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I confirm that this work has gained ethical approval and that I have faithfully observed the terms of the approval in the conduct of this project. Signed (student) ……………………………………………………....

Layout and illustrations produced in collaboration with Lucy Brooks. Photography and styling produced in collaboration with Max Barnett and Kimberley Gardner. Contact Joshua De Silva for any communication with project collaborators. Special thank you to Wollaton Hall, Nottingham, for the opportunity to photograph within the premises. Document printed at: Hayman Graphics Gedling Street Nottingham NG1 1DS 

Re-engaging her existing and loyal consumer base, through a bespoke collection of furniture, celebratory campaign and exhibition.

Joshua De Silva N0253374 Self-Devised Project - Stage 2 FASH30002




Brand Extension Research


The Consumer


The Photoshoot




Vivienne Westwood - Time Machine






Over the past 42 years Vivienne Westwood has been at the centre of British fashion, and is considered one of the most innovative and influential designers in the world. Westwood’s career was nurtured by her professional and personal partner, Malcolm McLaren – The pair’s professional relationship spanned from 1970 to 1981, and memorably launched Punk.

Fig 1. Vivienne Westwood and Malcolm McLaren, 1971. 10

From the 1980s, Westwood has forged an unmistakable brand aesthetic, from the unstructured, geometric garments of her early collections, through to the irrevocable hack-up of history that inspired the technical tailoring and heavily constructed garments of the 1990s.

Fig 2. Punk! Not Another Punk Book, 1974.


92 87 ent > 19 > 19 8 1999 1 8 pres 9 8 1 > > 19 rs 1993 rs 2000 yea road yea ia n n n o s y i a a g l t g pa kin ear liom lora the 430 ang exp the 12 1980 > 1 197

Fig 3. Vivienne Westwood Brand Evolution, 2014. 13

Despite Westwood’s involvement in the birth of Punk, her career has since moved on. Today, the brand has separate collections to appeal to consumers at different levels of the market. The brand consists of the prêt-a-porter, ‘Red Label’ line for the ‘studious yet reckless young lady’ (Wilcox, 2004), which is produced and distributed in Italy on a biannual basis, along with her menswear collection ‘Vivienne Westwood MAN’. ‘Anglomania’ was launched in 1998 and is inspired by past designs for both men and women. The brand also consists of a demicouture collection entitled, ‘Gold Label’, which is shown biannually in Paris and overseen by Westwood herself.


It is important to recognise Westwood’s unfaltering passion and belief in political activism and global sustainability. Her campaigning for ‘the greater good’ spans over 20 years, and started with her 1989 portrayal of then-Prime minister, Margaret Thatcher on the cover of Tatler magazine. Westwood has also always been known for her environmental activism, and has previously lead campaigns against the destruction of the rainforests, global warming and nuclear weapons. More recently, the iconic designer has been involved in a campaign against fracking – the controversial method of extracting oil. These values were an important aid in creating the empire that Vivienne Westwood has forged for herself. However, these have become somewhat distanced from her work in recent years (see appendix 7), and resulted in her brand losing part of its appeal to loyal consumers.


, tem sys ste, c i a m d w the ono t an r ec n “Ou or profi arily o he m is t f i r s n p e i d r ru e” e t g n s s ba cha ndu and ive i limate t c a extr se of c cau


aRE YOU FRACKING KIDDING ME? Fashion designer Vivienne Westwood leads a ‘Climate Revolution’ march from Battersea Bridge to Knightsbridge against the controversial technique of gas extraction known as fracking.

“t gove he firs t rnm ent battle fro m f is to s peo orcing top th ple. frac e ” king on



ica t i l o p

FAIR T R ARSE! IAL MY justic e prison for the e guant rs in anamo bay. reprie ve!

ed my liticiz all o p t n veme , we pie mo en it ended story, p i h e h th hi tion. W t our own of genera a otives k c m a r b o d f starte n my case, i n” , g o i n looki rebell



e! “We must always be on the watch, always fight for Justice. We must do it now. Imagine how much harder it would be in a hot future world where the whole structure of Civilisation has broken down.”

