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Figure 1. (Opposite Page) Reclaiming Fashion News (2016).
REDESIGNING FASHION NEWS A report analysing the current news market, with a focus on newsprint products and fashion media. by Izabella Hannah (BA Honours) Fashion Communication and Promotion
CONTENTS Chapter 1
Chapter 2
Pages 1-2
Pages 3-6
Introduction
Fashion X News
Chapter 3
Redefining The Conversation Pages 7-8
Discussing the themes and outline of this report.
Chapter 7 Media Brands 43-48
Discussing the trend future of media brands and collation platforms.
Outlining how both research topics are connected.
Discussing the positioning of this report.
Chapter 8
Chapter 9
Pages 49-50
Pages 51-54
Independent Publishing
Identifying a Gap In The Market
Exploring the innovations and disruptive nature of independent publishing and how newsbrands can learn from them.
Identifying key insights Perceptual Map
Chapter 13
Chapter 14
Chapter 15
Pages 65-72
Pages 73-80
Pages 81-92
Brand Manifesto Logo Design Brand Inspiration
Why a Newspaper? Marketing Mix
The Common Thread
Product Mock Up
Why a Website?
Intergrated Marketing Marketing Brief Inspirational Moodboards Campaign Timeline Mock Ups Social Media Strategies
Chapter 4
The News Report Pages 9-26
Redesigning Newsprint PEST analysis Cartogram Digital First Stratergy Accessible Technology Digital Darwisnism Accessible Content Changing Reading Habits News Journalsim Styles Summary
Chapter 10
Identifying a Target Consumer Pages 55-58
Chapter 5
Chapter 6
Pages 27-30
31-42
Analysing the trend future in news brands’ consumer targeting and profiling methods.
PEST Analysis General Summary
Interpreting Consumer Macro Trends
Chapter 11 Big Idea
Pages 59-62 SWOT Analysis
Consumer Profiles
Chapter 16
Chapter 17
Pages 93-96
Pages 97-98
Brand Portfolio Diffusion of Innovation Graph Brand Future Timeline
Chapter 11
Reclaiming Fashion News Pages 63-64 An outline of the Big Idea development and application to a new, fashion news brand.
Consumer Overview
Brand Future
Deconstructing Fashion News
Conclusion
Chapter 1
INTRODUCTION
Figure 2. Sir Michael Caine (2013)
“The extent of disruption in legacy news is sobering. Long-established organisations have been derailed by a cascading series of interlinked technology-driven changes.” (Kung 2015.) In a consumer market driven by digitalisation, immersive technology and product personalisation, it is not surprising that some critics have described print publications as ‘dead.’ This reckless and heavy handed statement has been sensationalised in the mass media over recent years, with many journalists predicting the demise of printed books, magazines and most importantly to this report, newspapers.
5
6
Introduction
These critics are wrong.
NEWPSRINT IS NOT DEAD. IT IS IN A PHASE OF REINCARNATION. It is evident that the current UK newsprint market is facing severe disruption in their circulation and readership figures. For example, The Times was the only paid for national paper to see a marginal increase in circulation figures in the second half of 2015 (3%), whilst The Independent closed its publication at the end March 2016. (Ponsford 2016.) “Overall, the average circulation for the UK national papers fell 7.69% year-on-year to October” according to statistics provided by The Media Briefing. (Sutcliffe, 2015.) Many experts argue that the main reason for the decline in newspaper sales within the UK market is the digitalisation of news. “49% of people now read news online” and are ditching their newspaper to read free, bitesize news content on apps and social media. “56% of news consumers have stated that free online news content makes them less likely to buy print newspapers.” (McGrath, 2016) This therefore, is the main problem that many newspaper brands are facing in the UK market. Consumer behaviour influenced by digitalisation is threatening the longevity of newsprint products. More specifically, it threatens the financial future of many legacy news brands and the cultural significance they hold in our society. This report examines how newspaper brands can tackle this problem by redesigning their products to suit emergent consumer habits. After all, newspapers have the potential to offer something that no digital platform can; tangible, real experiences created by credible journalists. With the right modification and innovation, newsprint publications can re-enter the marketplace with a bang; subverting peoples’ expectations of what a newspaper is. By viewing digitalisation as a disruption rather than a demise, news publications can create a unique experience that counter acts their reader’s online behaviour. This is something that fashion
> Figure 3. The Independent’s final print newspaper (2016.)
magazines have arguably succeeded in. Both fashion and current affair news have been threatened by the digitalisation of news content. Both have had to reexamine their brand strategies and redesign their content to suit emergent consumer trends.
“49% of people now read news online” (McGrath, 2016) and are ditching their newspaper to read free, bitesize news content online.”
This has been done in both physical and digital ecosystems and has been driven by the mass adoption of smartphone use in the UK. Two in three people in the UK now own one, with the majority “using it for nearly two hours a day browsing the internet” (Ofcom, 2015.) Whilst these two industries appear idiosyncratic, they in fact share resonating influences over consumer behaviour and identity, which allows them to be compared effectively. Both industries can learn from one another to adopt forward thinking brand strategies that will differentiate them from online competitors. This report therefore looks at the effect digitalisation has had on newsprint, in both current affairs and fashion news brands. It will highlight how wider micro and macro trends have influenced the production, publishing and distribution of news content, through creative analysis and evaluation. Furthermore, it will identify innovative solutions to the stagnant newsprint market, and will introduce the concept of a new, disruptive, fashion news brand.
1
Chapter 2
NEWS X FASHION
Figure 4. Katharine Hamnett (1980)
How are current affair news and fashion media related? To understand the symbiotic relationship between the news and fashion industry, one must begin at the core values of each sector.
2
News X Fashion
Figure 6. Punk Fashion (2015)
News Media’s Core Values News as a media industry helps us to define our perspective of the world. Our opinions, viewpoints and debates are shaped by global events that ripple into our local environments. News creates communities of like-minded citizens and is supposed to uncover truths that are hidden under layers of hyper-reality, injustices and political greed. News underpins our understanding of the world because it not restrained to one form. It is presented to us in film, TV, music and art and is published through every imaginable platform. It seeps into popular culture, reveals the unpredictable, and educates us of wider influential events.
Fashion’s Core Values “Fashion is one of popular culture’s most important informants and signifiers “(Clements 2014.) It visually interprets themes such as heritage, culture, religion, politics, art, music, and film, and celebrates the undercurrents of society. Fashion acts as a platform for creative self-expression and connects us to
global consumer tribes. It connects and separates us from the crowd and is used as a platform to express independent beliefs and values. Our obsession with sharing images and analysing what public figures wear has connected fashion and current affair news in both digital and print media, as demonstrated in Figure 5.
Figure 5. Daily Mail (2015)
The link between these two industries can be distilled into one idea; that news and fashion help shape our identities, our perspective and our consumer habits, both internally and externally. This can be seen in Figure 8.
AFTER ALL, FASHION “IS A FILTER FOR THE CULTURE OF THE TIME” (Shulman 2016.)
3
Both industries can be applied to the Jurgensmeyer model, or Societal Influence model, which reflects how an entity can produce two kinds of influence. Firstly, there is “societal influence, which is not for sale, and commercial influences, or influence on the consumer’s decision to buy, which is for sale.” (Meyer 2009.) This can be seen in Figure 7.
CONTENT QUALITY
CREDIBILITY
SOCIETAL INFLUENCE PROFITABILITY
CIRCULATION Figure 7. Societal Influence Model (2016)
How News and Fashion Influences Our Internal and External Values fashion and news media influence our
EXTERNAL VALUES fashion and news media influence our
ISM
PERSPECTIVES
MER CON SU
CORE VALUES
BU CUL YIN TU G RAL HA BIT UND E S, MI RCU CR R O RE TR NT EN S, DS
, CE AN S, AR IBE PE TR AP ER AL UM SIC NS HY CO ,P TY ITY NI RS VA IVE D
POLITICAL BIAS, CULTURAL INFLUENCES, OPTIMISM OR PESSIMISM, PRIORITIES
BELIEFS, MORALS, ACTIVISM, ETHICS, ATTITUDES, TRUST
IDEN TITY
INTERNAL VALUES
Figure 8. Internal and External Values Model (2016)
4
COMMERCIAL INFLUENCE MODELS Figure 9, The Habit Loop, demonstrates how ‘commercial influence’ in the news and fashion industries is rooted in our behavioural routines, consumer rewards and social cues. The model is derived from Charles Duhigg’s example presented in “The Power of Habit: why we do what we do and how to change.”
1 ROUTINE Getting dressed multiple times a day 3 REWARD
FASHION
Buying clothes as a ‘treat’ desptie not needing them
CUE
2
Social/ cultural events drive people to buy or wear certain clothes
1 ROUTINE 3 REWARD News stories such as product reviews, often influence consumer buying habits.
Consuming news stories habitually throughout the day.
NEWS CUE
2
News stories can triggger social events like protests or votes.
Figure 9. Consumer Habit Loops (2016) 5
Chapter 3
REDEFINING THE CONVERSATION
Figure 10. The Guardian Website On The Ipad (2014)
Disruptive Innovation
6
Redefining The Conversation
It is undoubtedly true that some newsprint publications are facing severe and somewhat paralysing declines in circulation and ad revenues. For example, in 2015 ‘national daily newspapers in the UK lost half a million in average daily sales’ leading to a 7.6% decline in overall sales. (Jackson, 2015.) It is also undeniable that digitalisation has effected the way news is produced, published and distributed. This does not mean however, that print is dead. Instead, “newsprint is facing a classic case of disruptive innovation” (Kung, 2015.) Disruptive innovation in this context refers to the digitalisation of news. This has been driven by the mass adoption of accessible technology. Disruptive innovation is a cyclical inevitability and is a necessary threat for universal growth. Innovation drives change and benefits those who take risks. Rather than seeing the digitalisation of news content as the end of print products, brands must adopt the ‘horse and carriage metaphor’ presented in ‘Innovators in Digital News’, to understand how digital is an issue of reformation not extinction. (Kung 2015.) See Figure 12. For the context of this report, I will analyse the state of the news market with the idea that digital innovation is an opportunity for news brands and that print is not dead. Rather, print is need of innovation.
> Figure 11. Horse and Carriage (N.A.)
Horse and Carriage Metaphor
“NEWSPRINT IS FACING A CLASSIC CASE OF DISRUPTIVE INNOVATION” (Kung, 2015.)
“The effect the invention of the internet has had on the print newspaper is similar to the effect the launch of the railways had on the horse-drawn carriage. Newspapers are effectively being asked to change from providers of horse-drawn transportation into railway companies ... [which] underlines the enormous scope of change required. Shifting from print news to digital news is equivalent to closing the stables, selling the horses, and buying a railway. A different business entirely” (Meyer 2009.)
> Figure 12. Cycle of Innovation Model (2016) This image represents the cyclical nature of innovation and disruption and can be applied to the current UK newspaper market.
DISRUPTION TRADITION
INNOVATION
7
Chapter 4
THE NEWS REPORT
Figure 13. Print Media (2013)
This chapter focuses on how digitalisation has influenced consumer reading habits through the eye of the news media as a whole. It will dissect, analyse and summarise key factors that has driven the popularity of digital content, whilst identifying the effects these trends have had on newsprint products. To understand the general landscape that the UK news media is currently operating in, one must identify key trends and behaviours that are influencing the production, publishing and distribution of news. See PEST Diagram on page 11.
8
The News Report
“People conflate news and newspapers into a bad story, when really, more people are interested in news than ever before.�
Ian Gibbs, Head of Commercial Insight, The Guardian. 2015.
9
PEST MODEL
POLITICAL TRENDS
10
ECONOMIC TRENDS
SECRETS OUT
ADVERTISING POWER
Whistle-blowers and activists leaking government papers through mainstream media, encouraging consumers to rethink their trust in authority.
Print publications are in decline due to sinking support from advertising revenue and from losses in printing costs.
ANTI-ESTABLISHMENT
DIGITALISATION
Global civil unrest against political authorities, from demonstrations in London to civil war in Ukraine.
Digital news brands are including more sponsored content through native advertising on websites to increase online revenue, alongside pay-walls.
NEW RESPONSIBILITY
NEW HABITS
Leveson Inquiry has launched new regulations and standards for modern journalism.
Collaborative economy and Value economy trends are reflected in marketing plans and product connectivity. Subscription services are increasing in popularity in the entertainment market.
The News Report
SOCIAL TRENDS
TECHNOLOGY TRENDS
CONSUMPTION
INTERCONNECTED
Social media platforms are now key players in the news market as they offer bitesize news chunks that are more accessible for time-strapped consumers.
Augmented and virtual reality technologies are predicted to be mainstream devices in the next five years, which could affect the way we consume our news.
GIVE US THE TRUTH
PLATFORM DIVERSITY
Consumers are savvier in marketing techniques and no longer want to be talked down to; therefore effecting how and where they receive their news.
Digitalisation of news content has forced brands to adapt into multi-media platforms.
GLOBAL CITIZENSHIP
DIGITAL DETOX
Generation Y and Z are engaging with political and global affairs at younger ages through the internet and are consuming news at high rates. Bricolage Living enforces borderless communities and consumers.
There is a resurgence of independent publishing in print and digital publications. The reflects a phase of Digital Detox where consumers opt out of technology to engage with mindfullness and nature.
Figure 14. News Pest (2016)
11
CARTOGRAM MODEL
TREND INNOVATORS
TREND DRIVERS
NEWS BRANDS
VICE MEDIA GROUP
MACRO TRENDS
MILLENNIALS Millennial consumers have short attention spans, can multi-task efficiently, are aware of marketing tactics and want brand transparency.
