Buying Strategy: All Saints Diversification Strategy

Buying Strategy: Diversification for All Saints elle taylor University of Manchester bsc fashion buying and merchandising

Contents

1.0 Brand Analysis ...........................................................................................4

1.1 Marketing Mix ......................................................................................6

1.2 In-Store Environment .............................................................................8 2.0 Internal Analysis ...................................................................................10

2.1 Summary ............................................................................................13 3.0 Consumer Research ................................................................................15

3.1 Consumer Profile ..................................................................................16 4.0 Competitor Analysis ..............................................................................18 5.0 External Analysis ..................................................................................22 6.0 Strategic Positioning ............................................................................24 7.0 Co-Branding ...............................................................................................26 8.0 Strategic Evaluation ...........................................................................28 9.0 Product Development............................................................................31

9.1 Trend Research ....................................................................................32

9.2 Comparative Shop ................................................................................35

9.3 Comparative Shop Analysis ...................................................................50

9.4 Directional Shop ..................................................................................52

9.5 Retail Analysis ....................................................................................54

9.6 Print Development ................................................................................55

9.7 Trend Translation ................................................................................56

9.8 Phase One ...........................................................................................58

9.9 Phase Two ..........................................................................................60

9.10 Phase Three ......................................................................................62

9.11 Product Classification .........................................................................64 10.0 Technical Development .....................................................................65

10.1 Technical Pack ..................................................................................66

10.2 Costing Spreadsheet ............................................................................71

10.3 Critical Path .....................................................................................74 11.0 Merchandising Strategy ....................................................................77

11.1 Distribution and Allocation .................................................................78

11.2 Launch and Communication Plan ........................................................82 12.0 Executive Summary ..............................................................................83

12.1 Strategy Evaluation ...........................................................................84 13.0 References ..............................................................................................86 14.0 Appendices ...............................................................................................90

List of Figures

Figure 1 - Product distribution chart by price point intervals ........................... 6 Figure 2 - Boston Matrix ...........................................................................7 Figure 3 - All Saints product colour distribution ............................................7 Figure 4 - Fascia of All Saints Manchester Market St. store ..........................8 Figure 5 - All Saints’ iconic ‘Singer’ sewing machine display ..........................8 Figure 6 - All Saints’ visual merchandising display .......................................9 Figure 7 - All Saints consumer pen portrait ................................................16 Figure 8 - All Saints consumer board .........................................................17 Figure 9 - Perceptual map for All Saint’s competitors ...................................19 Figure 10 - All Saints’ competitors colour distribution wheels .......................21 Figure 11 - Eileen Quinlan ‘Brooks Brother’ ..............................................25 Figure 12 - Eileen Quinlan ‘Ghost’ ...........................................................25 Figure 13 - Eileen Quinlan ‘Voyage Out’ ...................................................26 Figure 14 - ‘InFusion’ Trend Board ....................................................32-33 Figure 15 - Jumpers Comparative Shop ...............................................36-37 Figure 16 - Outerwear Comparative Shop ............................................38-39 Figure 17 - Shirts Comparative Shop ...................................................40-41 Figure 18 - Leather Jackets Comparative Shop ......................................42-43 Figure 19 - Skirts Comparative Shop ...................................................44-45 Figure 20 - Trousers Comparative Shop ...............................................46-47 Figure 21 - Dresses Comparative Shop .................................................48-49 Figure 22 - Range Plan Product Classification ...........................................64 Figure 23 - Technical Pack: Pattern and Lay Plan .....................................66 Figure 24 - Technical Pack: Working Drawing ..........................................67 Figure 25 - Technical Pack: Fabric and Trims ...........................................70 Figure 26 - Costing Spreadsheet for Phase One ...........................................71 Figure 27 - Costing Spreadsheet for Phase Two ..........................................72 Figure 28 - Costing Spreadsheet for Phase Three ........................................73 Figure 29 - Phase One Product Classification Chart ...................................78 Figure 30 - Phase One Distribution and Allocation Plan .............................79 Figure 31 - Phase Two Distribution and Allocation Plan ............................80 Figure 32 - Phase Three Distribution and Allocation Plan ..........................81

List of Tables

Table 1 - Resource-based View Analysis ......................................................11 Table 2 - VRIO Analysis ..........................................................................12 Table 3 - PESTLE Analysis and Strategic Implications ...............................23 Table 4 - SWOT Analysis ........................................................................24 Table 5 - Evaluation Measures ..................................................................28 Table 6 - Additional Evaluation Measures ..................................................29 Table 7 - Garment Breakdown Specification ...........................................68-69 Table 8 - Critical Path for ASEQ-587 .................................................74-75 Table 9 - WSSI for All Saints Phase One ...................................................82 Table 10 - SAFe Criteria Analysis ........................................................84-85

"To create a brand that blends music and fashion into a potent formula of desirable clothing that expresses individuality and attitudE" (AlL saints, 2017)

4

1.0 Brand Analysis

British fashion retailer All Saints operate at the top end of the UK high street, selling men’s and women’s fashion, and home furnishings. They currently have 224 stores including concessions, across 25 countries, including North America, Asia and Europe (Sutherland, 2017). Since 1994, All Saints have constructed their identity to appeal to trend-setting, savvy consumers; communicated through their mission statement, which centralises store design and product decisions. Establishing strong links between music, social influences and an undeniable British heritage is integral to achieve competitive advantage.

All Saints do not disclose their corporate objectives; however, analysing industry reports judgements can be made to determine these. During a Drapers interview, CEO William Kim discussed All Saint’s current European expansion, and their expectation to expand store portfolio in the Middle East within 3 years (Hounslea, 2016). Using Ansoff ’s Matrix (Appendix 1), All Saints currently operate a market development strategy, with the objective to increase growth through leveraging new geographical markets.

Kim identified their 2012 ‘Capital Collection’ diversification strategy as being central to their success with

sales growing 9% to £252.5m last year. Following the success of nonapparel products, Kim stated that by 2020 they will form a “significant part” of the business (Hounslea, 2016); boosting growth and market share.

Kim explained the importance of technology for growth. All Saints’ developed technology to combine on and offline consumer experiences, enabling in-store and distribution centre stock checks, which assisted online sales to contribute £47.3m of turnover (Butler, 2016; Mintel, 2016a). Customer experience forms the foundation for growth, ensuring consistent innovation.

price Focusing on womenswear, research from Edited (2017a) shows that between January - March 2017, All Saints introduced 321 new products, ranging from £32- £1298; with an average price of £167. From analysis, this price interval is the most saturated, with 88 new products. Furthermore, research showed that all products sitting close to this mid-price point were classified as ‘fashion’ products.

This gives insight into All Saints pricing strategy, with ‘basics’ being under £100, and ‘hero’ products being £350+ depending on features, such as fabric composition.

Price Points (GBP)

All Saints (UK)

£0-50

31

£50-100

67

£100-150

88

£150=-200

56

£200-250

25

£250-300

17

£300-350

27

£350-400

6

£400-450

2

£950-1000

1

£1250-1300

1

Figure 1 - Product distribution by price point interval

6

promotion

place

Combining online presence with the importance of technology, All Saints are creating innovative promotional techniques. They stream videos from ‘All Saints Studios’ with upcoming music artists wearing new seasons products. Connecting music and fashion creatively is a unique approach to a lookbook; moving away from traditional promotional campaigns, whilst fitting their consumer profile.

In-line with their premium market positioning, All Saints’ current stock discount is 0.3%, which ensures they do not appeal to the wrong consumer profile.

Edited (2017b) identified that in November, most newsletters are sent out; coinciding with ‘Black Friday’, suggesting consumers are very active around this period, which will influence future allocation and distribution planning.

All Saints currently have 70 UK retail locations and are classified based geographical location and size.

A-Grade = 10 stores B-Grade = 12 stores C-Grade = 14 stores D-Grade = 34 stores

1.1 Marketing Mix

Figure 3 - All Saints product colour distribution

Low

Market Growth Rate

High

Relative Market Share

2017

High

Low

stars Bomber Jackets = 54 Suede Biker Jackets = 53 Silk Dresses = 31 Silk Shirts = 21

QUESTION MARKS ‘Capital Collection’ = 36 Animal Prints = 11 Shorts = 1

CASH COWS Leather Jackets = 104 Cashmere Knits = 46 Basic T-shirts = 146 Skinny Jeans = 32

DOGS Swimwear = 7 Leggings = 8 Studded Belts = 12

Figure 2 - Boston Matrix of All Saints products

2012

Product Figure 2 presents a Boston Matrix of current products; All Saints are renowned for their leather jackets, justifying 104 available options. Bruce and Daly (2006) state the importance of garment design to incorporate a balance between trend forecasting and retailers’ consumer profile.

Figure 3 identifies in-stock products colour distribution, from the same period in 2012 and 2017. Currently, product

offering is larger than in 2012, however, development in trend influences with greater colour options is visible. Dark colour palettes still feature, remaining true to their brand identity, but refreshing to see more trenddriven influences, aiding market growth.

1.2 In-Store Environment

Figure 4 - Fascia of All Saints Manchester Market St. store

8

Figure 5 - All Saint’s iconic ‘Singer’ sewing machine display

Store atmospherics are designed to create an environment that produces emotions to provoke consumer purchasing (Kumar and Karande, 2000), as well as an opportunity for retailers to conceptualise their brand image. Store aesthetics have developed over time, and by introducing rusted light bulbs, an improved shopping environment is created; making products more visible, whilst worn wooden floors and exposed bricks still feature. Factory machinery and distressed displays are iconic for All Saints, reflecting their style-savvy, androgynous consumer. Development of colour palettes are also evident within visual merchandising

Figure 6 - All Saints visual merchandising display

displays (Figure 5). Creative director Wil Beedle discussed transforming the previously fragmented sense of nostalgia seen within product ranges into a contemporary approach (Conlon, 2015). All Saints could incorporate their distinctive brand image, integral to their success, with a refined trend-driven approach; allowing them to dissolve their ripped t-shirts reputation and be a premium market leader.

2.0 Internal Analysis Internal Analysis

Strategic Analysis

External Analysis

10

strategy generation & choice

Strategy implementation

Vignali (2016)

1. Resources: Tangible financial

85% of the company owned by Lion Capital, following brink of administration in 2011 due to struggles with cash flow. Since then, All Saints are in a strong financial position worth around ÂŁ206m, with continuous growth into new global markets (Hounslea, 2016).

physical

224 stores, including concessions and outlets across 25 countries, with head offices in both the UK and USA. All Saints also have a 100% direct distribution model, therefore own all their inventory through direct sourcing approach (Hounslea, 2015).

1. Resources: intangible

All Saints use cloud-based computing, by having in-house control of their online platforms, including a transactional website. Creative and strong technology brand identity, advertising through online channels such as YouTube. Online sales distribution now also using stores as distribution centers for efficiency. Using Amazon Prime as a delivery method. \

reputation

British heritage brand, with a clear and focused consumer group. Traditionally, All Saints had a predominantly dark colour palette, yet they have developed a colour palette that moves them away from their niche positioning, to grow with their traditional and core consumer (Hounslea, 2015).

human

Strong research and development team. Over 2700 employees globally. Keen to promote internal developments, with 14% of corporate workforce starting in retail stores. Vendor Managed Inventory (VMI).

2. organisational capabilities

Effective VMI improving product allocation and having stock in the right place, at the right time. Planning and ordering costs decreased, increasing cash flow to be invested into product development. Distinctive customer service with 24-hour multilingual service available for help with product orders and styling advice.

Product design capabilities (perfect combination of aesthetic, comfort, quality and brand identity). Continuous investment in employees.

3. competitive advantage Innovative premium wear retailer, leading the way within the market in terms of craftsmanship. Dramatic expansion of their core product areas, including non-apparel products by 2020. Non-aggressive marketing, suggesting their strong brand identity, product offering and store experience is at the forefront of All Saints success. Strong supplier relationships as a result of VMI, strengthening their ties with manufacturers. Associations with creativity (music, art and fashion), highlighting a point-of-difference within the market.

4. strategy Product differentiation: continuous development of products and their features, incorporating the needs of their target consumer group. The USA is a key global market that All Saints should continue to target. Incorporate their brand identity and values of music and fashion, into cultures of markets they currently operate within through co-branding initiatives. With VMI, suppliers more likely to help All Saints diversify their product offering.

5. resources gap Continue to invest in innovation, research and development and continue investing in their physical retail space to maintain their integral store environment experience for consumers. To target global markets, adopting a new approach to marketing may be suitable to ensure growth and success; although they are aware how to target their UK customer base, consumers of new markets may prefer a different approach, with improvements to online presence, but still ensuring it is appropriate and suited to their brand image.

Table 1 - Resource-based View Analysis

value

Does All Saints’ resources and capabilities enable them to respond to environmental threats or opportunities?

