Page 1


contents Page 5 Aim &

Introduction

Page 6

Proposal

Page 7

Methodology

Page 8

Chapter 1: Brand Identity & Company History:The Past

Page 11

Chapter 2 Branding, Logo, Location & Competitors: The Present -Target Audience -Competitors -Location -Logo -Sponsorship

Page 13 Page 13 Page 14 Page 16 Page 17 Page 19

Chapter 3 What Vauxhall Fashion Scout Want to be: The Future: innovation and experiential design & expansion

Page 21

Conclusion

Page 22

Key Proposal Objectives

Page 24

Reference List

Page 25

Image References

Page 29

Bibliography


ai m

The aim of this report is to propose, realise and explain the reasoning behind why there is a need for Vauxhall Fashion Scout to create a new, innovative and more contemporary branding and launch strategy, for their forthcoming season’s showcase at London Fashion Week for the SS12 season in September 2011.

i ntroduct i on According to their company manifesto (secondary appendix 1), Vauxhall is: ‘A forward thinking energetic British brand, with an ongoing commitment to championing style and design in the UK. The company keenly supports creativity through a variety of initiatives.’ (Secondary Appendix 1) Some of Vauxhalls initiatives include Vauxhall Collective, Events, and for the purpose of this proposal, their key fashion based initiative is Vauxhall Fashion Scout. Vauxhall Fashion Scout (or VFS), is:

‘The driving force behind emerging fashion talent, playing host to an enviable line up of innovative designers during London Fashion Week.’ (Secondary appendix 1)

(image 1)

5


Every season it is home to a number of catwalks, presentations and curations both on and off London Fashion Weeks main show schedule. Going into its ninth season, as a company it is still fairly novel. Its manifesto talks of Vauxhall Fashion Scout having ‘established itself as London’s leading platform and showcase for design innovation’. With this in mind, VFS showcase, not just designers that already are starting to gain interest within the industry and from consumers, but designers whose key idea is innovation. They choose to showcase a multitude of designers from all walks of life and inspirations. VFS have a professional outlook on showcasing, and also help their designers to build their businesses successfully, getting their talent shown and hopefully launched into the fashion marketplace. As it stands, Vauxhall Fashion Scouts brand identity and general target audience could be seen as somewhat in a state of flux. Their target market is not wholly defined, and they are viewed upon as not being on par with their ‘rival’ company, On Off, whom equally, are an independent fashion house, showcasing on and off schedule shows during London Fashion Week. Both companies also recently began housing on and off schedule shows at Paris Fashion Week There are many suggested reasons as to why this may be the case, which will be identified and considered throughout this proposal. Namely what connotations having sponsorship from the car brand Vauxhall itself may have. Also the surroundings in which VFS house their showcases within (The Freemason Hall, Covent Garden), and again what impression those surroundings give off, may also have an effect on the integrity of the brand. Thirdly, the brand has a logo associated with it, which is adapted from Vauxhall’s company logo, and whether this complements what Vauxhall Fashion Scout themselves desire to be, is questionable.

proposal

This proposal will suggest that Vauxhall Fashion Scouts brand integrity as a company and service, may not be as coherent as its ‘rival’ companies, namely On|Off, and sets out to identify firstly why this may be, secondly redefine Vauxhall Fashion Scouts target market, and areas in the design of VFS that could be manipulated and redesigned to create a stronger integrity, and therefore a more powerful consumer loyalty and brand. As it is a brands characteristics and integrity, that increase awareness and build the strength and outlook of a company.

6


methodology

The methodology behind this proposal consists of both primary and secondary research, where both qualitative and quantitative data where took into consideration. In-depth literature reviews were carried out and journals were reviewed. Websites were researched including the key web pages of Vauxhall Motors, Vauxhall Collective `Vauxhall Fashion Scout itself, and their deemed rival On Off (see secondary appendices 4a, c & f). Focus groups (primary appendix 3) were carried out to determine an amount of target audience perspective on the subject matter, and to generate further ideas and arenas that may have been initially overlooked by the author . In-depth interviews where possible, were carried out to gain rich informative data, namely from key people within Vauxhall Fashion Scout itself (see primary appendix section 2). Statistics were considered (secondary appendix 5). Online questionnaires (primary appendix 1) were created and completed by a variety of audiences, to get quantitative information with regards to what is of high importance when it comes to ‘branding’ a company and integrity and to generate opinions on Vauxhall Fashion Scouts name and branding at present.

