AllSaints Limited x Copenhagen report

AllSaints Limited x Copenhagen Alexa

Carrie

Shannon

contents

fig 1. Campaign front cover, 2017 fig 2. A Girl With Layers, 2017

01

02

03

04

05

06

intro

consumer

context

creative concept

big idea

route to consumer

intro 01

conscious consumption

‘The context of luxury is shifting. There is not one definition but many.’ (WGSN, 2015) A more considered approach to what consumers buy and where they buy it from has become an identified luxury trend and social conversation of today.

This new form of luxury, identified by LS:N Global (2017) as ‘Conscious Consumption’, has expanded rapidly in 2017, where quality becomes a matter of who makes your products and how they are made. In the fashion industry, brands have realised that there is a ‘segment of consumers who prefer to buy fewer things that will last longer as opposed to constantly purchasing things that they will throw away shortly thereafter.’ (McHugh, 2017; See Appendix. 2f) With this in mind, brands have started to become more honest and upfront as well as disclosing details of the product’s lifecycle in order to build a more transparent relationship between brand and consumer. fig 3. Boy Got Troubles, 2017

context 02

why AllSaints Limited? fig 4. There’s Lots To See, 2017

fig 5. AllSaints Limited, 2016

AllSaints Limited’s focus on craftsmanship, through understanding and acknowledging where materials are sourced from, plays a significant role in conscious consumption. ‘The beauty of craft, and the skill of the maker, will become an increasingly important point of difference for products.’ (WGSN, 2016) Therefore, by selecting the new luxury line of AllSaints, the idea of conscious consumption will elevate the brand’s current values of craftsmanship as well as reaching a new ethical consumer that already believes in a more considered buying approach to fashion.

Moreover, AllSaints Limited, as the name suggests, comprises of garments made in strictly limited

numbers, which appeals to consumers who have an abundance of choice within the fashion landscape.

As AllSaints Limited is an innovative and emerging segment of the brand, it’s essential to push the collection even further so that it excels as a brand in its own right and is recognised as competition to aspiring luxury competitors such as Alexander Wang, Saint Laurent and Rick Owens. The existing collection was exclusively showcased on Selfridges’ International Luxury Designer floor in London alongside high-end labels such as Givenchy, highlighting its potential to succeed within the luxury fashion market.

Burberry is an example of how a luxury British fashion brand has created a popular experience based around the idea of craftsmanship. ‘Burberry Makers House’ was a weeklong pop-up event that revealed different stations and spaces where makers demonstrated various crafts and techniques.

(Morby, 2016) Christopher Bailey, Creative Director of Burberry, believes that ‘people are as interested in the story as they are in the finished thing.’

(Williams, 2017) Therefore, the importance of such a well-known fashion brand taking this concept forward highlights the new wave of consumers that desire more than just a finished product.

This was further reinforced by Mark Dunne, AllSaints Store Manager in Nottingham, who suggested that William Kim, CEO of the brand, bought a new luxury aspect to AllSaints in 2012 after leaving his previous position at Burberry.

(Dunne, 2017; See Appendix. 4a) Consequently, by combining values in craftsmanship and new definitions of luxury, AllSaints Limited has the potential to promote conscious consumption through a new campaign, which is increasingly important in today’s post-truth society. fig 6. Burberry Makers House, 2017

why Copenhagen?

fig 7. Ikea Space 10, 2016

Danish consumers are hailed as being some of the cleanest and responsive on the planet, therefore taking the concept of conscious consumption with AllSaints Limited into the capital, Copenhagen, is a natural progression. With competitors such as Acne, Alexander Wang, The Kooples and Saint Laurent already obtaining a presence within the area and more moving across each year, the opportunity and importance of AllSaints Limited creating a base within the city grows exponentially.

Danish customers are recognised as early adopters especially within the tech and the fashion industry.

This means that they would be more open to new ideas and products, therefore by taking the lesserknown side of the brand into the area, the concept would be adopted swiftly and consumers would be more lenient to the change in how we buy fashion.

fig 8. COS unisex sneakers, 2016

fig 9. Acne store in Illum, 2015

Furthermore, the Danes have money to spend.

Recognised as one of the wealthiest countries in the world by The Economists’ ‘World in Figures 2017’ means that consumers have an abundance of disposable income. This creates a new opportunity to bring forth the luxury side of the brand. Paired with an ever-growing fashion week, the city is host to a plethora of recognised and emerging influencers.

