items would customers be prepared to spend more money on? I think that’s fairly apparent based on the garment type but in reality I find trousers/jeans to be very price resistant and knitwear of anything like decent quality tends to be more expensive but the end consumer often doesn’t ‘get’ what’s gone into the garment and higher priced knits are often a more difficult sell. Relatively speaking printed/embroidered jersey and sweats can command a good margin and appear to be able to command higher prices relative to cost. Outerwear and jackets also tend to be able to command relatively higher prices. How do you think stockists would react to UW adding additional sizes? The current distribution would not find smaller sizes very relevant I think you need to look at an alternative or an addition distribution channel for this kind of extension to the range. See if you can see any new opportunities outside of the current stockists. Having said that there are some of the current retailers who could carry extra product like you are suggesting. And of course any UW own retail. Do you think that a product extension in size should distributed through external stockists or should they be distributed purely through Universal Works as a brand exclusive? ( see answer above) If okay with you we would use your response as a reference within the body of our reports. No Problem. Thanks again for taking the time out. Stefanie
G - INTERVIEW WITH SA-KIS HEAD SALES ASSISTANT - JACK CROFTS Carried out 23/11/12 in Sa-kis store, Nottingham. Alice: So whats your name and age? Jack: Jack Crofts and Im 20 Alice: So what is your role at Sakis? Jack: Im the main sales assistant working full time pretty much. Im also in charge of the full promotion of the shop around Nottingham Alice: And how long have you been working at sakis? Jack: For just under a year now Alice: What type of consumers come into the store? Jack: All ages really, mainly from twenty plus and you’ve got a lot of your high end 40 year old men Alice: Do you get like a range of consumers, men women and children Jack: Usually males really obviously as it’s a menswear shop but towards kind of Christmas time you’ve got a lot of women coming in. And children, we’ve got quite a streetwear area, which appeals to the younger ages. So you get quite a mix. Alice: And what are your views on universal works as a type of brand? Jack: Its nice brand, the quality of the clothing is lovely I believe that the designs could be better they’re a bit basic. Alice: And would you wear the brand? Jack: Yeah I like some nice stuff they have, the jumpers and shirts are really nice. Alice: Are you aware of any marketing from the brand? Jack: No I’m not aware of any. Alice: So you’ve never seen any in your own time? Jack: No I’ve never come across any, I didn’t hear about the brand until worked at Sakis Alice: Do you think that maybe marketing could help appeal to a wider audience? Jack: Definitely Alice: What areas do you think universal works could improve? Jack: Designs maybe, and appealing to a younger audience mainly because at the moment its quite stale in my opinion. It could do so much better as a brand if they put themselves out there a bit more. Alice: Because we want to create a stronger brand identity and potentially extend the offer to appeal to a broader market, how do you think the current consumer would react to it? Jack: I think theyd be quite open to it, I mean the customers we usually get with universal works kind of do their own thing if they like the product they buy it. They wouldn’t feel intimidated if you brought in other things, as long as the stuff for them is still there. But I do think they could with bulking out the label a bit more.
H - INTERVIEW WITH UNIVERSAL WORKS FOUNDER - DAVID KEYTE Carried out 20/05/13 at UW Headquarters, Nottingham. Model making needs a lot of planning and designing, what is the first thing you do to create your final pieces? First thing you do, start from where the last season ended, more often than not. So if you’ve had a jacket that everyone wanted to buy, you would assume that that jacket may have a lifetime more than one season and perhaps you should do another version of it. Its about moving things on and adapting. So that is often where the collection begins, what are we going to re offer as we want to continue the life of those things. It is also very much led by the fabrics we choose. So often instead of saying ‘I really want to make that sweater’ i might say ‘I really want to use this yarn or this stitch. I really like the way this fabric falls, so what garment will that work in well?’ What are the essential pieces in your toolkit? hmmm good questions. Well i think partly the things that I have just said are part of that toolkit, such as past seasons. There is rarely an clean sheet design. You tend to say ‘well i’ve got those shapes. where am I going with them?’ For me, also I’d say a huge part of it is understanding menswear and where its all come from. And sometimes it is just travel and research where things come from. We can all travel these days because of the internet I can search ‘what are people wearing in Peru today?’ and within about 10 minutes I’ll be able to see what someone is walking down the streets in Lima wearing because there will be a blog on it. A model maker often plays around with different materials what’s the strangest fabric you’ve worked with? Although a lot of what we have done can be perceived as heritage fashion as it has an understanding of its traditions and has that blue collar type of feel, but I really like working with new modern sports fabrics as I think they can be great with not just only sportswear. I think technically advanced fabric is really interesting. So we are doing a couple of our more ‘traditional’ pieces in really mad tech fabrics this season which I love as its probably not what people expect. When you are designing what is the one thing you cant live without? Coffee. What models (if any) did you used to play with when you were younger? When I was younger I used to make a lot of things like Airfix they had a lot of models such as planes and tanks. If I’m honest I think the thing I liked the most was the painting as you would get all of the parts to put together and instructions on how you are meant to paint it but I used to like not painting them how you were meant to. You could have more fun with it that way and it was more my own interpretation of it.