VALUE ECONOMY This trend see time as a luxury and drives immersive experiences in real world environments. This is linked to the phase of Digital Detox many consumers are embracing. Understood the importance of multimedia platforms, news visualisation and content diversity to suit Millennial consumer trends.
DIGITALISATION Access to free and instant content online leaves consumer resistant to paying for physical products.
TREND IMPACTS
Tapped into the macro trend of collation platforms and translated it into an app format.
Millennial consumers now consume the majority of their entertainment and news content through a screen. News brands are now competing with social media sites as their audiences first call for breaking news.
TOKYO SHIMBUN APP PRINT PRODUCTS ARE BEING REDESIGNED TO COMPLIMENT READERS DIGITAL BEHAVIOURS.
Translated the macro trend of augmented reality into a collaborative app for their newspaper. It works with the newspaper to enhance the print experience rather than to replace it.
Absorbing macro trends of optimism and well being has shaped the design of the New Day newspaper, the first new independent paper to be launched in the UK for 30 years.
There is still a need for newspapers in UK culture as
they represent an alternative media outlet for those avoiding screens.
Figure 15. News Cartogram (2016) 12
The News Report
TREND FUTURE
TREND CONSEQUENCES NEWS INDUSTRY
CIRCULATION
MEDIA BRANDS Varied content platforms using different audio-visual content will replace traditional newspapers and brand portfolios.
IMMERSIVENESS Print circulation is declining each year, with a 7.9% market decline in 2015 for mainstream publications.
Library spaces and reading environments will see a resurgence in popularity as the Value Economy cements within popular culture. Independent publishing markets will continue to grow.
ONLINE REVENUE
NEW REALITIES Augmented technology and immersive wearable devices will re-translate the way news is experienced and produced.
PRINTING News platforms are generating online revenues through paywalls, subscriptions and native advertising.
New printing methods like vending machines and weekly editions will be implemented to restructure the way readers access print products.
DEMOCRATISATION
CARTOGRAM SUMMARY
MACRO TREND AN ,
AT
TE NT IO
N
SP
IMPACT
DI
RS MIL
AN DI
AR
NEWSPAPERS’ REVENUE IN DECLINE
L GI ENN TA IA LIS LS AT SH IO OR N T
INCREASED POPULARITY OF LIBRARY SPACES, PRINTING VENDING MACHINES
,
DRI VE
Independent broadcasting through social media and blog platforms has democratised the way we consume, share and create news.
MICRO TREND
GU HE ,T N RD BU OA SHIM IPB FL KYO TO
S TOR OVA INN
VALUE ECONOMY, NEWS VISUALISATION, AUGMENTED REALITY, IMMERSIVENESS
13
REDESIGNING NEWSPRINT Whilst change is deemed particularly risky for legacy brands who have large investments in traditional, conservative publishing formats (Meyer 2009), the modification of a newspaper is imperative to any futureproofed brand strategy in today’s market. It is important for brands to recognise that newsprint is no longer the first place consumers go to consume news. Mintel reported in 2015 that “35% of people access national news via a smartphone, rising to 55% for 25-34 year olds.” (Davis, 2015.) Social media platforms like Twitter and Facebook have become “the first port of call for many when they would like to discover what is going on” within the news media. (McGrath 2016.) It is widely acknowledged that “every newspaper is on a journey into some kind of digital future. That doesn’t mean getting out of print but it does require a greater focus of attention, imagination and resource on the various forms that digital future is likely to take.” (Sabbagh, 2011) Interviewing Ian Gibbs, Head of Commercial Insight at The Guardian Media Group, in July 2015 proved insightful as he suggests that
“PRINT WILL ALWAYS HAVE A FUTURE” but the format and size may change to a weekly or monthly print edition (Gibbs, 2015). This is supported by award winning journalist John L. Robinson, who predicts that “most newspapers will live well into the 2020s. They will continue to get smaller and many, if not most, will reduce the number of days per week they deliver.” (Robinson, 2015.) However, improving newsprint design to suit emerging consumer habits and trends has been stalled by digitalisation. Many news brands have placed their immediate attention and funding on developing their digital presence. This is referred to as a ‘Digital First Strategy.’
> Figure 16. Newspaper Pile (2011) 14
> Figure 17. Old Press Machine (1953)
The News Report
DIGITAL FIRST STRATEGY In 2011, The Guardian news brand adopted a ‘Digital First Strategy’ which saw them improve their products and services to fit modern consumer behaviours. Whilst legacy news brands are arguably slow adopters of innovative trends, installing a ‘pro-digital culture’ (Kung 2015) into their newsroom allowed them to secure a dominant market share in a shaky industrial environment. See The Guardian case study in Appendix: Case Studies.. One component of a ‘Digital First Strategy’ is strengthening a brand’s presence on smartphones and tablet screens. User
engagement is important for traditional news brands as they are ‘managing the transition of [their] audience from desktop to mobile,’ as well as from print to digital (Gibbs 2015.) Many brands have introduced apps over recent years to compete with the accessibility of social media apps, with positive results; as “the introduction of a mobile app by a major national media company leads to a significant increase in demand at the corresponding mobile news app.” (Xu et al, 2014) Parallel to the Digital First Strategy, many digital news brands are now delving into print products to expand their portfolios. Take for example, digital brands like Business of Fashion and It’s Nice That; both are websites that now release monthly and seasonal magazines to mirror their digital brand DNA.
“News brands are managing the transition of their audience from desktop to mobile, as well as from print to digital (Gibbs,2015.)”
This two-pronged business strategy reflects the relevance of print products in today’s society, as well as highlighting the need for brands to design their products to co-exist with each other.
^Figure 18. The Guardian Offices (2012)
NEWSPAPERS THEREFORE MAY NEED TO BE REDESIGNED TO SUIT THEIR DIGITAL COUNTERPARTS.
15
ACCESSIBLE TECHNOLOGY
2001: Ipod and Itunes are released..
2005: Youtube is first launched revolutionising the way we stream content
2003: Skype is first launched
2002: Amazon records first quarter of profit
Figure 19. Consumer and Technology Timeline (2016.)
2006: Twitter is first launched influencing the way we communicate with each other
2004: Facebook is first launched
2010: iPad is released changing the way content is created for screens
2007: iPhone is released popularising smart phones. 2007: Amazon releases the Kindle
2008: Netflix launches digital streaming
CONSUMER & TECH TRENDS 2005
2000 GLOBAL CONNECTIVITY
UK RECESSION/ BARGAIN SHOPPERS
To understand what has driven the growth of digital news content, in both current affairs and fashion news, it is important to look at the consumer technology market over recent years. This is demonstrated in the above timeline.
The accessibility and affordability in the UK for smart technology, whether it be smartphones, tablet devices, cheap internet or even now wearables, makes accessing information almost immediate. This is something that print products cannot compete with unless they develop and invest in experiential technology. This therefore suggests that there are positive benefits to the creative ‘cross-pollination between different channels’ (Leslie, 2013.) “The rise of wearables, big data and predictive analytics will create 16
2010
new glimpse-friendly form factors- bite sized, personalised and contextual” (White 2015.) This statement has been adopted by many news apps through their design elements. See Figures 28 and 29.
TOKYO SHIMBUN APP The Tokyo Shimbun app works using augmented reality and a printed newspaper. The user can scan the contents of the printed paper with their phone and on the screen will appear a simplified version of the story, through language and animation, to suit younger audiences. The aim of the app is to bridge the generation gap between adults and children, and creates an experience that both consumers can enjoy. This not only enhances the engagement the reader has with the product, but it also brands the newspaper to the next generation of consumers.
An example of an innovative and disruptive news app is from the Tokyo Shimbun in Japan.
> Figure 20. The Tokyo Shimbun App (2013)
This app demonstrates “a future for the old media newspaper” (Steadman, 2013) as it combines both printed and digital experiences to different generational consumers. This reinforces the idea that newspapers need redesigning to suit its adaptive consumers, and that print still has a valid positioning for investment.
The News Report
2010: Instagram is released creating a wave of consumers seeking visual content
2015: Haptic technology used in mainstream products 2014: Apple announces the Apple Smartwatch
2016: Oculus Rift virtual reality headset released
2019: Expansion of Artificial Intelligence in mainstream experiences.
2017: Implantable wireless devices are expected to popularise 2019: 3D printing expected to be a mainstream consumer trend.
2020: Popularisation of holograms in consumer technology
CONSUMER & TECH TRENDS 2015 THE OPITIMISED SELF: focus on self improvement and data tracking
The use of augmented reality in such accessible devices shows how the lines between our digital and physical realms are becoming blurred. This idea of ‘phy-gital’ spaces is being developed further by virtual reality. “[VR] could revolutionise the news market as we know it. With attention spans dwindling and consumers increasingly desensitised to the world around them, this format could jolt new levels of engagement and understanding.” (Williams, 2015.) As virtual reality makes
strides in education (Google Cardboard in schools,) retail spaces (Dior) and gaming (Oculus Rift,) it is only a matter of time until forward thinking news brands invest in consumer enhancing experiences. ‘Predictive analytics’, autonomously constructed narratives and data-driven journalism are all trends that have emerged over recent years thanks to the expansion of data-tracking and data collection by brands. Predictions around algorithms both reading and writing news content (Gourley, 2014) fits into many consumer’s fears around the development
2020 BRICOLAGE LIVING: borderless communities and global citizens
“[VR] could revolutionise the news market as we know it” (Williams, 2015.)
REVELATION BRANDS: focus on discovery and serendipity
surrounding artificial intelligence. This is where newsprint products reflect consumer behaviours presented in the Digital Detox macro trend, see PEST Model, Embracing the physical elements of news could be a unique business strategy in rediscovering print products for many legacy news brands.
NEWSPRINT PRODUCTS THEREFORE OFFER AN ANTITODE TO DIGITAL SURREALISM.
17
DIGITAL DARWINISM The growth in the accessible technology market has created what some sociologists describe as a phase of Digital Darwinism which embodies Millennials’ extremely adaptive digital literacy skills. This in an integral ideological behaviour that news brands will need to adopt, or at least understand, to redesign the production and publication of news; in both their digital spectrum and in their print products. After all, “new entrants to journalism will have to be digital natives and be completely at home with social media” (NCTJ.) Primary research demonstrates how the National Curriculum for the Training of Journalists is now teaching journalism students how to use social media and video editing to digitalise a story, as it ’brings [stories] to life’ (Booker-Lewis 2016.) Understanding the core behaviours of the Millennial consumer group is extremely important in predicting the future of the newsprint industry, as they are they represent a large section of the consumer market. The Millennial and Generation Z cohorts are the future consumers of newsprint products and are the target consumer for this report.
Figure 21: The Guardian, Three Little Pigs (2012) open journalism campaign; see Appendix: Case Study for more information.
“NEW ENTRANTS TO JOURNALISM WILL HAVE TO BE DIGITAL NATIVES AND BE COMPLETELY AT HOME WITH SOCIAL MEDIA.” (NCTJ)
MILLENNIALS
GENERATION Z
Often referred to as Generation Y
• AGE: <20 • UK POPULATION SIZE:
• AGE: 21-38 • UK POPULATION SIZE: CHARACTERISTICS • DIGITAL NATIVES: Experienced a childhood without the internet, but are natives in using digital technology . • Will experience a longer working life than their parents generation. • SELFIE generation. • Expect technology to adapt to their behaviours without fault. 18
Figure 22: Millennial Consumer (2011)
CHARACTERISTICS • DIGITAL NATIVES: Experienced digital technology throughout their childhood with instant access to the internet. • Explore POLITICAL ACTIVISM at a young age as global awareness is very high. • Gender Fluidity and civil EQUALITY are integral to their social identities.
Figure 23: Generation Z Consumer (2015)
INFLUENTIAL MILLENNIAL AND GEN Z FIGURES IN POPULAR CULTURE
Amadla Stenburg is a young actress who uses her presence in the media to fight for political and racial equality and famously criticised the likes of Kylie Jenner for using cultural appropriation to make a fashion statement.
< Figure 24. Amandla Stenburg (2015)
> Figure 25. Lena Dunham (2014)
Lena Dunham is arguably one of popular cultures biggest influencers today as she optimises how independent consumers are celebrating diversity and personal acceptance. She is an award winning author, actress and activist.
19
ACCESSIBLE CONTENT Arguably one of the reasons that traditional news brands are stagnant in print is because they have not adapted their products to connect with the behaviours found in many Millennials and Gen Z’s. With digital news consumption at an all-time high with “49% of people now read news online,” (McGrath, 2015) it is imperative to understand the effects this has had on written news content, in both digital and print formats.