7


chapter 1

Brand Identity and Company History: The Past

‘Brand is not what you say it is, its what they say it is.’

( Marty Neiumier The brand Gap)

Brand is an expectation that exists in a consumer’s mentality about a product, service or company. The power of brand is globally recognized, within most if not all societies. It evokes feelings, people trust, hate, love a company, service or product just because of what the brand itself physically (for example logo, colour, typography) and mentally elicits. Marc Gobe suggests that the ‘role of post modern brands is not to dominate but to stimulate, and therefore we need to draw in on emotional insights’. In today’s society, as consumers are now naturally more curious and have a mental desire and need for experience using all physical senses from all parts of life, brands must also appreciate this, and connect to users on an emotional and sensory level. Ultimately, a brand is about fulfilling a promise, and this includes creating value and lifestyle associations for the prospective, and current customer. As Vauxhall Fashion scout is an initiative derived from the car company Vauxhall initially, what thoughts and feelings exist towards Vauxhall itself as a car-manufacturing brand; need to be taken into account. Vauxhall is a globally renowned car manufacturer. It is seen as a mid-range class of cars, not particularly high-end. Points that were highlighted from primary research, where that of Vauxhall being classed as a ‘family’ car company, middle class, and reliable. Good quality, efficient and clean. Nearly all respondents when asked what Vauxhall makes them think of automatically stated car (see primary appendix 1). It is one of the UK’s most respected motoring brands of today. It describes itself as a forward thinking brand that is ‘energetic, British’ and always supports creativity.

(image 2)

Mintel reports on Cars (July 2009) suggested that: ‘it is brand image and reputation that are the common weakness for the brands that sell more volume wise.’

8

Vauxhall is classed as a company that succeeds by selling in volumes, with the key points being their design with regards to being economically sound, efficient and cost effective. (image 2)


(image 3)

(image 4)

For what’s classed as ‘premium’ car manufacturers such as Audi, Mercedes (images 3 & 4), the car buying is more of an: ‘emotional process, based on style, design, comfort and brand image’ (Mintel Oxygen)

For larger success, car manufacturers ought to create and develop stronger emotional responses and attachments to their car brands.

With brands today being looked upon as more of a lifestyle association, which customers will buy into with the idea that the brands core ideas will reflect their own personal social status in some way, people often choose products based on their perceived value, rather than their actual value (Logo Design Love 2010). With correct and consistent branding strategies, businesses can increase their products perceived worth, establish rapports with their customers that extend over ages and boundaries, and develop those relationships into a lasting union. With this ideology in mind, Vauxhall, as significantly large and esteemed company within its field, created three new initiatives. Firstly Vauxhall Collective, which funds innovators in areas such as film, art, design and photography. Secondly Vauxhall Events, which sets out to create themed brand experiences with relevant modern twists, DJ’s and celebrities. Finally Vauxhall Fashion Scout, ‘London’s leading showcase for fashion innovation’ which will be the concentrated area of this proposal.

Going into its 9th season, VFS does attract a lot of attention from the fashion industry. With their ones to watched being announced through Vogue.com, Fashion156 and other major publications, they are recognised as bringing emerging talent that is important and exciting for the fashion industry. Also having showrooms at Paris Fashion week, its growth in popularity and recognition is continually growing at a vast pace. Changing homes to be closer to London Fashion Weeks Somerset House in 2009, uprooting from Baden Powell House South Kensington, to their now solid dwelling at the Freemason’s Hall, Covent Garden (a stunning Grade || listed building), Vauxhall Fashion scout are a driving force to be reckoned with by their competition. Company co-founder John Walford, and director Martyn Roberts, continue to be excited and surprised by the vast growth of the company. From playing host to around twenty-two shows per season, to now showcasing not short of forty presentations and catwalks, Vauxhall Fashion Scout are London’s largest off schedule show production company, during the London Fashion Week seasons.