“So c opin rates io w pref ns the as co nvic reby erre t whi d death corru ed of h ch deni rathe pting t olding r th he y ed f fals a reed o e om n yield uth. H of t spe o law e s ech .” Fig 4. Vivienne Westwood Brand Values, 2014. 17

es f valu ly o y h c hierar is due main o n s i s “There eal proces thats rare, R and re. lite, anymo man genius, om a real e to hu ly stems fr hy.” c ual a hiera and us from

Looking specifically at the key challenges that luxury, British brand Burberry faced at the end of the 1990s (see appendix 10), it is evident how damaging a poorly managed distribution strategy and retail network can be to a brand. Throughout the exploration of Vivienne Westwood in stage 1 of this project, similar inconsistencies were discovered. 1) Each store manager for Vivienne Westwood stores within the UK, is responsible for ordering the stock that store will sell. This has resulted in regional differences between stock and in-store experiences. (Bell, 2013) 2) Operating a company owened retail network for 18 years meant that the brand lost control over their distribution, resulting in parallel trading and an unwelcomed distance between the designer and her key consumers. (Bell, 2013) 3) The brand has developed a dependence on a small range of key products. (See appendix 8)

This report aims to successfully implement a brand extension to re-engage with the designer’s long-standing and loyal consumer base, through an in-depth understanding of these consumers and the brand’s historical influences.







Brand extension is using the leverage of a well known brand name in one category to launch a new product in a different category. (Website: Brand Extension Research, 2012)


When a brand is successful and has achieved a significant level of equity and value in terms of owning a place in consumers’ minds, companies often try to leverage that success by extending the brand. Brand extensions come in two primary forms: A line extension within a brand refers to the extension of a product. For example, pirate boots manufactured by Vivienne Westwood are available in variations of colour and style (see figure 5). Conversely, a category extension refers to a new product in a different category, under the same brand.





Fig 5. Pirate Book Line Extension, 2014. 27

At the heart of most strong brands is a stronger core product that defines the brand concept, builds credibility and provides an important source of profit. (Taylor, D. 2006) One purpose of a brand extension can be to attract new consumers to increase profit. However it is important for a brand to have a strong and healthy core in order to improve the consumer perception of the extension. Primary research that was carried out into these consumer perceptions showed that the evaluation of a brand extension is heavily reliant on the strength of the core brand and the brand values. Vivienne Westwood has strong brand values surrounding her love for history and her beliefs in global sustainability, however these values would need to be strengthened in order to create a better evaluation of a potential extension. It is evident that these values need reaffirming from the results of primary research that was carried out into how UK consumers perceive her brand (see figure 7). Although ‘Punk’ and ‘British’ are effective perceptions, more commonly used words such as ‘edgy’ and ‘expensive’, I believe are not.

Fig 7. Vivienne Westwood UK Consumer Perceptions, 2014. 28







Looking specifically at Vivienne Westwood, arguably the most important purpose for a brand extension would be to remind consumers of existing brand values that have become diluted. Brand extensions can also benefit the parent brand by creating a greater sense of loyalty, reaffirming the brand promise and consumer perceptions of the brand, and sustaining the parent brand’s relevance in its existing category. (Website: Brand Extension Principles, no date.) A brand extension into a completely new category that strongly references Westwood’s values as an individual, but also references the historical influences for the key collections from her career will prove to be incredibly benefic ial to the designer – reminding her faithful following of the values that helped forge her successful fashion empire, but also attracting new consumers.

Fig 8. Brand Extensions Benefit the Parent Brand, 2014. 31

When discussing an established brand such as Vivienne Westwood, it is important to take theories surrounding brand loyalty into consideration. Brand extensions are not only used to attract new consumers and reaffirm brand values, but also to please and remain faithful to an existing consumer base. Primary research that was conducted at the Vivienne Westwood Flagship store in London concluded that Vivienne Westwood’s consumer base includes customers who have remained faithful to the brand since its beginnings in the 1960s, and perceive the company as a ‘lifestyle’, rather than just a fashion brand. These results are backed up by secondary research, which found evidence of online communities and blogs, solely dedicated to the influential designer and her brand. (see figure 9)

Fig 9. Punk Rock Disco, 2014. 32


Consumer loyalty theory is multi dimensional...

