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FASH30002

STAGE TWO PORTFOLIO

ELLENA BARRON

N0299529


CONTENTS

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L RE SS E NS N E O R PR TU ATIO USI ES . 8 FU IC CL NC 9. PL ON RE AP . C EFE OF ONS PHY 10 . R ST ATI RA N 11 . LI TR IOG IX IO T C 12 LUS IBL ND U A D A DE IL . B PPE O I R DE E 13 . A T I V IN 14 TI E 1. BIG EA ON O OF 2. CR EP TW LE ION 3. ST EP DU AT 4. ST HE NIC 5. SC MU GY ION 6. OM TE OT C TRA OM S PR 7.


DEVELOPMENT WITHIN THEIR COMMUNICATION STRATEGY

MAIN BRAND STRENGTH: THEIR STORY & PERSONALITY

HOW CAN UNIVERSAL WORKS BUILD ON THEIR SUCCESS?

STRENGTHENING THEIR IDENTITY

EXPANDING THEIR OFFER

HONEST AGELESS ACCESSIBLE

(Fig 1-8, Universal Works, Google )


‘WOULD YOU LIKE A STYLE THAT MAKES WORKING HARD SEEM MORE APPEALING? UNIVERSAL WORKS EFFORTLESSLY COMBINES ELEMENTS OF STREET WEAR WITH TRADITIONAL IDEALS TO MAKE THIS PERFECT SITUATION POSSIBLE.’ (BEBBINGTON, 2013: ONLINE)

Universal Works is now recognised across the globe as a successful UK menswear brand. Originating in Nottingham in 2009, the menswear label has gained attention from not only UK customers but the cool crowds within Stockholm, Tokyo and New York. Their collections offer a unique mix of working class roots blended with smart, elegant design principles with a streetwear edge. This keen interest has led to the successful opening of their flagship store on Lamb Conduits street in Central London alongside their online store and website. As the retail market continues to struggle, Universal Works understand the importance of brand evolution and the growing need to offer more than just the product alone. The strong personality and genuine story behind the brand are both qualities that if built on correctly could ensure Universal Works reach their full potential. We were asked to create a marketing strategy to guarantee the development of their brand through three potential routes. The first route was to create a product range extension, the second involved events and new channels of communication and the third route was to develop a brand story. The first research stage of this project led to the creation of a strategy that touched upon all three areas. Thorough investigation of the brand showed clear opportunity for development within their communication and identity as well as the potential to expand their offer.

INTRODUCTION


METHODOLOGY STAGE ONE: Interviews with brand related individuals Interviews with industry professionals Communication experiment

Store visits

Secondary: Case Studies, online research, journals, books

(Fig 9 & 10, Universal Works Consumer, Stefanie Sword-Williams)

(Fig 11-18, pinterest)


Within the first meeting with Universal Works owner, David Keyte, it was clear his brands values and personality were very important to him. We therefore held their timeless and ageless appeal at the forefront of our minds during the development of our strategy. It is the brands honesty, authenticity and accessibility that stands out to us most amongst its competitors. This understanding and our stage one research led us to the development of our big idea, ‘to make Universal Works, truly Universal’. David explained how he wanted to create a dialogue with his customers through real people and stories that are relatable. Authenticity is a key attribute of the brand which we feel is integral to get across through a communication strategy. We feel Universal Works have the potential to have a great relationship with their customers due to their brand values alongside their honest and intimate approach to fashion.

BIG IDEA


HOW ARE WE GOING TO GET THERE?

STEP ONE

COMMUNICATION STRATEGY

STEP TWO

O I T I D AD

S E Z I S NAL


We came up with two potential steps for Universal Works to exploit their accessibility and broaden their current offer. Firstly we came up with the idea of selling additional smaller sizes of the Universal Works collections in XXS and XXS. In hope of appealing to a younger male audience demographic to make Universal inclusive to all. This also promotes Universal Works ‘ageless’ and ‘timeless’ charm. The second proposal is to develop a strong communication strategy involving content marketing to ensure Universal Works can establish the relationship they hope for with their customers.

CREATIVE IDEA

‘CONTENT MARKETING IS A MARKETING TECHNIQUE OF CREATING AND DISTRIBUTING RELEVANT AND VALUABLE CONTENT TO ATTRACT, ACQUIRE, AND ENGAGE A CLEARLY DEFINED AND UNDERSTOOD TARGET AUDIENCE – WITH THE OBJECTIVE OF DRIVING PROFITABLE CUSTOMER ACTION.’ (CONTENT MARKETING INSTITUTE, 2013: ONLINE) We therefore had to decide the ways in which Universal Works could use this form of marketing to create a strong and successful communication strategy. We understand this engagement and interaction with their customers is essential to bridging the current gap between brand and consumer.


EXAMPLE OF CAPSULE COLLECTION

ADDITONAL SIZES

(Fig 33, Own photograph)

XS S M L XL XXS XXXS

(Fig 19-32, Universal Works)

HOW THEY WILL BE SOLD ONLINE


The first stage of implementation for our big idea is to offer additional smaller sizes of the Universal Works collections. This is to broaden the consumer demographic to younger ages to adhere to their ‘ageless’ appeal and to confirm their inclusive offer. We want to offer sizes XXS and XXXS as our research shows these sizes would fit the average age range of 8-16 year old boys within the UK. We do not propose the brand to offer smaller sizes in every piece within their collection neither sell them as a sub brand. The smaller sizes would not be promoted as a childrenswear line for Universal Works, simply an expansion of their offer. The additional sizes would be sold online firstly and if successful be introduced to the store and other stocklists. An interview with Universal Works agent, Martin Gill, revealed how we had to be specific with what garments we want to offer in these additional sizes. “IT’S NOT SO MUCH ABOUT THE EASIEST STYLES TO ADAPT PER SE BUT MORE ABOUT THE END CONSUMER’S ABILITY TO ACCEPT THOSE GARMENTS. A MINI VERSION OF A PARKA FOR EXAMPLE MAY PROVE TOO EXPENSIVE WHEREAS JERSEY AND SWEAT STYLES CAN BE MANUFACTURED MORE CHEAPLY AS THE FABRIC RATING IS LOWER.” (MARTIN GILL INTERVIEW, SEE APPENDIX) Here is an example of the capsule collection that Universal Works could offer in smaller sizes. The selection of garments needed to be attractive to a younger audience so were chosen specifically for their material, fit and look.

