Marketing Mix Report: ASOS and Miu Miu

MARKETING MIX REPORT Hollie Tansey Fashion Marketing 8 t h M a y 2 0 1!1 7

ID:200923491 University of Leeds

CONTENTS ABSTRACT 3 INTRODUCTION 4 METHODOLOGY 5 THE BRANDS 7 ASOS 8-12 MIU MIU 13-17 CONCLUSION 18-19 APPENDICES 20-21 REFERENCES 22 FIGURE REFERENCES 23

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ABSTRACT

In this report, an analysis of ASOS’ and Miu Miu’s marketing mix strategies was conducted. My methods of approach included website and social media analysis, product material evaluation, and research into the brands’ corporate social responsibility amongst other research methods.

I have found that the brands approach each element of the marketing mix differently due to their position in the market.

As ASOS is currently a more prominent player in the fashion industry, it was easier to find information about it than it was for Miu Miu. My main findings regard the different levels of accessibility and affordability of the brands in relation to their market position and how they use these within the marketing mix.

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INTRODUCTION The purpose of this report is to identify and analyse how two brands at different market levels apply the marketing mix strategies to their businesses. Posner (2010, p.28) states that the fundamental elements of marketing are: an understanding of customer requirements; the ability to create, communicate and deliver value; a social process; an exchange process; and a managerial and business process. The marketing mix is used by businesses to achieve the requirements of successful marketing. The marketing mix is “a set of marketing tools that work together to engage customers, satisfy customer needs, and build customer relationships (Kotler et al, 2016, p.5). It is made up of the ‘four Ps’: product, price, place and promotion. The two brands I have chosen are Miu Miu , a high-end luxury brand and ASOS, a massmarket online retailer.

For the report, I have chosen a similar pair of shoes from each brand and these products are central to my report as they will enable me to compare the brands’ marketing mix strategies more thoroughly.

In the report, I will cover each of the four Ps: product, place, price and promotion.

For product, I will research each brand’s product width and depth and analyse my chosen products with the use of Levitt’s Total Product Concept (1986).

For place, I will look into product distribution, manufacturing locations, and website and store layout.

For price, I will look at the pricing architecture for each brand, with a focus on the footwear categories, and I will also compare the brands’ pricing with their main competitors.

For promotion, I will research the brands’ social media channels, advertising and events.

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METHODOLOGY When researching for the report, I mainly used secondary resources. This is because ASOS is an e-tailer, so does not have a brick-and-mortar retail store to visit and Miu Miu has limited distribution, and due to it being a high-end brand, I was unable to take photographs in the stores. Therefore, most research was conducted and obtained online. Whilst most of my research is qualitative, as it allowed me to understand how the brands work through observation, I have included some quantitative data regarding pricing and manufacturing which gives me facts to back up my quantitative research.

– but this is objective as it is from my point of view only.

To g e t a n i d e a o f w h a t p r i c e architecture each brand had, I looked into the prices of products using the footwear sections as my sample, which allowed me to find the introductory price points and high price points for each brand. I also did this for their main competitors, then produced a graph for each brand showing my findings.

Promotional strategies, such as social media use and PR events, were researched through analysis of their social media channels, such as Instagram, and research into events was conducted through searches on websites such as Vogue.

I l o o k e d i n t o e a c h b r a n d ’s manufacturing and distribution channels by downloading their corporate social responsibility reports, which state locations of manufacture.

For ASOS, as it had multiple manufacturing locations, I produced a table on Microsoft Excel showing which countries have the most employees and factories.

A limiting condition was that I couldn’t visit a Miu Miu store so I used Instagram to find photos of their New Bond Street store that had been posted within the last 6 months. For ASOS I have a description of the website and how easy it is to navigate

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Figure 1: ASOS Shoes

Figure 2: Miu Miu Shoes

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THE BRANDS ASOS ASOS is a mass-market e-tailer which offers womenswear, menswear, footwear and beauty products. Whilst offering own-brand products, ASOS also stocks other brands ranging from budget brands like Monki and Rimmel to higher end brands like Three Floor and Rodial.

Whilst ASOS states ‘twenty-somethings’ as their target market (ASOS, 2017b) the huge variety means ASOS can attract many different fashion consumers, whether they are fashionconscious, label-seekers or sporty (appendix 1).