> Figure 26. Twitter’s Homepage(2016)
People have changed their news consumption habits, with the smartphone and social networks now central to how many, especially younger people, access news. (McGrath, 2015.) As this statement suggest, social media platforms have revolutionised the way readers consume news. 38% of social network users receive news updates from social media, rising to 44% for 16-24’s. (McGrath, 2015.) As brands like Facebook extend their services to suit this trend, take the creation of Signal (a platform for journalists to ‘surface relevant trends’ (Nguyen, 2016) it is clear to see that instantaneous, accessible and communal aspects of digital news sharing, is now cemented in consumer culture. Whilst social news-gathering has been happening for a while (Greenberg 2015) it is important to highlight the dangers of news created and shared online. The Thread documentary by Greg Barker, discusses the effects of using social media as a news platform. He discusses themes of democratising news brands, online users’ ‘mob mentality’ and the instantaneous nature of sharing content on social media platforms. See Appendix: Supportive Evidence. Another negative effect of creating and sharing news through social media platforms is that many users see ‘online papers as online news feeds rather than a newspaper service.’ They are therefore less likely to pay for content online as they can access it for free elsewhere (Miller 2015.) This is evidence supporting the current struggle brands face in engaging their online audiences to subscribe to pay walls and online subscription charges. Print products therefore offer an alternative to this trend. Primary research suggests consumers feel that newsprint papers are ‘more trustworthy’ and are more likely to pay for printed news. See Figure 27 and 20
“38% of social network users receive news updates from social mediarising to 44% for 15-24 year olds”
(McGrath 2015.)
“I TRUST A NEWSPAPER MORE BECAUSE IT FEELS MORE CREDIBLE THAN SOMETHING YOU MIGHT READ ONLINE”
(Questionnaire Respondant, 2015.)
“IT WOULD BE A SHAME FOR DIGITAL MEDIA TO REPLACE PRINT MEDIA- AN INSTITUTION LIKE THIS IS IMPORTANT AND SHOULD CONTINUE.”
(Questionnaire Respondant, 2015.)
“IT WOULD BE INCREDIBLY SAD TO SEE THE END OF AN ERA [PRINT NEWSPAPERS]”
(Questionnaire Respondant, 2015.) > Figure 27.
Newspaper Questionnaire Responses (2015)
“[PRINT[ HAS ADVANTAGES THAT DIGITAL DOESN’T- IT WONT RUN OUT OF BATTERY AND IS AVAILABLE WITHOUT THE INTERNET”
(Questionnaire Respondant, 2015.)
The News Report
Appendix : Creative Consumer Research for questionnaire responses. As Millennial and Gen Z consumers are undeniably going to shape the future of newsprint, being able to recognise the way they consume information is important. According to WGSN, their ‘highly evolved eight-second filters’ allow their brains ‘to process more information at faster speeds’ and can handle ‘bigger cognitive challenges.’ (Bell, 2015.) Younger consumers now want to be able to consume news visually, whether that is through a video, GIF, MEME, or through illustrations. Channel 4 News Wall is an example of a traditional news brands adapting to Millennial visualisation, and Mashable, Reddit and Vine are examples of user generated, visual news. Understanding new digital vernacular (Aldenton 2015) whether it be a story condensed into 140 characters or through an emoji, is crucial to underpin the future production of news text. The Financial Times have embodied this in their Apple Watch news app, which has developed a new technology called ‘Spritz’ which is specifically designed to create ‘glimpsefriendly’ content. (Financial Times, 2016.)
MILLENNIAL’S “HIGHLY EVOLVED EIGHT-SECOND FILTERS ALLOW THEIR BRAINS TO PROCESS MORE INFORMATION AT FASTER SPEEDS”(Bell, 2015.) EXAMPLES OF ACCESSIBLE CONTENT <Figure 28.
Blippar App (2015).
< Figure 29.
Channel 4’s Newswall (2015)
Blippar is an augmented app builder that has been used by fashion magazines like Garage to create an immersive experience for the reader. This technology is frequently used in print adverts and has been adopted by brands like Audi and Tesco.
This is a screenshot from Channel 4’s Newswall which was launched in 2015 to appeal to a Millennial audience. It took inspiration from the social media site Tumblr and uses GIFs to encapsulate the current affair news story. This is an example of news brands adopting a new ‘digital vernacular’ to suit younger audiences. 21
JOURNALISM STYLES This diagram demonstrates how digitalisation has influenced the way journalism is shaped and practised. This is important in understanding the effect the internet has had on the news industry, as well as being able to predict the future of news production.
TRADITIONAL PRINT STYLES TABLOID Popularised by brands like The Daily Mail and The Sun; tabloid journalism uses hyperbole, oversimplification and sensationalised content to engage with its readers. It has been criticised for causing fear mongering in mainstream media.
< Figure 30. The Daily Mail Tabloid (2014.)
INVESTIGATIVE Credible news brands like The Guardian and The New York Times are famous for using investigative journalism to expose political secrets and to collaborate with whistleblowers like Edward Snowden and Julian Assange.
< Figure 31. The Guardian Panama Papers Leak (2016.)
GONZO Gonzo journalism blends fiction and fact through a first person narrative,usually that of the reporter. It is said to have originated in the 1970â&#x20AC;&#x2122;s by writer Hunter S. Thompson who popularised the style. (Garett, 2015)
< Figure 32. Gonzo Documentary Still (2011)
SLOW A new movement in journalism that focuses on tracking the origins and aftermath of a news event. This long-form journalism style is embodied by independent publications like Delayed Gratification. 22
< Figure 33.. Delayed Gratification Magazine (2014.)
The News Report
CONTEMPORARY DIGITAL STYLES CLICKBAIT
> Figure 34. Glamour Twitter Screenshot (2016.)
Clickbait journalism is arguably an extension of tabloid journalism. It is usually driven by hypersensationalised content and exaggerated headlines to draw readers to ‘click through’ onto the main website.
OPEN
> Figure 35. The
Guardian Open Journalism Page (2016.)
Open journalism engages with its audience as it is mainly conducted on digital platforms. It invites the reader to contribute and validate the content. News brands who adopt open journalism understand that their readers are also experts and don’t need to be talked down to.
IMMERSIVE
> Figure 36. The Oculus Rift (2014.)
This type of journalism is becoming increasingly more accessible thanks to the expansion of immersive technology like virtual reality headsets. It uses visualisation and auditory formats to create a real word experience for its audience.
MOBILE
> Figure 37.. Financial Times App on Samsung Smart Watch (2016.)
News content that is designed for mobile platforms such as smart phones, tablet screens and social media ,tend to have shorter sentences, summative tone of voices and are created to be easily absorbed by the eye.
23
DIFFUSION OF INNOVATION GRAPH
Figure 38. News Brand Diffusion of Innovation Graph (2016.)
This Diffusion of Innovation graph condenses this chapterâ&#x20AC;&#x2122;s key themes. For example, the Innovator section represents how successful news brands create print and digital platforms to co-exist with each other; whilst the Laggards section reflects most UK newspapers who are slow to adapt to changing Millennial habits. This chapter has therefore highlighted the problem that many UK newspapers are not engaging with Millennial consumers because they are yet to redesign their print products to suit their needs.
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The News Report
THE NEWS REPORT
CHAPTER SUMMARY Overview Whilst circulation and advertising revenue continue to decline in newsprint publications, many forward thinking brands are expanding their digital presence and are collaborating between their digital and physical space to secure their market share in a saturated environment. Insight: News brands need to adopt a digital first strategy to secure online revenue to support printed publications. They need to accept consumers’ relationship with printed products has changed and adopt a disruptive and ‘reverse entrance’ marketing strategy to create a flexible brand. What’s next Differentiation between print and digital content to suit ever changing consumer behaviours, adapting content to suit trending technology and digital Darwinism.
25
Chapter 5
INTERPRETING MACRO TRENDS
Figure 39: Glitch Art (2014)
TREND FUTURE: HOW TO BRAND TO NEW CONSUMERS
26
Interpreting Macro Trends
Understanding why newspapers struggle to connect with younger audiences is far more complex than just generational replacement (Meyer 2009.) In a postdemographic consumerism (see social section of PEST) there are more effective ways to target consumers than age. For example, identifying people based on their attitudes and behaviours offers brands a more flexible scope to target new markets with. (Trendwatching 2014) Due to the current rigid structures of traditional newspaper products, such as mass production and wide-net audiences, it is almost impossible for brands to implement this theory. This report therefore suggest that news brands need to redesign their print products to suit more niche consumer behaviours to resonate more strongly in the market. This links to Maisel’s ‘M’ theory, ‘that media aimed at smaller audiences do far better, and it hints that credibility achieved by narrower targeting is the reason.’ (Meyer 2009.) This will in turn offer a greater value exchange between consumer and brand, as well as acknowledging that print is no longer the primary source of news consumption for many consumers. It has been suggested that ‘the digitalisation of news content’ may cause some consumers to ‘self-segregate ideologically’(Xu et al., 2014. ) This in turn means that many consumer groups are becoming more tight-knit and niche due to the specific information available online which can both hinder and help the news market. Whilst the ‘M’ theory supports the very specific targeting of consumers, it could negatively isolate readers as they become closed off to global affairs. This is why it is imperative for news brands to incorporate discovery or search features, so that they promote users to engage with wider news stories. This should in turn offer a fair and transparent representation of broader global societies.
> Figure 40. Baddie Winkle (2015)
Baddie Winkle is a influential figure in popular culture as she represents how consumers aged 50+ (also known as the Flat Agers) are breaking stereotypes of what it means to be old in our culture and media. She is an example of how postdemographic consumerism works as brands need to engage with people’s attitudes rather than their age.
“MEDIA AIMED AT SMALLER AUDIENCES DO FAR BETTER” (Meyer, 2009.)
^ Figure 41. FitBit Flex (2016.)
A successful way to target and retain consumers in this current climate is for brands to interpret and implement, where relevant, wider macro trends that are influencing their consumer’s behaviours. For example, Fitbit has been so well received by consumers because it reflects wider macro trends of well-being and continual self-improvement. These characteristics embody the ‘The Optimised Self’ trend (Walker and Buchanan, 2015) presented by LSN: Global in their Future Lab Trend Briefing in 2015. See Appendix: Creative Contextual Research. This idea has been characterised well by publications such as The ‘i’ and the New Day, both newspapers that have been released over recent years. The ‘i’ reflects bitesize news which suits their audiences’ short attention span and the New Day reflects macro trends of personal wellbeing and positivity. Both publications identify the wider macro trend of time as a luxury; they know their readers are inherently time starved. See Appendix: Case Studies. The main insight from this section is that for newsprint publications to be successful, they must firstly offer something unique to their readers, as well as being able to predict and tap into their consumers’ attitudes. Using a trend-forecaster’s mindset is imperative for news brands sitting in the laggard or majority section of the Diffusion of Innovation graph (see page 25), as it will give them valuable insight into how to engage with new consumer markets.
NEWS BRANDS NEED TO REDESIGN THEIR PRINT PRODUCTS TO RESONATE WITH MORE NICHE CONSUMERS. 27
USING A TREND FORECASTERâ&#x20AC;&#x2122;S MINDSET IS IMPERATIVE FOR NEWS BRANDS TO ENGAGE WITH NEW CONSUMER MARKETS.
28
HOW FASHION BRANDS HAVE USED POST-DEMOGRAPHIC CONSUMERISM Celine â&#x20AC;&#x2DC;s 2015 advert featuring Joan Didion received positive press for its artistic direction using an older model to represent the attitude of the Celine as a brand. This advert reflects wider trends of post-demographic consumerism and the macro trend of negative age profiling within the media.
< Figure 42. Joan Didion for Celine (2015).
> Figure 43: Selfridges Agender Campaign (2015).
This promotional image from Selfridgeâ&#x20AC;&#x2122;s Agender 2015 pop up shop, demonstrates the brands understanding of wider macro trends of gender neutrality and challenging stereotypes within the fashion industry.
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Chapter 6
DECONSTRUCTING FASHION NEWS
Figure 44: Magazine Collection (2015)
This chapter focuses on how digitalisation has affected the fashion media and specifically, fashion magazines. It will dissect, analyse and summarise key factors that have shaped the fashion news media and will offer insights into the future of fashion newsprint. Firstly, it is important to highlight that fashion news is referring to any biproduct of fashion journalism. At this stage of my report it concerns both industry and consumer news, which covers anything from collection reviews, designer interviews, advertorials, â&#x20AC;&#x2DC;how-to-wearâ&#x20AC;&#x2122; guides and opinion pieces etc.
30
Deconstructing Fashion News
“The problem for me is that too many people are beginning to produce fashion mags that are the same as each other. There’s nothing wrong with them but there is nothing that is right or exciting either.”
Martin Skelton Interview, Magazine Brighton, 2016.
31
PEST MODEL Similar to the last chapter, I have used a PEST model to highlight the formative trends that are currently influencing the state of the fashion news media. This data reflects how expanding digital and technological markets have affected the production, publishing and distribution of fashion news.
POLITICAL TRENDS
FRONT ROWS
There still remains a hierarchy of fashion influencers from designers, editors and those who are seated in FROWs (catwalk front rows.) They arguable dictate mainstream content in print, whilst the internet offers a more democratised community through self published content.
ECONOMIC TRENDS
VALUE ECONOMY
Value economy puts magazines in a strong foothold as they offer real-world experiences over vapid digital consumerism.
NEW DEMOGRAPHICS
Post-demographic consumerism continues to shape the way news brands target their audience and tailor their content to suit attitudes rather than age.
FEMALE EMPOWERMENT Increasing political influences with candidates like Hilary Clinton and Nicola Sturgeon, has started a new conversation about how women are portrayed in the media. This is something that fashion magazines have been criticised for in the past.
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DIGITAL EXPANSION
Fashion news brands are increasingly trying to monetise their digital presence and are doing so through paywalls, subscription services, integrated ecommerce, native advertising and branded content.
Deconstructing Fashion News
SOCIAL TRENDS
BRICOLAGE LIVING
Bricolage Living refers to consumers who are shaping their identities from a vast array of sources and inspiration. This reflects fashion tribes whose style â&#x20AC;&#x2DC;bubblesâ&#x20AC;&#x2122; up into mainstream culture.