STEP ONE: ADDITIONAL SIZES


BRINGING UNIVERSAL WORKS CONSUMERS TOGETHER THROUGH

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COMMUNICATION STRATEGY David mentioned how he ‘didn’t understand marketing’ (David Key Notes, see appendix) and that he was keen to start selling more than just the product alone to Universal Works consumers. This alongside our research within stage one, made it clear communication was something the brand is lacking. The main aim of building a communication strategy for Universal Works is to make the brand inclusive to all and become ‘truly universal’. We felt a successful way to ensure this universal appeal was to create a Universal Works community. This promotes not only the inclusivity of the brand but their offer of more than just the product alone. ‘RECENT RESEARCH BY THE CMA REVEALED THAT 25 PER CENT OF ALL CONTENT NOW CONSUMED IN THE UK IS PRODUCED BY BRANDS, WHICH TOGETHER WITH THE ABCS IS AN INDICATION THAT CONSUMERS ARE INCREASINGLY TURNING TO THEIR FAVOURITE COMPANIES FOR INFORMATION AND ENTERTAINMENT.’ (IN PUBLISHING, 2013: ONLINE) This statistic reveals how consumers are now looking to brands for more than just product which we hope to offer through this communication strategy. We came up with the idea of having a ‘Universal Works presents series’ that is focused on the continous theme of ‘hobbies’. Mainly everyone can relate to having or one having a hobby making the concept relatable and inclusive to all including the new younger consumers. This concept also provides many different avenues in which Universal Works can offer this additional information and entertainment that customers now expect and want from their favourite brands. Hobbies are usually quite ‘hands on’ activities that connect to Davids approach to his brand and the Universal Works personality. The subject of hobbies are real and part of everyday life which also integrates to the authentic appeal of the brand itself. We propose that Universal Works explore a variety of hobbies throughout the different seasons and their collections. Therefore this communication strategy would run twice a year with a hobby being chosen for Spring/Summer and then another for Autumn/ Winter continuing if successful.


SEASONAL COMMUNICATION STRATEGY UNIVERSAL WORKS PRESENTS... CHOSEN HOBBY IN STORE & LIMITED EDITION PRODUCT LAUNCH RELATED CONTENT CONSISTENTLY UPLOADED ON BLOG PROMOTIONAL FILM RELEASE BRAND ZINE ON HOBBY AND COLLECTION EVENT TO FINISH SEASON


SCHEDULE FOR COMMUNICATION STRATEGY As this new communication strategy is a large part of our project as well as the proposed strategy for universal works, we created a schedule for its promotion and implementation. This schedule should be applied for each different hobby that is explored.


FIRST HOBBY: MODEL MAKING

At Universal Works we’ve aligned ourselves with a new type of living, a sense of community and a commitment to bringing people together: friends, family, those in a club, or those in a team, to embrace a hobby that you may or may not have tried before. Issue one re discovers model making. A topic that allows you as the reader to return to a simpler way of life and go back to basics. Interesting, unique and interactive, our seasonal zine will accompany each collection and will allow you to get in touch with the young, more fun you. Inviting you to explore a world in which people are brought together by activity.

(Fig 40, Own photograph)

So whether you already have a hobby of your own, or fancy partaking in something new, Universal Works would like to bring you a new zine to lighten your day, season and Universal life.

(Fig 34-39, Model making, Pinterest)

LETTER


The first hobby we have chosen to implement for the Universal Works communication strategy is model making. A hobby that we feel is a strong starting point, that not only appeals to all ages but to the current Universal Works consumer as well. The connections can also be seen as model making holds that graft and handmade appeal to it that is also seen within Universal Works products. There is a current trend seen within artists and designers that sees them ‘rendering their work by analogue means’. (Designboom, 2012: online) Making the topic on trend with this idea of ‘going back to basics and slowing down’ also really suiting the brand and its values. The editors letter that I wrote for the brand zine, which is shown above and is discussed later, highlights the intentions of the this running theme as well as the communication strategy.

FIRST PROPOSED HOBBY


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IN PO STO ST RE CA & RD LIM S ITE A N D BL D OG PA EDI CK TIO CO AG N NT IN PRO EN G DU T

PROMOTION FOR THE COMMUNICATION STRATEGY INCLUDES

(Fig 41-43, Own photography)


LIMITED EDITION, ONLINE PACKAGING & POSTCARDS


We want to begin to promote the new hobby of the season with some implementations in store and through online packaging. This will be implemented firstly, at the beginning of each season, to introduce the hobby that will be running alongside the collection. LIMTED EDITION We think that to incorporate the hobby into the brand and product itself, Universal Works could design limited edition products such as t shirts and handkerchiefs to further promote the current hobby. These products would therefore change and alter with each season to ensure the connection between the hobby and the brand is clear. Here is an example of the limited edition products that would be available in store and online during the Autumn/Winter ’13 collection looking at model making. POSTCARDS To further tie in the current hobby with the brand we propose Universal Works commission a related artist to collaborate on the design of some postcards to be offered in store. These postcards would be free to customers and pose as a keep sake item alongside their purchase and should encourage some conversation about the brand and hobby. These postcards would also invite them to the Universal Works event focused on the particular hobby of the season. PACKAGING We also thought it would be a nice touch for Universal Works to package a small scale model or piece of origami within their online orders for this season. Therefore this does not alienate the online consumer and still involves them within the hobby of the season if they do not purchase in store. This also adheres to the appeal of direct consumer touch points between brand and consumer, as David is sometimes likely to package products himself. Continuing to highlight Universal Works authenticity and intimacy that is rare within the current market.