Being a leader within the premium sector of the UK high street, All Saints have both the resources and capabilities to respond to environmental threats and opportunity. Their commitment to their employee’s internal developments creates a collaborative approach to all aspects of the business; making responding to threats and opportunities efficient and more effective. as well as their reputation enables All Saints to keep up-to-date with developments and trends. The effective use of VMI increases All Saints abilities to respond to market demands, this leveraging their advantage. Their resources and capabilities could also enable All Saints to enter established markets, but ward off competition threats with their market leading superiority, in terms of high-quality products and immersive store environment. By utilising their core competencies, All Saints can exploit numerous market opportunities, and gain access to a wide variety of markets.

rarity

As identified, All Saints’ brand image is significant to their identity and recognition on the UK high street. For retailers to have such powerful concepts behind their identity like All Saints, who pride themselves on their heritage, is extremely rare. All Saints’ ability to create unique, high-quality garments with undeniable craftsmanship is unmatched within the industry. Although competitors within this particular market sector also differentiate themselves through their highquality product offering, and may be able to gain temporary competitive advantage by reacting to a trend much quicker than All Saints (leather accessories); their resources and capabilities allow them to develop more desired products than previously offered by their competitors, but also with their brand identity combined (‘Capital Collection’), and be recognised within the market for them.

imitability

The imitability of All Saints heritage, which lies integral to their success is impossible for competitors to do; therefore, new entrants or firms currently operating within the market will not be able to imitate All Saints reputation. Their reputation is built up from over 21 years of service, with their brand image being continuously developed; making it extremely difficult for competing firms to imitate and keep up-to-date, without a severe cost disadvantage. Although product and their silhouettes are easy to imitate, competitors would struggle to overcome the unique and desirable market perceptual dominance, that All Saints have achieved from their customers over the years.

organisation

Without All Saints’ capability and resources are central to their strategies, with their corporate objectives formulated around this. All Saints’ innovative and unique approach to product development, has gained continuous profitable results within the premium womenswear sector. Their distinctive image and mission statement is what day-to-day operations and decisions are based on, including promotional campaigns. Within recent years, developing the brand has drawn in a broader customer base for All Saints, which has achieved significantly profitable results. As all aspects of the business are aligned, sustained competitive advantage will continue providing All Saints continue to be innovative, meet market demands but staying true to their DNA which brought customers to the brand initially.

Are All Saints’ resources currently controlled by only a small number of competing firms?

Do firms without a resource face a cost disadvantage in obtaining or developing All Saints’ resources?

Are All Saints’ other policies and procedures organised to support the exploitation of its valuable, rare, and costly-to-imitate resources?

Table 2- VRIO Analysis

12

2.1 Summary From a resource-based view, as well as understanding All Saints resources and capabilities, analysis can clearly identify that their formula creates a long-term competitive advantage.

All Saints’ distinctive reputation enables them to diversify into new markets with clear vision, built on strong heritage and craftsmanship.

Despite new market diversification posing a significant risk for retailers, the confidence All Saints have in their high-quality product offering, service and brand personality allows them to remain profitable. Unless drastic, unanticipated changes occur within this market, All Saints’ resources and capabilities will allow them to continue new market growth, through contemporary and innovative approaches to product development.

"prior to making product range decisions, the best research includes talking directly to existing consumers" (jackson and shaw, 2001)

14

3.0 Consumer Research

All Saints target stylish 21-35 age millennial demographic. Obal and Kunz (2013) describe Millennials as ‘digital natives’; aligning with All Saints’ continuous technological developments.

Mintel (2015a) describes this market to be driven by ambitious career and financial goals, with older Millennials likely to earn higher salaries compared to their younger counterparts. This suggests higher disposable income, for work and leisure fashion, suiting

the premium market position and implemented pricing structure of All Saints. Mintel (2015a) additionally states that Millennials are more likely to have a creative career path, compared to Baby Boomers; fitting the ‘digital native’ description.

Primary research was conducted by interviewing an All Saints consumer, to gather qualitative insight into buying habits and psychographic information. Appendix 2 details an

overview of questions and responses given by the consumer. From these findings, a consumer pen portrait has been created. Jackson and Shaw (2001) explain that pen portraits should include an accurate researchbased description of said consumer, with imagery to inform the product development process of how an All Saints consumer would style their outfits.

3.1 Consumer Profile

Figure 7 - All Saints consumer pen portrait

name: Elizabeth age: 31 occupation: Senior Marketing Executive income: £52,000 disposable income: £500-650 per month diffusion of innovation: Innovator Desires to be a trendsetter, with design and aesthetic overriding price. order winners: • ‘Hero’ fashion garments at least once a season to ensure her outfit styling is refreshed on trend-driven.

• Variety of silhouettes, focusing on layering garments as opposed to t-shirt and jeans combination.

• Durability and quality are crucial. why all saints?: • Unique and edgy approach to workwear.

• Convenience due to width of product offering.

• Differentiated from mass market fashion.

16

Figure 8 - All Saints consumer board

4.0 Competitor Analysis

18

Elliot and Rider (2007) discuss the importance of product appealing to retailers’ target markets and being sufficiently differentiated from competitors. Thorough knowledge of competitors strengths and weaknesses is required to help retailers anticipate their competitor’s next moves (Wright, Pickton and Callow, 2002).

Due to All Saints market positioning, they promote high fashionability and premium quality products.

Competitors have been identified based on various attributes, resulting in some competitors operating within the mass market due to their fashionability and high-quality perception. Perceptual mapping is a tool used to visualise competitors market position, evaluating the threat of substitute products, as well as informing new product

developments (Sinclair and Stalling, 1990). All Saints’ contemporary approach to trend influences increases fashionability. Operating within the premium market, pricing is the main differential from mass market retailers; therefore, relevant attributes to analyse competitors.

With similar levels of fashionability and product levels (Figure 9), Cos can be identified as a key competitor.

Research identifies The Kooples, another premium retailer, to be less fashionable than All Saints, but implement higher pricing; suggesting fabric compositions are of higher quality.

£££

Low Fashionability

High Fashionability

£

Figure 9 - Perceptual map for All Saints’ competitors

"millennials use brands to communicate their values and beliefs and generally demonstrate brand loyalty towards high-priced items" (lodes and buff, 2009)

20

Fast-fashion retailer Zara targets mass market millennials, therefore, in-stock products will be consistently high. Edited (2017d) shows French Connections products having similar depth to Zara, despite being a premium market fashion retailer.

Research also identified French Connection currently have 63% of stock discounted, compared to 6.2% for Zara; suggesting French Connection’s inability to sell products without discount. All Saints can learn from this by ensuring width and depth of product ranges are suited to their market, enabling profit maximisation.

Comparing to All Saints product colour distribution (Figure 3), Figure 9 identifies how trend-driven their competitors are; especially Urban Outfitters, Ted Baker and Topshop. Despite All Saints’ adopting a contemporary approach, using similar colour palettes would alienate consumers, therefore, dilution of trend influences will be required.

Figure 10 - All Saints’ competitors colour distribution wheel

zara 2373 products

topshop 7304 products

urban outfitters 2413 products

the kooples 594 products

ted baker 1319 products

french connection 1983 products

cos 657 products

american apparel 113 products

theory 263 products

5.0 External Analysis Internal Analysis

Strategic Analysis

strategy generation & choice

External Analysis

Vignali (2016)

Appendix 3 presents a completed Porter’s Five Forces analysis. The high bargaining power of suppliers emphasises the importance for All Saints to rebuild relationships with their suppliers, therefore choosing a strategic direction to aid this is crucial, as opposed to sourcing new suppliers. Reducing the risk of new entrants through continuous innovation makes replication of products identity extremely

22

Strategy implementation

challenging for competitors. In turn, this will allow millennials to use All Saints as a form of self-expression (Gupta, Brantley and Jackson, 2010), preventing consumers from considering substitute product offering, simultaneously reducing their bargaining power. The completed model re-affirmed All Saints strong and competitive market position, reducing the overall risk of a diversification strategy.

macro-environment analysis

strategic implications

political

• Following Britains vote to leave the European Union, posing a number of Despite ‘Made in Britain’ ranges fitting All Saints brand challenges for all business sectors, Mintel (2017) identifies that it has revived feelings identity, it is important for product offering to remain of nationalism and patriotism amongst consumers; driving sales for heritage brands. unique, to differentiate themselves within the market.

economical

• Mintel (2016b) reported that fluctuating exchange rates has encouraged tourism, with US tourists being the highest spenders when visiting the UK. Yet this has caused uncertainty for domestic consumers, therefore, they may be more inclined to save their disposable income.

• Brexit has caused inflation, which has presented retailers with a dilemma as to absorb additional costs or pass these onto the consumers (Mintel, 2016c).

Brown (2017) discusses that rising product prices have not deterred consumers’ spending on premium products. Due to their premium market positioning, All Saints’ consumer base will not be affected by prices rising, therefore the risk of introducing new diverse product ranges will be significantly minimised, compared to mass market competition.

social

• As clothing markets continue to grow, consumers are demanding more unique, limited edition products; with three in ten female millennials being drawn to purchases because of their unique design (Mintel, 2015b).

• Unisex clothing and gender-neutral garments are continuing to dominate retailers product ranges (Moran, 2017).

Co-branding initiatives are being utilised as a tool to develop a ‘trendy’ image, to give a competitive edge (Mintel, 2016f). All Saints could combine this with their passion for creativity, to create unique collaborations, avoiding mainstream celebrity endorsements.

technological

• Digital technology use in-stores is becoming an integral part of operations. The introduction of self-service EPOS systems has removed the necessity for till areas operated by staff members; enhancing customer convenience and wait times during peak trade (Mintel, 2016e).

• Retailers are beginning to integrate virtual reality and social media presence, with 360-degree shoppable campaign videos. Played to consumers through interactive windows, but ‘episodes’ will be periodically played through social media platforms such as Instagram (McGregor, 2017).

In order for All Saints to maintain a point-ofdifference within the premium market, introducing vast amounts of technology would fragment their store identity by clashing with worn and distressed interiors. Additionally, it could potentially ‘devalue the experience for consumers, as All Saints are known for using unique channels of communication; such as their ‘live lounge’ videos.

legal

• The International Organisation for Standardisation (ISO) recently updated An extension of All Saints premium ‘Limited’ range ISO 8559, relating to the standards followed by clothing manufacturers; in order to could be created, in line with the introduction of a new improve fit, thus reducing amount returns for retailers (Hounslea, 2017). benchmark for a products fit and quality.

environmental

• As a result of unpredictable and changing consumer tastes, Bruce and Daly (2006) challenge the momentum of the fashion cycle; preventing consumers from updating their wardrobe as soon as products are available on the market.

• Before purchasing products, 41% of consumers take into consideration how ethical a company is (Mintel, 2016d).

When creating product ranges, it is important to include more lightweight and layered garments within the first phases, to ensure it aligns with consumers purchasing patterns. This can inform allocation and distribution schedules, to prevent overstocking.

Table 3 - PESTLE Analysis and Strategic Implications

strengths

weaknesses

• Loyal consumer base with a strong brand image.

• Vendor Managed Inventory • Encouragement of employee growth and development, in line with their own expansion.

• Excellent craftsmanship within all products.

• W.O.M marketing and unique ‘All Saints Studios’ campaigns; increasing cash flow for product development.

• Some consumers may still perceive All Saints as a brand who are not trend-driven and associate them with a lack of product variety.

• Depth and width or product offering could be improved for best sellers to maximise sales.

• Still incorporating ‘dogs’ into product ranges, despite having a low market growth and market share.

opportunities

threats

• Co-branding initiatives, as millennials are demanding unique and innovative product ranges.

• Development of CSR strategy and ethically sourced products, to fit growing market awareness of the issue.

• Diversification strategy as premium market consumers’ are not deterred from spending, following Brexit.

• Changes to ISO’s suggests that the quality of competitors product offering will significantly improve; increasing the number of substitutes available.

• The markets emphasis on British brands may see competitors try to imitate All Saints, devaluing their image.

• Unpredictable and changing consumer tastes, as a result of weather conditions.

24

Table 4 - SWOT Analysis

6.0 Strategic A SWOT analysis (Table 4) summarises findings collated from an internal and external analysis. All Saints’ competitive advantage relies on brand image and loyal customer base.

Shih and Agrafiotis (2015) discuss how valuable resources are able to exploit opportunities or eliminate threats, which positions All Saints to react to external challenges. The threat of competitors replicating British brands can be minimised, due to the rarity of All Saints brand image; so they can exploit the opportunity as a

Positioning

premium-market retailer to implement diversification strategies. All Saints’ mission statement emphasises expressing individuality and attitude, yet some consumers market perception may still be representative of previous product offering. This can be perceived as a competitive disadvantage, therefore strategic direction must emphasise their capabilities and resources, to ensure they are not tarnished with their ‘old’ brush; whilst ensuring their corporate objectives are integral to future strategies.

Figure 11 - Eileen Quinlan: Brooks Brother (2013)

Figure 12 - Eileen Quinlan: Ghost (2013)

7.0 Co-Branding

Figure 13 - Eileen Quinlan: Voyage Out (2016)

26

Research identifies millennials are demanding unique product ranges (Table 3), whilst Jang (2006) states companies pursue collaborations to increase product offering creativity. To align competitive advantage and objectives, co-branding would be a suitable direction.

All Saints’ will collaborate with artist Eileen Quinlan; known for disassembling the layered apparatus of photography, to find new expressive forms. Synonymous with the importance of expression and creativity, All Saints can achieve growth, whilst developing innovative products. Topshop’s celebrity collaboration with Kate Moss, proved to be successful in

the brand’s international expansion (Key Note, 2014); highlighting how co-branding initiatives appeal to a wider demographic. Using Ansoff ’s Matrix (Appendix 1), this will be a diversification strategy for All Saints. All Saints can target advocates of Eileen Quinlan and psychographics with a passion for artistry, and appeal to existing markets.

