Level 3 proposal

Level 3 proposal, Gemma Benjafield, N0678005

time for the thinking cap

contents preface

FCP TRIANGLE

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04

03 SWOT

research topic 2

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05

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research topic 1

references

What's this all about?

PREFACE

The purpose of this report is to reflect upon my past two years studying Fashion Communication and Promotion, whilst frame working my feedback and skills in which I have learnt. My skills primarily lie in; branding, creative design, editorial and graphic design and journalism; evident within my strongest and personally favourite pieces of work; perfume project and VMD for COW. Within my interests for my ideal career, my path lies within the latter stages of the FCP triangle; Creative Concept and Execution. Therefore, my two potential dissertation topics will allow me to showcase my skills. Within this report, I will be exploring the world of food trends and the theories of Visual Merchandising.

my swot STRENGTHS

WEAKNESS

• Etsablished blog where I have started to create relationships and connections to brands • Good at visuals and design • Pick up editing programmes easily

• Not confident enough in presentations • Look outside of the beauty and fashion industry for inspiration • Focus too much on the design element within my sketchbook and not on my tought process • Fail to include a variety of references from different sources

OPPORTUNITY

threats • I struggle to get stuck into primary research which initially may be a struggle in terms of turning my research topics into chosen ideas • I dont give my sketchbook enough attention • My chosen idea may have been previously overused • My chosen idea relies heavily on my research over summer and I may not use my summer beneficially

• Spend summer exploring my interests enabeling me to gain dissertation ideas and gather research • Become soley obsessed with my final chosen field for 3rd year • Try and get an intership whithin my chosen field in order to gain expereience and insights

fig 1

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where do my ideal careers

execution creative concept big idea content fig 2

fit in the fcp triangle?

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proposal one

click plate : a qaulity quality meal

instagram post over a

overview

In this moment in time, it is almost impossible to scroll through your social media accounts and not be faced with an aesthetically pleasing image of food on a daily basis.

When visiting a restaurant or cafe, it is now becoming the norm to take photos of what and where you eat, and upload them on social media platforms, and this is a global social phenomenon that seems to be growing (Jazeera, 2018). Not only is this a great promotional tool for restaurants, but it has generated the industry to the concept of food trends, the same way in which fashion trends come and go. It can be argued that certain consumers are so caught up in food porn trends that the quality of food is now being overlooked by its visualization and the aesthetic experience whilst dining and that the overall food presentation and experience is ranking at a higher importance. But is this for the better or worse?

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fig 3

cartogram Innovators drivers

Impacts

consequences We’re all doing it for the gram

“Why Fashion Retailers Are Staging Food Experiences”

futures Tables at Grind were replaced with marble tops purely because it looks good on Instagram

2019 Food Trend predictions are being generated the same way as fashion trends

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I can openly admit that I too, am an advocate of click plate. I will procrastinate my free time by scrolling through my Instagram feed looking at aesthetically pleasing visuals of food. But half the time, this is not procrastination as I am in fact scouting for the next cool and quirky restaurant or cafe near me in which I can visit and document my experience, for my friends, family and followers to see. It is shameful to admit that the majority of what I order solely depends on what is going to look better visually to photograph.

It is a strategic thought process which often leads to my pretty looking food getting cold due to the fact it’s taken me at least five minutes to make sure I get the winning photo for the gram, snapchat or blog. Despite the shameful looks from other consumers around me, I will still stand up from the table and climb over to get the perfect birds eye view, whilst not letting my friends start eating. There is strong evidence to show that I fit within the demographic of millennials whom have jumped on this bandwagon and whom are encouraging the promotion of food porn within the world of social media (Smithers, 2018). More than 130,000 images of food are shared on Instagram everyday in the UK alone and according to research by Zizzi, 18-35-year-

olds spend five whole days a year browsing food images on Instagram, and 30 per cent would avoid a restaurant if their Instagram presence was weak (Hosie, 2017). Thus making millennials driving food trends and altering the food industry, since Instagram now plays an important role in a restaurants communication and marketing strategy.