LIMITED EDITION, ONLINE PACKAGING & POSTCARDS


AW 2013 - MODEL MAKING

CONNECTION BETWEEN BRAND AND CONSUMER

ONLINE

COMMUNITY & CONVERSATION

COMMUNICATION

(Fig 45, Example of blog contents)

(Fig 44 , Example of blog contents)


David feels that having an online blog is important to be able to communicate with his consumers. Although this is its intention, our stage one research highlighted how it currently is not quite managing to engage with the Universal Works consumer. We want to use the blog as a stronger and distinct medium for showcasing the communication strategy and the Universal Works presents series. We hope the blog can become a key tool in allowing the Universal Works customers to feel connected with the brand. It can also continue the conversation on the seasonal hobby as well as provide content on products and collaborations that it currently offers. This form of communication with consumers will further encourage this sense of ‘community’ amongst the Universal Works audience.

BLOG


FILM

WHAT WERE YOUR FAVOURITE MODELS TO MAKE?

https://vimeo.com/64224909


David highlighted how he feels old mediums of communication seem to be dying that he sees film as ‘exciting, cheap and easy’ (Davids key notes, see appendix). Due to this and our stage one research highlighting its potential success, we decided that film was going to be incorporated into our communication strategy. David views film as engaging and feels it ‘looks more real to people’ which fits in well with the real and authentic appeal that Universal Works aim to offer. These promotional films will be released nearer to the beginning of each season in order to gain customer interest in the hobby as well as offer a closer look into the current collection. There will be two films released each hobby through the channel of Vimeo as it successfully targets creatives. PROMOTIONAL FILM


MODELS SETTING

Two young models to show the relationship of two cousins with very limited shots of their faces to make sure we are not alienating any consumer category. One younger looking, one with a beard. The video is not at all age specific. *To improve we would have them interacting more and talking to each other. With more dialogue between the two with more expression that they are happy to be there.

We were really lucky with the location we were able to shoot in as it was an old victorian townhouse in Nottingham where the brand originates from. We felt the open space, traditional and authentic furniture, natural light, full length windows, wooden tables and high ceilings really suited the brand essence as well as looked good as a backdrop for the product. *If shot with lighter colours with even more natural light we feel the atmospheric tone we were hoping for would have been acheived more so. The filming came out a lot darker than the photography did and what we hoped for.

CONCEPT We feel the hobby of model making can be explored really well through film. Picking up on davids want for offering something creative that is not to do with the product, we wanted to create a contrast between the product and the concept. The close up shots of the clothing alongside the intricate building of the model allows the film to promote universal works product as well as getting people interested in the activity. *Although we feel the video works well, a second draught of the concept would include more interaction and emotion between the two models.

MUSIC The choice of music is Shlohmo’s ‘Places’ which works well with slowly building tension to the concept whilst appealing to a wide audience. With no specific genre the music choice has the ability to engage with our new mixed target market.

FILM/EDIT We feel the style of filming has worked really well for Universal Works and the way in which they speak to their customers. With smooth transitional shifts and the use of hand held filming the video engages the audience giving off an intimate atmosphere whilst taking the viewer on a journey. With a selection of shots being in focus and some slightly out it helps to build a story and slowly reveal the content. We particularly like the varied shots throughout the video; opening with focus on the instructions leading to close ups of the plane pieces, which flow through long shots of the feet under the table and product features.

THE BRANDING To continue to strengthen the Universal Works brand we decided to end the final shot on ‘Universal Works presents Model Making’ with their logo. Presenting the brand once the viewer has seen the video and is intrigued by it.


Universal Works presents

MODEL MAKING

ZINE


“OUR RESEARCH HAS SHOWN THAT THESE MAGAZINES CREATE AN EIGHT PER CENT UPTICK IN SALES,” SAYS JULIA HUTCHISON, CHIEF OPERATING OFFICER OF THE ASSOCIATION OF PUBLISHING AGENCIES, THE REPRESENTATIVE FOR THE CUSTOMER PUBLISHING INDUSTRY IN THE UK. “ON AVERAGE, EVERY CUSTOMER SPENDS 25 MINUTES READING THESE TITLES. THAT’S 25 MINUTES SPENT WITH THE BRAND. LOTS OF COMPANIES ARE REDIRECTING THEIR AD AND MARKETING SPENDS TO THIS AVENUE.” (GREEN, 2010: ONLINE) As our research confirms a brand zine would be a great way for Universal Works to build a relationship with their customers as well as encouraging them to purchase. It is also a successful way to incorporate the hobby with the current season that not only continues the conversation about the hobby but also about the current collection and brand itself. It is also a strong platform that ensures Universal Works are offering more than just the product alone. Although the zine will have free distribution within the store, we want to ensure is offered in a way that gives it the value and credibility it deserves. As the zine is an integral part of the communication strategy, it plays a key role in encouraging people to come together and partake in a hobby of some sort. The zine itself will be interactive hopefully making it stand out from other competitor brand zines. If successful, the Universal Consumers will look forward to the different issues the brand offers. It will also further develop this Universal Works community and includes an invitation to the event at the end of the season.