These individuals have the potential to push through the concept of conscious consumption, with the overall aim of not only influencing Danish consumers but also surrounding countries such as Norway and Sweden - similarly to when AllSaints took the brand into Japan and consequently attracted a large Chinese consumer base. With an innovative concept and brand to match, the opportunity and potential of the move positions AllSaints as a pioneering luxury retailer within a market whose values align perfectly.

fig 10. Acne store in Pilestræde, 2012

why conscious consumption?

fig 11. GFW Collection, 2012

There is a growing number of individuals, communities and brands who are taking a stand against fashion waste and creating a social movement that inspires consumers to re-use, re-pair and re-think their buying habits. This was highlighted in the recent documentary, ‘HyperNormalisation’, created by Adam Curtis in 2016, which underlined our immunity to 21st Century horrors within consumerism. Another recent documentary that focuses on conscious consumption is ‘Minimalism: A Documentary About the Important Things’, created by Matt D’Avella in 2016, where Joshua Fields Millburn and Ryan Nicodemus, also known as The Minimalists, educate the viewer on how we are constantly bombarded with unnecessary ‘stuff’, resulting in mass consumerism and the rise of ‘stuffocation’.

where else are we seeing conscious consumption?

Patagonia is pioneering the concept of conscious consumption by actively encouraging customers to buy less and reuse more. This then memorably markets the quality of its products and a more transparent relationship is built between brand and consumer. (See Appendix. 5a)

fig 12. Patagonia Black Friday, 2011

fig 13. Everlane Transparency, 2016

Everlane See Appendix. 5b

fig 14. H&M Conscious Collection, 2016

H&M

See Appendix. 5c

fig 15. Piaule Limited Towel, 2016

Piaule See Appendix. 5d

Within the fashion industry, the immense pressure to produce quick innovative ideas has meant that some of our most iconic creatives have quit their high profile roles, such as Raf Simons and John Galliano. Shannon Whitehead, a minimalist fashion designer, explains how we walk in a cycle of 52 ‘micro-seasons’ a year in the fashion industry, whereas in the 1960’s, we only considered 2-4 seasons a year: spring/summer and fall/winter.

(D’Avella, 2016) Evidently, there is a need to slow down the fashion process and product lifecycle

in order to ‘value’ items more so that garments are seen as keep-sake pieces and not as flippant trends. With this thought in mind, an online survey was conducted to further understand perspectives of ‘value’ within other design sectors, ranging from art and jewellery to furniture and fashion.

fig 16. Raf Simons leaving Dior, 2015

78% quality

60% quality

40%

method: online survey with 82 respondents purpose: to understand perspectives of value within different design sectors outcome: quality is less important in fashion insight: there is a need to reimagine the meaning of value in fashion & a need to realign the industry with other design sectors

quantity

22% quality

Art

Furniture

73%

68%

quantity

quality

32%

quantity

27% quality

fig 17. Quality or Quantity infographic, 2017

Jewellery

Fashion

big idea 03

so, what’s the big idea? to re-imagine the meaning of ‘value’ in 2017 through All Saints Limited, by challenging perceptions of where fashion sits within the broader design landscape. fig 18. Stay Grounded, 2017

consumer 04

fig 19. Kickin’ Back, 2017

Before introducing the consumers, it’s important to understand the reason for extending the AllSaints Limited line into Copenhagen with not just womenswear but also menswear.

This is due to the fundamental existing male consumer within the original AllSaints brand.

Through conducting in-store interviews around the UK, this idea was validated by the Manager of the Flagship Store in Spitafields, London. ‘There are definitely more men than women - our mix is 70:30. We still sell to women but our sales are predominantly 70% male.’ (Westley, 2017: See Appendix.

4c) Therefore, it is crucial for the campaign launch to reach the male consumer as well.

consumer #1: urban dweller Jordan | 24 | Copenhagen | freelance writer | city explorer

fig 20. Urban Dweller, 2017

consumer #2: conscious creative Irene | 42 | Copenhagen | painting + interiors | mother of two

fig 21. Conscious Creative, 2017

consumer #3: loyal influencer Anthony | 29 | Copenhagen | visual merchandising | family man

fig 22. Loyal Influencer, 2017

innovators

early adopters

early majority

fig 23. Rogers’ Diffusion of Innovation theory (1962)

late majority

laggards

creative concept 05

fig 24. Wrapped in Sheepskin, 2017

Yarns are Italian, the black, fray-hemmed jeans are handcut, the sheepskin is fulllength and light, with laser-cut shoulders for streamlining, and leathers across the brand are sourced ethically.