9


10


chapter

2

Branding, Location, Logo & Competitors: The Present

At present, Vauxhall Fashion Scout does continue to display ad produce an illustrious list of presentations, catwalk shows and showcases during London Fashion Week each and every season. It also hosts a number of on schedule shows too as well as their own off schedule line up. Their ‘ones to Watch’ celebrates new and up coming designers who may be fresh graduates, or internationals searching for a pathway into Britain’s fashion world. These are chosen through a panel of judges both designers and from the media and show producers. This competition generates maximum press coverage and sales for the designers chosen.

Many household names have initially come from being chosen and shown at Vauxhall Fashion Scout, such as David Koma (image 5), William Tempest, Peter Pilotto and Felder and Felder. So why does VFS as a brand seem to have some sort of stigma attached to it, in comparison to its competitors? Why do some of their designers go on to show with production companies such as On|Off and RedBull Fashion Factory instead of choosing to continually become loyal towards Vauxhall Fashion Scout and their brand? (image 5)

When respondents where asked within a questionnaire from a target population aged 18-49, if they associated Vauxhall as a brand with fashion, 80% of the 76 respondents said no (see primary appendix 1/image 6).

(image 6)

Extended responses (see secondary appendices for full responses) included statements such as: ‘Vauxhall is known as a car company, nothing else’ ‘It’s not really seen as a luxury car brand, therefore I wouldn’t associate with fashion’ ‘its too well known a car brand to differ my thoughts to fashion’.

So is it just simply the fact that Vauxhall clearly can only be considered to be a car manufacturer by consumers, and nothing else?

11


Similarities could be highlighted between Vauxhall sponsoring a major fashion event, and Mercedes Benz sponsoring that of New York fashion week. But as Mercedes Benz is seen as a more luxury brand by society, the connection between that and the fashion industry is not taken quite so by surprise, but more seen as an expectation. The fact that Mercedes Benz have designed their brand to come across as stylish, luxury, and high-end, an affiliation with fashion is more accepted by consumers. A brand cannot develop deep relationships without a rich and insightful understanding of the customer (Aaker 1996). Branding invests in the quest for self-concept. It in itself can be compared to a human personality. It becomes a mechanism for understanding life, and then as a result, governing it. Often innovation is the way to create value, and design is the key to bringing innovation to life, especially through experiential design methods. Innovation is now one of, if not the main drive within a brands design. (Abbing and Gessal 2010).

(image 7)

The table above shows how its not just beyond satisfying external stakeholders and responding to external opportunities and needs, innovation should be driven from within and from the beginning. The focus of innovation is shifting from the application of new technologies, to how the meaning and value of a company is being delivered both experientially, physically and emotionally. With Vauxhall recently changing their website from looking somewhat ‘clunky’ (according to their Events Manager Charlotte Gunstone) and considered dated, to a more clean and sophisticated site, with high end photography and strong typographies in its design. What continues to become apparent, is namely what connotations having sponsorship from the brand Vauxhall itself may have. Having the strong association with cars for close to one hundred years, this in itself, evokes an ideology about what Vauxhall Fashion Scout may be about as a brand too.