We felt it important to do a separate photo shoot from the film concept in order to further connect model making to Universal Works. This storyline was two friends coming together of varying ages to design an architectural model. We wanted to create a completely separate story line from the film to show the variety of ways each hobby can be explored. This shoot was also used to do some product pulling as well as expressing Universal Works want for their customers coming together and the variating age ranges.

This way of photographing Universal Works clothing was a great way of getting close up shots of the product across to consumers showing the quality of fabric and design. This was also a great way of linking the theme of model making to something current and of personal interest of Davids due to it originating from Japan. We were inspired by a post on the Universal Works journal that highlighted Chinese brand, Ka-pok’s, new lookbook from Hong Kong replacing their models heads with origami animals.

This feature along with the interview with Kyle bean were routes of exploring the old fashion hobby of model making in a contemporary and up to date way. Both features focused on artists that are pushing the boundaries of model making in innovative and conceptual ways. Hoping to feed the Universal Works readers appetite for current and cultured knowledge on subjects they are not aware of.

We decided to include the 10 talents of a model maker feature to ensure we were exploring model making in traditional ways as well. We felt that this feature had an honest and authentic part appeal to it similar to Universal Works.

We included a cut out and make paper plan to try and get readers involved and interacting with the zine and therefore the hobby. This is followed by an invite to the seasonal event focusing on the featured hobby.

ZINE


UNIVERSAL WORKS PRESENTS THE MODEL MAKING WORKSHOP

22 FEB 2014

KYLE BEAN


We propose that Universal Works hold an event at the end of each season that invites customers to take part in the hobby they have been learning about. This evening welcomes all ages and plays an important role in developing the Universal Works community. The interactive and intimate evening will alter with the different hobby that is being looked at that season. In relation to the first hobby, model making, we propose the event would be in the form of an evening workshop. This is where Universal Works customers can discover their creative side and interact with one another in an informal environment. With a variety of materials and models to choose from, the Universal Works workshop would give customers all the right tools to create their own masterpiece to take away with them. As Kyle Bean is interviewed and featured in the brand zine, we propose inviting him to host and lead the model making workshop. His diverse range of models and imaginative thinking would be perfect to educate and inspire young people as well as those older. Kyle’s take on model making is innovative and very original so we feel this ties in nicely with how Universal Works collections are seen to their customers. Everyone puts Universal Works pieces together differently and they always look good due to their quality and classic design. David mentioned in the zine, how his favourite part of model making was painting the colours incorrectly and putting his own stamp on the model through its appearance (David Keyte Interview, see appendix). Similar to how Universal Works offer their consumers the tools for building an outfit, they are offering them the different tools to build a model completely unique to them. As Kyle has recently started giving talks at various events around the UK, he would most definitely be a suitable and credible candidate to lead the workshop.

EVENT


The press release below explains how we plan to tell the press about the communication idea and additional sizes. Above are some mock ups of who we think Universal Works should aim to feature on and get their story to. PRESS RELEASE

Press Release

Embargoed for September 2013 Universal Works 8 Provident Works Newdigate Street Nottingham NG7 4FD

“UNIVERSAL WORKS PRESENTS MODEL MAKING” Why Model Making? In order to promote their new extended size range, broadening their appeal to a younger customer with the addition of new XS, XXS and XXS sizes to their collections, Universal Works are embarking on an exciting “Universal Works Presents” series. The series will focus on a different hobby for each new season, the first of which is Model Making for AW13. At the heart of the promotions for each new season, will be an in-depth and illuminating brandzine, exploring the current hobby and coinciding collection. Issue one focuses on creative Model Makers such as the ever-innovative Kyle Bean and respected matchstick enthusiast Patrick Acton, along with Universal Works founder David Keyte’s insight into the chosen hobby, encouraging you to learn and try something new, no matter what your age! The release of the new brandzine at the launch of each season, will be accompanied by creative visual merchandising, limited-edition hobby-based products and multimedia updates and information via their newlook blog. To celebrate the end of each season, Universal Works invites you to take part in a specialised workshop or event, with rumours of special guest speakers from the contemporary arts scene and creative industries. Universal Works introduce this series by saying: “At Universal Works we’ve aligned ourselves with a new type of living, a sense of community and a commitment to bringing people together: friends, family, those in a club, or those in a team, to embrace a hobby that you may or may not have tried before.” To find out more, and get involved yourself, visit the Universal Works flagship store on London’s Lamb’s Conduit Street, or visit the website at: www.universalworks.co.uk.

Notes to editors: Please find enclosed the accompanying imagery, produced by our photographers Jack Crofts and Josh Fisk, for use in relation to this subject only. For more information please contact: Lauren Garner on: lauren@universalworks.co.uk/+44(0)1159249363 David Keyte on: david@universalworks.co.uk/+44(0)1159249363


APPLICATIONS


A key reason that we feel this strategy could be successful is due to the longevity of the concept. Hobbies are something that most people are likely to have or have had at some point in their lives making it relatable to all as well as there being a wide variety of them. We have developed two potential routes that the subject can be explored for the coming two seasons. We have been thinking about the hobbies fishing and cycling. Fishing is a hobby that we already know the Universal Team are interested in from their journal posts so feel this could be a interesting sport to focus on. The typical fishing attire could potentially be very interesting to look into in contrast with a fashion brand. We also think cycling could be successful if explored in a different way as the brand has connections with the sport and David has a keen interest in the materials worn to partake in this hobby. FUTURE APPLICATIONS


CONCLUSION

(Fig 46-51, Own photographs)


CONCLUSION

We feel this extended offer and communication strategy offer Universal Works the opportunity to build on their current success and fulfill their potential as a brand. The additional sizes do not only broaden their consumer but also help fulfill the overall aim of making Universal works, truly universal. As discussed before this scheduled communication strategy can be applied to any hobby Universal Works choose to explore showing longevity and credibility. The ways in which the hobbies are explored through the included platforms will consistently develop and innovate. This ensures the communication suits the hobby itself and is in keeping with trends within the technology, design and fashion industries. This should also maintain a keen interest from customers throughout the following seasons. Using hobbies as a continuous seasonal subject offers a unique conversation between brand and consumer, is inclusive to all and appeals to the new target audience. It plays a vital part in creating the relationship David wants with his customers as it is a way they can fully engage and interact with the brand. Through this we hope Universal Works customers feel part of a community that appreciate good company, discovering new things and quality garment.