The picture perfect plate isn’t the only factor in which determines these trends as a restaurants interior also plays a big role in seducing happy snappers. In the most recent years, we’ve seen rose quartz pink, copper, marble and neon lights all come into trends which have been splashed all over our feed and consumer needs are becoming more satisfied by the overall aesthetic and experience whilst dining. The Tower Bridge restaurant Coppa Club is a great example of interior success after it’s dine in igloo in central London became a concept craze for Instagram and photo loving consumers.

Diners can wrap up warm under furry blankets in Icelandic style rooms and look out to the magic of the city lights, with the Thames, The Shard, City Hall and Tower Bridge all in your sight. This interior concept became a huge marketing success with bookings filling up two months in advance.

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ASETHETIC OR TASTE? The food porn phenomenon, supports the old adage that we eat with our eyes. Consumers are willing to spend more disposable income on food which is aesthetically pleasing as they are also gaining a photograph where they can boast to their followers and remember the taste with their eyes. Click plate has controversially altered the way in which we eat, as the millennial consumer is choosing the aesthetic over the quality and taste of the food. The question is, is the taste as delicious as the image portrays it to be? It can be argued that the taste almost becomes physiological. Foods are becoming so colorful in order to be different and eye catching that they are essentially saturated with artificial colors and syrupy sweeteners that most discerning palates will have trouble getting any pleasure out of them. However, this is what outlines the millennial consumers whom is advocating a restaurants marketing and since millennials today are more than 50% of the consumer base (Lee, 2017), the food industry Is having to adapt and cater to an aesthetic change. However, without such social media knowledge and sustainable awareness of trends, it is likely that these foods and restaurants would be seen as average, poor quality or badly tasting and therefore the consumer would have no real urge to visit and pay the infatuated prices.

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trend hunger As previously stated, I am highly guilty of advocating aesthetic over quality, during Summer 2017, I took a visit to Milk Train Cafe in Covent Garden after seeing their quirky candy floss rimmed ice creams splattered all over my Instagram and Pinterest feed and wanting to take my own picture and see what all the hype was about. The concept itself, is solely marketed around the aesthetic and differentiation that they offer within the look of their product. Consumers make a conscious effort to visit Milk Train and many queue for a wholesome twenty minutes down the road in order to get themselves a sixpound ice cream and a good photo hopping on to the Instagram hashtag bandwagon. However,

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when it comes down to taste, and general proximity conveineance, it could be argued that Torrington’s or Mr. Whippy would be better value and better tasting. Yet, a millennial would not look at the food industry in this aspect. It can also be seen that these trends are displayed by smaller franchise and cafes, and that it is a lot harder for big chains to adapt to these food and interior trends as they are constantly evolving depending on social media. However, this food porn marketing is not as needed for the larger chains as they have already established a loyal consumer base whom will continue to visit each chain due to their well-known service and quality food.

Millennials are becoming the largest buying group in the coveted 18-35 age range since the baby boomers in 1965 (Goodmanson, 2017). The loyalty challenge is something restaurants and chains are now currently struggling to adapt to with millennial customers and this can be outlined within food porn.

They are hungry for what’s on trend and whether or not they want to spend their disposable income on something considered average, yet reputable or something new and existing is an experience they can remember, and show others.

e t a u eval oc v ad

loyalty bond

LOYALTY LOOP en

y o j

r conside

e at

purchase fig 9

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he gram t r o f g n i th does every independent girl boss on the hunt fo r the next bes t thing the je t sett er battery i s on the low, too free time much scr olling i s for brun cerea c h i ng l is too b one oring step for b ahea str reakf d ateg ast ical hea ys its vil by w yr ind eli ow es for on day vsc ligh o& t aft erl igh t

The consumer is situated within the innovator and early adapters category within the diffusion of innovation, which is the second phase of product purchasers (The Interaction Design Foundation, 2018). The early adapter is usually the most influential within a market space and they help to prolong a product lifestyle. They are not the ones who created the original idea however, they are the ones kick starting and advocating the trends.

The typical early adapter is extremely active in social media and is knowledgeable of new trends and what is on the rise. Their archetypical high social status enables their leadership thus forms individuals to follow what they’re doing and hop on the bandwagon. They’d rather spend their disposable income on new and exciting things in which they can be materialistic and boast about to their friends.

babe, it’s a mindset

fig 10

who is she?