Product offering will include best-selling products, whilst incorporating innovative prints, inspired by Quinlan’s work.

Porter’s Generic Strategies (Appendix 4) identify ways to compete within an industry. Tanwar (2013) describes differentiation strategies as high-profit generators, as they create substantial entry barriers. To successfully implement this strategy, All Saints must understand the key criterions for product development.

Quality is a key attribute for All Saints, to ensure they develop their current offering, as opposed to substituting order winning factors.

Differentiation will allow All Saints to earn above average returns, as the resulting brand loyalty reduces consumers’ sensitivity to pricing (Tanwar, 2013).

Continuous innovation is crucial to survive and co-branding initiatives detail how All Saints can innovate, based on core competencies and external environment. Innovative product diversification will allow All Saints to target new markets with

unique silhouettes, colour palettes and prints to prevent cannibalisation (Raghavan Srinivasan, Ramakrishnan and Grasman, 2005). Hounslea (2016) reported All Saints’ intended geographical expansion; products from their new co-branding range can be modified to appeal to consumers’ psychographics from targeted countries, whilst maintaining their strong brand image and growth.

8.0 Strategic Evaluation

Table 5 and 6 present strategic evaluation using specific measures as suggested

by Johnson, Scholes and Whittington (2010).

Analysing strategic choice using this criterion allows a better understanding of problems which may occur during implementation, thus enabling retailers to better prepare for these and rectify in the most appropriate way.

28

cost

• Product development will be costly to ensure suitability to existing and new consumers. Increased quality control checks will be implemented within the technical development section, following changes to ISO’s. Fabrics are expected to remain as seen in previous product ranges, reducing the cost of extensive fabric sourcing will not be necessary.

time

• Significant time will be invested into the product development section including new trend translation, to ensure All Saints are taking influence from a variety of sources to ensure they are implementing their planned approach to product development. Delays within the critical path must be prevented to safeguard profit maximisation, therefore existing suppliers will be favoured.

energy

• Design functions will require greater manpower and more responsibility to create suitable prints, whilst working in collaboration with the artist for her creative input.

• All Saints do not use traditional promotional techniques, however, consideration of suitable methods must be considered by marketing functions to maximise sales, but still remain true to their brand identity. Therefore, this strategy will require increased energy from relevant functions.

risk

• New products can introduce risk for retailers, as they have the ability to reduce sales of their existing product offering. As this collaborative range will be created using a new source of inspiration for All Saints, this risk can be reduced as they are a retailer recognised for their product differentiation.

• All Saints current product offering features a range of prints that are signature to their identity; it is important to consider this when developing new prints. They must be representative of Eileen Quinlan’s artistry, but the risk will be minimised if prints continue to evidence All Saints’ DNA. • This womenswear range does not capitalise on the growing gender-neutral retail trend and the potential growth area this can provide, as identified in Table 3. To minimise this risk, consideration of gender-neutral silhouettes will be considered within the product development section.

Table 5 - Evaluation Measures

Important

• As All Saints’ target consumers have been identified as ‘innovators’ (Rogers, 2003), a collaborative product range has potential to deliver a highly valued benefit to target consumers, as it will offer contemporary products with unique influences.

• Eileen Quinlan’s limited following by UK consumers could affect the success, raising questions whether consumers would buy into this range if they are not aware of the artist.

distinctive

• Despite key competitor, The Kooples, recently announcing a footwear collaboration with Puma (Blanc, 2017), they will not be aimed at the same consumers or market, therefore, would not prevent All Saints from increasing their large market share. The nature of these two collaborations is vastly different, with ‘All Saints x Eileen Quinlan’ being representative and distinctive to their brand identity and mission statement.

superior

• Collaborations allow retailers to differentiate themselves from competitors in increasingly challenging markets (Mintel, 2016g), therefore, this will provide an opportunity to produce innovative product offering in comparison to premium competitors.

communicable

• Products will be available in-store, plus the opportunity for online orders to be distributed from retail outlets. Although this collaborative range will initially be aimed at the UK market, to gauge consumer reaction; following successful implementation, introducing new phases to this co-branding strategy could support All Saints on a corporate level.

pre-emptive

• Competitors will be unable to directly imitate prints created for this product range, due to copyright issues and the artist’s influences to create the prints. However, similar trend influences may be used for competitors range plans, therefore silhouettes, colour and styling can be easily copied therefore crucial to focus on All Saints’ brand identity throughout product development research.

affordable

• Pricing will not be a significant focus for product development, due to All Saints’ consumers limited price sensitivity; supported by previous research (Table 3). Although it still needs to be understandable with All Saints existing pricing structure to prevent alienating consumers, it is important to ensure products are reflective of fabric composition, design and key details for profit maximisation.

profitable

• Product development stages will be high cost, to ensure print development is suitable for the consumer and representative of the artists work, otherwise, the collaborative range will be less effective. However, as Tanwar (2013) explained that diversification strategies are high-profit generators, margins are expected to be achieved.

Table 6 - Additional Evaluation Measures adapted from Exploring Strategy (Johnson, Scholes and Whittington, 2010)

"New products evolve over a sequence of stages, beginning with an initial product concept that is evaluated, developed, tested and launched on the market" (Bhuiyan, 2011)

30

9.0 Product

Development

32

pantone 19 - 4340 TCX

pantone 16 - 1120 TCX

pantone 13 - 0905 TCX

pantone 19 - 1320 TCX

pantone 16 - 5807 TCX

pantone 18 - 1660 TCX

pantone 19 - 4023 TCX

“The assortment of influence for ‘InFusion’ creates a subtle and sophisticated retro direction, as period influences become more diluted, yet remain distinctly modern.

Minimalist and maximalist combine, as abstract patterns are merged with clean, stylised silhouettes. Proportion is essential; teaming oversized designs with cropped trousers, ensuring the layered quality of clothing is perfect for the Winter Transitional drop.”

(Sinclair and Boddy, 2016)

9.1 Trend Research slouchy tunic

pussy-bow blouse

plunged cami overlay

wild fauxfur coat

boucle mini skirt

silk pyjama pant

Figure 14 - ‘InFusion’ Trend Board

"Comparative shopping is vital to maintain awareness of merchandise on offer to the target customer and innovations in retail techniques" (goworek, 2010)

34

9.2 Comparative Shop

destroy pullover £238

a-line milano knit jumper £59

graffiti sweatshirt £39.99

Premium Market

Mass Market

Mass Market

Shell: 100% Cashmere Hand wash or dry clean only.

S-L Round neck pullover with destroy details and safety pin fastenings. Also features a dropped sleeve to create an over-sized silhouette.

Shell: 100% Cotton Machine washable.

XS-L Designed with a wide, folded neckline and an A-line fit with splits on each side seam.

Shell: 100% Cotton Machine washable.

S-L A graffiti print sweatshirt, with a frayed and ‘destroyed’ look with rips on the front and sleeves.

36

(Left-Right: The Kooples, Cos, Zara, All Saints.)

Figure 15 - Jumpers Comparative Shop

belle lo sweatshirt ÂŁ88 Premium Market Shell: 100% Cotton Machine washable.

XS - L Crafted in soft, loop-back jersey, with a crew neck and ribbed trims making the silhouette very structured.

Jumpers

Best Seller

hayes jacket ÂŁ228

Figure 16 - Outerwear Comparative Shop

Premium Market

38

Outerwear

Shell: 100% Rayon Contrast: 100% Polyamide Padding: 100% Polyester Dry clean only.

XS - L An oversized collarless satin jacket featuring all-over quilting and genuine horn buttons.

collarless coat with belt £135 contrasting short jacket £285

painted overshirt £49.99

Premium Market

Mass Market

Mass Market

Shell: 89% Cotton, 11% Polyamide Lining: 100% Polyester Ribbon: 100% Polyester Dry clean only.

XS - L Elegant short jacket embellished with contrasting white stripes and silver-plated metal daisy buttons.

Shell: 100% Cotton Dry clean only.

XS-L Oversized style with raglan sleeves and large pockets on the front.

Shell: 100% Cotton Machine washable.

XS-L A shirt collar and long sleeves, frayed cuffs and slit detail with prints and embroidery details.

(Left-Right: All Saints, The Kooples, Cos, Zara.)

printed shirt with pockets £55 Frilled sateen blouse Blue lagoon muslin shirt £25.99 £168

Premium Market

Mass Market

Mass Market

Shell: 100% Silk Lining: 100% Polyester Dry clean only.

XXS - XXL Features an elasticated waistband, ruffles and a buttoned neckline, enhancing feminine lines.

Shell: 100% Cotton Machine washable.

XS-L Shirt has an eye-catching print featuring a simple, pointed collar and hidden front buttons.

Shell: 100% Viscose Machine washable.

XS-L Round neck blouse with long sleeves. Button cuffs withall over frill detail.

40

(Left-Right: The Kooples, Cos, Zara, All Saints.)

Figure 17 - Shirts Comparative Shop

patch military shirt ÂŁ98 Premium Market Shell: 100% Cotton Machine washable.

XS - L Longline, oversized style featuring embroidered patches on both sleeves, inspired by the American military.

Shirts

balfern leather biker ÂŁ318

Figure 18 - Leather Jackets Comparative Shop

Premium Market

Best Seller

42

Leather

Shell: 100% Goat Leather Lining: 62% Viscose, 38% Cotton Sleeve Lining: 100% Polyester Specialist Leather clean only.

XS - L Detailed with plaited zip tassels and zip cuffs to create a cohesive look, and a signature belted hem.

lambskin biker jacket £655

rubberised leather coat £290 gathered sleeve jacket £79.99

Premium Market

Mass Market

Mass Market

Shell: 100% Lambskin Lining : 100% Polyester Sleeve Lining : 95% Acetate, 5% Elastane Washing not recommended.

XXS - XXL Soft biker with silver-tone metal daisy collar buttons. Features a zip fastening with a structured silhouette.

Shell: 100% Leather Dry clean only.

XS-L The design features a toggled drawstring fastening, with a standing collar for structure, large flap pockets and a chunky metal zip-up.

Shell: 97% Cotton, 3% Elastane Lining: 100% Polyester Machine washable.

XS-XL Round neck jacket with long gathered sleeves and stretched cuffs. Adjustable waist with bow, and a decorative front zip fastening.

(Left-Right: All Saints, The Kooples, Cos, Zara.)

daisy love print skirt £238

rubberised leather skirt £175

asymmetric denim skirt £25.99

Premium Market

Mass Market

Mass Market

Shell: 100% Polyester Dry clean only.

XXS - XXL Fluid pleated skirt distinguished by its bold pattern, with feminine detail of grosgrain braid with a chain jewel.

Shell: 100% Leather Dry clean only.

XS-L Designed with a toggled drawstring waist for enhanced fit, with large flap pockets and a soft cotton lining.

Shell: 100% Cotton Machine washable.

XS-L Frayed asymmetric hem, with ripped detail to create a ‘worn’ look.

44

(Left-Right: The Kooples, Cos, Zara, All Saints.)

Figure 19 - Skirts Comparative Shop

merin skirt ÂŁ128 Premium Market Shell: 100% Polyester Hand wash only.

XS - L A mid-length skirt crafted in pleated satin for a subtle flared shape, finished with grosgrain trims at the waist.

Skirts

Best Seller

astara trousers ÂŁ148

Figure 20 - Trousers Comparative Shop

Premium Market

46

Trousers

Shell: 75% Polyester, 18% Viscose, 7% Elastane Contrast: 78% Acetate, 22% Polyester Pocket Lining: 62% Viscose, 38% Cotton Dry clean only.

XS - L Mid-rise wide leg tailored trousers, finished with contrasting crepe panels running down the side seams.

velvet bootcut trousers £170

overlap trousers £79

asymmetric flare trousers £39.99

Premium Market

Mass Market

Mass Market

Pocket Lining: 60% Acetate, 40% Cupro Shell: 90% Polyester, 10% Elastane Dry clean only.

XS - XL Flowing trousers with a seventies inspired bootcut design; a belt is used to adjust fit.

Shell: 65% Viscose, 35% Polyamide Machine washable.

XS-L A clean wide-cut silhouette with simple overlapping detail, with a comfortable stretch.

Shell: 100% Polyester Machine washable.

XS-L On-trend flared trousers with panel detailing, featuring a stand-out asymmetric hem.

(Left-Right: All Saints, The Kooples, Cos, Zara.)

Daisy love strappy dress £378

flared shirt dress £79

embroidered tulle tunic £25.99

Premium Market

Mass Market

Mass Market

Shell: 50% Polyester, 50% Cotton Exterior: 100% Silk Dry clean only.

XXS - XXL Feminine panel detail with a bold floral pattern.

Neckline trimmed with guipure lace.

Shell: 69% Cotton, 27% Polyamide, 4% Elastane Machine washable.

XS-L A relaxed fit garment with a graduated hemline.

A hidden button fastening runs down the front.

Shell: 100% Polyester Hand wash only.

S-L Tulle tunic with sequinned embroidery. Round neck and long sleeves with flared cuffs.

