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Research found that one purpose of branding is to communicate an identity (Davis, 2009)(Posner, 2011). Consumers then associate themselves with brands that have a similar identity to themselves, or one that they desire to have (Slade-Brooking, 2016). The Peacocks re-brand was designed with this in mind. It was found that the brand and its current consumers fit into the human characteristic group of ‘Sincerity: domestic, honest, genuine and cheerful’ (SladeBrooking,2016, P.14), so the branding aimed to clearly communicate this throughout the branding so that consumers would be sure that they want to associate themselves to Peacocks.

Furthermore, it was found that this identity needed to be consistent across all outputs (Olins, 2005, P.175). This was a particular issue with Peacocks as found from a store visit (See Appendix B) with many labels across one shop branded differently. With new clear brand guidelines this would no longer be an issue.




Remaining within consumers memory was found to be part of the challenge of becoming a successful brand. Research found that the best method for remaining within consumer memory includes pairing pictorial cues with text (Jansson-Boyd, 2010)(Childers & Houston, 1984) Therefore an abstract peacock feather icon was used to strengthen visual associations to the brand whilst linking to the brand name (Krober-Riel, 1980).

‘If you ignore your customers, your customer will ignore you.’ (Blythe and Blythe, 1997, P.8). Therefore, the typographic element was designed to appeal to the consumer segments wants/needs and desires. A sans-serif reflects the affordability of the brand as well as the brand personality. A rounded typeface is appealing to all audiences, an increased kerning communicates honesty, authenticity and also improves legibility. Whilst the serif type used for the tag-line is a signal of quality that is suggested to improve the chances of consumers associating with a brand (Blythe and Blythe, 1997, P.125)


The colour scheme was designed to appeal to all audiences with the consumer segment. (Blythe and Blythe, 1997, P.151). The colour palette can be adapted to appear more feminine or masculine or appealing to all. This adaptability also aids the brand within the changing fashion industry, as Olins (2005) advises, this adaptability is essential for a brand to succeed. These colours also communicate a sense of trust and reassurance that brands require in order for consumers to invest in them (Posner, 2011, P.134-140).

The scheme also aids the consumers memory (Janssin-Boyd, 2010, P.23) as colours are used that a drawn from a peacock bird. This strengthens associations the brand name and improves consumer memory overall. Finally, the colour palette provides differentiation from the competition, which is particularly important within the saturated fashion market. Consumer attention will be grabbed (Easey, 2001, P.1)(Blythe and Blythe, 1997, P.2) as typically high street retailers stick to black/grey for their logos.


Many varieties of the logo were created. These demonstrate the adaptability of the re-brand whilst maintaining a consistent personality (Olins, 2005). This adaptable logos communicate the identity of the brand effectively and provide the opportunity to connect with varied consumer segment on many levels. These logos also allow the ease of application to many platforms as it was found that the brand needed to be communicated in many places in order to remain in memory (Easey, 2001, P.172-175) and therefore increase the chances of consumers engaging with the brand.


The application of the branding onto hangers, bags and tags is a demonstration of several theories. Firstly, many signals of quality (Blythe and Blythe, 1997, P.125) are used as it was found that if a brand uses these they may add value to their brand (Posner, 2011) in increase the chances of the consumer engaging. This is primarily shown through the materials used, for example, ribbons are used rather than plastic, a thick matte stock is used for the bags and glossy stock is used for the tags. Also the hangers have a far more professional finish than those found in store. These also demonstrate the adaptability of the brand through the colour scheme (Davis, 2009, P.12), and how it can be used to appeal to either men, women or both. Research found that this adaptability is required particularly in fashion. Importantly, the products communicate the defined identity of the brand far more clearly (Davis, 2009)(Posner, 2011)(Slade-Brooking, 2016) and consistently (Olins, 2005, P.18) which theorists argue brands need to succeed. .

Finally, the products shown put into practice the repetition of pictorial cues paired with text - particularly through the logo icon - (Jansson-Boyd, 2010)(Childers & Houston, 1984) that are argued to improve consumer memory. As well as a differentiation from other high street fashion brands (Easey, 2001)(Blythe and Blythe, 1997) which attracts attention in a crowded market(Tungate, 2004) - as demonstrated through the unique colour palette, and iconic logo that differentiates from typical fashion brands.


Research found that fashion brands must now make expansive efforts across several platforms in order to compete for the consumers memory (Easey, 2001). Therefore, this is demonstrated through the production of a n editorial piece and website. Here, the consumer can now come into contact with a clearer, consistent identity in multiple places. This also solidifies the importance of the brand experience (Olins, 2005)(Wickstrom, 2006) and allows the consumer to sample the brand personality in many places, as well as through the hangers, bags and tags. By communicating this identity (Slade-Brooking, 2016) clearly and consistently, the Peacocks brand achieves the whole brand experience that Olins (2005) emphasises all brands require. Overall, the finish of the branding is far more professional and evokes a sense of trust that the consumer segments feels they can rely on and invest themselves into.

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