(Armstrong, 2016)

fig 25. AllSaints Limited DNA, 2017

fig 26. Concrete Architecture, 2016 fig 27. SE / skĂĽne collage, 2016

By unpicking the current AllSaints Limited DNA, diverse ranges of materials were discovered.

Focusing on light concrete greys that contrast with neutral tones, as well as the juxtaposition of solid structures with heavy multi-layering, a combination of minimal styling and a more DIY hands-on approach is formed. The multilayering elements represent the brand’s focus on craftsmanship and the simplistic structures signify a Scandinavian aesthetic that will be introduced into the design recipe.

fig 29. Barcelona Pavilion

A ‘less is more’ tone of voice is added through exploring art movements and universal design styles, such as Bauhaus and Swiss International Design. Both concepts complement each other through having similar ‘design rules’ that reach a wider audience by either making graphic design more scientific or by adhering to the ‘form follows function’ rule. The concept of conscious consumption currently targets a segment of consumers who are aware of the impacts that their buying habits have on the environment, meaning that a narrative around ethical trading and sustainability is formed. Therefore, by creating a design recipe that is influenced by art movements that focus on inclusivity, the concept of conscious consumption will eventually reach a wider audience. With this in mind, the aim is to challenge perceptions of how the concept is communicated, ultimately creating a more contemporary aesthetic through using bold graphical elements and typography that contrasts against the current tone of voice that represents craftsmanship.

fig 28. Minimal poster

so in summary...

Craftsmanship is represented through the use of multi-layering as this symbolises a more hands-on approach to the aesthetic.

Aqua blue tones are added to AllSaints Limited’s existing earthy palette to add a Scandinavian touch, while signifying trust and transparency.

In terms of typography and layout, elements of Swiss International Style and the Bauhaus movement create a more inclusive concept of ‘luxury’ through universal branding and a minimal approach to design.

fig 30. Rock Won Presbyterian Church, 2013 fig 31. Look and feel moodboard, 2017

Alisa Aiv

Hepworth, Wakefield

Lauren Marsolier

COS: Kato Junpei (2015)

fluid + natural + minimal + calm + still shots + clean + pure + silence + concrete + gentle + skin + craft

The first stage of the campaign positions the models against valuable commissioned art pieces, as part of a local collaboration, in order to coincide with the idea of realigning design sectors. This ultimately elevates the garments as though they have been exhibited in a museum, signifying both importance and value.

The use of podiums showcase the garments as luxury pieces and the still posture of the models mimic that of a statue, representing elegance and significance and consequently highlighting the quality of the brand’s products.

fig 32. Campaign #1, 2017

The second stage of the campaign consists of AllSaints Limited garments juxtaposed with valuable art pieces.

The message communicated is that the garments are as valuable as the hand-crafted art pieces, emphasising the conscious lifestyle that AllSaints Limited is promoting – it’s not just a fashion brand. The idea of positioning the garments next to valuable art pieces was validated by well-known fashion designer JW Anderson through his exhibition ‘Disobedient Bodies.’ (See Appendix. 2e) The exhibition, held at the iconic Hepworth Gallery, took place a month after the big idea came to fruition, supporting the concept of blurring the lines between design sectors. Using a Polaroid style keeps the brand on-trend in relation to challenging composition and layout within fashion campaigns. A Polaroid picture also captures a more valuable moment in time, which is increasingly important in today’s fast-paced, ‘buy me now’ culture.

fig 33. Campaign #2, 2017 fig 34. Campaign #3, 2017

route to consumer 06

The marketing strategy will use specific communication tools in order to reach the consumer when they are most receptive. Firstly, in order to create an integrated marketing campaign (imc), key aims and objectives need to be established.

aims: to tell the consumer about a new product/service to change perceptions about consumerism to reposition the brand in the premium, luxury market

objectives: by promoting the AllSaints Limited launch event by reimagining the meaning of value by highlighting the brand’s values of craftsmanship

fig 35. Amidst Nature, 2017

reaching the consumer ‘Innovation is not just an investment in product enhancement or customer experience; innovation is an investment in your customer’s future — a human capital investment in who your customers really want or need to become.’ (Schrage, 2012) With this in mind, AllSaints Limited adopting conscious consumption within Copenhagen will inevitably lead to consumers becoming more considerate when buying. Furthermore, through reimagining the meaning of value by blurring the lines between design sectors, consumers will essentially become more creative, more cultured and more connected. However, in order to design a more ‘valuable’ consumer through investing in their future, AllSaints Limited needs to understand what they are doing day-to-day already.

