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C

CONTENT

Introducing ‘She’

Aims & Objectives

Launch Strategy 1. Social Media 2. App 3. Event

Developing the ‘She’ Identitiy

Packaging

Fig. 1. Content: 2014

Merchandising

Post Lauch: The Future of She


ISHE INTRODUCING

Fig. 2. Introducing She: 2014

Following an in-depth research process, this portfolio will explore the inital development, communication strategy and nationwide launch for the new cosmetic brand ‘She’; which will be introduced into UK Boots stores in Summer 2016. The focus of this brand will be to invigorate the everyday woman with a range of essential, energizing products to boost their confidence, while providing a fundamental range of core and trend influenced products.

NOTHING

makes a woman feel more

BEAUTIFUL

than they

BELIEF that is is beautiful’ [Loren: 2013].

By considering both consumer and ‘She’s’ future positioning within Boots as a ‘spritied’ and ‘enabling’ brand, an exploration of logo, packagaing design and marketing techniques, have led to the creation of an effective and individual brand essence that will differentiate ‘She’ from any other competition on the market.


P

PREVIOUS RECOMMENDATIONS

A set of recommendations had previously been devised which ultimately resulted in the re-brand of the formely named cosmetics collection ‘Seventeen’. These were based upon a combination of primary consumer research that was collected, as well as insights from secondary research sources.

Fig. 3. Review Poster: 2014


Fig. 4. Renew Poster: 2014

Fig. 5. Recommendation Poster: 2014


1S

eventeen

2

4

Core & Trend Product Ranges

Name Change

3

These 5 crucial recommendations have ultimately resulted in Seventeen’s re-brand into ‘She’.

Incorporate Skincare

Consistent Packaging

Fig. 6. Seventeen recommendations: 2014

5

Update Social Media

SHE

Fig. 7. She: 2014


A

AIMS & OBJECTIVES + Provide a make up range for the ‘every woman.’ + Empower the consumer through a range of diversified products for their varied needs. +Create an effective and widespread launch strategy that will draw in new consumers and communicate the brands values. + Maximise the experience of applying everyday make up through the development of packaging and the consumer-product relationship.


Brand Value

Brand Personality

Spirited Energetic Balanced Inspirational Accessible

Brand Attributes

B

BRAND ESSENCE

The brands main values are concentrated on empowering women through the use of make up. Focusing on the everyday women, ‘She’ provide a range of products to meet every womens needs, whether this is their core must-have products or a selection of more trend based items.

Accessible to a range of consumer demographics, devoted to making women feel more confident as the only ‘enabling’ beauty brand.

Brand Positioning

‘She; will be positioned at the lower end of the market with a price range from £3 to £8. Despite this, a focus will be placed on quiality and differentation in order to increase consumer interest and interaction. Fig. 8. Brand Essence: 2014


C

ONSUMER She is SELF

SUFFICIENT. She is a MOTHER. She is a DAUGHTER. She is in CONTROL. She is STRONG. She is DEVOTED. She is HELPFUL. She is NOT PHASED BY THE CHAOS. She is DRIVEN. She is ALLOWED TO HAVE HER BAD DAYS AS WELL AS HER GOOD. She is the CONVERSATION YOU NEEDED FROM THE BEST FRIEND. She is THE PAIR OF SPARE HANDS . She is WHAT HOLDS IT TOGETHER. She is INSPIRATIONAL. She is BEAUTIFUL. She is FULL OF LOVE. She is ALL THAT SHE CAN BE. Above all She is

YOU. Fig. 9. She Brand Manifesto: 2014


D

DEVELOPING THE ‘SHE’ IDENTITY

Fig. 10. Blue Girl Watercolour: 2014

Developing a strong and appealing visual identity for ‘She’ was one of the most significant elements of the overall re-brand, if it was to stand out from competition in an already saturated market, and appeal to the target consumer. It was previously stated by consumers during research that packaging was one of the most persusasive aspects of the consumer decision journey when purhcasing make up and cosmetic products. Therefore, this was always in mind during the design process for packaging, logo and in-store merchandising.


P

FOUNDATION PRIMER CONCEALER BLUSHER

PRODUCT

MASCARA EYE LINER EYE BROW PENCIL EYE SHADOW

A focus has been placed on 9 key products based on previous primary consumer research. This research initiated these chosen products as the top go-to make up bag items and consumer ‘must haves’ for the 25-35 year old market. Making up the entire ‘She’ range, these 9 products will be created for both core and trend collections, though remaining absolute in quality and price. Moodboards have been created to display such collections and the colour schemes chosen for 2016 trend based products.