MIU MIU Miu Miu is a luxury fashion brand, and little sister to Prada, established in 1993 by Miuccia Prada. Miu Miu describes itself as follows: “Avant-garde, often provocative, never obvious … Stressing both couture savoir-faire and playful experimentalism, Miu Miu explores fashion with a capital F, giving elegance and sophistication a twisted meaning”.

The brand offers womenswear, footwear, accessories and fragrance.

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ASOS PRODUCT In women’s footwear, the product width is large: there are 2,222 styles. In terms of depth, there are 11 sub-categories: espadrilles, flat boots, flat sandals, flat shoes, flip flops, heeled boots, heeled sandals, heeled shoes, shoe accessories, slippers and trainers.

The ASOS Starling Pointed Heels are in the heeled shoes category and are available in 4 colours: silver, ivory, nude metallic and pink metallic; and 2 fits: regular and wide fit. They are made from synthetic PU. The product description, shown in the screenshot (figure 3), lists the characteristics and details of the shoes. The actual shoes look exactly the same as the photo, and are a satisfactory quality for the price. ASOS uses #AsSeenOnMe hashtag which shows shoppers pictures of other customers wearing the product; this is ASOS’s way of suggesting styling ideas.

The product is broken down in Levitt’s Total Product Concept (1986) in figure 4. Due to packaging being a huge aspect of ASOS’ business as it depends upon delivery to get products to customers, ASOS aims to provide sustainable packaging for its c u s t o m e r s i n o rd e r t o re d u c e t h e company’s eco footprint. Therefore, all delivery boxes from ASOS are made from 100% recycled cardboard and the delivery bags comprise of 25% recycled plastic (ASOS, 2017d).

ASOS offer free worldwide delivery if over £20 is spent and in the UK, shoppers can become a member of ASOS Premier for £9.95 which qualifies them for free next day delivery with no minimum spend.

Whilst warranties are not provided, the customer care team deal with faults and there is a 28 day return policy.

The large range of products means there are choices for everyone, and the filters on the website mean it’s easy for customers to find what they’re looking for. One suggestion is that ASOS should create more occasion edits – for example, curations of footwear for different occasions such as weddings, beach holidays, university, etc. in order to separate the shoes in terms of suitability rather than just colour and style.

Figure 3

Figure 4

Figure 5

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ASOS’s wide range of prices means they cater for all budgets which is advantageous as they can attract a wider customer base than some of their competitors. ASOS can afford to offer products at low prices because their main manufacturing locations (see table X, p.x) are in countries where labour is cheaper, making the cost of products lower. Their frequent use of POS reduction (temporary discounts) is beneficial as it increases site traffic and encourages more purchases (Jackson and Shaw, 2009).

PRICE ASOS offers a range of brands from affordable to mid-market so their pricing architecture is quite broad. In the women’s footwear category the cheapest product is a pair of flip flops by Pieces for £7 and other brands within the top 10 cheapest products are Vero Moda and New Look*.

The most expensive footwear product is a pair of platform trainers by Puma x Fenty for £290. Other brands in the top 10 most expensive shoes include Free People, Minna Parikka, and Nike*.

PROMOTION ASOS’ key competitors include Urban Outfitters and Topshop, who also stock other brands amongst their own brand products; and H&M, Zara and Missguided.

Figure 6 shows how ASOS have the second largest pricing architecture width after Urban Outfitters, so they offer products for a wider range of budgets than most of their competitors.

Whilst they produce a seasonal print magazine that is posted out to their customers, ASOS’ main marketing efforts are online with a large social media presence (figures 5 and 7).

Figure 7

They run regular competitions on social media, where followers can win products.

ASOS also have ASOS Insiders who are often bloggers and students and they promote the brand through their own social media channels and the hashtag #accessallasos. ASOS have also

Figure 6

ASOS employ a POS reductions strategy where they temporarily discount ranges of products e.g. 20% off shoes for one day only. *Data correct as of 20/3/17. !10

charge unlike traditional advertising. They also interact with customers well, with competitions and by posting customer photos on their feed.

One suggestion for ASOS, is to make their seasonal magazine available to read online on their website, as it is currently only available to customers who have agreed to mail communication from the brand which hugely limits its number of readers.

PLACE As ASOS is an e-tailer so has no brick-andmortar retail stores, it offers inexpensive international standard delivery with rates all below £3.50 GBP and tracks 95% of orders (Lennane, 2016) which reduces the risk of orders getting lost during delivery.