CELEBRITY INFLUENCE
TECHNOLOGY TRENDS
IMMERSIVE REALITY Fashion brands like Dior and Topshop have experimented with virtual reality in their retail environments. This is parallel to the rise of augmented apps and VR headset sales.
SCREEN READING
Celebrities are arguably still a massive influence over why people buy magazines which suggests fashion and celebrity culture are still entwined with each other.
Fashion magazines are having to adapt their content onto tablet and smartphone screens, which means creating more interactive design elements.
LACK OF DIVERSITY
DIGITAL DETOX
Mainstream media is frequently criticised for its lack of diversity in industries like fashion, film, music and art, which has driven brands to take a more selective approach at casting.
There is a resurgence of independent publishing in print and digital publications. The reflects a phase of Digital Detox where consumers opt out of technology to engage with mindfullness and nature. Figure 45. Fashion Media PEST (2016)
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GENERAL OVERVIEW The fashion news market provides readers with publications and platforms that serve both the industry and consumer sectors. As digital and print publications become more entwined there is a blur between social media, celebrity culture and native advertising in each sector’s content. The independent publishing sector is innovating the way fashion is being translated and presented to readers, whilst disruptive digital platforms are creating more engaging and discoverable content. Combining these trends will focus the fashion news market into creating a more disruptive model in how it produces, publishes and displays content to its readers.
HOW IS FASHION NEWS ADAPTING TO DIGITALISATION? In parallel to how news brands are adopting a Digital First Strategy, fashion magazines are having to refocus how they create content for their print and digital editions. The same elements of accessible technology that have influenced the news industry can be applied to fashion publications, as their readers are split between reading on screens and in print. Brands like Vogue are adapting by offering digital readers exclusive videos, behindthe-scenes content and more engaging visuals through image galleries. An example of how digital can be used to enhance a traditionally print experience is Stylepit’s interactive showcase. It has been described by D&AD as ‘a seamless shopping experience that combined the voyeuristic pleasures of people-watching with a curated fashion catalogue” (D&AD, 2015.) What would have once been a print catalogue or look book is now a digital, interactive ecommerce platform. Parallel to digital immersiveness, fashion magazines can innovate their products by combining the ‘power of stories with technology to create magical experiences’ (Wired, 2014.) 34
> Figure 46 StylePit Digital Catalogue (2015)
FASHION MAGAZINES ARE HAVING TO REFOCUS HOW THEY CREATE CONTENT FOR THEIR PRINT AND DIGITAL EDITIONS.
> Figure 47. Alexa Chung The Future of Fashion Documentary Still (2016)
FASHION MAGAZINES REACTION TO DIGITALISATION
In 2012, Vogue.com redesigned their website to adopt a more digitally literate format. It now has features such as continuous scrolling, â&#x20AC;&#x2DC;listicles,â&#x20AC;&#x2122; GIFs, live blogging, video features and documentaries to suit consumers desire for content visualisation and accessibility.
< Figure 48. Vogue Website Redesign (2012)
> Figure 49: Company Magazine October (2014)
Company closed its print publication in October 2014 after years of declining sales. It established itself as one of the first long-standing fashion magazines to turn into a digital only brand. This is an example of how print publications have adapted to digitalisation.
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DIGITAL DARWINISM
> Figure 50. Fashion Week Bloggers (2015)
As previously mentioned in The News Report, Digital Darwinism has transformed the way younger generations read and experience written content. In terms of brand longevity, fashion news brands must understand how Millennial and Generation Z consumers behave as they are their target audience in securing generational brand loyalty. Deconstructing Fashion News therefore analyses its content based on Millennial consumer behaviour. In term of fashion media, the accessibility to produce, publish and share content online for free across a variety of platforms, has arguably democratised consumer fashion news. Whilst many still acknowledge publications like Vogue and Elle as brand bibles, there is now a saturated market of bloggers, vloggers, social media influencers and freelance journalists. This both benefits the fashion news market and dilutes it. In this context, independent broadcasting adds diversity to the market, as many undercurrent social tribes, creative individuals and undiscovered talents influence, or become, opinion leaders. Innovators like Flossie Saunders, Man Repeller and Susie Bubble are now considered influencers in the world of fashion news, thanks to their independent blogs. Blogs and social media accounts from places like Instagram and Periscope, often influence ‘bubble-up’ trends (Delong, 2006) within the fashion industry and can arguably act as a digital equivalent to street style photography. This embodies the ‘two-step flow communication theory’ established by Lazarsfield et al in 1948 that explains the influence of ideas from mass media to opinion leaders (Postelnicu, 2014). Primary research demonstrates how trend information is far more accessible to fashion brands thanks to digitalisation. Belinda Scott-Mayberly, a production and technical manager for Jigsaw explains how ‘before I would’ve got most of my trend information from places like trade shows but now everything is online, I can get that information so quickly from places like blogs, so now everything is happening live and in front of you’ (Scott- Mayberly, 2016.) This therefore represents how news democratisation can have a positive influence on consumers as information is now more accessible than ever. See Appendix: Industry Interviews, for interview with Belinda Scott-Mayberly.
36
“Before I would’ve got most of my trend information from places like trade shows, but now everything is online (Scott-
Mayberly 2016.)
> Figure 51. Leandra
Medine, Founder of Man Repeller Blog (2014)
> Figure 52. Berlin
Trade Show Seek (2015)
> Figure 53. Susie
Bubble (2015)
Deconstructing Fashion News
The negative effect of democratising fashion news is that there are vast amounts of unregulated, uncredited and inaccurate content that dilutes the quality of fashion news. This blurs the lines between citizen journalists, professional bloggers and consumer bloggers (Mendola, 2014) and therefore hazes credibility and influence. This idea is parallel to the theme of news democratisation (Barker, 2015) that is presented in The Thread documentary. See Appendix: Supportive Evidence. This argument however is less applicable to industry news as key players such as Drapers, Business of Fashion, WGSN and Women’s Wear Daily are all deemed credible sources within respected fields.. Mainstream fashion brands have to find new ways to innovate their content as they are now competing with ‘any alternative service or source of information that diverts their target audiences’ attention.’ (Kung 2015.) This includes blogs, social media sites and service platforms like Netflix and Amazon. This idea is also applicable to current affairs news brands, as they too have to innovate content and marketing techniques to differentiate themselves in a saturated market.
^ Figure 54: How To Make It As A Fashion Journalist (2015)
DIGITALISATION HAS THEREFORE DEMOCRATISED FASHION NEWS, MAKING TREND CONTENT MORE ACCESSIBLE FOR CONSUMERS AND BRANDS.
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ENTERTAINMENT NEWS Fashion media has always faced controversy around their portrayal of wider global cultures through entertainment news. For example, mainstream magazines have been accused of tokenising minorities, perpetuating unattainable beauty ideals and creating a world of hyper-reality through advertising and editorial content. Initiatives like All Walks Behind the Catwalk and publications such as Pylot and Contemporary Other have defined their manifestos to disrupt these controversies. See Appendix: Case Studies.
> Figure 55. Look Magazine (2016.)
However, as fashion entertainment news saturates the digital marketspace, so does clickbait journalism that is centred around tabloid stories. See description of Figure 34, The News Report. This is relevant in understanding the success of digitalising news, as clickbait journalism drives readers into a website, allowing the brand to monetise via click through rates. The negative implications of stories shown in Figure 57 is that if mainstream fashion news brands continue to employ clickbait journalism in their digital spheres, they may end up alienating and offending their consumers. For example, ‘stories about women being naked tend to get more traffic than stories about people making music/movies,’ and the dangerous thing about clickbait journalism is that it is ‘reflective of what’s happening in society in general.’ (LLloyd 2016.) Primary research suggests that many consumers are tired of this type of content and are interested in publications that have more varied content.
“Stories about women being naked tend to get more traffic than stories about people making movies/ music” (Llloyd, 2016.)
“I THINK FASHION NEWS IS CONFLICTING OF REAL LIFE.”
(Questionnaire Respondant, 2016.)
“I THINK FASHION NEWS IS A BIT DULL- TOO GOSSIPY OR TOO BUSINESS BASED.”
(Questionnaire Respondant, 2016.)
“I THINK FASHION NEWS IS TOO CELEBRITY INFLUENCED.”
(Questionnaire Respondant, 2016.)
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< Figure 56. Fashion News Creative Research Responses (2016)
Baudrillard discusses this idea in The Consumer Society, describing how ‘through mass communications, the pathetic hypocrisy of the minor news item heightens with all the signs of catastrophe… the tranquillity of daily life” (Baudrillard 1998.) Whilst this was written in 1998, it is applicable today with the rise of clickbait journalism in entertainment news. This is because many young adults feel anxious about not being able to live up to the ideals that are presented to them in mainstream media surrounding their body image. A minor news item about enhancing your physical attributes to attain a certain body type in a fashion magazine may have ‘catastrophic’ implications on a young reader, who is already anxious and unhappy with their appearance. News brands therefore have an ethical responsibility to produce credible, fair and transparent stories that are reflective of wider consumer cohorts, not just celebrity gossip.
Deconstructing Fashion News
^ Figure 57. Entertainment News Headlines (2016)
“THE PATHETIC HYPOCRISY OF THE MINOR NEWS ITEM HEIGHTENS WITH ALL THE SIGNS OF CATASTROPHE... THE TRANQUILITY OF DAILY LIFE. “ 39
THE IMMERSIVE NATURE OF PRINT PRODUCTS It could be argued that the reason print remains successful in the fashion industry is because of today’s value economy, where experiences become more valuable than ownership. (WGSN, 2015.) Duncan Edwards, CEO of Hearst magazines, supports this idea and explains how ‘magazines have to move from months to moments if they are going to compete with a mobile oriented world (McGrath2015.)
> Figure 58. Vogue100: A Century of Style Exhibition at The National Portrait Gallery (2016)
Like newspapers, magazines may have to edit content to support wider macro trends like time as a luxury, as the focus shifts from ‘timeliness to timelessness.’ (Muraben 2015.) It could be argued that many Millennial consumers possess a higher appreciation for the creative design elements found in magazines, which in turn, supports the print industry as a whole. ‘An increased awareness of narrative in photo stories and long form writing’ (Muraben, 2015) has been physically reflected in exhibitions like Vogue 100: A Century of Style, which embodies the immersive nature of fashion magazines. Martin Skelton, owner of the independent magazine shop ‘Magazine Brighton’ supports this notion. He believes the popularity of the Vogue centenary exhibition is because of the brands ability to ‘push for something different and to make us look at things differently’ (Skelton, 2016.) See Appendix: Industry Interviews. Some suggest the main reason for print magazines popularity is because they offer an immersive experience away from technology. This is embodied in the wider macro trend of a ‘Digital Detox’ which sees consumers switching off from technology and embracing a more mindful and active lifestyle. (Walker, 2015.) There is a supportive argument that suggests that ‘objects lose the physical retractions they had in the real world when these objects are transmitted into cyberspace. (Kreutzer, 2014.) This notion is otherwise known as ‘zero-gravity thinking’ and further emphasises how digital magazines cannot replicate the immersive
40
and timeless nature of print products. These arguments explain why magazines have stood strong against digitalisation; because they offer a unique, immersive and tangible experience one cannot replicated through a screen.
“Magazines have to move from months to moments if they are going to compete with a mobile oriented world” (Edwards,2015.)
> Figure 59. Anna Wintour Reading Vogue (2016)
Deconstructing Fashion News
DECONSTRUCTING FASHION NEWS
CHAPTER SUMMARY Overview There is a wide spectrum of fashion news content ranging from tabloid gossip to industry insight which is not always available to the wider public. This therefore means the quality and content is widely dispersed in a saturated digital market making it difficult to navigate. The print industry itself has remained strong over recent years; however, has had difficulty in digital publishing as it doesnâ&#x20AC;&#x2122;t offer consumer enough engagement or tangibility. Insight Fashion magazines remain popular but independent brands and consumers are increasingly looking for alternatives to mainstream publications. Whatâ&#x20AC;&#x2122;s next Similar to that of the news industry, many fashion magazine brands are investing in multimedia platforms to enhance reader experiences, as well as creating a separation of content available on their digital platforms and print publications.
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Chapter 7
MEDIA BRANDS
Figure 60. Far, Far Away (2009)
TREND FUTURE: CHANGING NEWS DISTRIBUTION This chapter examines the future of news brands and identifies innovative distribution platforms that are currently performing well in the market.
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Media Brands
Experiential media brands represent a culmination of micro and macro trends, as can be seen from the funnel in Figure 61. This bundled media communication tool has been adopted by many legacy and clean sheet news brands like The Guardian, The Economist and Vice.
DE TITU L AT
LEN
CI
RE
PP
EA
TIV
MEDIA BRAND
NIA
MICRO ONLINE STREAMING, INVESTIGATIVE JOURNALISM, SEARCH AND DISCOVER CONTENT
EA
AT N
IO
Choice is such an important feature to any consumer experience today (Davies 2015), which is something these experiential brands have understood and translated. The multi-channel model works fluently with their audiences’ desire to not be sold anything, (DM News 2010) as they can then enjoy the digital space as if it were a library and browse for content that suits them.