Fig. 11. Colour Palette: 2014

LIPSTICK/ LIP GLOSS

Fig. 12. Make-up Products: 2014


Fig. 13. Core Neutrals: 2014

C CORE

Consumer research showed that core products were a vital element to any make up range for their go-to appeal. Subsequently, these would be the products that would be consistent and available throughout the year within the ‘She’ range. Consisting of neutral colours for products such as foundations and concealers, while also extending this further into subtle lip and eyewear. It was fundamental consumers had a continious access to these in order to increase brand loyalty and allow them to create a collection of their must have make up bag items.


Fig. 14. Oxblood Trend: 2014

As well as neutrals, the most popular lip and eye colours among the 25-35 year old market were established. This influenced additonal products within ‘Shes’ core product range. Deep, oxblood reds and violets were favourited among this consumer demographic and will ultimately be placed within the ‘She’ in-store stand as a continually available colour range.


Fig. 15. Paprika Trend: 2014

In addition to the core, it was also proven that trend products were particuarly used and collected by the consumer. Although more often worn on special occasions, it became integral that if ‘She’ was to appeal to the diverse range of consumers being targeted, they would therefore have to introduce such ranges on a seasonal basis in order to correspond with various trends. A Summer 15/16 beauty trend named by WGSN as ‘Paprika’ has been represented in the moodboard opposite.

WARM RUSTY PAPRIKA

‘This , tone updates last season’s bright persimmon

T lip

SHADE’ [WGSN: 2014].

TREND


PLATINUM

BLONDE-GOLD

‘ and are the two most important metallic colours

TEXTURES

are for eye make-up... super-luxurious, whether in cream or powder pigments’ [WGSN: 2014].

Fig. 16. Metallic Trend: 2014


P

PACKAGING

81% 19% YES

NO

When buying make-up, does packaging influence your decision?

In order to successfuly achieve the recommendation of consistent packaging, it was vital that an appropriate colour scheme was chosen which could be applied to all elements of design. A consumer survey was also created to represent the importance of packaging in the consumer decision making process which also went on to influence the design aestethic.

Fig. 17. Consumer Purchasing Behaviour: 2014


M

MONOCHROME

A moodboard was created to test out initial monochrome packaging as previous consumer research showed this to be popular among the target market. WGSN trend research also highlighted ‘monochrome’ as a trend set to hit the packaging market in 2015/2016; co-ordingly fitting with ‘Shes’ release into Boots.

MIX MATTE- and shiny-black finishes for a SLEEK look or create a low-fi, photocopy effect in MONOCHROME tones.’ [WGSN: 2014]. ‘

Fig. 18. Monochrome Packaging: 2014


Fig. 19. Pastels Packaging: 2014

P

PASTELS Following on from the monochrome, it was then important to test out additional ideas to create a fully rounded approach to packaging. As the products remain at the heart of ‘She’, it was necessary to incorporate some of their colour onto the packgaing design itself, in order to give an accurate representation of what it inside. This design could then be carried out throughout the whole range to refelct the consistency of the brand and show its diversity of products; core and trend. Such colours would also go on to influence the names of products.

BLUES and mystical purples combine with OFFBEAT SHADES and life-affirming yellow. NEUTRALS,PASTELS and ‘Spiritual

metallic shades inspired by dirt and dust.’ [WGSN: 2014].


T

TEXTURED

Alongside the researched colour schemes, and in order to achieve the aim of maximising the experience of applying everyday make up, the possibility of applying textures to packaging was also contemplated. The main reasoning behind this was to create an extra appeal to consumers through a more sensory element than just typical plastic and cardboard packaging. ‘Sensory stimuli are integral to they way we shop and can be harnesses to increase sales considerably’ [Woods: 2009]. In relation to the beauty market, secondary research has also shown this to be a growing trend in upcoming years.

SUPER-ADDICTIVE EFFECT”, and a total sensory experience will vastly IMPROVE our ability to MEMOREISE a

‘Combining sensory stimulation has a “ brand’ [Bradford: 2009].