12


Target audience. Vauxhall Fashion Scout, like its rivals, is thought to have two main target audiences: the first being designers themselves, and the second being a collection of media/press and buyers. The first being designers themselves, The second being a collection of media/press and buyers At the moment, this seemingly simple split of target audience is not fully defined, and is in a state of flux. The audience that currently attends Vauxhall Fashion Scouts shows does consist of buyers and the media, but also a large percentage of it, as it is showcasing contemporary designers, are blogger’s, students, family and friends of designers, and representatives of their sponsors. Clearly a designer’s priority is that of media exposure, buyers and general press, but as Vauxhall Fashion Scout are a nurturing company, who may become more emotionally attached to their designers than others, this gives less of a feeling that their showcases are exclusive. This should not be considered as being a negative thing, as support is what new designers need to gain access into the sometimes harsh fashion industry, to but when it comes to London Fashion Weeks priority audience members from press, buyers and media, these sorts of clientele like to feel they are attending something that is niche and exclusive. Competitors There are many companies that could be considered Vauxhall Fashion Scouts main competitors, the foremost one being On|Off. On|Off are again a show production company, housing both on and off scheduled shows during every London Fashion Week season. For the forethcoming AW11 season in February 2011, On|Off are set to unveil a new arena, ever close to Somerset House, London Fashion Weeks main arena for on schedule shows (See secondary appendix 4c). They too consider themselves to be the ‘innovative fashion showcase during London Fashion Week’ and equally seek to showcase new designers through their panelling and initiative entitled ‘On|Off Presents…’..

(image 8)

13


As a brand, their appearance is clean, always contemporary and new. As well as their own off scheduled shows, they also tend to showcase a number of well known designers and have been a platform to names such as PPQ and Pam Hogg in the past to name but a few. Within their new home, they are set to: ‘push the boundaries of contemporary exhibition space’

(On|Off secondary appendix 4c).

They see audience members from designers and buyers sectors as their key target market, and market themselves in this way. Audience spaces are limited and their showcases are very intimate. They are seen as extremely selective of whom is to attend their shows. The general décor of On|Off’s production space tends to lean towards eliciting an atmosphere, with lighting, colours, layouts, as well as the designers obviously, are all carefully considered to give the viewer a full experience. They are seen as a cool, fresh, brand, whom always focus on how their shows can be produced to a high standard through experiential designs such as lighting installations, film reels and artistic touches. Location.

Vauxhall Fashion Scouts fashion week schedule is now housed every season, within the Freemason Hall (images 9 & 10), in Covent Garden, London. Originally housed within Baden Powell House, South Kensington, the Freemason Hall became their new home in 2009.

(image 10) (image 9)

14


This arena is extremely grand, with gold décor, marble floors, and with Vauxhall it was highlighted within the focus group undertaken, that this arena may not necessarily represent something of innovation or of something that is meant to showcase new and fresh design talent which is what VFS are setting out to do as their main priority. Also, the Freemasons themselves create connotations within the publics mind, as they are classed as a ‘secular fraternal society’ or cult group of people. They are known to have religious attachments and also do a lot for charity, but apart from these two factors, it is not known by the general public, what their society fully does, this is well kept private information. These factors in turn, could then inadvertently be linked to VFS, and may come across in a way which creates mixed opinions from audiences. The Freemasons are seen as a cult group of people to many, and when Fashion Week occurs, it is not possible to close the hall itself to members of the Freemasons, therefore even when Vauxhall Fashion Scout are using the building, the Freemasons continue their everyday activities within the house. During Fashion Week, parts of the Freemason Halls interior are manipulated. The main showroom is built into something of a blank canvas, the walls being covered with white blank structures, covering most of the rooms artwork and décor. It is not possible to completely convert the entire hall itself, as stated before, the Freemasons are still in use of the house, therefore most other areas are left in their original state. Again this does not give the viewer a sense of freshness and that they are seeing something new. Also with today’s economic climate, places of grandeur and richness are not as looked upon and appreciated for their worth as much as they would have been in past years. Clients are more aware of being environmentally aware and cost effective, which the Freemason Hall, as a venue is least aware of these factors. Interiors are kept minimal, white blank, so the designer can be seen to have a blank canvas on which their designs are centre of attention, whereas On|Offs production is normally based around an artistic theme, with extreme lighting rigs creating the same ambiance for all shows. Something that is attractive to press, buyers and VIP’s, is that Vauxhall Fashion Scout, unlike most other companies, always make sure they have a fully functional media centre. Other rival companies highlighted would be those of Fashion East, Newgen, Fashion Mode, London Fashion Week on schedule shows, and possibly Fashion Mode, whom all attempt to discover emerging British and international talents,

15


Logo. Vauxhall Fashion scouts logo is another focal point to raise. A logo can be described as a graphic mark or emblem commonly used by commercial enterprises, organisations and individuals to aid and promote instant public recognition.