Therefore, insight into a day in the life of a consumer is also necessary for achieving a fully integrated marketing campaign and to pinpoint when and where the campaign can be promoted.

fig 36. Nostalgic Fever, 2017

fig 37. Day in the Life #1, 2017

fig 38. Day in the Life #2, 2017

fig 39. Day in the Life #3, 2017

what do we want them to do? generate word of mouth and awareness of brand brand loyalty: continue to invest in brand share and recommend brand and message

where can they be reached? through influence from bloggers and real people through combination of digital and outdoor marketing through current creative community in Copenhagen

when will they be most receptive? morning and evening: social media outdoors: journey to and from work and events unwinding: Lagom, Delayed Gratification, Hole & Corner

why should they listen and trust us?

AllSaints’ core brand does not have a current presence in Copenhagen, therefore it is vital to underpin why AllSaints Limited will be successful in its launch without its core brand’s presence in the region. Ultimately,

fig 40. Tear Me Up, 2017

AllSaints Limited stems from a globally recognised brand that is taking a new direction towards more conscious buying, in turn attracting existing AllSaints consumers and new, more ethical consumers who buy more consciously by nature. Moreover, AllSaints Limited has the potential to sit alongside aspiring competitors, enabling the line to be positioned in the luxury market.

This means that the AllSaints brand is then present in both the premium high-street and luxury market, appealing to a wider range of consumers with their different product and price offerings and consequently benefitting both the brand’s reach and profits.

communications timeline Campaign is launched: digital & physical

Interactive clothing label: use VR to explore journey of product

Concept store launches in Vesterbro

‘3 Days of Design’ influencer engagement June 2017

July 2017

Social media teasers

E-newsletter: showcasing upcoming artists & designers

Aug 2017

influencer engagement Sept 2017

Oct 2017

Nov 2017

Product: reviews & recommendations

Event launch: duration is 1 week Guerrilla marketing: artists in Vesterbro CFW

consider

evaluate

buy

enjoy

bond

what’s the message?

‘All communications must project a coherent, single voice which reflects and reinforces an ongoing brand storyline to which target audiences can connect and help to cocreate.’ (Dahlen et al., 2010). The message that the campaign aims to promote throughout is: quality over quantity in the fashion industry is increasingly important in 2017’s throw away culture. This message will be introduced and repeated throughout all communications, from the teaser launches to keeping AllSaints Limited consumers in the loyalty loop.

fig 41. Talk To The Hand, 2017

before: social media

fig 42. Social media teaser, 2017 fig 43. AllSaints Limited Instagram, 2017

#DoYouValue

212

244k

367

posts

followers

following

In order to effectively sow the seeds of awareness for AllSaints Limited in Copenhagen, teasers will be launched which reveal elements of the campaign alongside the caption ‘What does value mean to you? #comingsoon.’ ‘The key to a good teaser campaign is all about giving a little without spoiling the surprise’. (Shousha, 2017). Over the course of a month, the teasers will be released across AllSaints Limited’s social media channels to create a hype around not only the brand, but the campaign and event launch too. As more teasers are revealed and more interest gathers, ‘#DoYouValue’, will be introduced wth the aim of creating a social conversation around the launch that not only acts as a way of measurement but also a catalyst to get audiences talking about the brand concept.

Teaser success has been validated by the likes of Kanye West’s Yeezy campaign, which revealed elements of the show being slowly fed to audiences over social media, ultimately creating a huge wave of hype and awareness around the launch.

fig 44. Boy Got Troubles Again, 2017

before: advertising

Copenhagen, Summer 2017

fig 45. 3daysofdesign, 2017

‘3daysofdesign is an annual event that draws journalists, buyers and design enthusiasts from around the world to Copenhagen to experience a new and refreshing look on the industry, presented in a unique collaboration between top companies and designers.’ (3daysofdesign) Here, AllSaints Limited will showcase the launch of the campaign and promote the collaborative event at the show with the aim of standing out as the only fashion brand exhibiting at what is considered as one of the most influential design events in the Danish calendar. Being at the event will further promote the core campaign message of realigning the fashion industry with other design sectors by exhibiting the garments as pieces of art alongside other crafted products. 3daysofdesign will also allow AllSaints Limited to utilise the consumer base present at the event and attract them to the collaborative campaign launch which will in turn, create awareness and generate a social conversation.

fig 46. Faaborg Chair, 2016

before: Copenhagen Fashion Week fig 47. CFW, 2017

Due to the success of AllSaints in Japan at Tokyo Fashion Week 2016, that equated in the brand attracting a wider audience from surrounding countries such as China, the campaign launch will be advertised at Copenhagen Fashion Week 2017.