48

(Left-Right: The Kooples, Cos, Zara, All Saints.)

Figure 21 - Dresses Comparative Shop

bria dress ÂŁ128 Premium Market Shell: 100% Cotton Hand wash only.

XS - L Shirt dress, featuring smock detailing at the waist for a flattering silhouette. Stand collar and a pleated skirt adding a feminine touch.

Dresses

Best Seller

price point

trims and detail

With the exception of two Cos products, differentiation of price between mass and premium market retailers is evident.

The Kooples fashionability does not match that of other retailers, despite their premium pricing. Compared with All Saints, their leather jackets have similar fabric compositions, yet pricing differs by £300, despite the ‘Balfern’ being an All Saints best-seller. All Saints could consider increasing pricing, depending on product classification, for profit maximisation. However, a concern is that All Saint’s pricing has no structure; they would benefit from introducing multiples of £5 or £10 to ensure it does not reflect arbitrary pricing, similar to mass market retailer Zara.

With the dominating retail trend of gender-neutral garments (Moran, 2016), minimalistic approaches to trims and details are key. All Saints are proving to be successful at this; for example, their ‘Astara trousers’ have a simple silhouette, adapted into a savvy on-trend garment with bold contrast detailing. Similarly, Cos make pockets functional as well as a design feature. Although suitable for their consumers, Zara’s distressed graffiti prints would be too directional for All Saints consumers, as well as being common between mass market retailers. This could potentially confuse premium market consumers, therefore important for All Saints to avoid. Despite The Kooples incorporating high levels of detail, it can be perceived as tasteless and mismatched.

9.3 Comparative Shop Analysis 50

garment style

garment care

Fabric

All Saints product ranges were predominantly classic, with limited or no hero or fashion pieces, continually repeating previous season styles. Product ranges have been revitalised with injections of diluted colour, improving their marketing positioning and allowing them to compete with Zara. Whilst maintaining their identity, All Saints have differentiated themselves from premium market competitor The Kooples, who’s products lack cohesion and fashionability, with dated shirt silhouettes. As option depth also includes available sizing (Jackson and Shaw, 2001), retailers must ensure consistent sizing options, which Zara and The Kooples fail to achieve.

Potentially, this jeopardises the number of targetted consumers, therefore All Saints need to maintain their sizing of ‘XS-L’ throughout every phase.

All Saints use a variety of care instructions, including dry clean or hand wash only.

Despite target consumers having a high disposable income, this does not detract away from the inconvenience of these requirements. All Saints offer alternatives for some products, unlike The Kooples who state dry cleaning is the only suitable method, to ensure product quality is maintained. Despite hand washing being less convenient than machine washing, it does not incur additional costs that dry cleaning does; demonstrating how All Saints appeal to their consumers more appropriately than their premium competitors, in the current economic climate. All Saints could consider how to assist their consumers more, similar to Zara and Cos, by only having necessary garments requiring hand washing or dry cleaning.

Goworek (2010) discusses that high natural fibre compositions increase consumers’ perception of quality. Comparing All Saints and The Kooples leather jackets, exterior fabrics are constructed using 100% premium natural fibres, but, The Kooples use synthetic lining, increasing durability and decreasing comfort. All Saints use similar sleeve lining fabric, but natural fibres construct the main lining fabric, increasing comfort. Despite Cos being a mass market retailer, All Saints can learn from their high natural fibre composition with small quantities of polyamide and elastane, which ensures high-quality perception, without compromising comfort or durability.

For skirts, constructed with synthetic materials that do not have an intended tight fit, comfort or breathability would be less of a priority, decreasing the cost price.

9.4 Directional Shop

summary

silhouettes

Sutherland (2017b) reports how ‘athleisure’ is continuously growing into the high street, supported by Edited (2017f) discussing the revival of ‘hoodies’ seeing a 138% rise in popularity. With the dominance of layered garments, the oversized silhouette is a versatile style but would also create an opportunity for All Saints to multi-sell garments.

designer influence Valentino’s SS17 collection combines nudes, pleated metallics and black tulle, to create an elegant and edgy range. Tailored silhouettes with large collared designs are styled with loose fitting garments, enhancing colour and texture placement.

The combination of oversized, layered outfits styled with sheer and feminine fabrics, can create a diverse product range suitable for the changing tastes of All Saints consumers.

52

This directional shop has highlighted how specific attributes can be incorporated into their AW17/18 collaborative product range. As their target consumers work within more creative industries (Figure 7), the need for garment choices to reflect their persona is key; aligning with All Saints mission statement. Contrasting silhouettes compliment feminine frilled detailing and diluted directional colour palettes, All Saints can design a range relative to ‘InFusion’, whilst maintaining the brand’s integral identity. Dominating ‘athleisure’ influences could attract fashion-forward consumers, broadening market share.

textures

The use of netted fabrics and textures are heavily featured within SS17 catwalks. Netting has been used to construct garments, adding structure and enhancing silhouette to give an edgy look, but also adding feminity to a garment to give a lightweight feel.

details

Alexander McQueen’s SS17 catwalks incorporated frills to enhance the depth and delicacy of silhouettes, in contrast to the dominant and grungy colour palette. All Saints could use this approach to incorporate trend-driven design features subtly.

pantone 8062 - C

pantone 8040 - C

pantone 8683 - C

colour Dries Van Noten incorporated a bright metallic colour palette into his SS17 range, suggesting retro influences that contrasted against different textured garments. Metallics add depth and a fresh sense of opulence to the collection. When incorporating into product ranges, consideration of other design elements and brand identity is crucial.

ASymmetry Hemlines, sleeves and necklines are used to create asymmetrical silhouettes at irregular angles. ‘InFusion’ trend research emphasised the use of geometric shapes; asymmetrical silhouettes can be incorporated into All Saints AW17/18 product range as a representation of this. Light fabrics such as silk blends add a sense of understated luxury to asymmetric silhouettes; also common within the comparative shop.

9.5 Retail Analysis spliced garments

(Watkins, 2017)

54

Linking with the theme of asymmetry, spliced garments are made to look like two separate garments combined which dominate retail stores this Spring. However, it is common for spliced garments to be associated with varsity and band inspired texts and prints, creating a mass-market feel to the garment inappropriate for All Saints’ consumers.

9.6 Print Development Similarly, ‘Brooks Brother’ has been digitally traced, keeping only key shapes.

An image trace has been completed of ‘Ghost’ by Eileen Quinlan, to create a clear copy of the artwork, ready for digital manipulation.

Key colours identified from trend research have been applied to the traced drawing to experiment with appropriate colour for the prints; but also to see how bolder hues can be incorporated into the range, without being too directional.

Design developments show how print placement is vital when incorporating directional colours into a range. The garment with Pantone 19-4340 TCX looks less aesthetically pleasing and is inappropriate for All Saints; whereas included in a print with neutral hues, it can create a trend-driven innovative garment.

‘InFusion’ researched colour palette has been applied to experiment with dimension and colour placement. The developments above show the versatility of the print, creating a unique interpretation of the artwork.

Repeating prints is another form of placement experiment.

For All Saints, repeating the print can cheapen the overall styling and isn’t representative of their image.

silhouette Silhouettes have used trend-driven, directional and brand influences to increase the success of All Saints diversification strategy. A longline blazer is adapted from a basic workwear silhouette, using oversizing to increase fashionability. Oversized silhouettes will feature heavily throughout the range, with a view for these to be worn with fitted styles, adding depth influenced by Valentino’s styling.

Retail analysis shows asymmetrical silhouettes are popular and will feature within the range, as a diluted approach to ‘geometric shapes’. It is key to incorporate best-selling silhouettes, so styles such as the ‘Balfern Leather Jacket’, ‘Bria Dress’ and ‘Bello Lo Sweatshirt’, will be developed to remain trend-driven for the current season, whilst ensuring they will prevent alienating core consumers.

10398 - C TCX pantone 19 - 4023

pantone 16 - 1341 TCX

pantone 13 - 0905 TCX

pantone 19 - 4023 TCX

pantone 16 - 5807 TCX

pantone 19 - 1725 TCX

56

To ensure product depth is consistent with previous seasons, unlike French Connection, prints will only use certain colour shades, as opposed to incorporating every colourway.

They will be repeated throughout all product phases, to ensure continuity. Repeat prints will not be used to prevent products looking too busy, due to the use of trenddriven silhouettes; ensuring products reflect premium market offering.

pantone 8040 - C

print

colour The chosen palette has taken influence from key research. Pantone 19-1725 TCX and 16-1314 TCX have been transformed to deeper hues to ensure trend-driven colours remain, suitable for consumers. Pantone 19-4023 TCX, 16-5807 TCX and 16-1341 TCX have remained from trend research, as they are consistent within All Saints product ranges, identified in Figure 3. Metallic directional colour Pantone 8040-C will add dimension into the third phase of their product range, as well as suited to the season.

Pantone 10398-C is a classic shade for All Saints, thus creating a thread of continuity between existing and future product ranges, also reducing fragments within the range.

details

Directional influences of frills and ruffles enhance the depth of silhouettes, whilst adding femininity to a product range with predominantly dark hues. They will feature throughout All Saints’ product range, however with strong dilution to create freely formed ruffles; preventing a childish look to the range, ensuring products are suited to the target consumer.

fabric Translucent fabrics will be used on specific garments to dilute to the intensity of prints, whilst reflecting directional feminine influences. As research identified, fabric compositions will take into consideration both durability, comfort and quality to ensure All Saints are remaining competitive, and reflect their premium market positioning. Silk blends will be incorporated to create a luxurious feel, to capitalise on consumers having reduced price sensitivity.

Competitor analysis identified Cos using large pockets, for functionality as well as design features, which will influence All Saints product range. This aligns with initial trend research, as geometric shapes were key attributes for ‘InFusion’.

9.7 Trend Translation

ASEQ-582

ASEQ-580

ASEQ-583 ASEQ-581

ASEQ-584

58

ASEQ-585

ASEQ-587

ASEQ-586

9.8 Phase One

ASEQ-580 ‘Madison Flared Cuff Top’ £165 XS-L Shell: 74% Cotton, 26% Silk Lining: 100% Polyester Dry clean or hand wash only.

ASEQ-584 ‘Renee Dress’ £165 XS-L Shell: 100% Silk Lining: 100% Polyester Dry clean only.

ASEQ-581 ‘Eileen Lux Jeans’ £95 XS-L 100% Cotton Machine washable up to 30°C.

ASEQ-585 ‘Emilia Skirt’ £215 XS-L 100% Polyester Hand wash only.

ASEQ-582 ‘Balfern II Leather Biker’ £425 XS-L Shell: 100% Goat Leather Lining: 62% Viscose, 38% Cotton Sleeve Lining: 100% Polyester Specialist Leather clean only.

ASEQ-586 ‘Irina Trouser’ £125 XS-L Shell: 75% Polyester, 18% Viscose, 7% Elastane Lining: 62% Viscose, 38% Cotton Machine washable up to 30°C.

ASEQ-583 ‘Ghost Shirt’ £145 XS-L 100% Viscose Machine washable up to 30°C.

ASEQ-587 ‘Delilah Patch Jumper’ £135 XS-L 100% Cotton Machine washable up to 30°C.

ASEQ-588 ‘Grace Flared Crossover Top’ £165 XS-L 74% Cotton, 26% Silk Dry clean or hand wash only.

ASEQ-592 ‘Evie Frayed Ankle Jeans’ £95 XS-L 100% Cotton Machine washable up to 30°C.

ASEQ-589 ‘Minnie Longline Shirt’ £225 XS-L Shell: 100% Silk Lining: 100% Polyester Dry clean only.

ASEQ-593 ‘Alexia Blazer’ £195 XS-L Shell: 78% Viscose, 22% Polyester Lining: 68% Viscose, 32% Cotton.

Dry clean only.

ASEQ-590 ‘Balfern II Leather Biker’ £425 XS-L Shell: 100% Goat Leather Lining: 62% Viscose, 38% Cotton Sleeve Lining: 100% Polyester Specialist Leather clean only.

ASEQ-594 ‘Jemma Asymmetric Skirt’ £135 XS-L Shell: 100% Nylon Lining: 70% Cotton, 30% Polyester Machine washable up to 30°C.

ASEQ-591 ‘Daria Roll Neck Jumper’ £125 XS-L 100% Cotton Machine washable up to 30°C.

60

ASEQ-595 ‘Willow Trouser’ £125 XS-L Shell: 75% Polyester, 18% Viscose, 7% Elastane Lining: 62% Viscose, 38% Cotton Machine washable up to 30°C.

ASEQ-596 ‘Charlton Frill Jumper’ £145 XS-L 100% Cotton Machine washable up to 30°C.

9.9 Phase Two

ASEQ-591

ASEQ-589

ASEQ-590

ASEQ-588

ASEQ-595 ASEQ-593

ASEQ-594 ASEQ-592

ASEQ-596

ASEQ-600

ASEQ-598

ASEQ-599 ASEQ-601 ASEQ-597 ASEQ-605 ASEQ-602

ASEQ-603

ASEQ-604 62

ASEQ-606

ASEQ-597 ‘Emilia Skirt’ £215 XS-L 100% Polyester Hand wash only.