emotive dimensional

behavioural dimensional

evaluative dimensional


(Sheth, J, 1974) tells us that the theory surrounding brand loyalty is multidimensional. The first dimension is the consumer’s emotive tendency toward the brand; their admiration and respect for their chosen brand, exceeds that of other brands in the market. The second dimension is the evaluative tendency towards the brand, referring to the positively biased evaluation of the brand based on a criteria that utilizes the consumer’s perceptions. The third and final dimension is the consumer’s behavioral tendencies toward the brand, referring specifically to biased responses towards the brand in respect to its purchase and consumption activities. A final element of the theory recognizes that it is important not to limit brand loyalty to a term that solely recognizes a behavioral element, such as purchasing; a consumer can be brand loyal without having bought into the brand or its products. This final element links well with primary research that showed Vivienne Westwood as being somewhat of a lifestyle choice, rather than just a fashion brand. For these consumers who literally ‘submerse’ their lives in the brand, it is important that a brand extension be completely and utterly faithful to the values that helped to underpin their love for not just the brand, but the woman too.

Fig 10. Multi-Dimensional Consumer Loyalty, 2014. 35

To summarize, a brand extension has multiple purposes. They can be used to attract new consumers, please existing customers and remind consumers of existing brand values. However it is important for the brand to have a strong and healthy core before any form of extension takes place.





Despite the many faces that stand behind the façade of a successful brand, it is the consumers who are ultimately at its core. Primary research throughout stages 1 and 2 of this project has shown that Vivienne Westwood’s consumer base is large and eclectic, including people of many ages, of many nationalities and of varying interests.

Fig 11. Vivienne Westwood Consumer Groups, 2014. 40






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Although all of these consumer groups are acknowledged, the brand extension will be targeted at just one group – the long-standing and extremely faithful ‘Westwood/McLaren diehards’, who have followed the brand since it’s beginnings in the 1970s. Being aged between 50 and 65 years old, and having seen the brand evolve and progress over the past four decades, these consumers above the rest feel as though the brand has become devalued, and their relationship with the designer distanced – many of them having met Vivienne when she worked at her 430 King’s Road boutique. ‘She used to be in the back, making the clothes. I remember her looking at what I was wearing, pointing to a shirt behind me and saying, ‘No one will never be as cool as them.’ (Cartledge, 2014)

Fig 12. Vivienne Westwood and Malcolm McLaren at 430 King’s Road, Chelsea, 1972. 42


When designing a brand extension for such a niche consumer group, it is important to gain an in-depth understanding of their experiences with the brand, their individual interests, and most importantly, what they would want to see from an extension (see figure 13). As mentioned previously, it has been discovered that these consumers don’t just purchase from the brand, they submerse their lives in the Westwood lifestyle – their wardrobes hold a detailed archive of the designer’s most iconic garments and patterns, and their choice of leisure activities are dictated by their love for the brand. Many of them opting to attend environmental campaigns and protests (Bramham, 2014), and even attending concerts of the artists that endorsed the brand in its early years, including Adam Ant and Bow Wow Wow (Carledge, 2014). It is incredibly important that any brand extension from Vivienne Westwood is faithful to the brand image, and the brand values that underpin this lifestyle choice, in order to remain faithful to the brands oldest consumers.

Fig 13. What Do Consumers Want To See?, 2014. 44



Cliff Cartledge is 51, and has been a Westwood fanatic for 35 years. His love for not only Vivienne but Malcolm McLaren too, is underpinned by the brands foundations in British music and punk culture. Since the 1970s, Cliff has filled his spare time with activities that reflect his love for the brand, including attending Bow Wow Wow and Adam Ant concerts, regular visits to the original Westwood boutique in London, and even attending Malcolm McLaren’s funeral in 2010. His collection of iconic Westwood/ McLaren designs is stored in both his and his mother’s houses, which also houses his countless scrapbooks of brand memorabilia. He talks fondly of his memories surrounding this lifestyle, including the opening of World’s End in 1980, buying his first Bondage jacket, and the first time he visited Seditionaries in the 1970s. Discussing potential extensions for the brand, Cliff would like to see the traditional prints that he remembers fondly, and something reminiscent of the brand’s impressive history. (Cartledge, 2014)

Fig 14. Consumer Profile no.1, 2014. 47


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“I was a real hippie 70s. I w chick in the anted to save the world!”