The presence of the brand, and the concept being promoted, will create a stir in the way that buyers and fashion enthusiasts perceive 2017’s throw away culture. Will Beedle, Creative Director of AllSaints stated, ‘launching the latest chapter of the brand’s global journey in Japan at Tokyo Fashion Week is both exciting and inspiring.’ (Hendriksz, 2016) This means that although AllSaints rarely show an interest in traditionally popular fashion weeks like London, New York and Milan, the introduction of the brand in a new location at an emerging event will make a bold impact.

However, AllSaints Limited won’t be committing to a catwalk or trade stand; instead they will be promoting the message through outdoor advertising around the city during the event to make both locals and fashion enthusiasts aware of the brand. This will create a conversation around the importance of slowing down the fashion cycle by creating more restricted numbers, which is exactly what AllSaints Limited does.

fig 48. AllSaints TFW, 2016

during: the event fig 49. Event mock-up, 2017

fig 50. AllSaints Limited, 2017

The mock-up of the exhibition design corresponds with the nature of the campaign, where AllSaints Limited garments are paired with hand-crafted art pieces in order to blur design sectors and ultimately reimagine the meaning of ‘value’. The exhibition, which is temporary and lasts for just one week, consists of artists narrating the story and the craft behind each of their pieces through the use of directional speakers as guests move around the space. The sociable and networking area at the bar encourages guests to engage around the topic, before drawing attention to the ‘memorable sharing moment’: the show-stopper leather jacket.

https://vimeo.com/217195280

Architectural Designer and collaborator Eddie Welham describes the intimacy of the moments where guests interact with the pieces, which hang at eye-level: “Floating display cases and plinths elevate the artefacts held inside, creating a ‘value’ to them. The coats suspended from the ceiling sway as visitors walk by, creating an ephemeral moment between the visitor and the object.” (Welham, 2017: See Appendix. 8d) The overall aim of the event is to take guests on a journey of craftsmanship, where they discover not only how the art pieces were constructed, but even gain insight into the skill behind the creation of the garments.

how can it be shared?

The iconic retro TV’s, which form part of the AllSaints Limited brand DNA, display a live Twitter feed where guests can interact and tweet during the event.

The interactive element is implemented through creating a conversation around ‘what does value mean to you?’ by using the hashtag #DoYouValue.

This in turn allows guests to join the social conversation, have their say and even contribute their own personal touch before leaving the event, which memorably markets the brand message.

fig 51. Still Kickin’ Back, 2017

how can success be measured?

The success of the event will be measured by creating a Google alert which means that email notifications will be sent each time Google finds new results in relation to AllSaints Limited and/ or the event. The intended outcomes of the launch event include both media coverage and increased brand awareness, through inviting influential people, journalists and well-connected individuals.

fig 52. Experience model, 2017

empower

create stories people want to share

influence

have the right people share it

reach

broaden the campaign reach

results

increase campaign efficiencies

during: guerrilla marketing map of Vesterbro, Copenhagen Skydebanehaven

Sommerlund

Dgi Byen

Oksnehallen Kyoto V1 Gallery Litauens Plads

Kodbyen Meatpacking District

Enghave Plads

Carlsberg Area

fig 53. Vesterbro map, 2017

Bjørn Nørgaard Sculptor

Milia Laurila Visual artist

Thierry Geoffroy Conceptual artist

Conor Harrington Street artist

Troels Carlsen Painter

Jeppe Hein Sculptor

Helen Frik Sculptor

Søren Pihlmann Fine artist fig 54. Artist collaborations, 2017

Throughout the week-long duration of the collaborative launch, AllSaints Limited will be attracting audiences outside of the event through guerrilla marketing around the area of Vesterbro, the Shoreditch equivalent in Copenhagen, where the brand’s consumers spend most of their time.

Scattered around the neighbourhood will be eight local artists who will be creating street art pieces based around the question ‘what does value mean to you?’, which aims to further blur design sectors.

The presence of eight artists coincides with the statement that ‘Once is chance, twice is coincidence, third time is a pattern.’ (Silva, 2008) meaning the more consumers view something, the more they are likely to take note of the message and engage with it.