Customers can shop on the website or on the ASOS app – 69% of ASOS’s traffic comes from mobile devices (ASOS, 2017b).

Figure 8

ASOS products are manufactured by 189 suppliers across 28 countries (ASOS, 2017c). Figure 9 shows the number of ASOS factories and workers in each country – with China, India, and Romania having the most workers – these countries are known to have cheaper labour than some of the other locations on the list such as the United Kingdom and Spain.

collaborated with an online student newspaper, The Tab, in which they often sponsor articles about campus style and work experience, which is further interaction with students.

To retain customers, ASOS have a loyalty scheme called ASOS A-List, where customers receive vouchers when they earn a certain amount of points from their purchases (figure 8).

ASOS’s official global fulfilment centre is in Barnsley in South Yorkshire. Outside the UK, there are additional distribution centres in Berlin, Germany - the EuroHub warehouse which dispatches 52% of all European orders - and Ohio, USA – which fulfils 25% of US orders (Digital Commerce 360, 2015).

ASOS’s social media presence is one of their biggest strengths, as social media is a huge part of their target market’s everyday lives, so it enables the brand to promote their products with little expense due to social media posts being free of !11

product more clearly (Jackson and Shaw, 2009). ASOS do this and they also provide a catwalk video of a model in the product (figure 10) to further demonstrate the product; so whilst customers cannot try on ASOS products before they buy them, they can see the product clearly.

An opportunity for ASOS is to market a ‘Made in the United Kingdom’ range of products, as some products are made in the UK but it is unclear which ones. Whilst these products would be more expensive, as labour costs are higher here than in its current primary manufacturing locations.

This would however attract media attention as it is still rare for big fashion companies to manufacture in their place of origin, which would be beneficial for the reputation of the company.

Another opportunity for ASOS is to open pop-up stores, as this could attract shoppers who may be wary of purchasing online (without being able to try things on) to the brand, as they would be reassured of product quality and fit.

Figure 9

Kotler (1974, p.50) describes atmospherics as the ‘effort to design buying e n v i ro n m e n t s t o p ro d u c e s p e c i f i c emotional effects in the buyer that enhance his purchase probability’. The buying environment for ASOS is entirely online: their layout is clear and user friendly, with many product sub-categories and filters to enable a customer to specify their requirements to find products faster.

Online fashion products should be sold from models in order to demonstrate the

Figure 10 !12

PRODUCT

MIU MIU Figure 11 shows the pricing architecture in the footwear category for Miu Miu, comparing it with its competitors.

On Miu Miu’s website, there are 210 products in the footwear category. In ter ms of depth, there are 7 subcategories: ballerinas, lace-ups, peeptoes, pumps, sandals, slippers and sneakers. The chrome shoes I have chosen fall into the pumps category, of which there are 47 styles.

Miu)Miu)Competitor:)Entry)and)Exit)Prices)in)the)Footwear)Category) (GBP)

Prada)(Miu)Miu's)parent)brand) Gucci MaxMara Louis)Vuitton Marc)Jacobs Chloe Moschino Miu)Miu

The chrome shoes - applied to Levitt’s Total Product Concept (figure 12) - are made from laminated goat leather, which is considered higher quality and more attractive than standard cowhide leather (High on Leather, 2015). The block heel (figure 16) is embellished with Swarovski crystals – which despite not being natural crystals – add value to the product as it is a trademarked well-known brand itself.

These high quality features make the product more luxurious, which allows for the £690 price tag, which customers will pay as Miu Miu has a reputation for producing luxury high quality fashion goods.

0

500

Lowest)Price

PROMOTION

1000

1500

2000

2500

3000

Highest)Price

Figure 11

Miu Miu’s presence on social media is comparable to its competitors, such as Moschino and Chloe, as shown in figure 13.

In collaboration with Venice Film Festival, the brand created a series of 13 short films. The films, known as ‘Women’s Tales’ (figure 14) were all directed by female directors and the cast wore Miu Miu products which promoted Miu Miu’s status in other creative industries and also advertised their products. Miu Miu have also hosted a few events for fashion industry experts, such as the Women’s Tales dinner and Miu Miu Club (figure 15) in 2015; these are well documented by the media and this effectively confirms Miu Miu’s exclusive status – only the most famous and fashionable people were invited and the events were fun and innovative which again reflects the brand’s identity.

PRICE The pricing architecture of Miu Miu ranges from £115 for a leather bracelet to £2,750 for a handbag made from Python leather.