Fig. 20. Textured Packaging: 2014


L

LOGO DEVELOPMENT

As a consistent design element of ‘She’s’ packaging and promotional material, an effective logo was an integral part of the overall design process for the rebrand. In keeping with the aesthetic of the packaging, it was decided that a sleek and simple logo was the most suitable option as to not to take away from the textured aspect that would be at the forefront of its appeal. A number of designs were experimented with, before the final outcome was chosen.


Fig. 21. Logo Development: 2014

Fig. 22. She Development: 2014


Fig. 24. Final She Logo: 2014

Fig. 23. She Logo: 2014


F

FINAL OUTCOMES

After in-depth research into packaging trends, colour trends, logo development and product development, a timely and effective range of products were established of which would combine all the previously mentioned elements. These would go on to be sold immediately after the initial launch in all Boots stores for the forseeable future. Individual names for each product and product colour were also devised with would relate full circle to the new name of the brand; ‘She’ and the brands values of inspiring the confident, everyday woman. Visual mock-ups as well as real life mock-ups have been created in order to show both a commercial and conceptual view of the new range.

Fig. 25. Final Outcomes: 2014


F

FOUNDATION

Fig. 26. Foundation Packaging: 2014

Fig. 27. Foundation Colour Swatches: 2014


B

BLUSHER

Fig. 28. Blusher Packaging: 2014

Fig. 29. Blusher Box Packaging Development: 2014


Fig. 30. Blusher Boxes: 2014 Fig. 31. Blusher Colour Swatches: 2014


M MASCARA

Fig. 32. Mascara Packaging: 2014

Fig. 33. Mascara Box Packaging Development: 2014


Fig. 34. Mascara Boxes: 2014

Fig. 35. Mascara Mock-up Boxes: 2014


E

EYE SHADOW

E

EYELINER

L

LIPGLOSS

Fig. 36. Eye shadow Boxes: 2014

Fig. 37. Eyeliner and Lip Gloss Designs: 2014


L

LIPSTICK

Fig. 38. Lipstick Designs: 2014

Fig. 39. Lipstick Colour Swatches: 2014


Fig. 40. Make-up Boxes: 2014

To extend the feeling of high quality, it was decided that some products would be placed in boxes to allow for the different textures to be applied and to differentiate one product from another. These products were chosen to be eyeshadow, blusher and mascara; all of which were created with various textured paper and card with the usual ‘She is...’ sticker applied.


Despite the lower end of the market in which ‘She’ will be positioned in, it was important to ensure its location and presence within Boots was less a representative of price, and more a representation of quality and style. Research was carried out into make-up brands at the higer end of the market such as MAC and Chanel. As a Boots own brand, we felt it necessary that ‘She’ received a lot of in-store attention and a unique merchandising layout. A moodboard was created which displayed the approach which felt most individual, but suitable to the brand and its new packaging. This approach mirrored the brands overall sleek, polished visual identity.

Fig. 41. Visual Merchandising Inspiration: 2014


The end result is a sleek, futuristic take on the traditional visual merchandising stand for beauty products. It was decided that Seventeen would remain in its current physical positioning in-store among other brands with a similar price point and range. However, the point of difference for ‘She’ would be the technology that is incorporated into it. Virtual screens situated at the top will continually stream images of consumers which will be explained further in relation to the initial launch strategy and the creation of an app, while ipads will also be positioned central to the stand to allow consumers to browse certain products and looks.

TOUCH

SIGHT

‘ and are the most fundamental senses that retail stores can leverage to create a sensory experience. Building retail displays and in-store promotional stands that encourage shoppers to touch the merchandise is a

POWERFUL STRATEGY to help consumers form a BOND with products and to affirm purchasing decisions’ [Perch: 2014].

Fig. 42. She In-store Stand: 2014


L

LAUNCH STRATEGY

The launch of ‘She’ consists of of a number of different stages of development, due to the idea that the brand will be slowly revealed to its consumer, in order to create suspense and a conversation around the anonymity of it. Bearing in mind the futuristic approach ‘She’ will take, a number of both traditional and digital methods have been combined to ensure all possible consumers are covered and the overall launch strategy is relevant to what is happening in 2016.


1

Fig. 43. Social Media Promotion: 2014

SOCIAL MEDIA

An initial short video will be sent viral via social media platforms Facebook and Twitter using their promotional and suggested maketing pages. This video will contain clips of women applying make-up, followed by the hashtag #whereisshe. The aim of this is to create a coversation among consumers about who ‘She’ could be and what the video is relating to. Distorted images will be used as to disguise the women within the video and their location. As ‘She’ is not a person specific brand , its ethos is based on the consumer, so should remain all inclusive.