In terms of craft who do look at for inspiration? Craft itself is really interesting and there is a lovely textile craft magazine called Selvedge that is published 6 times a year about craft in the UK. That is inspiring as in it talks about individual craftspeople and it may not be people that would have done anything massive or been particularly successful, they may just have done this one thing and that is inspiring, not that I want to go and create just that but their methods and the way they do things. Often the thing in craft that inspires me the most is the Japanese approach to craft. They have almost a level of government intervention to try and continue their traditional crafts of textiles and ceramics where we have left them to die. They feel it is important to maintain that craft for the future. Fashion is a much more commercial end of the scale of craft but I think making anything can be seen as craft. I think the nice thing is in the last 5 or 10 years craft has gone from being a bit of a twee thing that funny people do to being looked upon as a great thing which is nice. If you could design any type of model what would it be? I would say I’d probably be interested in something architectural. So if I had another lifetime to come back I’d want to build things and therefore design those things that you build. Designers often start with shape but I tend to start with fabric, which for me is the way I work. It isn’ the necessarily the way everyone works or the way anyone works, but it makes sense for me generally.
I - CONSUMER INSIGHTS Carried out 05/11/12 in Universal Works store, London.
Why do you shop with Universal Works? Phil Bambridge, 37 - ‘I like thestyle of the brand, its hard find brands that stay true to British heritage.’ Neil Barker, 42 - ‘I like it because you can tell the products are made to last, its hard to find that nowadays.’ Andy Yao, 21 - ‘I love all the brands on this street, Oliver spencer, Folk, they all have that good quality authentic feel.’ Jonathan Andrews, 35 - ‘I suppose you’d say we’re the part of society that don’t care about labels, so much more about the quality of the product.’ Nathan Wells, 29 - ‘I like to mix English utility style with American style, I love finding pieces that you don’t see on everyone. Its not about brands for me.’
How do you feel about the varied age targeting? Phil Bambridge, 37 - ‘I prefer that the younger market are wearing it too. It makes me feel better about buying it, I like that we are all coming from the same angle.’ Neil Barker, 42 - ‘It doesn’t bother me particularly like I mentioned because its not that well known I don’t see every kid I know wearing it.’ Andy Yao, 21 - ‘It makes sense for the designer; I mean why wouldn’t you try appeal to everyone.’ Jonathan Andrews, 35 - ‘I just come in and look for myself, the other people in the shop don’t bother me.’ Nathan Wells, 29 - ‘I quite like that there is a mix, it shows that one brand can adapt to different men.’
J - INTERVIEW WITH UNIVERSAL WORKS SALES ASSISTANT - JOSH MORGAN Carried out 05/11/12 in Universal Works store, London. Stef: So first of all what your name and age? Josh: My name is josh morgan and I’m 22years old. Stef: And what is your role at UW? Josh: I am the part time sales assistant. Stef: How long have you worked there? Josh: Since a little bit after we opened the store august 2012. Stef: And how would you describe the brand? Josh: Its humble, honest full of integrity not simple but attention to detail. Stef: What type of consumers? Josh: Err we get a lot of designers a lot of people in advertising and graphic design. Stef: So quite a lot of creatives? Josh: Yeah a lot of creative but it ranges sometimes doctors, lawyers, with our location we attract a wide audience. As a store I see young men come in too, it’s a place where old boys will come to dress like men. Stef: Do you get a range of consumers, like men, women, children? Mainly like 18 onwards, loads of women shopping for their partners and with their partners. To make sure they look good. Stef: In terms of branding how would you describe the brand? Josh: Well it doesn’t really follow a theme, its not been branded to its full. The colours I would like to associate with the brand are utilitarian colours like navies greys whites, but Id add bursts of contemporary colours, using work wear theme style by including temporary colours not to bold. Stef: Would you wear the brand? Josh: I do, yeah. Stef: Are you aware of any marketing that they do? Josh: Its really fresh at the moment, its starting out because they have launched the presence the marketing is still in the making, which is why it could be open to changes. Stef: Do you think that more marketing could help appeal to a wider audience? Josh: Of course, it needs a boost, to spread the word. Getting to people online, more social media different forms of advertising could do a lot for the brand. Stef: What areas do you think universal works could improve? Josh: Marketing as mentioned, design is fine, space could be something, another location, another store. So people have two point of contact that they could venture out to. Stef: In terms of marketing we were thinking about less product and more lifestyle? Josh: Your always going to get people through in emotion, its based on pulling at the heart strings, if you chose the right imagery it could appeal to the consumer but you still need to showcase the long last products.