LIST OF ILLUSTRATIONS

REFERENCES

BEBBINGTON, A. , 2013. Universal Works Menswear: AW12. Fashionbeans review [online], (11 January 2013) Available at: http://www.fashionbeans.com/2013/ universal-works-menswear-aw12/ [Accessed: 20 February 2013].

Front page: My hand and Universal Works, 14 May 2013: own photograph

CONTENT MARKETING INSTITUTE. , 2013. What is content marketing? Content Marketing Institute [online], Available at: http://contentmarketinginstitute.com/ what-is-content-marketing/ [Accessed: 17 March 2013].

Fig 2: Universal Works, http://www.universalworks.co.uk

DESIGN BOOM. , 2012. Kyle Bean Interview. Designboom [online], (19 Aug 2012) Available at:http://www.designboom.com/design/kyle-bean-interview/ [Accessed: 15 March 2013].

Fig 4: Universal Works, http://www.universalworks.co.uk

GILL, M. , 2013. Brand Agent Interview with Ellena Barron, Alice Hammerton & Stefanie Sword-Williams, Nottingham, January 2013.

Fig 6: Universal Works, http://www.universalworks.co.uk

GREEN, L. , 2010. The boom in branded magazines. Financial Times [online], (8 Jan 2010) Available at:http://www.ft.com/cms/s/0/82754772-fbe0-11de-9c2900144feab49a.html#axzz2U0JXXf4e [Accessed: 25 April 2013].

Fig 1: Universal Works Store, theislingtonian.blogspot.com

Fig 3: Universal Works, http://www.universalworks.co.uk

Fig 5: Universal Works, http://www.universalworks.co.uk

Fig 7: Universal Works, http://www.universalworks.co.uk Fig 8: Universal Works The One Off, http://www.theoneoff.com/work/browse/project/universal_works_retail_store_universal_works

IN PUBLISHING, 2013. ABC Results: publisher reaction. In Publishing [online], (15 Feb 2013) Available at:http://www.inpublishing.co.uk/news/articles/abc_results_ publisher_reaction_ _15022013.aspx [Accessed: 27 April 2013].

Fig 9: Universal Works Customer: Stefanie Sword-Williams

KEYTE. D. , 2012. First meeting, Nottingham, November 2012.

Fig 11: David Keyte,

UNIVERSAL WORKS IN STUARTS LONDON. , 2011. Honest Fashion- Universal Works. Stuarts London [online], (7 Aug 2011) Available at: http://www. stuartslondon.com/blog/honest-fashion-–-universal-works/ [Accessed: 30 November 2012].

Fig 12: Dad and Son, Kinfolk, http://pinterest.com/pin/477733472942079635/

UNIVERSAL WORKS, 2013. kapok SS13. Universal Works Journal [online], (17 Apr 2013) Available at:http://www.universalworks.co.uk/journal/ [Accessed: 18 April 2013].

Fig 10: Universal Works Customer: Stefanie Sword-Williams

Fig 13: Chess, http://pinterest.com/pin/477733472941855548/ Fig 14: Kinfolk and Universal, pinterest, http://pinterest.com/ pin/477733472941787759/