To create a higher out reach of consumer, the video will also appear through those that use ‘ the Cloud’ Wi-Fi network. This Wi-Fi is usually available in locations such as bars shopping malls. This therefore covers a large selection of people and makes the video accessible to all. Once the video has been played through, the last scene will be promoting the app (a feature that will be explained further on). This will display ‘ The next step to Where is She?’ and a download option through the App Store.


Fig. 44. Video Promotion: 2014


2A app

The download of the ‘She’ App will lead to an opening page where the consumer is asked to enter their name, email address, password and tag their current location. The first 50 to complete this with a set 6 locations, London, Bristol, Nottingham, Manchester, Birmigham and Newcastle, will be sent an official, exclusive invite to ‘Shes’ upcoming launch event within their location. Additional consumers downloading the App after this will also be kept up to date with alterante events happening on the launch day and will also receive something when they arrive. Though, these extra people will not receive the exclusive ‘She’ experience, they will be able to discover what the brand is about and get their hands on some products.

Fig. 45. She App: 2014


3

‘Generating multi-sensory experiences

DELIGHTS

ENTERTAINS shoppers, giving them the opportunity to feel a real CONNECTION to the and

products they are about to buy’ [Perch: 2014].

EVENT

The main launch event, held in the 6 displayed city centres will make use of large open spaces and a wide audience demographic passing by. These open spaces, such as Nottingham’s Market Square, will be used and filled by a large dome tent that will host the event. The purpose of this dome, is to create a multi-sensory experience that is completely interactive and futuristic. The outside of the dome will bit lit up by various colours inpired by ‘Shes’ product range, in order to bring the event full circle back to the brand. Consumers will then have the opportunity to explore the dome and its many rooms that will all each be inspired by a different texture and sense; all of which have been displayed via moodboards.

Fig. 46. Event Locations: 2014


S SIGHT

Fig. 47. Sensory Experience: sight: 2014


S SCENT

Fig. 48. Sensory Experience: scent: 2014


T TOUCH

Fig. 49. Sensory Experience: touch: 2014


The last of the rooms will be specifically for the first 50 consumers who downloaded the App. In order to receive entrance to this, the code receieved when they initially downloaded it will need to be scanned. This room will lead to an area of textures, drinks, and a personalisation bar where they are able to choose from products and create their own names for them. An example of this can be seen below. This method of engagement will relate to the brands overall marketing strategy and features of the post-launch within Boot’s stores.

She is..... VIBRANT She is...OUTRAGEOUS

CROSS-BRAND shopping and an attempt to PERSONALISE and CUSTOMISE’ ‘There is an ongoing increase in

[Holmes: 2014].

Fig. 50. Sensory Experience: scan room: 2014


G

GIFT BAG

These 50 consumers will then go on to receive goody bags containing their personalised items, additonal product giveaways and a ‘She’ voucher to be used in any store. It is hope that through this method, the brand will create and continually maintain and personal and engaging relationship with the consumer.

Fig. 51. Gift Bag: 2014

Fig. 52. Gift Bag Giveaways: 2014


Fig. 54. Final Product Outcomes : 2014

Fig. 53. She Design Development: 2014


S

SIGN-UP & LOGIN

Created to coincide with the initial launch, while alongside acting as a more digital route to consumer, ‘She’, alsongside its in-store presence in Boots, will also actively operate via an app which has been created to maintain both an online and offline relationship with the consumer. Whilst the app will primarily begin as a promotional tool, post-launch it will then allow consumers to connect, upload, and shop with the brand continually. This digital communication channel has been chosen as the rise of m-commerce becomes every more apparent within society; affecting consumer behaviour by changing the way they shop and share information. In relation to our specific 25-35 year old consumer who is always on the go, this is the ideal platform for connecting with a brand wherever they are.

Fig. 55. App Login & Profile: 2014


S

SEARCH & SHOP

M-COMMERCE has created a great impact on consumer’s BUYING BEHAVIOUR and also on the global

‘The emergence of

business environment. Along with the rise of smart phone and tablet users, purchasing through mobile device is gradually rising. M-Commerce gaining

POPULARITY also because of its ANYTIME, ANYWHERE shopping concept’ [Indus Net Technologies: 2014].