ASEQ-598 ‘Asymmetric Ghost Shirt’ £145 XS-L 100% Viscose Machine washable up to 30°C. ASEQ-599 ‘Balfern II Leather Biker’ £425 XS-L Shell: 100% Goat Leather Lining: 62% Viscose, 38% Cotton Sleeve Lining: 100% Polyester Specialist Leather clean only.

9.10 Phase Three

ASEQ-600 ‘Lillie Suede Skirt’ £235 XS-L Shell: 100% Cow Leather Lining: 62% Viscose, 38% Cotton.

Specialist Leather clean only.

ASEQ-604 ‘Annie Shearling Coat’ £795 XS-L Main: 100% Cow Leather Trim and Lining: 100% Sheepskin Specialist dry clean only.

ASEQ-601 ‘Charlton Frill Jumper’ £145 XS-L 100% Cotton Machine washable up to 30°C.

ASEQ-605 ‘Eileen Lux Jeans’ £95 XS-L 100% Cotton Machine washable up to 30°C.

ASEQ-602 ‘Brooks Brother Jumper’ £145 XS-L Shell: 100% Viscose Sleeve: 100% Silk Chiffon Machine washable up to 30°C.

ASEQ-606 ‘Daria Roll Neck Jumper’ £125 XS-L 100% Cotton Machine washable up to 30°C.

ASEQ-603 ‘Betsy Dress’ £175 XS-L Shell: 100% Silk Lining: 100% Polyester Dry clean only.

hero

PH AS Et

PH AS EO

NE

hr ee

hero

fashion

fashion

Basic

PH AS E

tw o

hero

basic fashion

9.11 Product

Classification 64

Basic

Figure 22 - Range Plan Product Classification

10.0 Technical Development

Pattern and lay plan Date/ Season: 11/09/2017 AW17/18 sample garment: ASEQ-587 supplier: AMZ Fashions pattern name total number of pattern pieces

1

instructions Front and back bodice fabric pieces. Ensure notches are clearly marked for construction.

2

Sleeve

Cut 2

No lining required due to fabric composition.

3

Cuff

Cut 4

Cut 2 using cotton fabric and cut two using interlining fabric, for added durability.

4

Printed Patch

Cut 4

Used to construct contrasting patch.

Collar

Cut 1

Cut on fold to maximise fabric utilisation and minimise waste.

Additional Information

• The sample lay plan suggests how to position pattern pieces to ensure maximum fabric utilisation.

5

2

• Arrows placed on pattern pieces indicate the fabric’s straight grain and how to cut them to ensure the direction of the fabric’s weave is continuous throughout bulk manufacture, to maintain high-quality.

4

• Patterns 3 and 4 measure the same but have been duplicated to ensure fabric utilisation. It is essential to cut through both fabric pieces created by the fabric fold.

• For high-quality outputs, the fabric must be heat pressed prior to manufacture, to prevent fabric buckling and incorrect construction, and must not be used if damaged.

66

110cm Figure 23 - Technical Pack: Pattern and Lay Plan

3

SELVEDGE

Cut 2

FABRIC FOLD

Body

145cm

1

5

sample lay plan

Working Drawing

FRONT view

Date/ Season: 11/09/2017 AW17/18 sample garment: ASEQ-587 supplier: AMZ Fashions

Oversized sleeve

Elbow patch with developed Eileen Quinlan print Round neck collared trim Detailed drawing showing the inside of each cuff with a 514 overlock stitch on raw edge seam

Additional Information

• The garment has a relaxed, oversized silhouette, with little technical requirements. It is developed from an existing best-seller, therefore maintaining the silhouette is key throughout production. Main features include patterned patches over each elbow.

• Cuffs have been added for functionality, to ensure suitable fit for consumers.

Seams will be finished using an overlock stitch to improve durability. The diagram above visualises how this will be achieved.

• Top stitching will increase durability, which is required as the garment will be stretched to be worn. A collar has been added around the neckline to improve the overall lasting quality of the garment.

Figure 24 - Technical Pack: Working Drawing

back view

Blind hem for a high-quality finish

Fitted sleeve towards cuff

Top stitching on cuff

Garment breakdown specification Date/ Season: 11/09/2017 AW17/18 sample garment: ASEQ-587 supplier: AMZ Fashions op no.

needle s.p.i i.s.o stitch seam type and stitches attachment tolerance type allowance size per inch

operation

machine type

seam classification

thread type

1

Press all cotton pattern pieces to remove any creases in fabric prior to construction (Q.C).

Heat Press

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

2

Overlock raw edges of all cotton fabric pieces; except pattern 5 which only requires one edge.

Overlocker

N/A

Multifilament

ISO #401.514

Sharp 80/12

10

Overlocker Foot

2mm

0.5cm

3

Sew two of fabric pieces 4 together, ensuring that the right sides of the fabric are facing together. Repeat with remaining two fabric pieces.

Lockstitch

Class 1

Multifilament

ISO #301

Sharp 80/12

12

Universal Foot

2mm

1cm

4

Attach each to the sleeve pattern piece by sewing along one edge, with the right sides of fabric facing together. Ensure to use notches for guidance on positioning. Once completed on each sleeve, fold attachment down and secure to the main sleeve fabric piece using top stitching.

Lockstitch

N/A

Multifilament

ISO #301

Sharp 80/12

12

Universal Foot

2mm

N/A

5

Sew together each sleeve in a straight line, using notches as a guidance of where to fold the fabric to sew. Ensure fabric is folded with right sides together.

Lockstitch

Class 1

Multifilament

ISO #301

Sharp 80/12

12

Universal Foot

2mm

1cm

6

Attach interlining to each cuff. Interlining may Fusing Machine need to be trimmed once fused, to ensure the BH 600 same size as main fabric piece.

N/A

N/A

N/A

N/A

N/A

Interlining

N/A

N/A

7

Sew together one cuff fabric piece, ensuring the fabric is folded with right sides facing together.

Repeat on the second cuff fabric piece.

Lockstitch

Class 1

Multifilament

ISO #301

Sharp 80/12

12

Universal Foot

2mm

1cm

8

Press both sleeve and cuff seams open, to prevent fabric bulk (Q.C).

Heat Press

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

9

Turn both cuffs inside out, and attach to the bottom of each constructed sleeve; ensuring right sides of the fabric are facing together.

Lockstitch

Class 1

Multifilament

ISO #301

Sharp 80/12

12

Universal Foot

2mm

1cm

68

Table 7 - Garment Breakdown Specification

op no.

operation

seam machine type classification

thread type

needle s.p.i i.s.o stitch type and stitches seam attachment tolerance type allowance size per inch

10

Overlock class 1 seam created by attaching sleeve and cuff together.

Overlocker

N/A

Multifilament

ISO #401.514

Sharp 80/12

10

Overlocker Foot

2mm

0.5cm

11

Sew both body fabric pieces together, on both shoulder seams and down each side of fabric, to create space for neck trim and sleeves to be inserted. Ensuring right sides of fabric are facing together

Lockstitch

Class 1

Multifilament

ISO #301

Sharp 80/12

12

Universal Foot

2mm

1cm

12

Using notches as guidance, attach right and left sleeve onto the main garment body. Turn the body fabric piece inside out so right sides of the fabric are touching. Ensure no gathers in the fabric when stitching for accurate fit (Q.C).

Lockstitch

Class 1

Multifilament

ISO #301

Sharp 80/12

12

Universal Foot

2mm

1cm

13

Overlock the shoulder seams together for a high-quality finish. Repeat for the sleeve and body seams.

Overlocker

N/A

Multifilament

ISO #401.514

Sharp 80/12

10

Overlocker Foot

2mm

0.5cm

14

Press hemline along the bottom circumference of the body fabric, at a measurement of 2.5cm.

Heat Press

N/A

N/A

N/A

N/A

N/A

N/A

4mm

N/A

15

Secure the garment hem. Thread selection is Blind Hemmer vital to increase the quality of the garment, therefore using this machine will prevent stitching from being visible from the outside.

N/A

Monofilament

ISO #301

Curved

12

Blind Hem Foot

4mm

N/A

16

Using the neckline silhouette, created from sewing the two body fabric pieces together, as a guide to sew one side of the collar fabric piece to the main garment. Ensure that the right sides of the fabric are touching when sewing and seams match together. Following this, use a topstitch to secure the open edge of the remaining collar fabric piece to the inside of the garment.

Lockstitch

Class 3

Multifilament

ISO #301

Sharp 80/12

12

Universal Foot

2mm

1cm

17

Ensure all seams are secure, with no defects, removing any visible loose threads (Q.C).

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

18

Use a steamer to remove creases to ensure garment is presented to a high-quality, in preparation to undergo relevant quality control checks and packaging back to retailers DC.

Steamer

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

Table 7 - Garment Breakdown Specification

fabric and trim costing Date/ Season: 11/09/2017 AW17/18 sample garment: ASEQ-587 supplier: AMZ Fashions Metres used cost per width of supplier (length) metre (£) layplan

total cost per garment (£)

Fabric Type

composition

Shell

100% Cotton

1.45m

£41.44

1.10m

Style Centre Ltd

£60.09

Interfacing

80% Polyester, 20% Viscose

0.8m

£0.70

0.5m

Style Centre Ltd

£0.56

Component

composition

required value

cost (£)

size

supplier

total cost per garment (£)

190m

£0.08 (per 5000m)

120s

Sew and So

£0.03

2m

£1.30 (per 130m)

120s

Sew and So

£0.02

2

£2.50 (per 100 labels)

5cm x 2.5cm

Elite Labels

£0.05

total

£60.75

Thread

100% Multifilament

Thread (blind 100% Monofilament hem only) Label

100% Polyester

Shell: 100% Cotton

2

Additional Information

• The measurements given have been accurately calculated, based on provided lay plan measurements. Please note that this is for an All Saints ‘M’, therefore grading up or down will be required to calculate measurements for additional sizing.

• Fabric and components have been selected with quality and All Saints’ consumers in mind.

Measurements given must not be exceeded, to prevent additional costs.

Interfacing: 80% Polyester, 20% Viscose

70

Figure 25 - Technical Pack: Fabric and Trim Costing

Style

SKETCH

FABRIC COMPOSITION

COLOUR

SIZES

PRODUCT SELLING RETAIL RETAIL CLASSIFICATION PRICE MARGIN (%) MARGIN (£)

COST Price

TOTAL TOTAL RANGE TOTAL RANGE % OF QUANTITY COST VALUE PHASE

ASEQ-580

Shell: 74% Cotton, 26% Silk Lining: 100% Polyester

Fashion XS-L (All Colourways)

£165

55%

£90.75

£74.25

19%

7488

£555,984

£1,235,520

ASEQ-581

100% Cotton

Basic XS-L (All Colourways)

£95

64%

£60.80

£34.20

13%

4992

£170,726.40

£474,240

ASEQ-582

Shell: 100% Goat Leather Lining: 62% Viscose, 38% Cotton Sleeve Lining: 100% Polyester

Hero XS-L (All Colourways)

£425

47%

£199.75

£225.25

9%

3648

£821,712

£1,550,400

ASEQ-583

100% Viscose

XS-L

Fashion (All Colourways)

£145

55%

£79.75

£65.25

13%

4992

£325,728

£723,840

ASEQ-584

Shell: 100% Silk Lining: 100% Polyester

XS-L

F = 3648

F = £270,864

H = 672

H = £58,766.40

ASEQ-585

100% Polyester

XS-L

4992

£482,976

B = 2496

B = £112,320

ASEQ-586

Shell: 75% Polyester, 18% Viscose, 7% Elastane Lining: 62% Viscose, 38% Cotton

XS-L

F = 2496

F = £140,400

H = 1824

H = £120,840

100% Cotton

XS-L

6%

2496

£151,632

£336,960

total

39,744

£2,941,355.66

£6,959,040

ASEQ-587

Figure 26 - Costing Spreadsheet for Phase One

Fashion = Hero =

Fashion (All Colourways)

£165

£215

Basic = Fashion =

£125

Hero = Fashion (All Colourways)

£135

F = 55%

F = £90.75 F = £74.25

H = 47%

H = £77.55 H = 87.45

55%

£118.25

£96.75

B = 64%

B = £80

B = £45

F = 55%

F = £68.75 F = £56.25

H = 47%

H = £58.75 H = £66.25

55%

£74.25

£60.75

11%

13%

18%

£712,800

£1,073,280

£852,000

Style

SKETCH

FABRIC COMPOSITION

COLOUR

SIZES

PRODUCT SELLING RETAIL RETAIL CLASSIFICATION PRICE MARGIN (%) MARGIN (£)

COST Price

Fashion (All Colourways)

£74.25

ASEQ-588

74% Cotton, 26% Silk

XS-L

ASEQ-589

Shell: 100% Silk Lining: 100% Polyester

XS-L

ASEQ-590

Shell: 100% Goat Leather Lining: 62% Viscose, 38% Cotton Sleeve Lining: 100% Polyester

ASEQ-591

100% Cotton

XS-L

ASEQ-592

100% Cotton

ASEQ-593

Shell: 78% Viscose, 22% Polyester Lining: 68% Viscose, 32% Cotton

ASEQ-594

Shell: 100% Nylon Lining: 70% Cotton, 30% Polyester

Fashion XS-L (All Colourways)