In the footwear category, the the introductory price point is is £220 for a pair of sliders which are available in 7 colour options and the most expensive product is a pair of trainers - embellished with Swarovski crystals – with a high price point of £1,065, which are available in 3 colour options.

A suggestion would be for Miu Miu to invest more in its social media channels, as their target market is young and social !13

Figure 12

Figure 13

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Figure 14 Figure 15

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Figure 16

media marketing increases the likelihood of purchase intentions (Kim and Ko, 2011).

This would also mean they have a higher chance of overtaking competitors, who currently have very similar social media figures.

elegance and sophistication” (Miu Miu via Facebook, 2017). These buzzwords come up in many articles describing the aesthetics of Miu Miu stores (The Standard, 2016; Retail Square, 2012; Fashion Times, 2014), therefore, Miu Miu’s stores successfully embody the brand identity.

PLACE

Making customers aware of the country of manufacture is considered important in the luxury goods sector, especially with Italian leather goods, like Miu Miu, as they have a heritage of quality production methods (Jackson and Shaw, 2009) but Miu Miu do not state where the products are made in the online product descriptions. A suggestion for Miu Miu is to state the location of manufacture in the product description, as this is likely to reassure customers of high quality craftsmanship, especially if the given product is produced in Italy.

The Prada Group manufacture their p ro d u c t i o n s i n t h e i r 1 3 i n - h o u s e production sites, of which 11 are in Italy, 1 in England and 1 in France. The women’s shoes are produced in Levanella in the Arezzo province of Italy (Prada Group, 2017).

Whilst Miu Miu is available in 179 locations worldwide, it is only available in two cities in the UK – Glasgow (in House of Fraser) and London, where it is available in 7 locations including Harrods and two standalone stores. However, Miu Miu’s website ships to 19 countries including the United Kingdom, the USA and Japan (Miu Miu, 2017). Other online luxury goods retailers also stock the brand including N e t - A - P o r t e r, S a k s F i f t h A v e n u e , Nordstrom, and Lyst.

Whilst distribution is limited to retain Miu Miu’s luxury status, I would suggest an extra few locations within the UK, such as a concession in a high-end department store such as Selfridges or Harvey Nichols in large cities such as Manchester, Birmingham or Leeds.

Figures 17, 18, 19 and 20 show the store layout and interiors. Jackson and Shaw (2009, p.227) argue that “consumers’ buying behaviour can be strongly and positively influenced by the quality and style of the trading environment”. The light blue or gold damask fabric in stores gives them a luxury feel, and each product is displayed only once – which can make the products feel more exclusive and precious to the customer (Jackson and Shaw, 2009). Miu Miu’s stores seem to represent their brand identity: “feminine and anti-conformist” (Vogue, 2015) and “avant-garde, sensual, a twisted take on

Figure 17 !16

Figure 18 Figure 19

Figure 20

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CONCLUSION As the brands are oppositely positioned within the market – ASOS is an affordable mass market brand and Miu Miu is an exclusive high-end brand, there are more differences than similarities.

Whilst both brands use social media and events to promote their brands, they both approach this in very different ways. ASOS is more relatable to its customers as it often posts their outfit photos on social media, and interacts with students and bloggers.

Whereas Miu Miu’s social media is less personal – it never includes customer photos; and their events are very exclusive.

This report has allowed me to understand the main differences in the marketing mix between high-end and mass market brands. To maintain their luxury and exclusive status, high-end brands limit product distribution and

(3264 words)

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use high prices, whereas mass market brands ensure easy accessibility and affordability to provide for a large customer base. However the price of the products is also affected by the manufacturing methods – mass market brands are able to offer cheap products due to their choice of manufacturing locations. Whilst customers of mass market brands such as ASOS are more concerned with price, so they don’t mind if a product is manufactured in China, customers of high-end brands demand high quality craftsmanship due to the high price they’re paying, which is why Miu Miu’s manufacturing is based in Italy. The quality craftsmanship ensures they can charge higher prices and retain their luxury reputation.

The SWOT analyses (figures x and x) evaluate Miu Miu and ASOS’ performance within the marketing mix.

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APPENDICES Appendix 1: Fashion Consumer Typologies.

From: Jackson, T. and Shaw, D. Mastering Fashion Marketing. Basingstoke: Palgrave, p.13.