Alongside the art pieces will be ‘#DoYouValue’ which encourages passers by to engage with the social conversation online and will also allow them to discover the launch event. By creating an experience all over Vesterbro through local artists, the brand not only builds a community of creatives and allows for more interactivity with the campaign but also attracts a wider audience base to the launch event.

Finally, this experience allows for consumers to be able to value access over ownership.

after: influencer engagement

sharing your content through influencers is found to increase conversation rate by at least 3-10 times.

(Musefind, 2016)

fig 55. A Girl With More Layers, 2017

Nearly 70% of millennials use ad blockers, so the way to reach them is to provide content they want from people they trust. (Mediakix, 2016) With the majority of our consumers falling into this generation, it is crucial to understand how using influencer engagement can enhance the promotion of the campaign. With a growing distrust of governments and large corporations, millennials prefer to gain a valued opinion from people they trust, be them friends or online influencers. They want authenticity and a deeper reason to support a brand. ‘Digital influencers have proven that they have become more powerful, as consumers find them more credible than traditional celebrities,’ (Musefind, 2017) with ‘92% of consumers trusting an influencer more than an advertisement or traditional celebrity endorsement.’ (Musefind, 2016) AllSaints already have an existing micro-influencer strategy; therefore by categorising chosen influencers into Local Heroes, Niche and Power, the campaign will reach a large number of followers, without feeling too distant to the consumer.

influencer match tool: AllSaints Limited In order to match the right influencers to AllSaints Limited, an industryrecognised tool has been used, which matches brand values with personality traits and values and beliefs of the individual. This is how AllSaints Limited looks on the diagram, with values such as ‘indulgent’, ‘craft’ and ‘premium’ rated very high and values such as ‘humorous’ rated considerably low.

premium creative

modern

craft

humorous

indulgent

intelligent approachable fig 56. AllSaints Limited IMT, 2017

influencer match tool: Alexander Gram

3719

premium creative

modern

craft

humorous

indulgent

intelligent approachable

fig 57. Alexander Gram IMT, 2017

60% match

influencer match tool: Laura Tonder

14.3k

premium creative

modern

craft

humorous

indulgent

intelligent approachable

fig 58. Laura Tonder IMT, 2017

85% match

influencer match tool: Isabella Thorsden

105k

premium creative

modern

craft

humorous

indulgent

intelligent approachable

fig 59. Isabella Thorsden IMT, 2017

70% match

evaluate

after: brand loyalty According to Ivan Mazour, chief executive and cofounder of Ometria, a marketing platform specialising in personalisation, consumers will soon abandon brands that don’t offer personalised content: brand loyalty is no longer a given, it has to be earned.

(Mazour, 2016) Therefore, in order for consumers

to continue interacting with the brand, it is essential that more than just a finished product is provided, which is especially important when entering unfamiliar culture. Brand loyalty will not only be generated through ongoing ‘keeping in touch’ tools, but also through offering a new conscious lifestyle that contributes to revolutionary cultural change.

advocate consider

bond

loyalty loop buy enjoy

fig 60. Loyalty loop, 2017

The event and guerrilla marketing tool is a build-up towards a concept store in Vesterbro, where the A/W17 AllSaints Limited menswear/womenswear collection will be available. To ensure consumers are bonding with the brand after their product purchases from the concept store, an interactive label that uses a virtual reality experience will act as a product takeaway.

Reflecting conscious consumption and the allimportant craftsmanship of the brand, the consumer will be able to scan their garment’s label using the QR code. They will then be taken on an immersive journey through the product’s lifecycle, ultimately creating a more transparent relationship between brand and consumer. Having the opportunity to understand where the materials are sourced from creates a narrative behind each product, which is highly attainable due to the limited number of garments available - this in itself is an incentive to initially buy a product. Finally, through using the Google cardboard headset, this not only makes it accessible for others to experience but also ties in well with the ‘craft’ values of the brand. fig 61. Interactive label, 2017 fig 62. Talk To The Other Hand, 2017

Zara Burke, executive of the Digital Marketing Institute, suggests that over half of opened emails are deleted within 2 seconds; in order to prevent this from happening it’s important to start delivering more personalised, targeted and contextualised emails with deeply relevant messages. (Burke, 2016) Campaign Monitor, a platform that specialises in personalised emails, invites and newsletters will therefore be used in order to keep the consumer interacting with the brand on a personal level. Coinciding with AllSaints’ digital nature, a monthly e-newsletter will be received by subscribers, consisting not only of AllSaints Limited’s future collections, but also upcoming artists and designers.