Fig. 56. App Search & Shop: 2014


S

SCAN & LOCATE

Fig. 57. App Scan & Locate: 2014


N

NOTIFICATIONS

Fig. 58. App Notifications: 2014

‘She’ will continue to communicate and engage consumers through the use of the apps notification system which will continue to update them on offers, advanatge card points and new products which have beed added to range.


A

ADVANTAGE CARD An advanatge card has been designed which will be provided as a gift within goody bags given out at the launch event. The idea behind this is to enourage consumers to consistently return to Boots to purchase ‘She’ products, ultimately increasing brand loyalty. The card will work on a points basis; everytime a consumer purchases a ‘She’ product they will receive points, which will then add up and eventually lead to their ability to receive something from the collection for free. This idea also coincides with Boots existing advanatge card and points process. Each card will be personal to each consumer and will be available to use in every Boots store. Consumers who do not attend the launch and recieve the card via a goody bad will be available to subscribe to one in-store after the initial launch. This card can also be then linked to the consumers profile via the ‘She’ app.

Fig. 59. She Advanatge Card: 2014


65% ‘OFFERS’

PRICE ...IS THE MOST IMPORTANT FACTOR TO CONSUMERS WHEN PURHCASING MAKE-UP.

Fig. 60. Consumer Encouragement: 2014

What would encourage you to buy more than one item at once?

Fig. 61. Consumer & Price: 2014


P

Post launch, ‘She’ will continue its interactivity by consistently combining its online and offline presence through the app and in-store stand. Consumers who download the app and create profiles will have their profile images running across the screens in-stores in order to keep the focus on consumer abolsute and maintain their engagement. Competitions and the ability to shop via the app will remain a key feature of the brand as the rise of m-commere becomes ever more apparent and the 25 to 35 year old market demand more interaction via this communication channel.

POST LAUNCH

Fig. 62. Post Launch: 2014


To re-iterate and continue ‘Shes’ standing as a Boots own brand within stores, advanatge card point machines will be provided for consumers to see current offers, and the points they have collected so far. This is a coherent method of interaction with Boots consumers as similar machines currently exist for the general Boots card that already operates. By encouaging consumers to use this, it develops the consumerbrand relationship in the hope of subsequently also building brand loyalty and a repeat customer base.

Fig. 63. She Store Machines: 2014


It is hoped that through Seventeens re-brand to ‘She’, the brand will gain a wealth of new consumers, as well as appealing to their traditional demographic. With an effective and unique visual identity and communication strategy, ‘She’ has differentiated itself from any other competition on the market, ensuring they ar erecognised for their individual approach to beauty trends and must-have core products. Look out for the launch of ‘She’ during 2016 to experience a completely diverse and unique brand which will revolutionise the way beauty cosmetics are seen.

Fig. 64. She: 2014


R

REFERENCES

Bradford, K, 2009. Sensory Design in Packaging [online]. Design Week. Available at: http://www.designweek.co.uk/home/ sensory-design-in-packaging/3000543.article [Accessed 14th May 2014]. Holmes, E & Arriagada 2014. Cosmetics ‘Cocktailing’ is the Way Consumers Achieve Customized Shades [online]. The Wall Street Journal. Available at: http://online.wsj.com/news/articles/SB10001424052702303801304579407011486619826 [Accesse 17th May 2014]. Indus Net Technologies, 2014. The Rise of M-Commerce [online]. Visual.LY. Available at: http://visual.ly/rise-m-commerce [Accessed 14th May 2014]. Loren, S, 2014. Is Falling in Love the Best Makeover? [online]. Daily Makeover. Available at: http://www.dailymakeover.com/ trends/body/falling-in-love-before-and-after/#slide1 [Accessed 13th May 2014]. Perch, 2014. The Multi-Sensory Store [online]. Perch Interactive. Available at: http://www.perchinteractive.com/the-multi-sensory-store/ [Accessed 17th May 2014]. Yee, T, 2014. A/W 15/16 beauty forecast packaging: Data Divination [online]. WGSN. Available at: http://www.wgsn.com. ezproxy.ntu.ac.uk/content/report/Beauty/Beauty_Trends/2014/03march/data-divination.html [Accessed 13th May 2014]. Yee, T, 2014. A/W 15/16 beauty forecast: Everyday Utopias [online]. WGSN. Available at: http://www.wgsn.com/content/ report/Beauty/Beauty_Trends/2014/eu.html [Accessed 18th May 2014]. Yee, T, 2014. A/W 14/15 beauty forecast packaging: Social Superheroes [online]. WGSN. Available at: http://www.wgsn.com. ezproxy.ntu.ac.uk/content/report/Beauty/Beauty_Trends/2014/03march/social-superheroes.html [Accessed 13th May 2014].