£135

55%

£74.25

£60.75

ASEQ-595

Shell: 75% Polyester, 18% Viscose, 7% Elastane Lining: 62% Viscose, 38% Cotton

XS-L

Fashion (All Colourways)

£125

55%

£68.75

ASEQ-596

100% Cotton

XS-L

Fashion (All Colourways)

£145

55%

£79.75

72

Figure 27 - Costing Spreadsheet for Phase Two

Fashion = Hero =

£165

£225

55%

£90.75

F = 55%

F = £123.75 F= £101.25

H = 47%

H= £105.75 H=£119.25

TOTAL TOTAL RANGE TOTAL RANGE % OF QUANTITY COST VALUE PHASE 16%

7488

£555,984

£1,235,520

10%

F = 3648 H = 672

F = £369,360 H = £80,136

£972,000

Hero XS-L (All Colourways)

£425

47%

£199.75

£225.25

8%

3648

£821,712

£1,550,400

Basic (All Colourways)

£125

64%

£80

£45

16%

7488

£336,960

£936,000

Basic XS-L (All Colourways)

£95

64%

£60.80

£34.20

6%

2496

£85,363

£237,120

F = 3648

F = £320,112

H = 672

H = £69,451.20

12%

4992

£303,264

£673,920

£56.25

16%

7488

£421,200

£939,000

£65.25

6%

2496

£162,864

£361,920

total

44,736

£3,526,406.20

£7,748,280

XS-L

Fashion = Hero =

£195

F = 55%

F = £107.25 F = £87.75

H = 47%

H = £91.65 H=£103.35

10%

£842,400

Style

SKETCH

FABRIC COMPOSITION

COLOUR

SIZES

PRODUCT SELLING RETAIL RETAIL CLASSIFICATION PRICE MARGIN (%) MARGIN (£) Fashion =

COST Price

F = 55%

F = £118.25 F= £96.75

H = 47%

H= £101.05 H=£113.95

F = 3648

F = £352,944

H = 672

H = £76,574.40

12%

4992

£325,728

£723,840

£225.25

5%

1824

£410,856

£775,200

£129.25

£105.75

12%

4992

£527,904

£1,173,120

55%

£79.75

£65.25

6%

2496

£162,864

£361,920

55%

£79.75

£65.25

6%

2496

£162,864

£361,920

F = 3648

F = £297,280

H = 672

H = £62,328

9%

3648

£1,537,084.80

£2,900,160

£34.20

12%

4992

£170,726.40

£474,240

£45

18%

7488

£336,960

£936,000

total

41,568

£4,424,113.60

£9,391,200

ASEQ-597

100% Polyester

XS-L

ASEQ-598

100% Viscose

Fashion XS-L (All Colourways)

£145

55%

£79.75

£65.25

ASEQ-599

Shell: 100% Goat Leather Lining: 62% Viscose, 38% Cotton Sleeve Lining: 100% Polyester

Hero XS-L (All Colourways)

£425

47%

£199.75

ASEQ-600

Shell: 100% Cow Leather Lining: 62% Viscose, 38% Cotton

XS-L

Fashion (All Colourways)

£235

55%

ASEQ-601

100% Cotton

XS-L

Fashion (All Colourways)

£145

ASEQ-602

Shell: 100% Viscose Sleeve: 100% Silk Chiffon

XS-L

Fashion (All Colourways)

£145

ASEQ-603

Shell: 100% Silk Lining: 100% Polyester

XS-L

ASEQ-604

Shell: 100% Cow Leather Lining: 100% Sheepskin

Hero XS-L (All Colourways)

£795

47%

£373.65

£421.35

ASEQ-605

100% Cotton

XS-L

Basic (All Colourways)

£95

64%

£60.80

ASEQ-606

100% Cotton

XS-L

Basic (All Colourways)

£125

64%

£80

Figure 28 - Costing Spreadsheet for Phase Three

Hero =

Fashion = Hero =

£215

£175

TOTAL TOTAL RANGE TOTAL RANGE % OF QUANTITY COST VALUE PHASE

F = 55%

F = £96.25 F = £78.75

H = 47%

H = £82.25 H=£92.75

10%

10%

£928,800

£756,000

10.3 Critical Path

Table 8 - Critical Path for ASEQ-587

department

Womenswear

LEAD TIMES notes/issues

product code

ASEQ-587

N/A

Please note that all communication and correspondence between business functions and third-parties regarding this product must include product code/SKU to ensure efficient responses and prevent miscommunication.

product description

Delilah Patch Jumper

N/A

This product sits within the first phase of All Saints Autumn/Winter 17/18 collaboration with Eileen Quinlan. It is a ‘fashion product’ therefore allocated to A, B and C-grade stores. The silhouette has been developed from previous seasons best sellers, as popular with consumers.

supplier

AMZ Fashion

N/A

Supplier chose due to their specialism of printing methods, high-quality outputs and speed of production and delivery.

All Saints also have a strong relationship with this supplier.

c.o.o

Istanbul, Turkey

N/A

Current wars and conflict with countries bordering Turkey have been taken into consideration when choosing this supplier and planning the critical path. Longer lead times have been scheduled as a result of external influences, in order to minimise the risk present.

2496

N/A

Quantity has been determined based on consumer behaviour, the information gathered throughout product development stages, as well as store classifications. Negotiation with suppliers has also influenced the total quantity which will be supplied and distributed.

10/03/2017

3 weeks

Product development stages must be completed by the date specified; this is inclusive of trend research, comparative and directional shopping, as well as influences taken from reviews of current and previous seasons sales figures.

Merchandising functions will also provide post-mortem reports. A 3 week lead time is to accommodate for any problems with delivering samples back to head office and to ensure accurate instructions are initially sent to suppliers to construct a suitable sample.

31/03/2017

N/A

The fit sample, which is fitted to All Saints ‘M’ sizing (UK10-12), and initial costings will be sent by Amz Fashions. Both components are crucial for the pre-selection meeting, therefore, it is vital to arrive on the date specified.

N/A

Fit sample received from the supplier will require fittings during this meeting. An Amz Fashions representative will be present, including buyers, designers and garment technologists. Risks can be minimised at this stage as everyone involved will be aware of changes to the fit sample. Following this meeting, decisions will be made regarding ASEQ-857 relevance within a range, therefore buyers will justify why it is crucial and fitting to this collaboration and phase.

quantity

product development finalised

samples/ costings arrival date

pre- selection meeting

74

06/04/2017

department

factory visits

selection meeting

garment fitting deadline

product order confirmation deadline

LEAD TIMEs notes/issues

09/04/2017 12/04/2017

19/04/2017

3 days

N/A

Factory visits will take place immediately following the pre-selection meeting, to prevent delays. Building a rapport is key during this trip following damaged relationships with previous suppliers. This will ensure effective cost negotiations, as well as factory checks and employee welfare to prevent ethical issues arising during manufacturing, which could tarnish All Saints brand image. 3 days have been allocated for this factory visit, with additional time given for travelling and possible delays, to minimise risk. Easter bank holiday has also been taken into account for trip scheduling.

Prior to this final selection meeting, AWEQ-587 will undergo several sampling stages, to ensure high quality is maintained. Testing is essential to minimise the risk of problems arising at the manufacturing stage. Head of Buying and Merchandising functions will be present at this meeting, to approve the product, as well as discussing budgets, delivery dates, product quantities. Sealed samples will be produced prior to this meeting as a visual representation of the contract between All Saints and Amz Fashions.

10/05/2017

2 weeks

AWEQ-587 silhouette has been developed from a best-selling product for All Saints, therefore the fit will be similar to that of a previous seasons garment. However, due to different fabric compositions, a 2 week lead time has been allocated as this could change the fit and comfort of the garment. Sizing measurement must be in accordance with recent changes to ISO’s identified within the previous macro-environment analysis. They must also be accurate to prevent miscalculation of manufacturing costs.

24/05/2017

N/A

Post-mortem reports and sales figures will be utilised by buyers and merchandisers to aid the decision-making process of product ordering. Meeting the product order confirmation deadline will help All Saints to maintain professionalism and build a rapport with their supplier, for future negotiations.

fabric order confirmation

31/05/2017

4.5 weeks

The lead time accounts for problems during the fabric production process, including construction, dyeing and finishing, as well as delivery to the supplier’s factory. Fabric will also be required to be printed for ASEQ-587, therefore the quality and clarity of this is essential. Fabric choice is a crucial attribute to the overall quality of All Saints garments, therefore lead times are reflective of this.

bulk production start

03/07/2017

6 weeks

2 weeks has been added to lead time, in addition to the dates initially supplied by Amz Fashions. This is to account for any problems arising during the manufacturing process, to ensure this will not delay the critical path.

3 weeks

Manufactured products will be shipped via road, as a preference of the supplier, but despite a longer lead time than other suppliers offered, the building of relationships is key for All Saints growth as well as not substituting the quality of products this supplier offers. Lead time is inclusive of additional time to account for weather disruptions, road infrastructure problems, and sheer volume of traffic due to the time of year.

1 week

In order to maintain competitive advantage, thorough quality control checks must be completed to ensure all criterion is met and sizing is accurate in line with the benchmark of the sealed sample. Please note that cost price discounts will not be accepted for unsatisfactory products, due to the importance of quality for All Saints. Lead time accounts for delivery delays, as well as time for products to be prepared by retail staff.

N/A

Product store launch date must be achieved, to ensure products are available to meet consumer demand, and to align with launch of other products within the first phase. This will ensure products can be appropriately merchandised, allowing for high sales potential.

shipping deadline

14/08/2017

distribution warehouse deadline

04/09/2017

product store launch

11/09/2017

"the reliability of deliveries will be largely due to a merchandisers skill, judgement and attention to detail" (Cunningham and Dale, 1983)

76

11.0 Merchandising Strategy

11.1 Distribution and Allocation All Saints’ allocation and distribution plans have been determined based on their current retail outlet’s classifications.

• A Grade = 10 stores (24 units per garment per size) • B Grade = 12 stores (18 units per garment per size) • C Grade = 14 stores (12 units per garment per size) All Saints ‘D’ classified stores are concessions within department stores, such as House of Fraser; therefore it is presumed the majority of footfall are not all target consumers. Additionally, Geoghegan (2017) reports House of Fraser’s extremely challenging trading period, with no expectation of sales growth this year. To minimise the risk, these locations will not receive allocations. Jackson and Shaw (2001) discuss how ‘C’ classified stores generate significantly smaller turnover

78

than larger stores, therefore reducing the allocation of product lines. These stores will not be allocated ‘hero’ classified products, in order to reduce risk and ensure profit maximisation.

Figure 22 visualises the product classification for the range plan. basic 18%

hero 24%

FAShion 58%

Figure 29 - Phase One Product Classification Chart

Figure 30 - Phase One Distribution and Allocation Plan garments ASEQ-580

ASEQ-581

ASEQ-582 ASEQ-583 ASEQ-584 ASEQ-585

ASEQ-586 ASEQ-587

a grade B grade c grade total product replenishment total initial (12) (14) (10) quantity quantity (30%) quantity(70%) classification Fashion

2880

2592

2016

7488

2246

5242

Basic

1920

1728

1344

4992

1498

3494

Hero

1920

1728

-

3648

1094

2554

Fashion

1920

1728

1344

4992

1498

3494

Fashion/Hero

1920

1728

672

4320

1296

3024

Fashion

1920

1728

1344

4992

1498

3494

Basic/Fashion/ Hero

2880

2592

1344

6816

2045

4771

Fashion

960

864

672

2496

749

1747

total

39,744

11,924

27,820

Figure 31 - Phase Two Distribution and Allocation Plan garments ASEQ-588

ASEQ-589

ASEQ-590 ASEQ-591 ASEQ-592 ASEQ-593

ASEQ-594 ASEQ-595

ASEQ-596

80

a grade B grade c grade total product replenishment total initial (12) (14) (10) quantity quantity (30%) quantity(70%) classification Fashion

2880

2592

2016

7488

2246

5242

Fashion/Hero

1920

1728

672

4320

1296

3024

Hero

1920

1728

-

3648

1094

2554

Basic

2880

2592

2016

7488

2246

5242

Basic

960

864

672

2496

749

1747

Fashion/Hero

1920

1728

672

4320

1296

3024

Fashion

1920

1728

1344

4992

1498

3494

Fashion

2880

2592

2016

7488

2246

5242

Fashion

864

864

672

2496

749

1747

total

44,736

13,420

31,316

Jackson and Shaw (2001) explain how retailers initially allocate 70-percent of the overall quantity, with the remaining 30-percent retained for replenishment.

This is crucial to ensure that All Saints can react flexibly to demand, as well as prevent range fragmentation. As identified within comparative shop analysis, All Saints must remain consistent with sizing, with garments available in XS-L. Due to their technology combining on and offline transactions (Butler, 2016), allocations for retail locations take into account e-commerce transactions. Figure 30-32 presents the how each product will be distributed to specific stores, with their initial and replenishment allocation figures.