“I u and sed to h r wan ang th ip up all m em ted al to b y cl e ju l over my othes st l w ike her” alls, i


only uses social media to keep up-to-date with the brand

nature e interior & reading hom magazines

views home as a work of art. >> furniture got to be comfortable 48

Kathy Bramham is 60, and has been a follower of Vivienne Westwood since the 1960s. She shares the designers beliefs surrounding global sustainability and ‘the greater good’ and spent many years campaigning at rallys to help protect the Earth.

cQueen lexander M A s ke li o Als

Kathy’s style has evolved throughout the years, along with the brand - from ripping up her clothes in the 1960s, becoming a hippie in the 1970s, wearing biker gear in the 1980s and wearing tweed suits in the 1990s. Unlike Cliff, Kathys admiration for the iconic designer stems from her individual values, rather than the brand’s foundations in Punk music culture.

1980s ring leather started wea ly h al tu ac “I evolved wit . My style in the 80s ” the decades

“i w o 90s re a lo t of “ twe ed


Today, Kathy utilizes a very social life and takes great pride in her home. She views her home as ‘a work of art’, and considers every detail. It is very important to Kathy that her home is an extension of her personality, and that her home decor reflects her thoughts and values. suit

s in the

Fig 15. Consumer Profile no. 2, 2014. 49

Drawing upon the targeted consumers perceptions of the brand and its associated lifestyle accompaniment, an informed decision can be made for Vivienne Westwood to introduce bespoke furniture that utilizes a classic, British design, along with her most iconic and sought after prints. Rather than offering an annual or biannual collection to coincide with the rest of the brand releases, a set of 3 key design pieces will be released to retain a sense of exclusivity for her most loyal consumers. Creating a 3-piece suite will allow consumers to either purchase one key piece, or the entire set depending on how they utilize their furniture – An individual winged chair will create a singular statement, while multiple pieces will allow a more practical, living use. Once they have decided on the number of pieces they would like, consumers can choose from a number of key, iconic Westwood prints to feature on the furniture, catering to their individual wants.





While considering the final photoshoot for this project, it will be important to understand and reference the key historical references that Vivienne Westwood herself used in her early collections – a time in her career when her loyal consumer base was established. It is important to recognize that the photoshoot is not only being used as a way of launching a new product, but also as a tool to evoke and capitalize on the Vivienne Westwood lifestyle. Every detail from the chosen photographer, to the post-production of the photos will need to be carefully considered to ensure the consumers wants are met, and the designer’s design code followed.


A necessary part of the consumer research that was conducted into the targeted demographic, consisted of discovering how these consumers utilize furniture. (Bramham, 2014) tells us that the targeted consumer views their home as a ‘work of art’, rather than just a place to live – they consider each aspect of their homes to ensure that their love for Westwood shines through. However given their age, it is also important for furniture to be practical, yet comfortable.

Fig 16. Squiggle Chair, 2014. 55

PRODUCT DESIGN Drawing on these observations, and also referencing Westwood’s strong brand values of British culture, an informed decision can be made to utilize a classic, British Chesterfield design. Chesterfields are ostensibly British, and sit comfortably with other iconic British designs that have stood the test of time. It is therefore only right, that a traditional British brand with British values such as Chesterfield, should lend its design to the proposed Vivienne Westwood furniture. Westwood will introduce three key pieces of furniture: a 3 seater sofa, a 2 seater sofa and a winged chair – all of which will utilize the Chesterfield ‘Highgrove’ design, but reupholstered in the consumers chosen Westwood print.

Fig 17. Chesterfield ‘Highgrave’ design, 2014. 56


Fig 18. Applying Pattern to Product, 2014. 58


THE LOCATION Having its foundations firmly laid within British culture, and the designers faithfulness to her beginnings being a key value that the targeted consumers want to see continued into new ventures, it is important to consider an appropriate location that brings these values together. Wollaton Hall is a Grade 2 listed Elizabethan manor in Nottingham, UK, that brings together is strong sense of British culture along with a ‘regency’ aesthetic. During the 1980s, Westwood’s focus moved away from Punk and towards a style that parodied the upper classes and this early brand value suits the interior aesthetic of Wollaton Hall perfectly. Once inside Wollaton Hall, it will be important to select the appropriate rooms to photograph in. Although the hall features large, regency style spaces for events, it will be important to feature spaces that reflect a homely aesthetic. For this reason the following rooms have been selected: The Retiring Room, The Salon, The Lord Middleton Suite, The Lady Middleton Suite and The Prospect Room. Although The Prospect Room is described as a ‘ballroom with panoramic views’, it is in keeping with the desired regency aesthetic, and reflects the British lifestyle that the targeted consumers occupy.