I

ILLUSTRATIONS

Fig. 1. Own Image, 2014. Content. Fig. 2. Own Image, 2014. Introducing She. Fig. 3. Own Image, 2014. Review Poster. Fig. 4. Own Image, 2014. Renew Poster. Fig. 5. Own Image, 2014. Recommendation Poster. Fig. 6. Own Image, 2014. Seventeen Recommendations. Fig. 7. Own Image, 2014. She. Fig. 8. Own Image, 2014. Brand Essence. Fig. 9. Own Image, 2014. She Brand Manifesto. Fig. 10. Durrant, J, 2014. Blue Girl Watercolour [online]. Pinterest. Available at: http://www.pinterest.com/ pin/14918242490599646/ [Accessed 13th May 2014]. Fig. 11. Anon, 2014. Colour Palette [online]. Pinterest. Available at: http://www.pinterest.com/pin/14918242490599729/ [Accessed 14th may 2014]. Fig. 12. Own Image, 2014. Make-up Products. Fig. 13. Own Image, 2014. Core Neutrals. Fig. 14. Own Image, 2014. Oxblood Trend. Fig. 15. Own Image, 2014. Paprika Trend. Fig. 16. Own Image, 2014. Metallic Trend. Fig. 17. Own Image, 2014. Consumer Purchasing Behaviour. Fig. 18. Own Image, 2014. Monochrome Packaging. Fig. 19. Own Image, 2014. Pastels Packaging.


Fig. 20. Own Image, 2014. Textured Packaging.

Fig. 40. Exley, C, 2014. Make-up Boxes.

Fig. 21. Exley, C, 2014. Logo Development.

Fig. 41. Own Image, 2014. Visual Merchandising Inspiration.

Fig. 22. Exley, C, 2014. She Development.

Fig. 42. Group Image, 2014. She In-store Stand.

Fig. 23. Own Image, 2014. She Logo.

Fig. 43. Exley, C, 2014. Social Media Promotion.

Fig. 24. Exley, C, 2014. Final She Logo.

Fig. 44. Own Image, 2014. Video Promotion.

Fig. 25. Own Image, 2014. Final Outcomes.

Fig. 45. Group Image, 2014. She App.

Fig. 26. Group Image, 2014. Foundation Packaging.

Fig. 46. Own Image, 2014. Event Locations.

Fig. 27. Warr, N, 2014. Foundation Colour Swatches.

Fig. 47. Own Image, 2014. Sensory Experience: sight.

Fig. 28. Group Image, 2014. Blusher Packaging.

Fig. 48. Warr, N, 2014. Sensory Experience: scent.

Fig. 29. Own Image, 2014. Blusher Box Packaging Development.

Fig. 49. Own Image, 2014. Sensory Experience: touch.

Fig. 30. Exley, C, 2014. Blusher Boxes.

Fig. 50. Own Image, 2014. Sensory Experience: scan room.

Fig. 31. Warr, N, 2014. Blusher Colour Swatches.

Fig. 51. Exley, C, 2014. Gift Bag.

Fig. 32. Group Image, 2014. Mascara Packaging.

Fig. 52. Exley, C, 2014. Gift Bag Giveaways.

Fig.33. Own Image, 2014. Mascara Box Packaging Development.

Fig. 53. Exley, C, 2014. She Design Development.

Fig. 34. Exley, C, 2014. Mascara Boxes.

Fig. 54. Exley, C, 2014. Final Product Outcomes.

Fig. 35. Own Image, 2014. Mascara Mock-up Boxes.

Fig. 55. Group Image, 2014. App Login & Profile.

Fig. 36. Exley, C, 2014. Eye shadow Boxes.

Fig. 56. Group Image, 2014. App Search & Shop.

Fig. 37. Group Image, 2014. Eyeliner and Lip Gloss Designs.

Fig. 57. Group Image, 2014. App Scan & Locate.

Fig. 38. Group Image, 2014. Lipstick Designs.

Fig. 58. Group Image, 2014. App Notifications.

Fig. 39. Warr, N, 2014, Lipstick Colour Swatches

Fig. 59. Own Image, 2014. She Advantage Card.