Figure 32 - Phase Three Distribution and Allocation Plan garments ASEQ-597

ASEQ-598

ASEQ-599 ASEQ-600 ASEQ-601 ASEQ-602

ASEQ-603 ASEQ-604

ASEQ-605 ASEQ-606

a grade B grade c grade product total replenishment total initial (12) (14) (10) classification quantity quantity (30%) quantity(70%) Fashion/Hero

1920

1728

672

4320

1296

3024

Fashion

1920

1728

1344

4992

1498

3494

Hero

960

864

-

1824

547

1277

Fashion

1920

1728

1344

4992

1498

3494

Fashion

960

864

672

2496

749

1747

Fashion

960

864

672

2496

749

1747

Fashion/Hero

1920

1728

672

4320

1296

3024

Hero

1920

1728

-

3648

1094

2554

Basic

1920

1728

1344

4992

1498

3494

Basic

2880

2592

2016

7488

2246

5242

total

41,568

12,471

29,097

11.2 Launch and Communication Plan

week

opening stock intake for. weekly sales act. weekly sales closing stock weeks cover comments

11/09/17 27,820

0

8500

0

19,320

3

Phase one of All Saints collaboration with Eileen Quinlan product range will be launched into specific classified retail outlets this week, therefore the excitement surrounding this, especially being a unique collaboration within the premium sector of the UK high street, has influenced the high sales forecast. Visual merchandising will be focused on this new product range, therefore increased footfall is expected.

18/09/17 25,282

5962

4775

0

20,507

5

Planned intake of 5962 units will be allocated to retail outlets, in order to replenish best sellers. Despite having a high disposable income, the week before payday consumers will be more restricted to spending. Students receive their loans this week, however as All Saints do not partake in student discount promotions, this has not impacted the sales forecast.

25/09/17 20,507

0

6225

0

14,282

3

In addition to consumers payday falling on this week, All Saints midseason sale (MSS) begins this week, meaning an increased footfall within store locations, justifying a high weekly sales forecast. Because of the various user occasions influencing forces figures, weeks cover is back in line with the desired sell out period for this product phase.

2/10/17

20,244

5962

5200

0

15,044

3

The final planned intake of 5962 units will be allocated to retail outlets this week, to replenish best selling styles; using sell-through figures to analyse which products are selling well in specific retail locations to ensure profit maximisation. Footfall in stores will continue to be high following the launch of All Saints MSS, meaning consumers are more likely to see the range merchandised within the store.

9/10/17

15,044

0

4500

0

10,544

3.5

This week sees the lowest forecasted sales for the 7 week selling period for this phase, this is due to no relevant user occasions, as All Saints rarely partake in promotional discounts. Weeks cover is slightly under target, therefore strong sales push from retail stores to ensure allocations are sold prior to the second phase of products being distributed.

16/10/17 10,544

0

6225

0

4319

2

The launch of All Saints seasonal online ‘20% discount’ begins this week, therefore high sales are forecasted through their store distribution system. Dependent on sales in particular store locations since launch, the stock may be transferred to popular store locations to help drive sales for the final week of sales.

23/10/17 4319

0

4319

0

0

0

20% online discount continues this week justifies the forecasted sell-out of this phase. It is essential for the stock to be sold out/nearly sold out to ensure retail space available for the delivery of the next phase of products.

82

Table 9 - WSSI for All Saints Phase One

12.0 Executive Summary

12.1 Strategy Evaluation

Table 10 - SAFe framework adapted from Exploring Corporate Strategy (Johnson, Scholes and Whittington, 2006)

Suitability • As three in ten female millennials favour products with a unique design (Mintel, 2015b); by introducing a co-branding product range, All Saints can capitalise on this. Despite economic issue surrounding inflation (Mintel, 2016c), passing additional costs to consumers would not deter them away from purchasing this product range; specifically as Brown (2017) highlights how premium market consumers have continued their purchasing behaviour. Furthermore, this justifies the price increase of best-selling styles such as ‘Balfern II Leather Biker’.

• As 41% of consumers take into account how ethical a company are prior to purchasing, the use of luxurious natural fibres could deter consumers; for example, 100% goat leather is used for styles ASEQ-582, ASEQ-590 and ASEQ-599. This fabric composition is repeated season-on-season on best-sellers, thus decreasing risk.

• All Saints must continuously innovate to adapt to consumer needs, hence it is becoming more common for retailers to simultaneously look at new markets and products, whilst extending sales of current offering (Jackson and Shaw, 2001). Changes to ISO’s (Hounslea, 2017) could increase the number of substitutes available. Diversifying into new markets minimises this risk, as product offering will be suited to a wider demographic of existing and potential consumers. As the quality benchmark will increase, it is crucial for All Saints to incorporate additional order winner factors into product offering.

• A co-branding range focusing on non-imitable exclusive prints provides an opportunity to overcome competitive threats. Furthermore, this allows All Saints to capitalise on their capabilities; increasing competitive advantage. Hitt et al. (2001) explain firms can achieve above average returns when their unique core competencies effectively take advantage of external environment opportunities.

Acceptability • Tanwar (2013) explains how differentiation strategies are high-profit generators, due to anticipated market share increase. This strategy is acceptable in meeting expectations of stakeholders, due to more available capital; aiding the implementation of future growth strategies. Vignali (2006) states how broadening market share can be easily achieved, but only through significant investment of funds; emphasising the acceptability of a co-branding strategy for All Saints to achieve their corporate objectives.

• Launching for Autumn/Winter is deliberate to allow consumers to visualise the extent of All Saints’ contemporary product development approach. Including trend-driven hues into a traditionally darker colour palette, shows their capability of remaining on-trend whilst maintaining their identity; provoking a positive reaction amongst stakeholders.

• Risk can stem from choosing an American artist for the UK market; consumers may be unaware of this artist, reducing the desire to buy into the range, affecting sales. The level of risk is acceptable, as product development processes have focused on suiting UK consumers needs. Greater consideration into the intended geographical market can be done for future collaborative ranges, to reduce risk.

• Consumers could have concerns that new market diversification will devalue All Saints high-quality reputation, with worries that aspiring demographics, such as Generation Z, would buy into the brand. The chosen strategy moves away from celebrity endorsed product ranges into an appropriate collaboration, representative of their mission statement which focuses on desirable clothing, that expresses individuality and attitude, provoking a positive reaction from consumers. This will allow All Saints to differentiate from competitors in a challenging environment (Mintel, 2016g).

84

Table 10 - SAFe framework adapted from Exploring Corporate Strategy (Johnson, Scholes and Whittington, 2006)

Feasibility • CEO William Kim admires All Saints in-house approach to website, distribution and design (Hounslea, 2016), showing that employees are integral to ongoing success. New challenges and responsibilities will be created for employees, such as print development; thus increasing their wealth of knowledge. Although a collaborative range is high-risk for All Saints, they are renowned for innovation, therefore employees knowledge will be at an acceptable level to prevent outsourcing - minimising the risk of employees feeling vulnerable in their positions.

• For All Saints, this strategy can be considered as horizontal integration to grow in size, increase product differentiation and reduce competition. Can and Obara (2009) discuss how horizontal integration improves business reputation. As a result, this can allow suppliers to rebuild trust with All Saints after previous issues following their administration worries (Gallagher, 2012).

• As consumers are classified as innovators (Rogers, 2003), the feasibility of this strategy significantly increases due to their openness to new and unique product offering. With a 100% sellthrough, this product range will generate just over £24,000,000 of revenue, therefore future recommendations include expanding the width of the range, with an increase of hero and fashion garments. This will provide greater product offering for All Saints’ consumers with their openness to new products, whilst increasing growth.

• Following All Saints previous ‘Capital Collection’ diversification strategy, they will be aware of financial responsibilities throughout the term of the strategy, to ensure successful implementation.

All Saints will guarantee financial resources are available to enable effective product development, sourcing and distribution plans; ensuring crucial research and development methods are not substituted.

• One challenged related to D-Grade stores merchandise allocation. Although this strategy can be financed, to overcome threat and minimise risk, the decision was made to not allocate to concessions; making it easier to determine whether the proposed strategy would work in practice. Although allocating products to a larger number of stores would increase revenue, sellthrough may be effected by a surplus of products within concessions. Future trials within specific D-Grade stores could be made, to analyse sales figures to justify whether allocation to these stores is necessary, to be profitable.

Table 10 presents a strategic analysis of All Saints’ chosen strategy. It is anticipated that fashion and basic pieces will form part of best-sellers for this product range. Expectation is that hero pieces will not be as successful due to their directional colour palette and silhouette influences, but, this has been reflected in the allocation and distribution plan (Figure 30) with lower total quantities. Hero pieces can be used as an experiment to assess consumers openness to their contemporary approach, and

if future trend translations require more dilution.

Analysing costing spreadsheets (Figure 26-28), the total range cost is significantly large for a diversification strategy with considerable risk.

This has the potential to reduce turnover, due to over-producing units, prior to piloting the range. Similar to All Saints’ ‘Capital Collection’ diversification strategy, co-branding initiatives will be an ongoing feature within future product ranges.

Recommendations for the frequency of this can take

inspiration from H&M, who continue to develop strategic partnerships through co-branding, whilst building consumer anticipation and demand by producing collaborations annually; increasing the exclusivity of the range (Sutherland, 2016).

13.0 References

• All Saints. (2017). Womenswear. [online] Available at: https://www.allsaints.com/women/new/style,any/colour,any/size,any/ [Accessed 20 Feb. 2017].

• Ansoff, H. (1965). Corporate Strategy. New York: McGraw-Hill.

• Bhuiyan, N. (2011). A Framework for successful new product development. Journal of Industrial Engineering and Management, 4(4), pp.746-770.

• Blanc, E. (2017). Collaboration of the day: Puma x The Kooples sneakers. [online] Paris Vogue. Available at: http://en.vogue.fr/fashion/fashion-news/ diaporama/puma-x-the-kooples-sneakers-collaboration-limited-edition-footwear/42113 [Accessed 25 Apr. 2017].

• Brown, H. (2017). Post-Brexit price rises fail to deter premium shoppers. [online] Drapers. Available at: https://www.drapersonline.com/news/post-brexitprice-rises-fail-to-deter-premium-shoppers/7019575.article [Accessed 1 Apr. 2017].

• Bruce, M. and Daly, L. (2006). Buyer behaviour for fast fashion. Journal of Fashion Marketing and Management: An International Journal, 10(3), pp.329-344.

• Butler, S. (2016). All Saints defies weather with heavenly financial year. [online] The Guardian. Available at: https://www.theguardian.com/business/2016/ oct/31/allsaints-weather-financial-year-uk-rise-total-sales-fashion [Accessed 18 Mar. 2017].

• Cai, H. and Obara, I. (2009). Firm reputation and horizontal integration. The RAND Journal of Economics, 40(2), pp.340-362.

• Conlon, S. (2015). A New Era At All Saints. [online] British Vogue. Available at: http://www.vogue.co.uk/gallery/all-saints-wil-beedle-creative-directorinterview-new-bag-line [Accessed 21 Mar. 2017].

• Cos. (2017). Womenswear. [online] Available at: http://www.cosstores.com/gb/Women/New [Accessed 20 Feb. 2017].

• Cunningham, M. and Dale, B. (1983). The Effects of Supplier Delivery Reliability on Company Delivery Assurance. International Journal of Operations & Production Management, 3(1), pp.50-62.

• Edited. (2017a). All Saints: Product distribution by price point. [online] Edited. Available at: https://app.edited.com/#market/dashboard/1/ new?retailers=allsaints&dropped_date_range=3months&gender=women&view=analysis&analysis_view=options&order_by=found_desc&list_style=image [Accessed 18 Mar. 2017].

• Edited. (2017b) Visual Merchandising: All Saints Newsletters. [online] Edited. Available at: https://app.edited.com/#vm/allsaints?show=all&order_by=default [Accessed 18 Mar. 2017].

• Edited. (2017c). All Saints: Colour Distribution. [online] Edited. Available at: https://app.edited.com/#market/dashboard/1/newretailers=allsaints&dropped_ date_range=2012-12-19T00%3A00% 3A00%2C2013-01-19T23%3A59%3A59&gender=women&view=analysis&analysis_view=colors&order_by=found_ desc&list_style=image [Accessed 18 Mar. 2017].

• Edited. (2017d). French Connection: Product performance metrics. [online] Edited. Available at: https://app.edited.com/#market/dashboard/1/new?in_ stock=true&retailers=frenchconnection&gender=women&view=analysis&analysis_view=strategy&order_by=found_desc&list_style=split [Accessed 18 Mar. 2017].

86

• Edited. (2017e). Premium UK Womenswear Market: Product. [online] Edited. Available at: https://app.edited.com/#market/dashboard/32442/107925?in_ stock=true&market=UK&segment=premium&product_searches=221%7C138%7C535%7C553%7C554%7C699%7C560&gender=women [Accessed 30 Mar. 2017].

• Edited. (2017f). Womenswear: The Hoodie Revival. [online] Edited. Available at: https://app.edited.com/#retail/article/retail-women-tw-hoodie-us-ukvm-080217 [Accessed 5 Apr. 2017].

• Elliott, F. and Rider, J. (2007). Retail buying techniques. 1st ed. Cirencester: Management Books 2000, pp.28, 105, 125.

• Gallagher, V. (2012). All Saints sued by former supplier. [online] Drapers. Available at: https://www.drapersonline.com/retail/multiples/allsaints-sued-byformer-supplier/5036147.article [Accessed 30 Mar. 2017].