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the rise & grind grirl

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the next steps I believe that the food industry is rapidly evolving due to food trends and the world of social media, and this is not something which is going to decline anytime soon. Therefore, when I graduate in 2019, this concept is still likely to be relevant. Millennial consumers are altering marketing strategies from quality to aesthetic and this is something I find deeply interesting. I am intrigued to further research into what decides these next upcoming trends and how restaurants and cafes can up their game and evolve in the near future. Is it possible to run out of new concepts and trends if they have previously been done?

Over the summer I aim to actively conduct research into the concept of food porn by seeking and visiting aesthetically pleasing restaurants and cafes. I hope that when doing this, I will be able to observe how consumers act when in store as well as getting the opportunity to interview owners and managers of the establishments in order to get a better understanding.

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proposal two

do we make a purchase d of visual merchandising

due to the psychology g?

overview

Impacts drivers

cosequences futures Innovators

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Visual merchandising is an advertising tool which physically displays goods in the most appealing and attractive ways in order to please a consumer.

Visual merchandising has tremendously evolved since the nineteenth century. Where as it used to be used as a displaying tool for a product, visual merchandising can now display a brands whole identity. Stores are now creating a psychological and emotional experience for consumers in order to create consumer purchases, as well as

differentiating themselves from their competitors and with increased competition, stores are trying to create more exciting, aggressive visual presentations. Visual merchandising is a valuable field of design and an integral part of everyday life. The critical role played by the appearance of goods and sales environment is so embedded in our contemporary culture that it is hard to understand how the image of selling has been overlooked in the field of visual studies.

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In retailing practice, visual merchandising has come to describe not simply the means by which information about the product is communicated but how the message is received by the customer in a way that stimulates their senses and motivates them to buy (Iarocci, 2013). Today’s consumer no longer wants to make a simple purchase, they’re looking for a rewarding shopping experience, made of emotions and stories and this is where visual storytelling excels through aesthetic sensibility and creativity (Visual Retailing, 2018). There are many various factors that contribute to the success of visual merchandising and the effect it has on the consumer. Lighting, signage and packaging, uniform and presentation, point of sale material, ticketing and colors, shapes and various textures are many of the various elements in which goes into the art of visual merchandising and when these elements collectively come together to showcase a brand, it deepens the customer experience, leading to a positive shopping experience and increased sales (Kangan, 2018).

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it’s an experience darling What I find most interesting is how the psychology of the overall experience of visual merchandising can affect impulse and planned buying behaviors for consumers.

Luxury brands have excelled at creating special experiences for customers in-store to differentiate themselves from the average retailer, one important factor that they consider is the beautiful store design (Charlton, 2017). Successful store design can tap into human emotion and if the right emotion is instilled, this may lead to consumers unconsciously purchasing due to their current state of mind (Reynolds, 2018). Brands such as Gucci, Prada, Hermes and Louis Vuitton are often regarded as the creme de la creme of shopping experiences. It is well recognized that consumers whom are wanting to make a planned purchase from any of these brands, would rather visit the store to make their purchase in order to get the full purchasing experience, rather than simply buying online, but why? Consumers want a complete immersion in the lifestyle that the brand is offering, they buy luxury goods because they’re attracted to the brand’s image, so those aspects have to come to life (The Drum, 2017). With online shopping

at our fingertips, being able to create meaningful offline experiences for the consumer, focusing on human connection and interaction in order to create memories and impressions, has become more important than ever before. Moore et al. (2010) studied the relationship between the store’s merchandise density and perceptions of luxury. In their study, the authors identified the defining characteristics of a luxury flagship store, based on the retailers’ perspective. The abundance of space inside the store was found to be a fundamental element of the consumers’ luxury brand and retailing experience as it signals exclusivity, extravagance and, thus, luxury.

Visual Merchandising forms a museum-like display which affects the consumer’s luxury brand purchase behaviour.

The study also found that luxury consumers carefully consider the elegant architecture and interior design of a luxury store. Consumers gain emotion over the use of lighting which is often used by museums that hold world-class exhibits. In a store atmosphere, a product on display is perceived by the consumers as artisanal and the store creates to them feelings of uniqueness.