TIME AS A LUXURY
MACRO GLOBAL ACTIVISM, DIGITALISATION, IMMERSIVE EXPERIENCES
CR
Credible, innovative and engaging stories work across any platform; it is how the news brand creatively produces, publishes and distributes the story that gives them resonating market penetration. Uploading content to varied multimedia platforms gives news brands a far wider point of engagement with their target consumers, which is crucial to highlighting brand differentiation in a saturated digital market. The mind-sets of magazine publishers are evolving, ‘with brands no longer just thinking of the magazine but of magazine media.’ (McGrath 2015.)
VALUE ECONOMY,
MIL
Media brands in this context are news brands that adopt varied multimedia platforms to creatively publish their content. This can be done through live experiences, visual, or auditory formats like podcasts. As author Jeremy Leslie discusses in The Modern Magazine, ‘it is more important than ever that we get under the skin of the stories we are telling and select the best way(s) to share them with our audience(s).’ (Leslie 2013.) This therefore means news brands publishing content through kinetic formats may resonate more effectively with news readers.
“BRANDS [ARE] NO LONGER JUST THINKING OF THE MAGAZINE, BUT OF MAGAZINE MEDIA” (McGrath, 2015.)
^ Figure 61. Experiential Media Brand Funnel (2016)
The reason media brands are so successful with consumers today is because they offer a unique, immersive experience to their audience, similar to themes discussed earlier with the fashion magazine market. This concept is reflective of wider macro trends of Millennial’s consumption of news visualisation and of a Value Economy, where experiences outweigh ownership (WGSN, 2015.)
The following pages have deconstructed two innovative media brands that have disrupted the news market. They are Vice Media and Dazed Media.
43
CASE STUDIES
VICE MEDIA Vice began in 1994 as free punk magazine in Montreal, created by Shane Smith. The magazine quickly grew in popularity and extended into a digital platform service. Vice has resonated within the news market because of its rooted connection with Millennial consumers. The unapologetic, investigative and exploratory journalists who create Vice’s content, have redefined the way news is produced.
Figure 62.Vice Media Brand (2016)
VICE’S MEDIA PORTFOLIO INCLUDES: • A variety of online thematic video channels (Kung 2015;) such as, Noisey (music and event channel,) Motherboard, The Creators Project (‘a global celebration of art and technology’) and Fightland (mixed martial arts.) • Vice Films: produces documentaries and television programmes. • Vice Magazine • Vice News: an online global news platform. • Vice Records • The Old Blue Last: a pub in Shoreditch • Virtue: an advertising agency that works with brands outside of the news sector, like Nike and North Face.
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Media Brands
DAZED MEDIA Dazed began back in 1991 as an alternative style and culture magazine and was created by Jefferson Hack and Rankin. The magazine soon picked up a strong following and became an ‘agenda setting’ powerhouse within underground fashion tribes. This independent fashion magazine has become iconic as an influential and inspirational platform for many consumers, and is often categorised alongside i-D magazine.
Figure 63. Dazed Media Brand (2016)
DAZED’S MEDIA PORTFOLIO INCLUDES: • Dazed Magazine • AnOther Magazine • Hunger Magazine • Nowness Magazine • AnOther Man Magazine • Dazed Digital • Dazed Media Studio: a studio company that specialises within fashion, arts and luxury sectors. • Story Lab: A company that tracks premium stories across the internet.
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COLLATION PLATFORMS Reverse entrance models (Kung) like digital collation platforms, have taken the news market by storm. Netflix and Amazon are examples of collation platforms or, bundled media communications, (Davies 2015) and reflect how users now want to have all their personalised content in one distribution channel. Service platforms today are major threats to traditional news brands, and clean sheet innovators like Flipboard have thrived from applying forward-thinking distribution models. It could be argued that “collation platforms seem a logical next step and offers a potentially much needed boost for the publishing industry.” (Davies 2015) Figures 64-66 are examples of how collation platforms have influenced the magazine industry, and how digitalisation has reformatted the distribution of both current affair and fashion news. For example, Readly is a digital magazine subscription service, similar to the Netflix distribution model. This leads onto the conclusion that current unprofitable newsprint brands are unaware, or slow to adapt to changes in news production, publishing and distribution.
46
> Figure 64. Magzter Digital Magazine Library (2013)
“Collation platforms seem a logical next step and offer a potentially much needed boost for the publishing industry” (Davies, 2015.) Above > Figure 65. Readly
Digital Magazine Subscription Service (2014)
> Figure 66. Flipboard App (2011)
Media Brands
MEDIA BRANDS
CHAPTER SUMMARY Overview Innovative news brands like Vice and Dazed have implemented a multimedia approach to the production and distribution of their news content. Digital environments are taking inspiration from wider market business models like Netflix to create a ‘reverse entrance’ disruptive product. Insight Media brands offer Millennial consumers more content choice through kinetic streams. This is something newsprint brands need to recognise in developing their production and distribution methods. What’s next A further divide between consumers digital and print experience with news content. Newspaper therefore need to be redesigned to offer audiences something they cannot receive online.
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Chapter 8
INDEPENDENT PUBLISHING
Figure 67. Independent Magazine at Tate Modern (2016)
Many frustrated consumers have turned to independent publishing to create fashion magazines for themselves as a backlash against mainstream media. Digitalisation has meant that creating both print and online publications are now far more accessible and affordable to make.
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Independent Publishing
> Figure 68. Independent
DIGITAL DETOX
UDE ATT IT
N
IO
AT
CI
RE
Taking inspiration from disruptive magazine design elements and production processes will help to innovative and redesign newspaper products to suit Millennial consumers.
SLOW JOURNALISM
PP
This is something that traditional news brands can learn from to aid the redesign of their print publications to suit new consumer habits.
CONSUMER CHARACTERISTICS INDEPENDENT, DIVERSE, SEARCHING FOR NEW PERSPECTIVES
EA
They also tend to have higher price points to justify the ‘coffee-table book’ style, which focuses heavily on the design and editorial content. These disruptive methods demonstrate how ‘magazines develop new ideas from their production processes” (Leslie, 2013.)
(Skelton 2016)
TIV
Several independent magazine brands however, offer a more disruptive distribution engagement process as they release their publication biannually, seasonally or when the content is ready. This technique is used by independent magazines like Elsie and Four and Sons.
TIME AS A LUXURY
“A NATURAL REALIGNMENT AGAINST TOO MUCH CORPORISATION”
EA
Many readers’ engagement with magazines and newspapers can be described as habitual due to the familiar release times and lower price ranges. After all, “people get into habits of buying good things” (Skelton, 2015.)
VALUE ECONOMY,
CR
Figure 68 represents the causal factors that are driving the increased popularity of independent magazines. These influences are embodied by Delayed Gratification’s mission statement which explains how ‘modern news production is filled to the brim with reprinted press releases, kneejerk punditry, advertorial nonsense and churnalism.’ (Delayed Gratification, 2015)
IAL
Some industry professionals argue that the success of independent publishing is due to consumers “natural realignment against too much corporatisation.” (Skelton, 2015.)
LEN
Primary research demonstrates how many consumers invest in independent magazines because they are looking for new products and ideas (Crooks, 2016.)
“MODERN NEWS PRODUCTION IS FILL TO THE BRIM WITH REPRINTED PRESS RELEASES, KNEEJERK PUNDITRY, ADVERTORIAL NONSENSE AND CHURNALISM” (Delayed Gratification, 2015.)
MIL
Magazine Casual Factors Funnel (2016)
THEREFORE, NEWSPRINT BRANDS NEED TO ADOPT AN INDEPENDENT PUBLISHERS MINDSET WHEN REDESIGNING THEIR PRODUCTS TO MAKE THEM SUCCESSFUL IN TODAY’S MARKET.
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Chapter 9
IDENTIFYING A GAP IN THE MARKET
Figure 69. Magazine Shelf at Tate Modern (2016)
So where does all this contextual insight and analyses leave news brands?
50
Identifying A Gap In The Market
After analysing the news market as a whole, it is clear to see that there are three main problems facing the industry.
FIRSTLY, legacy brands want
to continue to produce daily newspaper without redesigning them to suit consumer habits.
The fashion news industry is also facing similar threats.
FIRSTLY,
fashion news brands are criticised for their lack of diversity and focus on celebrity culture.
SECONDLY, news brands are
SECONDLY, independently
THIRDLY, legacy news brands
THIRDLY,
slow in monetising their digital presence when competing with a saturated market full of free content.
are slow to adapt to innovative Millennial consumer trends and new distribution models.
published fashion magazines are increasingly in popularity, reflecting frustration at mainstream publications.
the wide spectrum of fashion news content available online means the breadth of quality and credibility is ever expanding.
Figure 70. Identifying A Gap In The Market Moodboard (2016) 51
An overall insight from both sections is that brands need to differentiate their print and digital products, to suit different consumer behaviours. These insights have therefore identified a gap in the market for a new, fashion news brand. It will include industry, consumer and current affair news and will adopt Millennial consumer trends. This brand will have both print and digital platforms that have been redesigned to suit trends of news visualisation, slow journalism and independent thinking. A traditional broadsheet will be redesigned into a creative fashion newspaper and a
“THE MAINSTREAM MAGAZINES THAT SURVIVE WILL BE THE ONES THAT LEARN FROM INDIES.” (LESLIE 2015.) website will be developed into a collation website. This will be discussed in detail in The Big Idea chapter. The brand will also adopt the mindset of an independent publisher and will therefore restrict the level of political bias many legacy news bands translate into their content.
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Ruth Jamieson, author of the book “Print Is Dead. Long Live Print” supports this ideas as she explains how “the mainstream magazines that survive will be the ones that learn from indies” (Leslie, 2015.) Whilst this quote references magazines, it can still be applied to newsprint products as both industries face similar threats, as discussed earlier on in this report.
Identifying A Gap In The Market This perceptual map demonstrates how there is currently no fashion news brand that offers a collation service and a print product.
FASHION NEWSPAPER MARKET Fashion News
X
GAP IN THE MARKET
Printed Product
X
Digital Collation Platform
GAP IN THE MARKET
Current Affair News
Figure 71. Fashion Newspaper Perceptual Map (2016)
For the purpose of this perceptual map, fashion consumer and industry news have been added to the same category to reflect the breadth of the available content in both digital and print platforms. The gaps in the market highlight the need for a print publication that looks at both fashion and current affair news, alongside a fashion news collation platform. 53
Chapter 10
IDENTIFYING A CONSUMER GROUP
Figure 72. Fashion Week (2012)
This chapter identifies and discusses the characteristics and consumer behaviours of this projects target audience.
54
Identifying A Consumer Group
AWARE, AWAKE, MATURE, INQUISITIVE AL M
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adopts a healthy amount of scepticism and realism
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This report has previously identified Millennial and Gen Z consumer habits in both The News Report and Deconstructing Fashion News. This cohort has been used to offer forward thinking insight into how brands can update their products and services. They also serve as the key demographic for my Big Idea. This has been taken further to identify young, female Millennials as a target consumer group for this project. They offer perhaps the most potential as a new market as they are driven by innovation, engagement and brand transparency (WGSN, 2012.) Further statistical evidence in Appendix: Supporting Evidence, supports this consumer groups positive engagement with news platforms. This general consumer is identified in Figure 72 and is constructed from upcoming consumer trends, archetypal identities and personal attitudes.
Figure 73. General Consumer Characteristics (2016)
This consumer can be found engaging with fashion and current affair news on a regular basis through social media, digital platforms and independent print publications; and adopts the behaviour of a Millennial despite perhaps not being confined to their age group. This forward thinking, creative, intelligent consumer cohort is able to identify hyper-realistic and clickbait content whilst enjoying the escapism this type of journalism offers. They can then be refined into smaller groups as a more specific consumer type. These categories are divided into ‘The Liberal Advocate’ and ‘The Distracted Conversationalist’ This is explained further in Figures 74 and 75. These consumer profiles have been inspired by the results of a primary research, creative retail experiment and have constructed using the interviewee’s Instagram content. See Appendix: Creative Consumer Research for further details.
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CONSUMER PROFILE
THE SATIRICAL EXPRESSIONIST Melody Grossman, 24, London, Artist Figure 74. Satirical Consumer Profile (2016)
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“IT’S IMPORTANT TO ENJOY YOUR OWN STYLE AND NOT BE TOO INFLUENCED BY WHAT YOU READ AROUND YOU” (Grossman, 2016.) 56
Identifying A Consumer Group
THE DISTRACTED CONVERSATIONALIST Joanna Neumann, 22, Nottingham/ Surrey, Student Figure 75. Distracted Consumer Profile (2016)
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“ I AM INSPIRED BY REAL PROBLEMS IN THE WORLD AND BY PEOPLE I ADMIRE , DOING THINGS I WANT TO DO” (Neumann, 2016.) 57
Chapter 11
BIG IDEA
Figure 76. The Karl Daily Newspaper (2014)
This chapter contextualises the information presented throughout this report into a tangible Big Idea. This idea solves the problem of news brands not effectively engaging with Millennial consumers, through a creative and disruptive approach.
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Big Idea
There are two resonating factors that have shaped this big idea.
Firstly, fashion news can be more disruptive. Secondly, there are more innovate ways to publish news content. These statements are an accumulation of micro and macro trends that have been identified in this report so far. They embody the general observation that newsprint brands are slow to adapt to millennial behaviour and technological innovations.
These ideas have been translated into a Big Idea statement.
TO CREATE A FASHION NEWS BRAND THAT REDESIGNS HOW CONTENT IS PRODUCED AND PUBLISHED. HOW:
Through a monthly fashion newspaper and a digital collation platform.