• Geoghegan, J. (2017). House of Fraser chair ‘cautious’ for 2017. [online] Drapers. Available at: https://www.drapersonline.com/news/house-of-fraser-chaircautious-for-2017/7020208.article [Accessed 21 Apr. 2017].

• Goworek, H. (2010). An investigation into product development processes for UK fashion retailers. Journal of Fashion Marketing and Management: An International Journal, 14(4), pp.648-662.

• Grant, R. (1991). The Resource-Based Theory of Competitive Advantage: Implications for Strategy Formulation. California Management Review, 33(3), pp.114-135.

• Gupta, M., Brantley, A. and Jackson, V.P. (2010). Product involvement as a predictor of Generation Y consumer decision making styles. The Business Review, 14(2), pp. 28-33.

• Hitt, M., Ireland, R., Camp, S. and Sexton, D. (2001). Strategic entrepreneurship: entrepreneurial strategies for wealth creation. Strategic Management Journal, 22(6-7), pp.479-491.

• Hounslea, T. (2015). The Drapers Interview: William Kim on spreading the AllSaints gospel. [online] Drapers. Available at: https://www.drapersonline.com/ people/the-drapers-interview/the-drapers-interview-william-kim-on-spreading-the-allsaints-gospel/7001890.article [Accessed 3 Apr. 2017].

• Hounslea, T. (2016). Product and geographical expansion boost sales at All Saints. [online] Drapers. Available at: https://www.drapersonline.com/news/ product-and-geographical-expansion-boost-sales-at-allsaints/7013386.article [Accessed 18 Mar. 2017].

• Hounslea, T. (2017). ISO updates clothing size standards to help reduce returns. [online] Drapers. Available at: https://www.drapersonline.com/news/isoupdates-clothing-size-standards-to-help-reduce-returns/7019367.article?blocktitle=Digital-Features-4&contentID=17338 [Accessed 31 Mar. 2017].

• Jackson, T. and Shaw, D. (2001). Mastering fashion buying and merchandising management. 1st ed. Houndmills [u.a.]: Palgrave Master Series.

• Jang, E. (2006). An analysis on cases of fashion collaboration strategy. Journal of Fashion Business, 10(6), pp.110-121.

• Johnson, G., Scholes, K. and Whittington, R. (2006). Exploring Corporate strategy. 1st ed. Harlow: Financial Times Prentice Hall.

• Johnson, G., Scholes, K. and Whittington, R. (2010). Exploring Strategy. 9th ed. Harlow: Financial Times Prentice Hall.

• Key Note. (2014). Clothing Retailing - UK [online]. Available at: https://www.keynote.co.uk/market-update/retail/clothing-retailing?full_report=true

[Accessed 10 Apr. 2017].

• Key Note. (2015). Clothing Retailing - UK [online]. Available at: https://www.keynote.co.uk/market-digest/retail/clothing-retailing?full_report=true [Accessed 30 Mar. 2017].

• Kumar, V. and Karande, K. (2000). The Effect of Retail Store Environment on Retailer Performance. Journal of Business Research, 49(2), pp.167-181.

• Lodes, M. and Buff, C.L. (2009). Are Generation Y (Millennial) consumers brand loyal and is their buying behaviour affected in an economic recession? A preliminary study. Journal of Academy of Business and Economics, 9(3), pp. 127-135.

• McGregor, K. (2017). Ted Baker unveils 360-degree shoppable video for spring 17. [online] Drapers. Available at: https://www.drapersonline.com/news/tedbaker-unveils-360-degree-shoppable-video/7019438.article?blocktitle=Digital-Features-4&contentID=17338 [Accessed 31 Mar. 2017].

• Mintel. (2015a). Leisure Habits of Millennials - UK [online]. Available at: http://academic.mintel.com/display/746762/?highlight [Accessed 18 Mar. 2017].

• Mintel. (2015b). Designer Fashion - UK [online]. Available at: http://academic.mintel.com/display/716169/ [Accessed 30 Mar. 2017].

• Mintel. (2016a). Clothing Retailing – UK [online]. Available at: http://academic.mintel.com/display/798363/?highlight#hit1 [Accessed 18 Mar. 2017].

• Mintel (2016b). Three months on - consumers still resilient post-Brexit - UK [online]. Available at: http://academic.mintel.com/insight_zones/22/ [Accessed 30 Mar. 2017].

• Mintel (2016c). What does Brexit mean for the fashion industry? - UK [online]. Available at: http://academic.mintel.com/display/779288/?highlight [Accessed 31 Mar. 2017].

• Mintel (2016d). Fashion brand promotes healthy eating [online]. Available at: http://academic.mintel.com/display/761593/?highlight#hit1 [Accessed 30 Mar. 2017].

• Mintel (2016e). Fashion: Technology and Innovation – UK [online]. Available at: http://academic.mintel.com/display/788877/ [Accessed 30 Mar. 2017].

• Mintel. (2016f). Fashion Accessories - UK [online]. Available at: http://academic.mintel.com/display/760169/?highlight#hit1 [Accessed 1 Apr. 2017].

• Mintel. (2016g). H&M partners with Kenzo - UK [online]. Available at: http://academic.mintel.com/display/773377/?highlight [Accessed 10 Apr. 2017].

• Mintel. (2017). All eyes on British fashion at London Fashion Week [online]. Available at: http://academic.mintel.com/display/818449/?highlight [Accessed 30 Mar. 2017].

• Moran, G. (2016). Genderless fashion: a fad or the future?. [online] Drapers. Available at: https://www.drapersonline.com/product-and-trade-shows/ genderless-fashion-a-fad-or-the-future/7006302.article [Accessed 18 Mar. 2017].

• Moran, G. (2017). The Buyers' View: autumn 17 catwalk analysis. [online] Drapers. Available at: https://www.drapersonline.com/product-and-trade-shows/ the-buyers-view-autumn-17-catwalk-analysis/7019360.article [Accessed 31 Mar. 2017].

• Nwokah, N.G. (2009). Customer‐focus, competitor‐focus and marketing performance. Measuring Business Excellence, 13(3), pp.20-28.

• Obal, M. and Kunz, W. (2013). Trust development in e‐services: a cohort analysis of Millennials and Baby Boomers. Journal of Service Management, 24(1), pp.45-63.

88

• Porter, M. (1980). Competitive Strategy. New York: Free Press.

• Raghavan Srinivasan, S., Ramakrishnan, S. and Grasman, S. (2005). Identifying the effects of cannibalization on the product portfolio. Marketing Intelligence & Planning, 23(4), pp.359-371.

• Rogers, E. (2003). Diffusion of innovations. 1st ed. New York: Free Press, p.221.

• Shih, W. and Agrafiotis, K. (2015). Competitive strategies of new product development in textile and clothing manufacturing. The Journal of The Textile Institute, 106(10), pp.1027-1037.

• Sinclair, S. and Stalling, E. (1990). Perceptual Mapping: a Tool for Industrial Marketing: a Case study. Journal of Business & Industrial Marketing, 5(1), pp.5566.

• Sinclair, R., Boddy, J. (2016). Women’s Forecast AW17/18: INFusion. [online] WGSN. Available at: https://www.wgsn.com/content/board_viewer/#/63887/ page/1 [Accessed 1 Mar. 2017].

• Sutherland, E. (2016). Shoppers queue overnight for Kenzo x H&M. [online] Drapers. Available at: https://www.drapersonline.com/news/shoppers-queueovernight-for-kenzo-x-hm/7013572.article [Accessed 25. Apr 2017].

• Sutherland, E. (2017a). All Saints opens first Spanish concession. [online] Drapers. Available at: https://www.drapersonline.com/news/allsaints-opens-firstspanish-concession/7018494.article [Accessed 18 Mar. 2017].

• Sutherland, E. (2017b). Athleisure stretches deeper into the high street. [online] Drapers. Available at: https://www.drapersonline.com/business-operations/ athleisure-stretches-deeper-into-the-high-street/7018207.article [Accessed 5 Apr. 2017].

• Tanwar, R. (2013). Porter’s Generic Competitive Strategies. IOSR Journal of Business and Management, 15(1), pp.11-17.

• The Kooples. (2017). Womenswear. [online] Available at: http://www.thekooples.co.uk/women/best-sellers.html [Accessed 20 Feb. 2017].

• Vignali, G. (2016). ‘Strategy: Internal Audits’, MATS34570: Buying Strategy. University of Manchester. Unpublished.

• Watkins, H. (2017). Retail Analysis – Prints & Graphics Spring 2017. [online] WGSN. Available at: https://www.wgsn.com/content/board_viewer/#/71267/ page/5 [Accessed 20 Apr. 2017].

• Wright, S., Pickton, D. and Callow, J. (2002). Competitive intelligence in UK firms: a typology. Marketing Intelligence & Planning, 20(6), pp.349-360.

• Zara. (2017). Womenswear. [online] Available at: https://www.zara.com/uk/en/woman/new-in-c805003.html [Accessed 20 Feb. 2017].

New Markets

Current Markets

14.0 Appendices Current Products

New Products

market penetration

product development

market diversification development Appendix 1 - Ansoff Matrix (Ansoff, 1965)

Can you provide some information about yourself, such as occupation, living, income?

I am 31 years of age, currently living in Shoreditch with my boyfriend in a rental property. After University I began working with a major television broadcaster and have since progressed in the position to become a market executive, earning just over £50,000 p/a.

What do you love about All Saints that makes you a loyal customer?

I love their wide variety of garment choice, meaning I rarely need to visit other stores for something that I want - so definitely the uniqueness and convenience.

How often would you say you buy fashion apparel?

I love going shopping, especially to out-of-town locations and away from the mainstream high street brands. I spend roughly between £500-650 a month depending on the season and if I have any upcoming special occasions, and I would generally say that pricing isn’t a major factor that I take into consideration as long as I like the style and is high-quality.

What do you look for when shopping at All Saints?

I love really ‘out there’ pieces of clothing now and again to refresh my wardrobe to look different to all my friends when we go out socialising. A variety of silhouettes is really important to me as I despise the ’t-shirt and jeans’ combination, as I think its really boring.

What are key attributes you look for in products?

Durability and quality are really important all year round, as I expect clothing to last especially paying a premium price tag. At work, there isn’t too much of a dress code, so I like trendy options for workwear too.

90

Appendix 2 - Script from conducted consumer interview

All Saints strong brand identity is core to their success within the premium womenswear market. Their British heritage is integral to continue success; however, the rise of ‘Made in the UK’ product ranges (Mintel, 2017), creates an opportunity for new entrants to replicate a similar identity, but with cost advantages for the consumer. All Saints have built a strong reputation within their operating market, with global recognition, making their access to distribution superior to those of new entrants. High capital is required in order to operate at the premium end of the high-street. The growing accessibility of online retailers, who benefit from lower overheads, puts them at an advantage to compete with bricks and mortar retailers (Key Note, 2015a). However, consumer research shows store experience is an order winning attribute for All Saints consumers, thus, the threat of new online entrants is low.

BARGAINING POWER OF buyers

As All Saints are thriving within their current market position, they can continue to create competitive advantage through distinctive products and store experience; as competitors are less diverse, nor have a strong, unique brand identity. With the minimal threat of new entrants and substitute products, All Saints can continue to develop products to engage their millennial consumer, through the infusion of creativity and expression; maintaining their vision, whilst achieving growth.

BARGAINING POWER OF suppliers

Consumers choose All Saints as they desire to be a ‘part’ of their creative culture, therefore having little bargaining power. This is supported by millennials being less price-sensitive, more optimistic about money and also more inclined to impulse buy (Mintel, 2015b), as they are not seeking cheaper alternatives. All Saints do not offer frequent discounts or promotions which further supports buyers having reduced bargaining power, otherwise, All Saints would have regular promotions to increase profitability. This would prevent them from effectively targeting their identified consumers, and make products more available for the mass market.

threat of new entrants

threat of substitutes Millennials are inclined to distinctive brands that will serve as a form of self-expression (Gupta, Brantley and Jackson, 2010), and All Saints mission statement identifies the importance of expression; fitting with their target consumer. This results in the threat of substitute products being low, as their products show a journey and are designed specifically with consumers in mind. The development of fashionability for All Saints has only cemented their loyal brand following. Despite the UK premium womenswear market having 341,197 options currently available (Edited, 2017e), it is extremely difficult to substitute a product branded with a good reputation, strong brand identity and unique characteristics.

Appendix 3 - Porter’s 5 Forces framework adapted from Competitive Strategy (Michael E. Porter, 1980)

Gallagher (2012) reported that All Saints were in conflict with some of their suppliers, following a demand for discount to prevent further financial difficulty, stating that without a reduction in bills, they would collapse. Despite, All Saints growing from strength to strength following their acquisition from Lion Capital, this could still affect relationships with their suppliers, giving suppliers high bargaining power.

Research collected through Edited (2017a) shows that All Saints currently use suppliers in a number of countries, such as China, India, Vietnam and Brazil. This highlights how All Saints could utilise suppliers that excel in manufacturing specific garment types to ensure the highest quality, but also minimise risks within the supply chain, by relying on a large group of suppliers and building relationships with them.

Narrow

Scope

Broad

Source of competitive advantage Cost

Differentiation

cost leadership

differentiation

cost focus

differentiation focus

Appendix 4 - Porter’s Generic Strategies (Porter, 1980)

92