Fig. 60. Own Image, 2014. Consumer Encouragement. Fig. 61. Own Image, 2014. Consumer & Price. Fig. 62. Own Image, 2014. Post Launch. Fig. 63. Exley, C, 2014. She Store Machines. Fig. 64. Own Image, 2014. She.

B

BIBLIOGRAPHY


WEBSITES

REPORTS

Bradford, K, 2009. Sensory Design in Packaging [online]. Design Week. Available at: http://www.designweek.co.uk/home/ sensory-design-in-packaging/3000543.article [Accessed 14th May 2014].

Hulten, B, 2009. Sensory marketing: the multi-sensory brand-experience concept [online]. Available at: file:///C:/Users/Hannah/Downloads/1926077.pdf [Accessed 17th May 2014].

Carter, N, 2013. Multi-sensory retail: why stores must appeal to all five senses [online]. The Guardian. Available at: http:// www.theguardian.com/media-network/media-network-blog/2013/aug/21/multi-sensory-retail-high-street [Accessed 17th May 2014].

Indus Net Technologies, 2014. The Rise of M-Commerce [online]. Visual.LY. Available at: http://visual.ly/rise-m-commerce [Accessed 14th May 2014].

Davies, J, 2013. We are “scratching the surface” of a multi-sensory world: Heston Blumenthal on the art of storytelling through food [online]. The Drum. Available at: http://www.thedrum.com/news/2013/05/29/we-are-scratching-surface-multi-sensory-world-heston-blumenthal-art-storytelling [Accessed 17th May 2014].

WGSN, 2014. Inspiration, innovation & practical solutions for retail display [online]. WGSN. Available at: http://www.wgsn. com.ezproxy.ntu.ac.uk/content/section/insight-analysis/visual-merchandising.html [Accessed 13th May 2014]. Yee, T, 2014. A/W 14/15 beauty forecast packaging: Social Superheroes [online]. WGSN. Available at: http://www.wgsn.com. ezproxy.ntu.ac.uk/content/report/Beauty/Beauty_Trends/2014/03march/social-superheroes.html [Accessed 13th May 2014].

Holmes, E & Arriagada 2014. Cosmetics ‘Cocktailing’ is the Way Consumers Achieve Customized Shades [online]. The Wall Street Journal. Available at: http://online.wsj.com/news/articles/SB10001424052702303801304579407011486619826 [Accesse 17th May 2014].

Yee, T, 2014. A/W 15/16 beauty forecast packaging: Data Divination [online]. WGSN. Available at: http://www.wgsn.com. ezproxy.ntu.ac.uk/content/report/Beauty/Beauty_Trends/2014/03march/data-divination.html [Accessed 13th May 2014].

Loren, S, 2014. Is Falling in Love the Best Makeover? [online]. Daily Makeover. Available at: http://www.dailymakeover.com/ trends/body/falling-in-love-before-and-after/#slide1 [Accessed 13th May 2014].

Yee, T, 2014. A/W 15/16 beauty forecast: Everyday Utopias [online]. WGSN. Available at: http://www.wgsn.com.ezproxy.ntu. ac.uk/content/report/Beauty/Beauty_Trends/2014/eu.html [Accessed 14th May 2014].

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Yee, T, 2014. A/W 15/16 beauty forecast: Everyday Utopias [online]. WGSN. Available at: http://www.wgsn.com/content/ report/Beauty/Beauty_Trends/2014/eu.html [Accessed 18th May 2014].