Continued List of Illustrations

Fig 15: The kooples, http://pinterest.com/pin/477733472941862668/

Fig 28: Universal Work product, http://www.universalworks.co.uk

Fig 16: Young boy, http://pinterest.com/pin/477733472941788172/

Fig 29: Universal Work product, http://www.universalworks.co.uk

Fig 17: Model, http://pinterest.com/pin/477733472941787761/

Fig 30: Universal Work product, http://www.universalworks.co.uk

Fig 18: Bleubird Family, http://pinterest.com/pin/477733472941787835/

Fig 31: Universal Work product, http://www.universalworks.co.uk

Fig 19: Universal Work product, http://www.universalworks.co.uk

Fig 32: Universal Work product, http://www.universalworks.co.uk

Fig 20: Universal Work product, http://www.universalworks.co.uk

Fig 33: Rail in Universal Works Office, 14 May 2013: own photograph

Fig 21: Universal Work product, http://www.universalworks.co.uk

Fig 34: Models, Pinterest, http://pinterest.com/teamthumper7/model-making/

Fig 22: Universal Work product, http://www.universalworks.co.uk

Fig 35: Models, Pinterest, http://pinterest.com/teamthumper7/model-making/

Fig 23: Universal Work product, http://www.universalworks.co.uk

Fig 36: Models, Pinterest, http://pinterest.com/teamthumper7/model-making/

Fig 24: Universal Work product, http://www.universalworks.co.uk

Fig 37: Models, Pinterest, http://pinterest.com/teamthumper7/model-making/

Fig 25: Universal Work product, http://www.universalworks.co.uk

Fig 38: Models, Pinterest, http://pinterest.com/teamthumper7/model-making/

Fig 26: Universal Work product, http://www.universalworks.co.uk

Fig 39: Models, Pinterest, http://pinterest.com/teamthumper7/model-making/

Fig 27: Universal Work product, http://www.universalworks.co.uk

Fig 40: David Interview, 21 May 2013, own photograph


Continued List of Illustrations

Fig 41: Universal Works Origami, 14 May 2013: own photograph Fig 42: Universal Works Filming, 4 April 2013: own photograph Fig 43: David Interview, 21 May 2013, own photograph Fig 44: Blog mock up: own design Fig 45: Blog mock up: own design Fig 46: Universal Works Filming, 4 April 2013: own photograph Fig 47: Models within product shoot, 14 May 2013: own photograph Fig 48: Models within product shoot, 14 May 2013: own photograph Fig 49: Matchstick shoot, 14 May 2013: own photograph Fig 50: David Interview, 21 May 2013, own photograph Fig 51: Universal Works Filming, 4 April 2013: own photograph Final Page: Model in Universal Works office, 21 May 2013: own photograph

BIBLIOGRAPHY

ANON, 2012. Olivier Borde Fall/Winter 2012. The fashionista [online], (31 October 2012) Available at: http://thefashionisto.com/label/olivier-borde-designers-m-odesigners/ [Accessed: 2 December 2012]. BEAN, K. , 2013. ICON. Kyle Bean [online], (2 May 2013) Available at: http:// kylebean.co.uk/news/ICON[Accessed: 8 March 2013]. BEARNE, S. , 2012. Menswear market: What do retailers need to know? Retail Week [online], (1 June 2012) Available at: http://www.retail-week.com/menswearmarket-what-do-retailers-need-to-know/5037120.article [Accessed: 2 December 2012]. BEBBINGTON, A. , 2013. Universal Works Menswear: AW12. Fashionbeans review [online], (11 January 2013) Available at: http://www.fashionbeans.com/2013/ universal-works-menswear-aw12/ [Accessed: 20 February 2013]. BLACKMAN, C. , 2012. 100 Years of Menswear Book. Reprint ed. London: Laurence King. BLEUBIRD, 2012. What we wore. Bleubird Blog [online], (20 November 2012) Available at: http://bleubirdvintage.typepad.com/blog/what-we-wore/page/2/ [Accessed: 30 November 2012]. BRAYCREW BRAND CATALOG, 2012. EDIFICE - 2012 Autumn & Winter. Available at: http://catalog.baycrews.co.jp/pc/edifice1209.html#n8 [Accessed: 30 November 2012].


Continued Bibliography

BURROWS, K. , AND SCHLOSSMAN, L. , 2012. F*** Yeah Menswear. 1st ed. London: Simon & Schuster

FLASHANDFOOTLE, 2012. Blog. Available at: http://flashandfootle.tumblr.com/ [Accessed: 3 December 2012].

CONTENT MARKETING INSTITUTE. , 2013. What is content marketing? Content Marketing Institute [online], Available at: http://contentmarketinginstitute.com/ what-is-content-marketing/ [Accessed: 17 March 2013].

FLIPPA K, 2012. Campaign. Available at: http://collection.filippa-k.com/aw12/man [Accessed: 30 November 2012].

CULLATHER, S. , 2012. The importance of brand equity and how to maintain it. The Guardian [online], (10 August 2012) Available at: http://www.guardian.co.uk/ media-network/media-network-blog/2012/aug/10/brand-equity-start-upsadvantage [Accessed: 30 November 2012]. DESCHAMPS, M J. , 2012. Just-style management briefing: Fast fashion’s competitive advantages. Just Style[online], (2 July 2012) Available at: http://www. just-style.com/management-briefing/fast-fashions-competitive-advantages_ id114806.aspx [Accessed: 30 November 2012]. DESIGN BOOM. , 2012. Kyle Bean Interview. Designboom [online], (19 Aug 2012) Available at:http://www.designboom.com/design/kyle-bean-interview/ [Accessed: 15 March 2013]. EDWIN, 2012. Edwin- product. Available at: http://www.edwin-europe.com/ [Accessed: 30 November 2012]. FATYO, 2012. Fat Online Shop. Available at: http://shopping.fatyo.com/pc/#.UQg4L8vSSo. [Accessed: 30 November 2012].

FUCKYEAHMENSWEAR, 2012. Blog. Available at: http://fuckyeahmenswear. tumblr.com/ [Accessed: 5 December 2012]. GILL, M. , 2013. Brand Agent Interview with Ellena Barron, Alice Hammerton & Stefanie Sword-Williams, Nottingham, January 2013. GREEN, L. , 2010. The boom in branded magazines. Financial Times [online], (8 Jan 2010) Available at:http://www.ft.com/cms/s/0/82754772-fbe0-11de-9c2900144feab49a.html#axzz2U0JXXf4e [Accessed: 25 April 2013]. IACOLO & MCALLISTER, 2012. Projects. Available at: http://shop.iacolimcallister. com/ [Accessed: 30 November 2012]. IN PUBLISHING, 2013. ABC Results: publisher reaction. In Publishing [online], (15 Feb 2013) Available at:http://www.inpublishing.co.uk/news/articles/abc_results_ publisher_reaction_ _15022013.aspx [Accessed: 27 April 2013]. INHABITAT, 2012. Artist Patrick Acton recreate. . . Inhabitat [online], (6 May 2012) Available at:http://inhabitat.com/artist-patrick-acton-recreates-harry-pottershogwarts-school-from-thousands-of-matchsticks/patrick-acton-matchstickarchitecture3/?extend=1 [Accessed: 21 April 2013].