Fig 19. Wollaton Hall, 2014. 60


Fig 20. Consumer Research, 2014. 62


THE PHOTOGRAPHER Due to the professional nature desired for the final images, it will be important to enlist the correct photographer. Max Barnett is the Editor-inChief and head photographer for London based publication ‘PYLOT’ magazine, and will be taking the photos. Although he now predominantly shoots fashion photography, Max’s routes lie within interior photography, having shot many images for retail space designers including spaces within Selfridges, Diesel and Pronovias.

Fig 21. Bicester Village Diesil Store, 2011. 64


POST-PRODUCTION It will be during the post-production stage of these images, that the Vivienne Westwood design codes are cemented. As the photoshoot is being used to not only launch a new product, but to support the Vivienne Westwood lifestyle, post-production of the final images will involve adding products from Westwood’s existing, successful brand extensions into lifestyle products. Rugs and cushions from her collaboration with The Rug Company, and wallpapers from her collaboration with Cole and Son will all be included to help provide the prints that the targeted consumer group wants to see. The three keys pieces of new furniture will also be added into the images, clad in a variety of iconic Westwood prints dictated by the consumers desires. (see appendix 4 and 5)

Fig 22. Current Brand Extension Moodboard, 2014. 66



Fig 23. Photo Post-Production, 2014.




The new pieces of Vivienne Westwood branded furniture will be marketed in a way that successfully communicates with the targeted consumers. Primary research that was conducted into the consumers and their use of marketing tools showed that while only 5 in 50 consumers take notice of what little print advertising Vivienne Westwood does, 48 out of 50 consumers use social media to keep up to date with the brand. (See figure 24)

Fig 24. Route To Consumer, 2014. 72










AIM To re-engage with existing, loyal consumers through a celebration of the brands history and the ‘Westwood Lifestyle’. And the launch of a bespoke furniture collection that draws upon the brands historical and British values.

OBJECTIVE Implementation of a tailored social media campaign that drives consumer interaction and utilizes the designer’s personal and business social channels. Ultimately resulting in the production of a Westwood lifestyle look book, and launch of the products within an exhibition that celebrates the brands history.

STRATEGY I will develop a coherent, integrated communications campaign that focuses around the designer’s existing social media channels to spread the word, encourage participation and celebrate the history of Vivienne Westwood.



! p u t i e l g g Squi


MANIFESTO DEFINITION Squiggle It Up is about embracing and celebrating the history of Vivienne Westwood and about utilizing the brands iconic history to promote the Westwood lifestyle. It’s a spirit and way of living.

WHAT IT IS Squiggle It Up is a movement for anyone with a story to tell about Vivienne Westwood. It’s about encouraging faithful consumers to create a community, and celebrating them for their loyalty to the brand.

WHAT IT ISN’T It is not a tool to solely launch and sell a new product. It’s a way of promoting a lifestyle, celebrating an iconic brand and a tool to thank the brands most loyal consumers.

Fig 25. Social Media Teaser Image, 2014. 76


SOCIAL MEDIA FACEBOOK The official Vivienne Westwood Facebook page will be the online hub to engage visitors, and encourage dialogue and interaction. Prior to the launch, a teaser image (see figure 25) for the furniture will feature in the header area of the page – visitors will be encouraged to share the image on their own pages. The Facebook conversation calendar will also include: the launch of the Squiggle It Up campaign, introduce/share details/drive traffic to the exhibition, and share user generated content. The decision to not manage a new Facebook page used specifically for the campaign, but to utilize the existing page, comes from evidence that shows that the targeted consumers predominantly use social tools to keep up to date with the brand, rather than a communication tool. (see appendix 4 and 5)

Fig 26. Squiggle It Up on Facebook, 2014. 78



TWITTER Twitter will be the online destination for people to follow and interact with the Squiggle It Up campaign using #Squiggleitup, through the brands existing Twitter feed. The initial teaser image from the Facebook page will also feature here. Consumers will get regular tweets providing them with news on the product launch and exhibition and engaging stories on the brands history. This is also where consumers will be able to upload their own content, start their own conversations and be provided links to the other social channels – Facebook and Vivienne’s blog. The Squiggle It Up campaign will encourage brand enthusiasts to share their stories of the brand through photos, videos and posts to the Twitter feed. The posts will work with the consumer’s locations to create a ‘realtime community’ feel, allowing consumers to connect with like-minded enthusiasts.