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When looking at Maslow’s pyramid; the hierarchy of needs, this type of consumerism demonstrates the theory of human motivation. At the base are the needs such as the removal of hunger and thirst, and these are the factors which assume the highest priority for the consumer to fulfil. Following these are several higher motivational drives that we naturally strive to meet once our basic needs are met. According to conspicuous consumption motives, consumers buy expensive things to appear wealthy and enhance their social image (Berger and Ward, 2010). Convincing consumers that a product or service will fulfil one or more of their needs and drives will convince them to buy it and advertising services the purpose of linking a product with the fulfilment of needs (S Verasdonck, 2015).

self acualization esteem love/belonging safety pyshcological fig 16

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case study: ikea IKEA is one of the world’s largest home furnishing retailers in the world. It has rapidly grown since 1943 and is recognized for its Scandinavian style. They have managed to make their products and services more popular based not only on price but by creating a unique shopping experience for the customers which supporters psychological impulsive buying behaviour.

Alan Penn, director of the virtual reality centre for the built environment claims that IKEA’S store layout is a psychological weapon used to confuse and disorientate shoppers into spending more (Wp.nyu.edu, 2018). With a very distinct entrance and exit, IKEA’S store layout is a visual maze designed so that the consumer must follow a set path in order to get through the store, which is a visual showroom. The maze layout forces the consumer to walk through the whole store, offering plenty of opportunity to get items not intended and

the grid-like layout creates a more open and accessible environment. In IKEA’S case, a consumer knows that if they find a cheap product whilst browsing, they most likely cannot go back to get it and therefore needs to grab it there and then, unlike in the case of a grid-type layout where the customer is less constraint by the layout, and also, is not forced to follow a particular direction. (Blogs.lt.vt.edu, 2012). By delaying the ability of the shopper to fulfil their mission, at the same time as disorienting them and dissociating them from everyday life, when eventually they are ‘allowed’ to start buying, the shopper feels licensed to treat themselves (Williams, 2011). This unique maze design creates not only physiological buying behaviour but it is a shopping experience for the consumer which creates a uniqueness that cannot be compared to any other retailer and therefore creates consumer loyalty.

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the consumer the impulse buyer fig 19

Debbie is forty-two years of age and lives in Buckinghamshire, where she lives with her husband, two children and golden retriever. Alongside holding down a part time job, Debbie loves to cook and is often found re-creating recipes from Gino D’acampo’s cook book. On her days off, she likes to watch This Morning and go out for lunch with her elderly mother, whilst shopping. Her favorite shops are John Lewis, IKEA, John Lewis and Next for clothing and homeware and remains faithful to beauty brands such as Chanel and Liz Earle. Her and her mother like to go shopping for fun and bonding time, they rarely go for a specific item and end up spending more time in the store than anticipated. She always grabs a basket as she walks in the store and is a sucker for last minute till purchases.

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the planned buyer Andre is twenty-three years of age and lives in South Kensington, London, where he works weekdays, nine till five. His iPhone calendar is jam packed with business meetings, city breaks, to social gatherings and fine dining with her friends, family and work colleagues. In his spare time and lunch breaks, he is she often found in three locations; browsing the isles of Selfridges&Co, Starbucks or the gym. He likes to spend his Sundays browsing through luxury flagship stores on Bond Street, enjoying the instore experience they bring.

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Visual Merchandising has always been a big interest of mine. I am intrigued by the psychology and emotions that it can bring to a consumer, as well as how it can determine a brands identity. There are various factors which go into VMD and how it can create an experience. Over the summer I intend to conduct deeper research into VMD itself, I plan to visit as many flagship and pop up stores as possible to see what retailers are doing, what works and how I personally feel as a consumer myself. I also plan to speak to shop assistants and managers in order to get a deeper understanding on their consumers and what their buying behaviour is. In terms of 2019, I feel that VMD is likely to have progressed even more, trends are frequently coming and going and technology is evolving and this is a factor I need to look into more, since retailers are starting to incorporate technology in their VMD and consumer experiences.

the next steps 32

references Blogs.lt.vt.edu. (2012). The IKEA layout and impulse Buying: A case Study | Operations Management in Action. [online] Available at: https://blogs.lt.vt.edu/bit5414/2012/03/20/the-ikea-layout-and-impulse-buying-a-case-study/ [Accessed 13 Jun. 2018].