Continued Bibliography

KEYTE. D. , 2012. First meeting, Nottingham, November 2012. KUMAR, M. , 2012. Amazing Matchstick Models by Patrick Acton from Greene. Amazingezone [online], (6 Oct 2012) Available at: http://amazingezone.com/ amazing-sculptures/amazing-matchstick-models-patrick-acton-greene/ [Accessed: 15 April 2013]. LABRAT, 2012. Labrat News. Available at: http://labrat-web.blogspot.co.uk/ [Accessed: 30 Novemer 2012]. LONDON, B. , 2012. 94% of mothers spend more on their child’s wardrobe than their own (and nearly half feel guilty about spending money on clothes for themselves). Daily Mail [pnline], (4 December 2012) Available at: http://www. dailymail.co.uk/femail/article-2181165/A-staggering-94-mothers-spend-childs-wardrobe-nearly-half-feel-guilty-spending-money-clothes-themselves.html [Accessed: 4 November 2012]. LUI, J. , 2013. Kapok ss13 lookbook “the origami wildlife”. Ka-pok Blog [online], (19 Apr 2013) Available at:http://ka-pok.blogs.com/kapok/2013/04/kapok-ss13lookbook-the-origami-wildlife.html [Accessed: 10 May 2013]. MCCANDLESS, D. , 2012. Information is Beautiful. 2nd ed. London: Collins. MY MODERN MET, 2012. Mind-Blowing Matchstick Sculptures by Patrick Acton. My Modern Met [online], (17 Sep 2012) Available at:http://www.mymodernmet. com/profiles/blogs/patrick-acton-matchstick-marvels-sculptures[Accessed: 20 April 2013].

NICKWOOSTER, 2012. Archive. Available at: http://nickwooster.com/archive [Accessed: 4 December 2012]. NOTJUSTALABEL, 2012. Community. Available at: http://www.notjustalabel.com/ editorial [Accessed: 30 November 2012]. POLAROIDSONSIDEWALKS, 2012. Blog. Available at: http:// polaroidsonsidewalks.com/page/2/ [Accessed: 4 December 2012]. PORTAS, M. , 2012. Shop! Mary Portas at The Kooples. The Telegraph [online], (28 January 2012) Available at: http://fashion.telegraph.co.uk/news-features/ TMG9037968/Shop Mary-Portas-at-The-Kooples.html [Accessed: 5 December 2012]. SANTI, A. , 2011. The Kooples. Drapers [online], (30 September 2011) Available at: http://www.drapersonline.com/news/independents/the-kooples/5029574.article [Accessed: 30 November 2012]. SCHUMAN, S. , 2012. The Sartorialist: Closer. 1ST ed. London: Penguin Books. SELECTISM, 2012. David Keyte of Universal Works ‘Save the date’ film. Available at: http://www.selectism.com/2012/10/24/david-keyte-of-universal-works-savethe-date-film/ [Accessed at: 6 December 2012].

SPADA, B., 2013. Kyle Bean, Art & Culture Interview. Idol Magazine [online], (15 May 2013) Available at:http://idolmag.co.uk/art-cultureinterview/kyle-bean [Accessed: 16 March 2013].


Continued Bibliography

THE BUREAU, 2012. Shop. Available at: http://www.thebureaubelfast.com/shop/ product/1289/turms-red-wooden-complete-case/ [Accessed: 2 December 2012]. THE COUNTRY FUCKER, 2012. Blog. Available at: http://thecountryfucker.tumblr. com/ [Accessed: 3 December 2012]. THE TELEGRAPH. , 2010. Men make more loyal customers than women, researchers claim. The Telegraph [online], (3 July 2010) Available at: http:// www.telegraph.co.uk/finance/newsbysector/retailandconsumer/7869155/Menmake-more-loyal-customers-than-women-researchers-claim.html [Accessed: 1 December 2012]. TOBACCOWALA, R. , 2012. THE FIVE KEYS TO GREAT MARKETING IN 2012. FASTCOCREATE. [ONLINE], (15 FEB 2012) AVAILABLE AT: http://www. fastcocreate.com/1679333/the-five-keys-to-great-marketing-in-2012 [Accessed: 30th November 2012]. TWISTED SIFTER, 2012. Twisted Sifter [online], (7 Aug 2013) Available at: http:// twistedsifter.com/2012/08/and-crafted-art-by-kyle-bean/ [Accessed: 10 March 2013]. TWO THIRDS, 2012. Two thirds looks. Available at: http://twothirds.com/#/home [Accessed: 30 November 2012].

UNIVERSAL WORKS IN STUARTS LONDON. , 2011. Honest Fashion- Universal Works. Stuarts London [online], (7 Aug 2011) Available at: http://www. stuartslondon.com/blog/honest-fashion-–-universal-works/ [Accessed: 30 November 2012]. UNIVERSAL WORKS, 2013. kapok SS13. Universal Works Journal [online], (17 Apr 2013) Available at:http://www.universalworks.co.uk/journal/ [Accessed: 18 April 2013]. VIMEO, 2012. LOV- Di Gusto Stephanie. Vimeo [Online] Available at: http://vimeo. com/28455938 [Accessed: 5 December 2012]. VIMEO, 2012. Other Lives - Dust Bowl III. Vimeo [Online] Available at: http:// vimeo.com/45280712 [Accessed: 30 November 2012]. WILLIAMS, N. 2012. Lisa Baron Quote. Hearblack [online], (15 July 2012) Available at: http://www.hearblack.com/ [Accessed: 30 November 2012].