fig 63. E-newsletter, 2017

to conclude...

fig 64. Still Grounded, 2017

To conclude, ‘consumers are sharing and consuming more data than ever before, and they’ll expect ‘conscious brands’ to do the same.’ (Adams, 2014) ‘What does value mean to you?’ isn’t merely a fashion campaign, but a social revolution that inspires consumers to adopt a more conscious lifestyle that expands far beyond the fashion sector. The industry is at a pivotal point in history, where mass-consumerism is at its highest, fashion waste has reached peak levels and there is an overwhelming sense of ‘stuffocation.’ If brands don’t react to this, they risk being dumped with the rest of the forgotten clothes in the landfill. AllSaints Limited have the opportunity to position themselves at the forefront of conscious consumption, with ‘89% of Millennials claiming that they have switched to a brand that had a higher cause.’ (Watz, 2015) There is no better time to adopt this concept in Copenhagen, through a consumer base with perfectly aligned values.

In the end, in an age of overflowing landfills and massconsumerism, an age of declining attention spans and endless distractions, an age which rejects the antisocial, the interruption, and the sell, it is innovative concepts that turn heads and hold the imagination.

list of illustrations Fig.1. Own Image (2017). Campaign Cover [photograph].

Fig. 2. Own image (2017). A Girl With Layers [collage].

Fig.3. Own image (2017). Boy Got Troubles [collage].

Fig. 4. Own image (2017) There’s Lots To See [collage].

Fig. 5. AllSaints Limited (2016). AllSaints Limited. [image] Available at: http://www.lola-london.co.uk/images/wclothingt6-1/ ALLSAINTS%20LIMITED---Halo%20leather%20biker%20 jacket--851_2.jpg [Accessed 22 May 2017].

Fig. 6. Burberry (2017). Burberry Makers House Exhibition [image].

Available at: https://cdn.wallpaper.com/main/styles/wp_large/s3/ burberry-henry-moore-makers-house-05.jpg [Accessed 22 May 2017].

Fig. 7. Space10 (2016). IKEA Space10 [image]. Available at: http:// www.ikea.com/ms/img/ads/vitality/ikea_highlight/open_graph_ img/IKEA-secret-innovation-lab_og-img.jpg [Accessed 23 May 2017].

Fig. 8. Cos (2016). Cos Unisex Sneakers [image]. Available at: https://s-media-cache-ak0.pinimg.com/originals/b1/63/a1/ b163a1f0e551c6ea325dacb32e0df09e.jpg [Accessed 23 May 2017].

Fig. 9. Acne Studios (2015). Acne Store in Illum [image]. Available at: http://us.fashionnetwork.com/news/Acne-Studios-testsnew-store-concept-in-Copenhagen,589017.html#.WSVZ8Bi-Kb8 [Accessed 23 May 2017] Fig. 10. Acne Studios (2012). Acne Store in PilestrĂŚde 40 [image].

Available at: http://bozarthfornell.com/case/acne-copenhagen/ [Accessed 23 May 2017] Fig. 11. Avetisyan, T., (2012). GFW collection [image]. Available at: http://1granary.com/central-saint-martins-fashion/photoshoots/1granary-for-i-d-magazine-backstage-of-the-final-graduate-bashow-2012/ [Accessed 23 May 2017].

Fig. 12. Patagonia (2011). Patagonia Black Friday [image]. Available at: http://www.sarahwilson.com/wp-content/uploads/2015/06/ Patagonia_dont-buy-this-jacket.png [Accessed 23 May 2017].

Fig. 13. Everlane (2016). Everlane Transparency [image]. Available at: https://wondersnack.files.wordpress.com/2015/02/everlane-2. jpg [Accessed 23 May 2017].

Fig. 14. H&M (2016). H&M Conscious Collection [image]. Available at: http://www.ecouterre.com/wp-content/uploads/2011/02/h-mconscious-collection-2.jpg [Accessed 23 May 2017].

Fig. 15. Piaule (2016). Piaule Limited Towel [image] Available at: https://piaule.com/products/01-towel [Accessed 23 May 2017].

Fig. 16. Raf Simons (2015). Raf Simons Leaving Dior [image].

Available at: http://www.hintmag.com/post/raf-simons-is-leavingdior-and-may-go-to--october-22-2015-1615 [Accessed 23 May 2017].