K - INTERVIEW WITH SPECIALIST BRAND EXPERIENCE EXPERT - JOHN LYLE Carried out via email. See transcrpt below: Hi John, Hope things are going well. Just wanted to say thanks again for your input on my report, I sent my dissertation to print today so fingers crossed it will be perfect for my hand in next Friday! No Problem, my pleasure. Unfortunately for me the work doesn’t stop there. I have also been working on a separate project that involves a rebrand and product extension for the menswear brand Universal Works. I was wondering if you could help me out again by answering these short questions. Your answers don’t have to be too in depth but would be great if we could use your expertise as quotes for our report. How important is it for a brand to update it’s logo and visuals? Update yes, but dramatic change very rarely works This article Says a bit about it http://johnnylyle.co.uk/2009/07/28/why-coca-cola-really-won-the-cola-wars/ Gap made a simple change that was pointless and reversed it when the customer complained. I think that changing logos should only be done to mark a massive change. A line in the sand that how you behaved before is not how you are going to behave going forward It has to be that significant or it will fail it’s moving the chairs around on deck of a sinking ship, putting lipstick on a pig A new logo changes nothing, but a change in the way you behave at every level, marked by a new logo can sometimes work saying that, I can’t think of (m)any How can a focused communication strategy and message help create a really strong brand identity? By constantly banging the same beat on the drum. if you imagine one of your friends or someone you have trusted. one minute being fine with you and listening and chatting away and then turning on you. It gives out confusing messages and even more so if they are friendly and chatty next time. You won’t hang around with them long as you don’t know where you stand with them. Same with brands. It’s almost schizophrenic behaviour and that’s what happens when brands don’t have a focussed comms strategy. Just look at French Connection One minute it’s french chic, next minute it’s Fcuked. What brands do you think do this well already? Virgin, amazingly well even though they get a lot wrong, they apologise, learn from it and move on when they make mistakes, they close them down and again, move on co-operative, they can be trusted for food and banking Waitrose, they would NOT put a horse in your burger
How important is it for a brand to demonstrate consistency when communicating with consumers? Totally vital, as above In terms of the visual identity would you say that inconsistency can create confusion and put off consumers? See the coke article above I think in extreme cases, people just won’t recognise the brand for what it is and may reject it as being fake or an extension too far It’s almost like a toxic shock Look at the extensions KitKat did a few years ago with an over enthusiastic Brand manager, totally wrecked the brand consistency Visually colours were all over the place, but people didn’t understand where that snack should fit into their lives, was it healthy,unhealthy, indulgent etc. Do you have any tips on how could communicate themselves as ageless? yes, be classy, rise above fads and make things that are timeless, expensive and beautifully made if things last, it gives consumers more time to enjoy them and justify the quality of their purchase if they are expensive and fail quickly this is the worst of all worlds as people just think it’s a rip off, don’t come back and tell their friends I’m like that with Oswald Boateng whose suit fell apart very quickly. What do you see is the future of communications for lifestyle brands? There has to be a reason for it We all have enough stuff. no-one needs to own more things, so anything lifestyle has to make you happier, healthier, richer, more attractive etc as per the list on Why Johnny can’t brand http://johnnylyle.co.uk/2008/07/09/the-best-book-on-branding/
L - CONSENT FORMS - STAGE 2
M - CONSENT FORMS - STAGE 1
Implementation Portfolio presenting the creative outcomes of the second stage of the live project for Universal Works.