Charlton, G. (2017). Can luxury retailers recreate the in-store experience online?. [online] The Drum. Available at: http://www. thedrum.com/opinion/2017/11/14/can-luxury-retailers-recreate-the-store-experience-online [Accessed 13 Jun. 2018].

Goodmanson, T. (2017). Millennials and the New Era of Experience Loyalty | CustomerThink. [online] Customerthink.com. Available at: https://customerthink.com/millennials-and-the-new-era-of-experience-loyalty/ [Accessed 13 Jun. 2018].

Hosie, R. (2017). Millennials spend five entire days every year looking at food on Instagram. [online] The Independent.

Available at: https://www.independent.co.uk/life-style/food-and-drink/millenials-restaurant-how-choose-instagram-social-media-where-eat-a7677786.html [Accessed 13 Jun. 2018].

Iarocci, L. (2013). Visual Merchandising, The Image Of Selling. England: AshgateCity Publishing.

Jazeera, A. (2018). How social media influences food trends. [online] Aljazeera.com. Available at: https://www.aljazeera.com/ programmes/countingthecost/2017/05/social-media-influences-food-trends-170528085240437.html [Accessed 13 Jun. 2018].

Kangan. (2018). The Importance of Visual Merchandising. [online] Available at: https://www.kangan.edu.au/students/blog/importance-visual-of-visual-merchandising [Accessed 13 Jun. 2018].

Lee, S. (2017). Picture perfect? How Instagram changed the food we eat. [online] BBC News. Available at: https://www.bbc. co.uk/news/uk-england-london-42012732 [Accessed 13 Jun. 2018].

Reynolds, M. (2018). Psychology of Visual Merchandising. [online] Smallbusiness.chron.com. Available at: http://smallbusiness. chron.com/psychology-visual-merchandising-66054.html [Accessed 13 Jun. 2018].

S Verasdonck, P. (2015). Psychology Behind Different Types of Buying Behaviour. [online] LinkedIn. Available at: https://www. linkedin.com/pulse/psychology-behind-different-types-buying-behaviour-verasdonck/ [Accessed 13 Jun. 2018].

Smithers, R. (2018). Hawaiian salad and watermelon juice ‘to be 2017 food trends’. [online] The Guardian. Available at: https:// www.theguardian.com/business/2016/nov/02/hawaiian-salad-watermelon-juice-2017-food-trends-waitrose [Accessed 13 Jun. 2018].

The Drum. (2017). Why the future of luxury retail is all in the ‘experience’. [online] Available at: http://www.thedrum.com/ industryinsights/2017/09/20/why-the-future-luxury-retail-all-the-experience [Accessed 13 Jun. 2018].

The Interaction Design Foundation. (2018). Understanding Early Adopters and Customer Adoption Patterns. [online] Available at: https://www.interaction-design.org/literature/article/understanding-early-adopters-and-customer-adoption-patterns [Accessed 13 Jun. 2018].

Visual Retailing. (2018). The Power of Storytelling in Visual Merchandising. [online] Available at: https://visualretailing.com/ blog/2018/2/the-power-of-storytelling-in-visual-merchandising [Accessed 13 Jun. 2018].

Wp.nyu.edu. (2018). The Nudge – How IKEA’s Store Layout Design Influences Your Spending – Thoughts on Wayfinding. [online] Available at: https://wp.nyu.edu/thoughtsonwayfinding/2017/11/19/the-nudge-how-ikeas-store-layout-design-influences-yourspending/ [Accessed 13 Jun. 2018].