DIGITAL PLATFORM: An online bundled media communication platform that gathers new stories from various publishers to give the reader a wider perspective of a story. It will gather digital revenue through native advertising and sponsorship, as well as paywalls for more exclusive industry insights.
PRINT PUBLICATION: A monthly newspaper that uses long-form journalism to deconstruct fashion news stories. It will offer trend forecasting, implications and analysis of a single story to inform the reader of its prevalence and impact. It embodies characteristics presented in the independent publishing market and will not use glossy, photoshopped images.
Figure 77. Flipboard App (2011)
Figure 78. London Fashion Week Daily S/S 13 (2012)
WHY? • To offer independent Millennials an alternative to mainstream fashion news. • To disrupt many consumers’ obsession with clickbait journalism and hyper-realistic ideologies found in mainstream media. Primary research suggests that many people associate fashion news with celebrity news, and are frustrated by this. • To contextualise fashion as more than a fetishism and look at the roots and undercurrents of stories that affect the industry itself.
Finally, to dispel the myth that newsprint is dead. 59
This SWOT Analysis evaluates the themes and elements that make up the Big Idea statement.
STRENGTHS
TIMELY IDEA
SATURATED MARKET
• Could revolutionize the way newspapers are sustained by new revenue streams created through the multi-media platform element.
• Launching a news product into a saturated digital market, whilst competing with legacy print brands will be difficult.
• Includes new formats that will improve the current production and distribution of news.
• Asking consumers to pay for news when they can receive it for free online will be a challenge.
• Uses relevant wider consumer macro trends to support brand longevity and futureproofs consumer engagement.
• Initial financial investment will need to be significant to support product development, production and distribution costs.
• Reflects current trends in slow and open journalism and broadcasting.
• Visual elements of the brand will need to be carefully considered to avoid diluting the news content.
• No other product offers all of the proposed brand features. • Offers both print and digital platforms to the audience, with different experiences of news content.
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WEAKNESSES
• Branding a newspaper to challenge the target consumers current stereotypes will have to be intelligent and creative.
Big Idea
OPPORTUNITIES
THREATS
MEDIA BRAND FEATURES
DISTRACTED CONSUMERS
• Could create an app platform that uses augmented reality to enhance the print experience. This reflects the wider ‘phy-gital’ market space.
• Growing competitive market as brands are diversifying their portfolios every year.
• Create social media element to open dialogue and engagement with consumers and the brand. Reflects open journalism trend in mainstream news brands. • Could help popularise newsprint products in Millennial consumer groups. • Has enough platforms to cover current affair, industry and consumer fashion news in targeted areas for maximum impact with audiences.
• Will be fighting against all the social media, independent broadcasting and streaming platforms Millennial’s use to consume information. • Will be competing against clean sheet news brands who have no physical costs to dilute profits. • Independent publications will be a large threat as the newspaper will be branded and created in this style. • Fashion magazine market will be a direct threat as they cover many similar themes of content.
• Content works in both ‘Business To Business’ (B2B) and ‘Business To Consumer’ (B2C) sectors. Figure 79. SWOT Analysis (2016)
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Chapter 12
RECLAIMING FASHION NEWS
Figure 80. Vogue Magazine (2015)
Up until now, this report has examined the effects digitalisation has had on the newsprint industry, as well as commenting on the changes influencing the fashion magazine market. It summarised how innovative media brands are within the news market and identified a gap in the market for a new, fashion news brand. Reclaiming Fashion News will creatively outline the specifications and brand strategies for this new, fashion news platform.
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Reclaiming Fashion News
DEVELOPING THE BIG IDEA
BRAND INSPIRATION
To take this big idea further, I have distilled the wider elements presented in the Big Idea chapter into a tangible concept. This concept is to
create a disruptive news brand that examines current affairs news through a fashion lens. The brandâ&#x20AC;&#x2122;s services will initially be broken up into two main sections. These are a monthly printed newspaper and a digital collation website. The brand will then develop into a media brand that has audio-visual platforms, as well as producing live events and a retail outlet. This will be discussed later in the Media Brand section of the report. Figure 81 reflects existing news brands, both in the UK fashion news market and in the international current affair news market, that have inspired this Big Idea.
> Figure 81. Brand Inspiration Moodboard (2016)
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Chapter 13
THE COMMON THREAD
Figure 82. The Common Thread Logo (2016)
After extensive idea testing and evaluation, see appendix, the name of this new, fashion news brand will be The Common Thread. This chapter explores the elements that construct the brand DNA of The Common Thread.
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The Common Thread
NAME: The Common Thread TAGLINE: Reclaiming Fashion News MEANING: Fashion acts as a common thread between every aspect of our lives and like news, brings communities together.
BRAND MANIFESTO The Common Thread is reclaiming fashion news. For years and years, mainstream fashion magazines have drawn us in with glossy pages, free beauty giveaways and unattainable perfection. They grace their front covers with beautifully airbrushed women and have stung us with unrealistic body images for decades. Is fashion news only about celebrity red carpets, fashion week FROW’s and who wore it best articles? The Common Thread doesn’t think so. We at The Common Thread are bored of reading the same articles and seeing the same fashion shoots. We want to see where a story comes from, how it influences us and why it might resonate within popular culture. We look at current affairs and industry news through a fashion lens. Our aim isn’t to get people to stop reading and enjoying fashion magazines. Our aim is to offer people an alternative to mainstream media. The Common Thread offers readers a new perspective on how fashion stories are told.
SYNTAX DECONSTRUCTION ‘The’ suggest an authoritative entity. ‘Common’ communal and humble connotations. ‘Thread’ fashion connotations, used in journalistic vocabulary to describe a news story. Used both as a noun and as a metaphor.
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BRAND DNA INSPIRATION This moodboard explores themes that have inspired the visual literacy of the brand. See Appendix: Supportive Evidence for semiotic deconstruction and analysis for further detail.
^ Figure 83. Design Inspiration Moodboard (2016)
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The Common Thread
BRAND DNA INSPIRATION This image reflects the different catergories of themes that influence the brand’s perspective and written content.
Media’s Influence on Social Behaviour
Events In Popular Culture
Film, Music, Cinema, Photography
Design, Art, Creativity
Slow and Investigative Journalism
Industry Fashion News
Fashion Culture, Tribes and History
Activism, Politics and Social Change ^ Figure 84. Brand Influence Model (2016)
BRAND COLOUR ANALYSIS This colour palette can be deconstructed in order to understand the relevance of each pigment choice. Overall palette: Influenced by the monocharmtic style of traditional newspapers and broadsheets. It balances a warm red and a cool blue to compliment the monochrome and contrast each other, for a subtle energy shock. Blue: The sharpness and freshness of the colour counteracts the subdued palette and lifts the energy through the use of considered highlights and accents. It is reflective of the tone of voice of The Common Thread as it is the fashion focus, whereas the complimenting greyscale acts as the current affair segments. Monochrome: The monochrome elements are reflective of traditional newsprint publications and the transparency of news stories: as simple as ‘black and white.’ Red: Connotations of desire, love, warmth, seduction: all elements are frequently used in advertising and fashion design. It also attracts attention through altering the viewers attention which is a strong character of the brand.
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THE COMMON THREAD LOGO DESIGN
Figure 85. The Common Thread Logos (2016)
The Common Thread logo reflects the interconnected threads of society, coming together at one central focus point. In this context, the central focus point is The Common Thread’s print and digital platforms, whilst the threads represents different consumer backgrounds and stories. The visual elements that have shaped this design have stemmed from an array of sources. Firstly from artwork created using string and thread and secondly from wider geometric trends found in WGSN’s Digital Wave. The combination of physical and digital influences further deepen the meaning of the logo as it reflects The Common Thread’s varied media outlets. The Common Thread branding is grounded by the use of Museo Sans font, as it is used in both the logo and the main body text in the publication. This font was chosen based on its clarity, legibility and curved silhouettes that are easily absorbed by the eye. The Common Thread is an accessible and transparent brand, it doesn’t hide behind hyperbole or glossy images. This is reflective in the simplistic yet considered design of the branding.
LOGO DEVELOPMENT
Literal connotations of thread, sewing machine patterns and bobbins with needles
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More graphic interpretations of the thread design with dark background to reflect digital spaces.
Inspired by thread artwork and geometric patterns. Develop the idea of having a central focus point.
Apply individuality and easily recognisable shape to synthesise the brand name into the graphic.
After testing with different colours and line specifications, the final design incorporates the copy to add clarity and recognisability.
The Common Thread
LOGO AND BRANDING INSPIRATION
< Figure 86. Logo Development Moodboard (2016)
Figure 87. Logo Inspiration Moodboard (2016)
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The Common Thread
BRAND ESSENCE MODEL ESSENCE Investigative, Fashion-Forward, Trend Forecastor.
ATTRIBUTES Patient, Honest, Predictive, Creative
VALUES Clarity, Transparency, Truthfullness
TONE OF VOICE Articulate, Authorative, Descriptive, Disruptive
ATTITUDE Unapolagetic, Critical, Witty, Satirical
ARCHETYPES Sage, Creative PERSONALITY Intelligent, Innovative, Strong, Passionate
< Figure 88. Brand Essence Model (2016)
Our vision: To create a disruptive news brand that changes the way fashion topics are discussed. Our values: Fashion means more to society than its fickle vanity; it deserves better coverage and exploration in mainstream media. Our beliefs: That fashion is more than just regurgitated press releases, sponsored content and celebrity gossip. Fashion and current affair news are interconnected as they both reflect our culture and society. How we look: Hand-made finish with illustrations and â&#x20AC;&#x2DC;poster-styleâ&#x20AC;&#x2122; images to replicate independent publishing feel. How we talk: Through slow and open journalism; with an authoritative yet attainable tone of voice. We look at current affair news through a fashion lens. How we behave: Like a Guerrilla fashion brand; with purpose and meaning.
Position: Within independent retailers, between Stylist magazine, Pylot and Delayed Gratification. Proof: The brand exists in both print and digital formats with plans to extend into a multi-media brand by 2022. Strapline: Reclaiming fashion news. 70
CHAPTER SUMMARY
Figure 89. The Common Thread Brand DNA (2016)
This chapter has communicated the brand DNA for The Common Thread and decoded the visual design inspiration that has shaped its development. Overall, this brand has been created to fix the problem that Millennial consumers no longer engage with newsprint products, because they are not designed to suit their needs. This chapter has therefore established the foundation of a brand that is specifically designed to forecast and apply wider macro trends into its products and services.
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Chapter 14
PRODUCT MOCK UPS
Figure 90. Newspaper Mockup (2016)
“New media always arrive to fanfares about replacing old media, and we’ve been hearing about the web replacing magazine for over a decade now. But the relationship between magazines and websites is far more complex than that” (Lesley 2015.) Print and digital products, combined creatively and appropriately, have the power to revoluntise the way audiences consume new content. This chapter shows the physical mock ups of The Common Thread’s products and explains the relationship between each platform.
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Product Mock Ups
PRODUCT MOCK UPS The Common Thread has a varied portfolio of brand extensions that have been designed to suit a wide range of millennial consumer behaviours. As
trends into their strategies. With this in mind, The Common Threadâ&#x20AC;&#x2122;s brand extensions are created using elements from the slow journalism movement, the visualisation of social media content and the popularity of bundled media platforms like Netflix.
mentioned in the previous report, it is crucial for news brands to offer varied content for their audience to receive news stories from. It also highlighted the importance of brands being able to be adaptive and innovative in how they track and implement consumer and technology
Figure 91. International Newspaper Inspirations (2016)
DIE ZEIT: HAMBURG, GERMANY
POLITIKEN: COPENHAGAN, DENMARK
DAGENS NYHETER: STOCKHOLM, SWEDEN
THE NATIONAL POST: CANADA
EL MUNDO, METRPOLIS: MADRID, SPAIN
INTERNATIONAL NEWSBRAND INSPIRATION To ensure that The Common Thread was developing a credible visual language, it was imperative to explore broader design landscapes. This was applied by analysing newsprint products from a global perspective; to gain an insight into how successful newsprint brands are engaging visually with their audiences. Above are a collection of inspirational newsprint brands that have creatively used illustration, colour, font and varied text proportions in their products. This reinforces the idea that UK newsprint brands need to redesign their products to suit more visually appreciative Millennial consumers.
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WHY A NEWSPAPER?
LAYOUT INSPIRATION “ A new body of independently published magazines has appeared that reinterprets traditional genres of magazine publishing, questioning the medium while appearing in more traditional physical form. “ (Lesley 2015.) This quote is directly applicable to the reasoning behind using a newspaper as a platform, rather than a magazine. Part of the brand’s ethos is subverting people’s expectations of what fashion news is and The Common Thread wants to do the same with newspapers as a medium. Both primary and secondary research suggests strong design elements make a successful brand rather than their traditional format. See Appendix: Creative Consumer Research. Newspapers are designed creatively in global markets by brands like El Mundo Metropolis (Spain,) The New York Times (USA,) and Tokyo Shimbun (Japan) and The Common Thread has used many of these as visual inspirations. The Common Thread understands that not all of their target audience will want to consumer news through a print platform. However, those who do are rewarded with more niche, more concentrated content compared to the broader content available on the website. This is influenced by Maisels ‘M’ theory that suggests a high return of investment for brands who target smaller audiences (Kung 2015.) 74
Figure 92. Layout Inspiartion (2016) > Figure 93. Newspaper Front Mock Up (2016) Below Figure 94. Newspaper Mock Up (2016)
NEWSPAPER FEATURES • Images created using illustration (where appropriate.) • Double page spread similar to that of The i Newspaper, covering the months most important news in condensed format.