Appendix 2: Italian Consumer Code Articles 129, 130, 132. (Miu Miu’s Legal Product Warranty) From: Legislative Consumer Code. 2005. [Online]. [Accessed 1/5/17]. Available from: https:// www.consumatori.it/images/stories/documenti/Codice%20del%20consumo%20english %20version.pdf Article 129 (Conformity with the contract) 1. The seller shall be required to deliver goods to the consumer, in conformity with the contract of sale.

2. Consumer goods are presumed to be in conformity with the contract if, where appropriate, the following circumstances exist: a) they are fit for the purposes for which goods of the same type are normally used; b) they comply with the description given by the seller and possess the qualities of goods which the seller has held out to the consumer as a sample or model; c) they show the quality and performance which are normal in goods of the same type and which the consumer can reasonably expect, given the nature of the goods and taking into account any public statements on the specific characteristics of the goods made about them by the seller, the producer or his representative, particularly in advertising or on labelling; d) they are fit for any particular purpose for which the consumer requires them and which he made known to the seller at the time of conclusion of the contract and which the seller has accepted, also implicitly; 3. There shall be deemed not to be a lack of conformity if, at the time the contract was concluded, the consumer was aware, or could not reasonably be unaware of, the lack of conformity, or if the lack of conformity has its origin in materials or instructions supplied by the consumer.

4. The seller shall not be bound by the public statements pursuant to Paragraph 2, subparagraph c) when, even in the alternative, he can prove that: a) he was not, and could not reasonably have been, aware of the statement in question; b) by the time of conclusion of the contract the statement had been suitably corrected in such a way that it could have been known to the consumer; c) the decisio n to buy the consumer goods could not have been influenced by the statement.

5. Any lack of conformity resulting from incorrect installation of the consumer goods shall be deemed to be equivalent to lack of conformity of the goods if installation forms part of the contract of sale of the goods and the goods were installed by the seller or under his responsibility. This shall apply equally if the product, intended to be installed by the consumer, is installed by the consumer and the incorrect installation is due to a shortcoming in the installation instructions. !20

Article 130 56 (Consumers ' rights) 1. The seller shall be liable to the consumer for any lack of conformity which exists at the time the goods were delivered.

2. In the case of a lack of conformity, the consumer shall be entitled to have the goods brought into conformity free of charge by repair or replacement, in accordance with Paragraphs 3, 4, 5, and 6, or to have an appropriate reduction made in the price or the contract rescinded with regard to those goods, in accordance with Paragraphs 7, 8 and 9.

3. At his discretion, the consumer may request the seller to repair or replace the goods, free of charge in either case, unless the remedy requested is impossible or disproportionate.

4. For the purposes of Paragraph 3, one of the remedies shall be considered disproportionate if it imposes costs on the seller which, in comparison with the other remedy, are unreasonable, taking into account: a) the value the goods would have if there were no lack of conformity; b) the significance of the lack of conformity, and c) whether the alternative remedy could be completed without significant inconvenience to the consumer.

5. The repairs or replacements shall be completed within a reasonable time and without any significant inconvenience to the consumer, taking account of the nature of the goods and the purpose for which the consumer required the goods.

6. The costs referred to in Paragraphs 2 and 3 refer to costs that are essential to make the goods conform, in particular with reference to the costs incurred for delivery, labour and materials.

7. At his discretion, the consumer may require an appropriate reduction of the price or have the contract rescinded in one of the following situations: a) repair or replacement are impossible or disproportionate; b) if the seller has not completed the remedy within a reasonable time or replaced the goods within the appropriate time pursuant to Paragraph 6; c) the replacement or repair carried out previously caused significant inconvenience to the consumer.

8. When determining the amount of the reduction or the sum to be refunded the use of the goods is taken into account.

9. After reporting the lack of conformity, the seller may offer the consumer any other available remedy, with the following effects: a) if the consumer has already requested a specific remedy the seller is obliged to implement it, with the necessary consequences in relation to the running of the reasonable time pursuant to Paragraph 6, unless the consumer accepts an alternative remedy; b) if the consumer has not already requested a specific remedy the consumer shall accept the offer or reject it by choosing another remedy pursuant to this Article.

Article 132 (Time limits) 1. The seller shall be held liable under Article 130 where the lack of conformity becomes apparent within two years as from delivery of the goods.

2. The consumer loses the rights provided for by Article 130 Paragraph 2 if he does not inform the seller of the lack of conformity by no later than two months after the date on which he discovered it. This notification shall not be required if the seller has acknowledged the existence of the lack of conformity, or has concealed it.