Fig 27. Squiggle It Up on Twitter, 2014. 81

BLOGS With the distance between the designer and her consumers being a key worry for the targeted demographic, it will be incredibly important to utilize this personal social channel - Vivienne’s Blog and World’s End Blog will be the consumers direct link to Vivienne herself during the course of the campaign. Both blogs will feature the same teaser image from the Facebook and Twitter pages, as well as providing visual posts to update consumers on the progress of the exhibition and driving traffic to the social channels and aforementioned exhibition.

Fig 28. Squiggle It Up on the Blogs, 2014. 82


DIRECT MAIL One month after the initial teaser image has been released, the targeted consumers will receive an invitation to ‘Ahoy! Dress Up/ Mess Up’, the launch event for the exhibition, along with the new ‘Vivienne Westwood In Life’ look book – the first people to see it. The consumers who receive an invite to the launch event will be determined by the retail networks consumer account system – an in-store database that holds information on each customer’s previous purchases, interests, and their time as a consumer along with their contact information. Allowing the targeted consumers to be the first to view the look book, and being invited to attend an exclusive launch event for the upcoming exhibition allows them to feel the appreciation from Vivienne Westwood for their years of support and loyalty.

Fig 29. Lookbook and Invite, 2014. 84


KEY >>>


look books

free to browse




THE LOOK BOOK Once the targeted consumers have received their look books and invitations, the look books will arrive in stores nationwide. Primary research that was conducted into the in-store decision journey of Vivienne Westwood consumers showed that 42 out of 50 consumers prefer to browse independently, and do not pay attention to POS items displayed at the cash desk. From this, the decision can be made to display the look books at points around the store, allowing customers to create their own interactions. Running collaboratively with the store release of the look books, will be an email sent to the entirety of the consumer database.

Fig 30. In-store Lookbook location, 2014. 87

LOOK BOOK DESIGN The look book will follow along the same design guidelines as other look books currently available within Vivienne Westwood. The final edited images from the photo shoot will be featured within this 32-page look book, to be on display in Vivienne Westwood stores around the UK. It will feature a selection of imagery to be used as a creative visualization of the Westwood lifestyle, as well as images showing the new ‘In Life’ collection. The opening of the book will feature a personal note from the designer outlining the new concept, and thanking her fans for their support over the course of her career. Lastly, the look book will also show the designer’s latest DIY manifesto, echoing the do-it-yourself element of the new products.

Fig 31. Lookbook Layout, 2014. 88




THE CONCEPT Following with the theme of celebrating the history and evolution of the brand, and the consumers that have shared in its progression, will come ‘Vivienne Westwood – Time Machine’. This will be a consumer based, interactive exhibition that details the history of 430 King’s Road, and the memories that consumers have surrounding this key time of the brands history. Primary research into the targeted consumers showed that although they enjoyed the famous Vivienne Westwood exhibition at the Victoria and Albert museum in London, they were disappointed that there was no focus on the brands influence prior to the first collection in 1981. Furthermore, primary research went on to discover that many of the key memories of the brand for these consumers, surrounded the emotive tendencies that they hold. (See appendix 4 and 5) Part of the whole experience of going to the shop – it was called Seditionaries back then – was the journey down there. You’d be dressed so over the top, and be worried about someone attacking you. But that was all part of the experience. Walking down King’s Road, you felt so elitist – so much better than everyone else. I guess you could say that the brand came with an actual ‘feeling’. (Cartledge, 2014)

Fig 32. 430 King’s Road Through The Years, 2014. 92


Fig 33. Chelsea College of Art, 2003. 94

THE LOCATION The exhibition will be held at the Chelsea Space Exhibition area within the Chelsea School of Art in London. The space is used as an interdisciplinary platform for experiential curatorial projects. The gallery within the school release publications on participating designers and artists, helping to drive traffic from within the creative community to the exhibitions. The venue is within walking distance to the World’s End boutique, but also gives a nod to Malcolm McLaren – a key person in the brands beginnings and an important person to the targeted consumers (see appendix 4). McLaren managed the infamous British punk band, The Sex Pistols, whose first gig was held at the same venue.