Product Mock Ups
EXAMPLE OF CONTENT This is an example of the content The Common Thread would produce for their newspaper. This short article is an opinion piece and would be featured in the back section of the newspaper and is not a central element of the overall content design. It is presented in this report primarily for the reader to gain an understanding of the brands tone of voice and complex understanding of the interconnected themes and trends that are present in fashion news stories.
Opinion Piece from The Editor. A Clean Slate: Is deleting our internet history the way forward for brands?
It all began back in April this year with the exit of Heidi Slimane from Saint Laurent. As the brand announced his exit to the world, they also discretely wiped away all the content on their Instagram page. This clean slate caused ripples through the fashion community who began to discuss the reality of wiping away years of creative engagement from their digital platforms . Some creatives have suggested that this was a bold step in disrupting our obsession with digital perfection. Contemporary narcissism means we spend hours in both our physical and digital ecosystems trying to encapsulate a perfect moment, to gain acceptance from wider communities. This is nothing new, this is something the fashion industry has been doing for as long as its inception. But maybe it’s time for something new. Maybe it’s time to look for our future selves rather than reminding ourselves of the past. By wiping away their collection of moments and creations, Saint Laurent are doing something almost impossible. They’re trying to delete their past in order to shape their new identity. This isn’t anything new for the brand however. In 2012 they dropped ‘Yves’ to add more edge to their identity, and now they are set on a new visual journey with the exit of their iconic creative director. But is wiping the slate clean on a digital platform too literal and naïve; do we really need to be told so obviously that there is a new wave of innovation coming? Some of The Common Thread community feel that maybe this is just another exorcism of a bad break up; the digital equivalent of burning the photos and putting their stuff into a box. All in all, Saint Laurent have done something bold here. They’ve inspired bands like Radiohead to do the same thing before a new album launch, and are demonstrating that we don’t need to be so precious with our online world. Life changes, move on. In the words of Spike Jonze, ‘we’re never the same person we were a moment ago.’ Let us know what you think at @commonthreadnews or #tctcleanslate.
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MARKETING MIX MODEL
PRODUCT
PRICE
FEATURES
STERLING
The print newspaper examines the correlative trends between current affair and fashion news, whilst the website out-sources content from varied brands to create a wider perspective of a story.
The print newspaper will cost £5 to cover distribution and production costs. It is an average price for a monthly magazine but meets my target consumers ideal pricing which is between £4-£6 as many are price sensitive.
BENEFITS
PAYWALL
The Common Thread’s target consumer wants more intelligent fashion news which is met in the content of the printed newspaper and their desire for multiple choice on which content to consume is met on the website.
The website will introduce a subscription service that allows the user to access more exclusive content and will subsequently cost them around £6 a month. This is based on subscription plans the target consumer already pays for like a Netflix, Spotify or Amazon Prime account.
INNOVATION
INCENTIVES
No other competitor offers both a print and digital platform that covers fashion and current affair news, or a fashion newspaper. See Perceptual Map.
Primary research suggests that people have a ‘willingness to pay for a little more for something that is a lot better” (Skelton 2016.) Accessibility is also key to the brands ethos so an efficient ecommerce platform will be set up for consumers to purchase the newspaper online and have it delivered to their address.
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Product Mock Ups
PLACE
STOCKIST
PROMOTION
SOCIAL MEDIA
The newspaper will be sold in independent print retailers like Magazine Brighton, Ideas on Paper, Rough Trade, Wardor News as these are locations my target consumer shops in.
Instagram, Facebook and Twitter will be used to display creative content and news stories to grow awareness and engagement. This is reflective of The Common Thread’s application of open journalism.
LOCATION
CAMPAIGN
The consumers are most likely to read the print newspaper in the comfort of their home (Mintel 2016) whilst browse the digital website on their tablets and laptops in the evening.
The integrated campaign will be launched ahead of London’s fashion week in September 2016 to take advantage of the large amount of consumers who will be searching for fashion news content digitally that month.
ATTITUDE Placing the newspaper into these stores will require a humble sales manager mind set in negotiating and pitching the benefits of having a new product like this in the owner’s shop. This will be conducted by a small team of creatives working at The Common Thread with a more transparent, personal and modest attitude.
DIGITAL DETOX Low-fi elements like brand flyers, posters and stickers will be placed in my target consumers popular retail environments like Beyond Retro, to gain brand awareness through a soft launch.
Figure 95. Marketing Mix Model (2016)
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WHY A WEBSITE?
HOMEPAGE More than a fifth (21%) of weekly news consumers are interested in using a news aggregator website/app that collates news stories from multiple sources and enables a person to read them without leaving the website/app, rising to 33% of those aged 16-24.” (Davis, 2015.) Aggergator and collation platforms are growing in popularity amongst Millennial consumers as the above quote suggests. Consumers desire for choice, accessibility and visualisation is ever expanding in digital ecosystems and is something innovative brands have translated into their products. (See Diffusion of Innovation Graph, page 25) The website is to offer Millennial consumers more content breadth, diversity and audio-visual stories that cannot be replicated in the print edition. This is demonstrated in Appendix: Supportive Evidence which reflects the willingness of Millennial consumers to pay for certain digital content styles. It is imperative to emphasis the importance of designing each platform differently to suit various consumer needs. 78
^ Figure 95. Website Homepage Mock Up (2016)
WEBSITE FEATURES • Search feature that allows the user to find content from various news outlets, based on the search term. • Discovery feature that creates a home page of randomly selected content to promote consumption diversity. • Video and podcast charts that are considered noteworthy by the editors based on their resonating content, that reflect wider consumer trends that are influencing the fashion industry.
Product Mock Ups
SEARCH FEATURE
SEARCH FEATURE
< Figure 97. Website Search Feature Mock Up (2016)
STEP 1: Click on the search section of the website and enter a word, phrase or name into the search bar. STEP 2: You are presented with multiple results that are separated into categories such as Articles, Video, Podcast, Gallery, News and Blog Entries. STEP 3: You can then explore through a scroll list to find discover content, or can refine your search based through a drop down search box.
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Chapter 15
INTEGRATED MARKETING
Figure 98. Integrated Marketing Campaign (2016)
This chapter explores The Common Thread’s first integrated marketing campaign, with a focus on brand awareness. It will be a soft launch as it reflects the subtle and considered nature of the independent publishing sector, with a niche targeted audience. The Common Thread has opted for a collaborative campaign to represent the wider macro trend of ‘marketing in moments.’ Traditional methods like online advertising will be increasingly less effect as ad-blocker software will become mainstream in 2016” (Aldenton 2016.)
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Integrated Marketing
The Common Thread is a new independent newspaper that examines current affairs news through a fashion lens. It covers both political and social news, as well as fashion industry and consumer news. It has stripped fashion news to its core and uses a monthly print newspaper to frame its discussion. The Common Thread intelligently deconstructs news stories using trend forecasting and critical analysis, making it easy for its readers to see the roots of a story. Alongside its monthly newspaper, it also has a creative searchengine website that allows users to discover news stories from a multitude of sources. It combines videos, podcasts, galleries, editorials and articles to create an ecosystem of fashion news.
BRAND AWARENESS MARKETING BRIEF BIG IDEA:
To change people’s perceptions about what fashion news means.
THE AIM:
To celebrate the connections, patterns and oxymoron’s that link fashion and current affair news. To bring together a community of creatives who their submit, or have their work nominated, through the social media campaign.
OBJECTIVES: HOW:
EXAMPLES OF PARALLEL TRENDS: WHEN:
WHERE: TONE OF VOICE:
• To increase brand awareness and engagement. • To change consumers’ perceptions about fashion news. • To drive traffic to The Common Thread’s social media accounts and website. Through an integrated marketing campaign, using both digital and print outcomes. The campaign will consist of a series of images that demonstrate a parallel trend in both the fashion industry and in current affair news. The images will be submitted through a digital competition where artists using any visual medium can submit work demonstrating a link between a current affair and fashion news story. These images will then be collated into a book that will be available to buy on the website as a incentive for artists to submit their work. • Religious Freedom: Hijab in H&M advertising and Donald Trump’s racist statements. • LGBT Civil Rights: Caitlyn Jenner collaboration with Mac and Mississippi anti-gay laws. • Rebelling against authority: UK political protests in 2016 and fashion week schedule disruption. The campaign will be opened for submission entries in July 2016 and will close in early September 2016 before the coverage of fashion week in London begins. The entrants who are chosen to be in the book will be announced in September just before the launch event of the newspaper. The launch event will be located in an exhibition space where the competition entries are displayed next to an article by The Common Thread explaining the art. This event will be promoted alongside the campaign and will invite both B2B contacts and consumers to the launch party. Digitally: Instagram, Facebook and Twitter, The Common Thread website. Outdoor: London, Soho. Nottingham, Lace Market. Brighton, North Laines. The event will take place in an exhibition space like Ink’d in Brighton. The campaign must characterise independent thinking and challenge stereotypes. The outdoor launch will embody guerrilla marketing and its aim is to provoke brand awareness with fashion audiences.
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CAMPAIGN INSPIRATION Below is a moodboard of inspirational brands that have used visual platforms to explore provocative political content, through a creative perspective. See Appendix: Supportive Evidence for semiotic deconstruction.
HOW IT WILL WORK
Figure 99. Campaign Inspiration Moodboard (2016)
The campaign will be created by using an open brief calling in artist to submit their work through social media and website forms. The aim of this is to create a community of artists, creatives and consumers that come together to celebrate the links between the fashion industry and current affair news that are shaped by cultural trends. By promoting these images, rather than creating new ones, is more financially viable and time efficient for a new brand to create. Each image will be posted on the appropriate media sites with a description of the image, accreditation of the artist and contributor, as well as a link to The Common Threads website. The click through link to the website will have a feature story explaining the artwork, as well as its parallel link to a current news story. For example, a submission based on racial segregation will be followed up with an article exploring what Black Live Matter campaign is currently doing, as well as a prominent fashion show that explored these themes. This creates an integrated link between the creative imagery and the news platforms content. The submission imaged on the digital platforms and the event invite will use the phrase â&#x20AC;&#x2DC;be a part of something newâ&#x20AC;&#x2122; and will use the hashtag #somethingnew to engage consumers with the prospect of discovering a new experience. 82
Integrated Marketing
CAMPAIGN SUBMISSION IMAGE
^ Figure 100. Campaign Submission Page (2016)
CAMPAIGN TIMELINE 2016 ENSURE PRESS RELEASES AND LAUNCH EVENT INVITES ARE SENT OUT
ENSURE STOCKISTS CONTRACTS ARE SIGNED
LAUNCH COMPETITION ONLINE WITH SUBMISSIONS OPEN BEGIN POSTING ENTRIES ON SOCIAL MEDIA AND WEBSITE
FIRST EDITION OF NEWSPAPERS AVAILABLE TO BUY
CONTINUE CREATING BUZZ AROUND THE EVENT THROUGH PR STRATEGIES
LAUNCH EVENT WITH EXHIBITION OF SUBMISSIONS
HAVE STICKERS, POSTERS AND LEAFLETS IN SHOPS
JULY
SECOND EDITION OF NEWSPAPERS AVAILABLE TO BUY
SELL BOOK WITH IMAGES OF CAMPAIGN ONLINE
PR FOLLOW UP FOR EARNED MEDIA FROM THE LAUNCH EVENT
ECOMMERCE SECTION GOES LIVE ON WEBSITE
AUGUST
SEPTEMBER
OCTOBER 83
TARGETING THE CONSUMER
MARKETING FUNNEL AWARENESS: MAIN AIM FOR THIS INTEGRATED CAMPAIGN
LOYALTY
WO RD
CONVERSION
OF MO UTH
CONSIDERATION
CY CA VO AD Figure 101. Marketing Funnel (2016)
This marketing funnel demonstrates the consumer journey when engaging with a brand. The Common Thread has designed this integrated marketing campaign with the aim to engage with their consumers at each stage of the funnel.
AWARENESS
Figure 102. Campaign Posters (2016)
This will be created through outdoor and traditional promotional methods like placing posters, stickers and flyers in targeted locations, that are habitual with our target consumer. This will take place before and during the integrated campaign is launched as a grassroots method of raising brand awareness. This has been considered based on research previously mentioned within the report, that reveals how Millennial consumers take joy in not being sold anything. As a cohort they enjoy discovering new products for themselves. 84
CONSIDERATION
Figure 103. Launch Event Invite (2016)
Targeted Millennial consumers and B2B influencers, such as journalists, bloggers, independent business owners, designers etc, will be invited to the launch event and will be contacted as part of the PR contact list. This introduction will be made personally through phone calls or meetings to represent the modest nature The Common Threadâ&#x20AC;&#x2122;s marketing strategy. Before the launch event, these targeted influencers will be engaged with through Instagram and Twitter to open up a dialogue between the brand and audience.
Integrated Marketing
CONVERSION
Figure 104. Launch Event (2016)
Figure 105. Newspaper Mock Up (2016)
The launch event will be used as the main conversion element of the strategy as its coverage on social media and hopefully though PR, will create a buzz around the brand. It will give these targeted consumers a chance to purchase the newspaper before anyone else, as well as cementing relationship with distributors. As previously mentioned the cost of the newspaper is relatively low to engage with Millennial consumers who are price sensitive.