3. Except where proven otherwise, it shall be assumed that the defects arising by six months after the delivery of goods already existed on that date, unless this presumption is incompatible with the nature of the goods or the nature of the lack of conformity.

4. Actions intended to enforce the lack of conformity not hidden by the seller with fraud shall in any event lapse after twenty-six months from delivery of the goods. Consumers who have been summoned to perform the contract may in any event enforce their rights under Article 130, Paragraph 2, provided that the lack of conformity was notified within two months from discovery thereof, and prior to the expiry of the period referred to in the foregoing sentence.

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FIGURE REFERENCES Figure 10: ASOS. 2017. [Online]. [Accessed 4/5/17]. Available from: http://www.asos.com/asos/ asos-starling-pointed-heels/prd/7481092? iid=7481092&clr=Silver&SearchQuery=starling&pg esize=12&pge=0&totalstyles=12&gridsize=3&gridr ow=2&gridcolumn=3

Front Page: All images from Miu Miu. 2017. [Online]. [Accessed 1/5/17].

Available from: https://www.instagram.com/ miumiu/ ASOS. 2017. [Online]. [Accessed 1/5/17]. Available from: https://www.instagram.com/asos

Figure 11: Graph showing Miu Miu competitor prices. *

Figure 1: ASOS. 2017. [Online]. [Accessed 4/5/17].

Available from: http://www.asos.com/asos/asosstarling-pointed-heels/prd/7481092? iid=7481092&clr=Silver&SearchQuery=starling&pg esize=12&pge=0&totalstyles=12&gridsize=3&gridr ow=2&gridcolumn=3

Figure 12: Levitt’s Total Product Concept for Miu Miu shoes. * Figure 13: Table showing Miu Miu followers on social media. * Figure 14: Miu Miu. 2017. [Online]. [Accessed 4/5/17]. Available from:http://www.miumiu.com/ en/women_tales?cc=IT

Figure 2: Miu Miu. 2017. [Online]. [Accessed 4/5/17]. Available from: http://www.miumiu.com/ en/GB/e-store/dep/shoes/cat/pumps/product/ 5I846A_3H66_F0135_F_065#ref=1493995982306

Figure 15: URDESIGN. 2015. [Online]. [Accessed 4/5/17]. Available from: http:// www.urdesignmag.com/design/2015/07/07/miumiu-club-by-oma-paris/

Figure 3: ASOS. 2017. [Online]. [Accessed 4/5/17].

Available from: http://www.asos.com/asos/asosstarling-pointed-heels/prd/7481092? iid=7481092&clr=Silver&SearchQuery=starling&pg esize=12&pge=0&totalstyles=12&gridsize=3&gridr ow=2&gridcolumn=3

Figure 16: Miu Miu. 2017. [Online]. [Accessed 4/5/17]. Available from: http://www.miumiu.com/ en/GB/e-store/dep/shoes/cat/pumps/product/ 5I846A_3H66_F0135_F_065#ref=1493995982306

Figure 4: ASOS Total product concept. *

Figure 17: Bodelu Fashion Delivery. 2017. [Online].

[Accessed 4/5/17]. Available from: https:// www.instagram.com/p/BSmpbWXBzR0/?takenat=1998140

Figure 5: ASOS. 2017. [Online]. [Accessed 4/5/17].

Available from: https://www.instagram.com/asos Figure 6: Graph showing prices of competitors.

Figure 7: Table showing number of followers for ASOS on social media *

Figure 18: Thiberg, F. 2017. [Online]. [Accessed 4/5/17]. Available from: https:// www.instagram.com/p/BKvQF5BD114/

Figure 8: ASOS. 2017. [Online]. [Accessed 1/5/17].

Available from: http://www.asos.com/customerservice/customer-relations/a-list/how-it-works/? affid=12493&ppcadref=342267792%7C245437962 72%7Ckwd-392127934392&channelref=paid +search&gclid=CJPfoMB2dMCFU48GwodF7sPQg

Figure 19: Luxure Global Citizen. 2016. [Online].

[Accessed 4/5/17]. Available from: https:// www.instagram.com/p/BOMWMcYgSsO/ Figure 20: Velvet. 2017. [Online]. [Accessed 4/5/17]. Available from: http://velvet-mag.com/ miu-2/

Figure 9: Table showing number of workers and factories for ASOS suppliers. *

* made by me !23