IINSIDE THE EXHIBITION (O’Neill, 2010) discusses the importance of the relationship between the exhibition space and its contents. ‘In this case, the place of the exhibition and the work of art become a single entity. The relationship with the surrounding architectural space assumes a new and dominant role, one in which the work invades the environment, absorbing it and modifying it according to its objectives.’ The contents of the exhibition will fully utilize the experiential curatorial element of the space, by creating smaller exhibitions within itself – each one detailing a stage of 430 King’s Road’s history. Visitors will be greeted by a fascia of black painted iron, with the words, ‘Let It Rock’ displayed in bold, pink letters. The interior walls of the space will feature James Dean memorabilia, stills from 1950s film and ripped pages from pin-up magazines - the same interior as Let It Rock in 1971. This room will pay homage to the brands involvement within British punk music culture, and will allow visitors to listen to original taped music and browse original rock fanzines.

Fig 34. ‘Let It Rock’ Visuals, 2014. 96


Visitors will then move to a separate installed space and be greeted by oversized, pink lettering spelling out the iconic name of 430 King’s Road in 1974, ‘SEX’. The interior will be sprayed with the same pornographic images as the original store and feature rubber curtains, chains, padlocks and original fetish wear on display. This space will also feature original newspaper articles detailing the designer’s prosecution under obscenity laws for producing t-shirts with provocative slogans. (Cartledge, 2014) outlines a memory that involves the designer having to hide all of the banned tshirts before police raided her store. Having these original articles will allow the targeted consumer group to relive the excitement and anxiousness of being a follower of the brand in the 1970s.

Fig 35. ‘SEX’ Visuals, 2014. 98


The next installment will be named ‘Seditionaries’, and will shift the focus away from music and sex, to fashion. The interior will recreate the boutique from 1978 and feature the iconic clothing from that time on display. Primary research into the targeted consumers revealed that this era of the store especially holds a lot of memories. (Cartledge, 2014)

Fig 36. ‘Seditionaries’ Visuals, 2014. 100


The fourth and final installment within the exhibition will be a large room that features the new ‘Vivienne Westwood In Life’ furniture designs. The room will be set up in a way that reflects a home environment, echoing the celebration of the Westwood lifestyle. Copies of the ‘In Life’ look book will be available here to outline the design process for the furniture, along with examples of the prints available for the upholstery of the furniture.




INVITE DAY AHOY! DRESS UP/MESS UP As mentioned previously, the targeted consumers will receive an invite to the opening day of the ‘Vivienne Westwood – Time Machine’ exhibition – this allows them to feel a sense of exclusivity. On the invitation, visitors will be informed to wear their favourite pieces of clothing from the brand, or to bring an object that holds special meaning to them.

Fig 38. Invite Design, 2014. 105

During their journey through the exhibition, interacting with its features that are designed to specifically evoke a memory from the past, consumers will be encouraged to interact with each other and share their individual stories. Once in the final room of the exhibition, the furniture will be unveiled for the first time, along with a personal video from Vivienne describing the concept of the collection, and thanking them personally for their support over the course of her career. From here, the visitors will be encouraged to make the short walk to the World’s End boutique for a group photograph, individual consultations for the new ‘In Life’ collection, and ultimately completing the decade journey from Let It Rock to World’s End.