LOYALTY
Figure 106. Instagram Mock Up 2016)
Figure 107. Paywall Screen (2012)
The Common Thread hopes to create brand loyalty with their audience by keeping them engaged through open journalism on the social media sites, ensuring that the launch event is just a starting point for brand engagement. Alongside this, subscription packages for the newspaper and a digital pay wall should retain consumer loyalty as they are incentive by monetary value and exclusive content.
ADVOCACY
Figure 108. Sharing Content (2016)
Figure 109. Earned Media (2012)
Much success of independent magazines like Elsie, Mushpit and Delayed Gratification is down to word of mouth within tightknit creative communities, as was prevalent at Raw Print events, see Appendix: Creative Contextual Research. Whilst it may be a risky strategy as it doesn’t present any immediate return of investment, it is a long term benefit to the brand as this form of advocacy cannot be bought or mass produced. Research suggests that consumers share social media content if it “is poignant”, aligns with their personality, or if “a genuine brand interaction has occurred” (Selig, 2016.) Content is therefore designed to provoke one of these three responses as sharing content is the digital version of word of mouth conversations.
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TARGETING THE CONSUMER: SOCIAL MEDIA MOCK UPS INSTAGRAM ACCOUNT STRATEGY Instagram will be used to profile the artists’ submissions through out the campaign, as well as a digital space to gain awareness. After the campaign it will be used like the Humans of New York account, that uses long form editorials to caption the story of the posted image. JUSTIFICATION Instagram is well known for its community of visual artists, creatives and consumers who appreciate the content diversity. It is also used habitually with the consumer group and has strong discovery features. AUDIENCE Consumers who are drawn mainly to the visual aspect of the brand, self- expression and aspirational images.
“TO BE HEARD TODAY YOU HAVE TO BE ON A RELENTLESS MISSION NOT JUST TO CREATE CONTENT, OR MAKE PEOPLE LISTEN, BUT TO CREATE CONVERSATIONS. (OWEN, 2015.) Figure 110. Instagram Mock Up (2016)
TWITTER ACCOUNT
STRATEGY Twitter will be used to post mainly copy focused content like submission information, deadlines, breaking news stories and headlines. It will also be used to comment and share other profiles content to open up a dialogue between consumer and brand, reflecting the ethos of open journalism. JUSTIFICATION Twitter reflects the trends of independent broadcasting and condensed news writing that are influencing modern journalism. The platform will also be used in a netographic way to track consumer engagement through post shares and favourites. AUDIENCE Consumers who enjoy mass content that is easily condensed into bitesize chunks. “BUSINESSES NEED TO PROVIDE AN UNBROKEN AND HIGHLIGHT RELEVANT CONVERSATION ACROSS CHANNELS, ANTICIPATING CUSTOMERS’ EVER-EVOLVING NEEDS.” (FORBES 2015.) 86
Figure 111. Twitter Mock Up (2016)
Integrated Marketing
FACEBOOK ACCOUNT STRATEGY Facebook will be used to share competition images and content, as well sharing general news content that is linked to the brand’s Instagram account. The platform will also be used in a netographic way to track consumer engagement through post shares and likes. JUSTIFICATION Valuable platform for sponsored content which would be tailored to the users’ preferences. It also allows for more in depth conversations with consumers. Used habitually with target consumer at multiple times of the day for larger exposure. AUDIENCE Consumers who are drawn in by habitual behaviour and who like to share content with their friends. Videos are popular in this platform which shares easily for larger brand exposure.
>Figure 112. Facebook Mock Up (2016)
Figure 113. Social Media Logos (2016)
BENEFITS OF INSTAGRAM
BENEFITS OF TWITTER
BENEFITS OF FACEBOOK
• Instagram has over 400 million active users as of March 2016 (Instagram, 2016) which has overtaken Twitter as one of the most popular social media platforms.
•Twitter has over 320 million active users as of April 2016 (Statistica, 2016) and is one of the most popular platforms for audiences to find news from.
• Facebook is the first social media to obtain 1 billion user accounts, suggesting that it is the most popular social media platform in digital communities.
• The ability to enhance and share visual stories reflects Millennial’s desire for news visualisation.
• Twitter engages with Millennial’s well because of its 140 character count, which encourages condensed news content.
• Combines photos, videos and text platforms to create a well rounded story to capture the audiences’ attention.
• This platform is well suited to delivering quick bursts of written information which is useful for a news brand.
•Facebook has increasingly become a video sharing platform. Videos are created and published in short bursts to keep Millennial engagement high which is something The Common Thread can apply to their digital media strategy. 87
TARGETING THE CONSUMER
CURRENT PRODUCT EXPERIENCES These habit loops demonstrate the influences that shape The Common Threadâ&#x20AC;&#x2122;s target consumers buying habits and decision journeys. These insights have been drawn from both primary research, see Appendix: Creative Consumer Research for consumer interviews, and secondary statistical data.
1 ROUTINE
3 REWARD Consumers gain creative inspiration, new information and content, an element of escapism from digital screens. Rewards consumers with realworld experiences through a digital detox.
Research suggests most magazine audiences read the publication from the comfort of their own home (Mintel 2015,) whilst others receive monthly editions from subscription packages.
PRINT PURCHASES
2
CUE
Used to find relevant industry or design information (Scott-Mayberly, 2016) and to help with their creative work (Crooks 2016.)
1 ROUTINE
3
DIGITAL NEWS REWARD CONSUMPTION
Receive information quickly, can search for more content easily and for free. consumers can also share content instantaneously with a global community and is form of digital escapism with borderless content.
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Habitual behaviour on social media throughout the day, use Facebook, Twitter and Instagram to explore content and follow celebrities.
CUE
2
Push notifications through to their smartphones, search for more information after watching content on TV or Laptops, triggered by boredom or spare time. Many browse content before going to sleep.
Integrated Marketing
THE COMMON THREAD EXPERIENCE It is important to note here that The Common Thread wants to change the way Millennial audiences consume news content, and therefore want to change the ‘routine’ element of the habit loop. The brand’s main aim is to get their audience to buy their newspaper and to engage with their website. Therefore, these habit loop models explain the journey the consumer will take in order to change their current behavioural routines to engage with The Common Thread’s brand extensions.
1 ROUTINE
3
REWARD
Emotional connection to print product through design and content appreciation. They also see a new perspective of a mainstream news story and gain a wider awareness of popular culture and current affair news.
Buying a copy of The Common Thread newspaper from a retailer or through their ecommerce site.
PRINT PURCHASES CUE
2
See the outdoor advertising (posters and stickers,) go to The Common Thread’s launch event, see instore promotions in retailers, engage with the social media sites through open dialogue, financially incentives with subscription packages.
1 ROUTINE 3
Exploring The Common Threads website for longer than ten minutes.
DIGITAL NEWS REWARD CONSUMPTION
Free access to vast variety of content and aggregator platform are easy to use and familiar. Discovery element allows for unexpected inspiration, useful to both consumer and industry audiences.
CUE 2 Banner adverts on social media sites, SEO words that make the brand appear higher on search engines, engagement on social media sites through hashtags and trending content.
Figure 114. Execution Habit Loops (2016) 89
Figure 115. The Common Thread (2016) 90
CHAPTER SUMMARY This chapter has identified appropriate and timely routes to The Common Thread’s consumer through an integrated marketing campaign. The campaign’s function is to raise brand awareness and engagement through a series of digital, live and outdoor advertising techniques that will provide the brand with earned, bought and promoted media.
THE COMMON THREAD HAS COME TO LIFE. WE ARE RECLAIMING FASHION NEWS.
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Chapter 16
BRAND FUTURE
Figure 116. The Common Thread Logo (2016)
This chapter explores The Common Threadâ&#x20AC;&#x2122;s brand future as it plans to develop into a media brand by 2022. This trajectory will be analysed using consumer and technology trends, as well as providing financial predictions to sustain the brand.
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Brand Future THE COMMON THREAD BRAND PORTFOLIO
DEVELOP SUBSCRIPTION PACKAGES Core of the brand, reflects independence and creativity.
NT
lop ve de
D RO TP IN PR ions OR publicat TF c KE specifi AR ountry L M into c
BA
business cards, brand book, takeaways like leaflets, posters and stickers.
DIGITAL ECOSYSTEM
ENV IRO NME
O GL
PRINT, NEWSPAPER, EXTENSIONS
RET AIL
WEBSITE, AUGMENTED APP, TABLET APP, VIDEO AND PODCAST CHANNELS
ENT
MAR ASS
ER M
TS
UC
launch event, networking functions,
KET
LIVE ELEMENTS:
< Figure 117. The Common Thread Brand Portfiolio (2016)
Figure 118. Diffusion of Innovation Graph (2016)
DIFFUSION OF INNOVATION GRAPH
Much of the information I have collected and analysed surrounding the digitalisation of the newsprint highlights the innovative nature of media brands. Companies like Vice and Dazed have secured their relationship with Millennial consumers because of the benefits media brands offer its audiences. These benefits are, as previously mentioned, that media brands offer their audience an array of engaging experiences with their senses such as visual, auditory, kinetic and physical touch; alongside digital content that is more accessible and global, as well as creating a wider audience reach. The Common Thread therefore plans to expand into a live media brand by 2022. 93
THE COMMON THREAD BRAND TIMELINE This timeline demonstrates The Common Thread’s plan for brand expansion based on predicted consumer and technology trends. Financial viability of these proposed ideas are discussed in the Appendix: Supportive Evidence.
ESTABLISHED MEDIA BRAND 06/2017
> Figure 119. Brand Timeline (2016)
Launch video and podcast channels (to produce own content compared to the aggregated website.)
INTEGRATED MARKETING CAMPAIGN: 09/2016
• Kickstarter Campaign to raise funds for initial production and distribution costs. • Collaborate with local design communities for product design and website development.
• Networking events (independent print fairs, publishing events etc) and PR launch. • September 2016 publish first newspaper edition, website and campaign images go live on social media.
Launch ecommerce, paywall and subscription services online to expand product accessibility.
Launch End of Year trend booklet for fashion/ creative agencies for 2017 to grow B2B connections.
BRAND DEVELOPMENTS
2016
Selfimprovment and wellbeing influence product design and services
CONSUMER & TECH TRENDS
Virtual Reality headsets grow in popularity within the gaming and retail sectors. VALUE ECONOMY: time as a luxury and investment in real world experiences.
2017
Anti-Authenticy Marketing: new products that are designed around transparency and humour.
SHORT TERM GOALS 2016-2017
LONG TERM GOALS 2017-2022
• To grow brand awareness and loyalty. • Cement relationship with key independent publishing figures and retailers. • Grow loyal audience base. • Support print publication with digital revenue and print sales. • Gain media exposure on brand through earned media and word of mouth.
• Develop into a credible media brand. • Sustain brand growth in financial terms, • To be a habitual media touchpoint for fashion consumers, • To collaborate with existing media brands for a diverse portfolio. • To change people’s perspective of what fashion news is, and to demonstrate newspapers can still be relevant with Millennial consumers.
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Brand Future
THE COMMON THREAD SHOWROOM 12/2022
GLOBAL MEDIA BRAND 12/2019
• Develop augmented reality app to work alongside the newspaper.
Focus on investment funding to develop augmented app into hologram app.
Develop brand strategy for expanding the newspaper into a series of regionally specific, global publications.
• Consider brand collaborations to extend portfolio and brand awareness.
BRAND DEVELOPMENTS
Focus on investment funding to develop a bricks and mortar news showroom. The showroom will be an independent shop that sells news magazine and uses modern technology like VR headsets or hologram screens to stream live content; reflecting the brands physical and digital elements. However this is an aspirational brand extension as it would not be financially viable without large investment capital.
CONSUMER & TECH TRENDS 2018 2019 2020
2021
Digital Detox grows in popularity with consumers Larger focus on augmented reality over virtual reality with the release of Microsoft Hololens and Magic Leap
Supporting Quotes
“[VR] could revolutionise the news market as we know it” (Williams, 2015)
Expansion of Artificial Intelligence in mainstream experiences.
2022
Holograms are expected to become mainstream by 2020 Many brick and mortar retail spaces will have evolved into showrooms that use technology to enhance consumers physical experiences
“The mainstream magazines that survive will be the ones that learn from indies” (Leslie, 2015)
“Print will always have a future but the format and size may change” (Gibbs, 2015)
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CONCLUSION Through trend, academic and consumer research, this report has critically evaluated the journey newsprint publications have taken in an ever increasingly digital world. It has highlighted the main problems UK news brands face, which is that newspapers have not been designed to suit Millennial consumer habits. An even more resonating factor causing the large decline in newsprint circulation, revenue and readership is that many news brands have an inability to act with a trend forecastersâ&#x20AC;&#x2122; mind set. Instead of implementing macro trends where appropriate into their brand strategies, they wait for consumers to come back to them. However, this report has identified a solution to this problem. By redesigning newspapers to coexist with their digital counterparts, by adding more immersive features and longer publication times, UK newspapers could have a higher chance of engaging with Millennial audiences. Understanding the importance of content visualisation, choice and brand authenticity within any Millennial consumer cohort, is crucial for any successful news brand. Incorporating features like high quality design elements and independent thinking, which are found within the fashion magazine sector, can inject new blood into the newsprint industry. The Common Thread embodies all of these elements and has created an integrated marketing campaign to subvert Millennial consumersâ&#x20AC;&#x2122; expectations of what a newspaper can be.
AFTER ALL, NEWSPRINT IS NOT DEAD. IT IS IN A PHASE OF REINCARNATION.
Figure 120. Reclaiming Fashion News (2016).
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