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Interviews


INTERVIEW WITH DAVID KEYTE

OWNER OF UNIVERSAL WORKS

MAY 2013 FACE TO FACE

I’m a kid that made airfix models you see? Little airplanes that I used to hang on my ceiling. Model making needs a lot of planning and designing, what is the first thing you do to create your final pieces? First thing you do, start from where the last season ended, more often than not. So if you’ve had a jacket that everyone wanted to buy, you would assume that that jacket may have a lifetime more than one season and perhaps you should do another version of it. Its about moving things on and adapting. So that is often where the collection begins, what are we going to re offer as we want to continue the life of those things. It is also very much led by the fabrics we choose. So often instead of saying ‘I really want to make that sweater’ i might say ‘I really want to use this yarn or this stitch. I really like the way this fabric falls, so what garment will that work in well?’ What are the essential pieces in your toolkit? Hmmm good question. Well i think partly the things that I have just said are part of that toolkit, such as past seasons. There is rarely an clean sheet design. You tend to say ‘well i’ve got those shapes. where am I going with them?’ For me, also I’d say a huge part of it is understanding menswear and where its all come from. And sometimes it is just travel and research where things come from. We can all travel these days because of the internet I can search ‘what are people wearing in Peru today?’ and within about 10 minutes I’ll be able to see what someone is walking down the streets in Lima wearing because there will be a blog on it.

A model maker often plays around with different materials what’s the strangest fabric you’ve worked with? Although a lot of what we have done can be perceived as heritage fashion as it has an understanding of its traditions and has that blue collar type of feel, but I really like working with new modern sports fabrics as I think they can be great with not just only sportswear. I think technically advanced fabric is really interesting. So we are doing a couple of our more ‘traditional’ pieces in really mad tech fabrics this season which I love as its probably not what people expect. When you are designing what is the one thing you cant live without? Coffee. What models (if any) did you used to play with when you were younger? When I was younger I used to make a lot of things like Airfix they had a lot of models such as planes and tanks. If I’m honest I think the thing I liked the most was the painting as you would get all of the parts to put together and instructions on how you are meant to paint it but I used to like not painting them how you were meant to. You could have more fun with it that way and it was more my own interpretation of it. In terms of craft who do look at for inspiration? Craft itself is really interesting and there is a lovely textile craft magazine called Selvedge that is published 6 times a year about craft in the UK. That is inspiring as in it talks about individual craftspeople and it may not be people that would have done anything massive or been particularly successful, they may just have done this one thing and that is inspiring, not that I want to go and create just that but their methods and the way they do things. Often the thing in craft that inspires me the most is the Japanese approach to craft. They have almost a level of government intervention to try and continue their traditional crafts of textiles and ceramics where we have left them to die. They feel it is important to maintain that craft for the future. Fashion is a much more commercial end of the scale of craft but I think making anything can be seen as craft. I think the nice thing is in the last 5 or 10 years craft has gone from being a bit of a twee thing that funny people do to being looked upon as a great thing which is nice. If you could design any type of model what would it be? I would say I’d probably be interested in something architectural. So if I had another lifetime to come back I’d want to build things and therefore design those things that you build.


INTERVIEW WITH MARTIN GILL

UNIVERSAL WORKS AGENT

NOV 2012 EMAIL

Actually Martin, it would be easier to email through some questions if you dont mind as I will be unable to record our phone call.   Im not sure if you remember but my group are looking at the potential of adding additional sizes to the range to appeal to a broader audience so we just have a few questions related to the idea.   From a practical point of view how easy would it be to create additional sizes of the current collection? Practically it relies on grading and grade scales. Some factories are very good at grading across broad size ranges but some may be reluctant to have to grade down too far. It is though a not too difficult.   We are aware that UW cater to the smaller sized market in other countries, is it a possibility that sizes made for japan could be translated to the uk? Absolutely it’s all proportionate; so it’s simply a case of the smaller sizes being more important commercially in the Japanese market.   Which of the garments included in the current collection would the easiest to adapt into smaller sizes? It’s not so much about the easiest styles to adapt per se but more about the end consumer’s ability to accept those garments. A mini version of a parka for example may prove too expensive whereas jersey and sweat styles can be manufactured more cheaply as the fabric rating is lower. More complex garments such as outerwear still have lots of sewing work and component parts that will keep the price up and not so child or youth friendly. That’s in crude terms about consumer expectation of pricing.          

Which items would customers be prepared to spend more money on? I think that’s fairly apparent based on the garment type but in reality I find trousers/jeans to be very price resistant and knitwear of anything like decent quality tends to be more expensive but the end consumer often doesn’t ‘get’ what’s gone into the garment and higher priced knits are often a more difficult sell. Relatively speaking printed/embroidered jersey and sweats can command a good margin and appear to be able to command higher prices relative to cost. Outerwear and jackets also tend to be able to command relatively higher prices.   How do you think stockists would react to UW adding additional sizes? The current distribution would not find smaller sizes very relevant I think you need to look at an alternative or an addition distribution channel for this kind of extension to the range. See if you can see any new opportunities outside of the current stockists. Having said that there are some of the current retailers who could carry extra product like you are suggesting. And of course any UW own retail.   Do you think that a product extension in size should distributed through external stockists or should they be distributed purely through Universal Works as a brand exclusive? ( see answer above)     If okay with you we would use your response as a reference within the body of our reports. No Problem.   Thanks again for taking the time out.   Stefanie


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Consent Forms


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DIX C

Tutorial Forms & Declaration


DECLARATION

I confirm that this work has gained ethical approval and that I have faithfully observed the terms of the approval in the conduct of this project. This submission is the result of my own work. All help and advice other than that received from tutors has been acknowledged and primary and secondary sources of information have been properly attributed. Should this statement prove to be untrue I recognise the right and duty of the board of examiners to recommend what action should be taken in line with the University’s regulations on assessment contained in its handbook.

Date: Signed:

23/05/13


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Critical Path & Moodboards


CRITICAL PATH


BEHIND THE SCENES

(Own photography)


UNIVERSAL WORKS PATTERN AND PRINT S/S 2014



STAGE TWO UW