Fig 39. Vivienne Westwood & Friends, 2006. 107



1. Wilcox, C. (2004) Vivienne Westwood. London: V&A Publications. 2. Brand Extension Research. 2013. Brand (ONLINE) Available at: http:// (Accessed 08/11/13) 3. Taylor, D. (2006) Brand Stretch: Why 1 in 2 extensions fail, and how to beat the odds. Sussex: John Wiley and Sons Ltd. 4. Brand Extension Principles. 2012. [ONLINE] Available at: research-junction/brand-extension-principlespart-1. (Accessed 21/11/13) 5. Sheth, J. (1974) A Theory of Multidimensional Brand Loyalty. University Press, Illinois, USA. 6. Cartledge, C (2014) Consumer Interview. 7. Bramham, K (2014) Consumer Interview. 8. Cartledge, C (2014) Consumer Interview. 9. Cartledge, C (2014) Consumer Interview. 10. Bramham, K (2014) Consumer Interview. 11. Bramham, K (2014) Consumer Interview. 12. Cartledge, C (2014) Consumer Interview 13. O’Neill, P (2007) Curating Subjects. University of Michigan, Michigan, USA. 14. Cartledge, C (2014) Consumer Interview



Figure 1. Unknown Photographer, (1971) Vivienne Westwood and Malcolm McLaren.

Figure 16. Joshua De Silva, (2014) Squiggle Chair.

Figure 2. Unknown Photographer, (1974) Punk! Not Another Punk Book.

Figure 17. Joshua De Silva, (2014) Chesterfield ‘Highgrave’ Design.

Figure 3. Lucy Brooks, (2014) Brand Evolution.

Figure 18. Joshua De Silva, (2014) Applying Pattern to Product.

Figure 4. Lucy Brooks, (2014) Brand Values. Figure 5.

Figure 19. Kimberley Gardner, (2014) Wollaton Hall.

Figure 6. Lucy Brooks, (2014) Pirate Boots Line Extension.

Figure 20. Joshua De Silva, (2014) Consumer Research.

Figure 7. Joshua De Silva, (2014) UK Consumer Perceptions.

Figure 21. Max Barnett, (2011) Bicester Village Diesil Store.

Figure 8. Lucy Brooks, (2014) Brand Extensions Benefit the Parent Brand.

Figure 22. Joshua De Silva, (2014) Current Brand Extension Moodboard.

Figure 9. Joshua De Silva, (2014) Punk Rock Disco.

Figure 23. Joshua De Silva, (2014) Photo PostProduction.

Figure 10. Lucy Brooks, (2014) MultiDimensional Brand Loyalty.

Figure 24. Lucy Brooks, (2014) Route to Consumer.

Figure 11. Lucy Brooks, (2014) Vivienne Westwood Consumer Groups.

Figure 25. Joshua De Silva, (2014) Social Media Teaser Image.

Figure 12. Unknown Photographer, (1972) Vivienne Westwood and Malcolm McLaren at 430 King’s Road, Chelsea.

Figure 26. Joshua De Silva, (2014) Squiggle It Up! On Facebook.

Figure 13. Joshua De Silva, (2014) What Do Consumers Want To See? Figure 14. Joshua De Silva, (2014) Consumer Profile no.1. Figure 15. Lucy Brooks, (2014) Consumer Profile no. 2.

Figure 27. Joshua De Silva, (2014) Squiggle it up! On Twitter. Figure 28. Joshua De Silva, (2014) Squiggle It up! On the Blogs. Figure 29. Joshua De Silva, (2014) Look book and Invite. 112

Look Book Locations Figure 31. Joshua De Silva, (2014) Look book Layout. Figure 32. Joshua De Silva, (2014) 430 King’s Road Through The Years. Figure 33. Unknown Photographer, (2003) Chelsea College of Art. [ONLINE]. Available at: of_Arts [Accessed 20 May 14]. Figure 34. Joshua De Silva, (2014) ‘Let It Rock’ Visuals. Figure 35. Joshua De Silva, (2014) ‘SEX’ Visuals. Figure 36. Joshua De Silva, (2014) ‘Seditionaries’ Visuals. Figure 37. Figure 38. Joshua De Silva, (2014) Invite Design. Figure 39. Unknown Photographer, (2006) Vivienne Westwood & Friends at World’s End [ONLINE]. Available at: com/6f3c42b28f2933db449d1c627ab78fdf/ tumblr_n3qcdnnth61s4d2n3o1_1280.jpg [Accessed 20 May 14].





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Vivienne Westwood: Re-engaging her loyal and existing consumer base.  

This report was submitted as my final third year project, along with it's respective creative outcomes. It aims to implement a bespoke furni...