Fig. 26. Zeller, S., (2016). Concrete Architecture [image]. Available at: https://unsplash.com/photos/OaSXdU03HIU [Accessed on: 23 May 2017] Fig. 27. Savinova, A., (2016). SE / Skåne Collage [image]. Available at: http://www.designboom.com/art/anastasia-savinova-geniusloci-architecture-collages-02-02-2016/ [Accessed 03 March 2017]

Fig. 17. Own image (2017). Quality or Quantity Infographic [infographic].

Fig. 28. Kleyn, J. Minimal Poster [image]. Available at: http:// designspiration.net/image/842226930/ [Accessed 03 march 2017]

Fig. 18. Own image (2017). Stay Grounded [collage].

Fig. 29. Unknown. (n.d). Barcelona Pavilion [image]. Available at: https://www.e-architect.co.uk/barcelona/pabellon-mies-van-derrohe [Accessed 23 March 2017]

Fig. 19. Own image (2017). Kickin’ Back [collage].

Fig. 20. Own image (2017). Urban Dweller [consumer profile].

Fig. 21. Own image (2017). Conscious Creative [consumer profile].

Fig. 22. Own image (2017). Loyal Influencer [consumer profile].

Fig. 23. Own image (1962). Rogers’ Diffusion of Innovation [graph].

Fig. 24. Own image (2017). Wrapped in Sheepskin [collage].

Fig. 25. Own image (2017). AllSaints Limited DNA [moodboard].

Fig. 30. NAMELESS Architecture (2013). Rock Won Presbyterian Church [image]. Accessed 23 May 2017].

Fig. 31. Own image (2017). Look and Feel Moodboard [moodboard].

Fig. 32. Own image (2017). Campaign #1 [photograph].

Fig. 33. Own image (2017). Campaign #2 [photograph].

Fig. 34. Own image (2017). Campaign #3 [photograph].

Fig. 35. Own image (2017). Amidst Nature [collage].

Fig. 47. Own image (2017). Copenhagen Fashion Week [mock-up].

Fig. 36. Own image (2017). Nostalgic Fever [collage].

Fig. 37. Own image (2017). Day in the Life #1 [diagram].

Fig. 48. AllSaints (2016). AllSaints Tokyo Fashion Week (2016).

Available at: https://www.allsaints.com/collections/2016/tokyofashion-week-autumn-2016/ [Accessed on 23 May 2017]

Fig. 38. Own image (2017). Day in the Life #2 [diagram].

Fig. 49. Own image (2016). Screenshot of event mock-up [image].

Fig. 39. Own image (2017). Day in the Life #3 [diagram].

Fig. 40. Own image (2017). Tear Me Up [collage].

Fig. 50. AllSaints (2016). AllSaints Limited [image]. Available at: https://www.allsaints.com/lookbook/women/2016/allsaintslimited/ [Accessed 23 May 2017]

Fig. 41. Own image (2017). Talk To The Hand [collage].

Fig. 51. Own image (2017). Still Kickin’ Back [collage].

Fig. 42. Own image (2017). Social Media Teaser [mock-up].

Fig. 52. Own image (2017). Circle Agency: Experience Model [diagram].

Fig. 43. Own image (2017). AllSaints Limited Instagram [mock-up].

Fig. 44. Own image (2017). Boy Got Troubles Again [collage].

Fig. 45. Own image (2017). 3daysofdesign [mock-up].

Fig. 46. Hansen, C., (2016). Faaborg Chair [image]. Available at: http://www.yellowtrace.com.au/3-days-design-2016-copenhagen/ [Accessed 23 May 2017]

Fig. 53. Own image (2017). Vesterbro Map [image].

Fig. 54. Own image (2017). Artist Collaborations [moodboard].

Fig. 55. Own image (2017). A Girl With More Layers [collage].

Fig. 56. Own image (2017). AllSaints Limited Influencer Match Tool [diagram].

Fig. 57. Own image (2017). Alexander Gram Influencer Match Tool [diagram].

Fig. 58. Own image (2017). Laura Tonder Influencer Match Tool [diagram].

Fig. 59. Own image (2017). Isabella Thorsden Influencer Match Tool [diagram].

Fig. 60. Own image (2017). Loyalty Loop [diagram].

Fig. 61. Own image (2017). Interactive Label [mock-up].

Fig. 62. Own image (2017). Talk To The Other Hand [collage].

Fig. 63. Own image (2017). E-newsletter [mock-up].

Fig. 64. Own image (2017). Still Grounded [collage].

Fig. 65. Own image (2017). Campaign Back Cover [photograph].

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Alexa Boldy

Carrie Hubbard

Shannon Pearson