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A

APPENDIX

DECLARATION


CONSUMER SURVEYS


TUTORIAL RECORD SHEETS


TEAM MINUTES 20/02/14 (1 hour) This hour meeting was spent discussing previous ideas surrounding the ‘Athena’ woman and how the concept of this could be related and used to empower ‘Shes’ new 25-35 year old consumer base. A manifesto was created with words surrounding this archetype, which then went on to inspire further ideas. Defining a clear brand positioning and visual identity was discussed during this session as it was important to realise how the brand would fit into the market and survive with longevity. This would then go on to shop packaging and launch strategy ideas. Additionally, a product range was discussed; what products we wanted to keep, and what products we wanted to get rid of. The idea of 9 key products was suggested and devised as a result of primary consumer research showing that these products were the main go-to items for our target consumer. More futuristic ideas were mentioned in order to ensure our ideas were future proof and innovative. It was obvious that technology would need to play a role for the re-brand to be successful. 24/02/14 (1 hour) After individually researching packaging ideas and trends around beauty packaging for 2015/2016, the idea of textured packaging was introduced. We felt this was necessary to differentiate the brand from any competition and act as a unique selling point. To further enhance this, Pinterest boards were shared so that together we could explore the kind of textures we wished to apply. Our main, influential ideas came from reports and sites such as WGSN. The group started to think about social media strategies and how these could be used to create a successful communication and launch strategy. Overall, it had been decided that creating a multi-sensory experience would be the focus of ‘She’ 13/03/14 (2 hours) The main focus of this session was to brainstorm name ideas. We began by thinking specifically about the consumer and how to relate the name to the way ‘Shes’ products would invigorate them. The result of this was the name ‘She’. This was immediately favorited as it related directly to the consumer and possible product names (i.e she is...hydrated). We then went on to discuss the presentation structure and would information would be vital to share. Moodboards around possible colour schemes, packaging and merchandising were created to visually demonstrate our main focus; whilst an initial in-depth launch strategy was devised focusing on the question and hashtag #whereisshe. 17/03/14 (1.5 hours) The next process of development for us was developing product specific visual mock-ups. We began by collecting ideas and materials that could possibly be used. Again, research into beauty product trends were carried out and shared with eachother via social networking. It was suggested that our launch ideas could be further developed and thought about on a bigger scale. Separately we thought about this, before then coming together again to finalise ideas around this.


20/03/14 (2 hours) In this session we reviewed the launch strategy/concept, ensuring it all works through. With this we thought of a tag line ‘who is she’. This then links with the name of the brand and the launch. This was then translated into a mirror which would then link the ‘who is she’ tagline and people would question if it was them. We then discussed this to see whether this would work long time and how to incorporate it in store. 21/03/14 (2hours) Over Easter we decided to look at paper textures over Easter for the packaging design and talk to printers about the possibility of embossing packaging. This led us to speak to GF Smith who specialise in paper qualities but this was unsuccessful. Again we discussed long term promotional tools and how the ‘who is she’. We then decided on what items should be in boxed and how to reflect this with textured packaging. This then led us further consider product names in which we came up with linking them to she is... 16/04/14 (1 hour) Within this meeting we reflected on the feedback given to us and clarified where the initial 9 key products came from and discussing the reason for keeping just these.Again, we discussed the launch and how social media can be incorporated into the launch strategy. With this is mind we thought about how the in-store event would work and showcasing this by press packs and point of sale. 23/04/14 (3 hours) This was a main meeting for us in which we developed the PR strategy by newspaper, coffee cups, chocolates. A key area we want to incorporate is the impact of Boots and the advantage card. We then came up that we can create a limited edition card which will be given out on the launch only. This then was showcased in a clear stage by stage launch strategy. We then ordered products online that would be needed to create the press packs such as lipsticks and cards. This then led us to develop the strategy to after purchase and how ‘she’ can make an impact in the future.

27/04/14 (1 hour) Within this hour , it was discussed how we would approach the launch strategy. A variety of ideas were brought to attention, the break through idea though were methods that included social media and Wi-Fi videos. It was important that as we discussed new ideas, that they would be future proof, for the 2016 launch. With technology and the launch year in mind, a development of an app that could support the video was explored. With direct connection with the consumer and the brand, an App would create perfect opportunity for marketing and customer interaction. Within the meeting developed ideas around the actual launch event which would take place nationwide in chosen stores. Creating an event that included different locations allowed a greater accessibility. 13/05/14 (5 hours) This meeting was highly productive. A list of visual outcomes was written refer to and work over the next upcoming days The app was developed and designs, with thorough detail of each screen procedure was designed. Within this session also, it was decided on which stores that would hold the launch events for the re-brand. 14/05/14 (7 hours) Again another productive meeting. The final product names were decided and connected to colour swatches related to trend inspiration. The names followed the ‘She is ... ‘ titling .This session also included a development of the ‘She ‘ logo, development was done to ensure that the logo that was previously created still out ruled any different designs. Mood boards were created to then in which, went on to influence product colouring and swatches. The biggest outcome was the development of the launch event and the step by step process in which it would take place. This allowed a clear and precise structure to stick to and reference to. 15/05/14 (6 hours) Completed physical final outcomes that included the product boxes for three products being ; Mascara, Eyeliner and Eye shadow. Also within this session a portfolio structure was written out, so is that all content was covered and nothing was left out.



She portfolio