Williams, K. (2011). Opinions vary on IKEA store ‘maze’ layout. [online] www.retailcustomerexperience.com. Available at: https:// www.retailcustomerexperience.com/articles/opinions-vary-on-ikea-store-maze-layout/ [Accessed 13 Jun. 2018].

illustrations Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig

1: Own image, 2018. SWOT 2: Own image, 2018. FCP Triangle 3: https://unsplash.com/search/photos/food-photo 4: My own work, 2018. Click Plate Cartogram 5: https://londontheinside.com/tag/winter/ 6: https://www.pinterest.co.uk/pin/A3clkAEQQEcEbPRKuPHclFM/ 7: https://www.pinterest.co.uk/pin/308285536988046759/ 8: Own Image, 2017. Milk Train Ice Cream 9: Own image, 2018. Loyalty Loop Mockup 10: My own work, 2018. Click Plate Consumer illustration 11: My own work, 2018. Click Plate Consumer Moodboard 12: Own image, 2018. VMD Cartogram 13: http://cas.ntu.ac.uk/d2lcas_prod/copyright/copyright.aspx?TARGET= 14: http://lobsintl.com/projects/client/louis-vuitton 15: https://www.freelancer.cn/contest/D-Modelling-layout-for-luxury-retail-store-287612-byentry-7121466.html 16: Own image mock up, 2018. Maslow’s Triangle 17: https://theturunntribune.com/index.php/2016/07/04/ikea-mein-kampf/ 18: http://wildephene.blogspot.com/2017/02/ikea-ps-2017-day-in-life-of-ikea-visual.html 19: http://www.ohmymag.it/video/2017/page_14.html 20: https://medium.com/@bradiesgray/gucci-confidence-on-a-target-budget-8ac643ba62fa

Make online survery

Research and visit various aesthetically pleasing restaurants and cafes.

Focus group - 5 people

method

Gain deeper understanding Get as many responces as of thought process when possible from every age range eating out and deciding what More research for deeper restaurants to visit. insight Will allow me to get statistics

May be hard to get 100+ responces

N/A

N/A

Everyone had an input on each question and conversation flowed well.

Results were insightful given they were millenials and shows that they do care for the asetheic of the food over quality, in order to get a good instagram picture

weakness outcome

Responces from millenials - as Small group meant not enough this is who I belive the target responces and information consumer is Intimate group meant disscussion could be longer and participants were adding on from one and other were saying

strengths

See what the food looks like Will gain greater research from May not beable to get to that they are selling interviews to images every restaurant/cafe that I What the interior looks like Will allow me to see the want to Observe how consumers are retailers point of view when Could be hard to get an acting interviewing interview with the managers Speaking to managers to get etc if they’re busy a better understanding

Gain understanding of thought process when eating out and deciding what restaurants to visit. I also wanted to find out whether they take their online pressence into account and if they want people to know/see they’re eating.

purpose

research methology: click plate : a qaulity instagram post over a quality meal

appendix

Make online survery

Research and visit various flagship stores

Focus group - 5 people

method

Gain deeper understanding of Get as many responces as the psychology of VMD possible from every age range Do people care for it More research for deeper Do they like an experience insight Do they impulse or plan Will allow me to get statistics purchase

May be hard to get 100+ responces

N/A

N/A

Everyone had an input on each question and conversation flowed well.

Results were insightful and showed me how people do care for VMD and prefer shopping at more luxury stores in order to get and experience

weakness outcome

Intimate group meant Small group meant not enough disscussion could be longer responces and information and participants were adding Focus group was millenials on from one and other were which is not the specific target saying - When someone consumer - I need more varied had an opinion, it’s sparked ages in order to gain deeper someone elses insights and research Varied answers shows how everyones emotions and psychology varies

strengths

See what the interior and Will gain greater research from May not beable to get to exterior looks like interviews to images every store that I want to Observe how consumers are Will allow me to see the Could be hard to get an acting - is it giving them an retailers point of view when interview with the managers experience interviewing etc if they’re busy Speaking to managers to get See what VMD trends I can Might not see any re-occuring a better understanding see and what works trends

Gain understanding of what stores they like to shop in and why.

To see if they care for VMD and if they shop at specific stores for an experience.

Do they impulse or plan purchase

purpose

research methology: do we make a purchase due to the psychology of visual merchandising?

appendix

Gemma Benjafield N0678005 Fashion Communication & Promotion promotion & content FASH 20032