A symbol to represent a company.(wikipedia.com)

Vauxhall Fashion Scouts logo can be seen below:

(image 11)

It is written in Vauxhalls main type, using the car company logo within the letter ‘O’ of ‘Fashion’. A questionnaire was generated, and when 76 people aged 18-49 where asked what their thoughts on the logo being used at present were, answers such as: ‘abit boring not very memorable’ ‘It looks like it represents another branch of cars’ ‘Dull and masculine’ Where generated. Also when asked to rate the logo out of five, one meaning that it does not look like it is associated in an way with fashion, and five meaning that it is completely clearly a logo that could be associated with fashion, the average score was two out of five.

(image 12)

Thw typography used itself is also dated. The colours and fonts chosen are clear associates of Vauxhall, but whether they should be used when the brand is trying to emerge itself into the fashion arena, is questionable.

16


Sponsorship vs Competitors Vauxhall Fashion Scout has many other well known sponsors for their Fashion Week event. These include Sony, Tony & Guy, Fashion Monitor, Academy of Freelance Make-up and Mannakin. Vauxhall obviously being their main sponsor, unlike On|Off whom are sponsored mainly by their show production company, Doll (see secondary appendix 4i) and not external companies. When asked of the similarities and differences between VFS and their rivals namely On|Off, Director Martyn Roberts states:

‘we are both multi-designer events, who showcase predominantly British designers. We started at roughly the same time showcasing the recently graduated, to the established. This has gradually changed. VFS are more diverse, in terms of range of designers, design styles, numbers of shows (normally around 40) and we also have menswear too. We are the market leaders we have stronger funding from sponsors and generally stronger sponsors from esteemed brands.’ Vauxhall Fashion Scout also mentor their designers, business wise, and production wise, helping them to grow and funding them to truly help get their foot into the marketplace. VFS also openly hold regular press events, ensuring they keep in touch with designers prior and after the shows, not just on the day, showing that as a company there are many clear positives, that on paper make Vauxhall Fashion Scout outshine their competitors.

17


18


chapter

3

What VFS Want to Be:The Future According to Charlotte Gunstone Vauxhall Fashion Scouts Events Manager, going forward VFS want to;

‘Ensure that we are offering quality over quantity, to show design innovation. We also want to be associated more with labels that are going to be household names’. (see appendix 2c). Vauxhall Fashion Scout are forever evolving, and with that, their brand integrity will continually get stronger and clearer. In the past what their main priority is has been in a state of flux, and now this is more unambiguous.

They have recently changed their brand tag line from being ‘the driving force behind emerging fashion talent’ to ‘Londons leading showcase for design innovation’. This change occurred, due to the fact that VFS wanted to establish a broader offering to its potential clientel. To show that they cater, not just for the brand new designers who have yet to show during Fashion Week, but also some that are already on their way to being fully established, but still need that little bit of support for them to be noticed and taught about the fashion industry. They have also took a step forward by recently redesigning their webpage. Initially this looked rather unprofessional (image 13), and used dated graphics and colours Now the site has been redesigned to create more ease of use. It is minimal, clean, and premium in appearance (image 14), all of the things Vauxhall Fashion Scout want to portray as a company.

(image 13)

(image 14)

19


With regards to the VFS logo, if used minimally, the fact that the car brand Vauxhall creates clear brand beliefs would be lessened. Or if the logo was to be potentially redesigned for a greater and more contemporary look, this would help greatly towards giving off the essence of what Vauxhall Fashion Scout want to be, not so much Vauxhall the car manufacturer. Simply keeping with ‘The Fashion Scout’ as a company name which is sometimes used, and it stating the fact that is an initiative that is being initially sponsored by Vauxhall, may help begin the brands change into its whole identity becoming easily and confidently recognisable by industries and audiences alike, going forward. With their target audience becoming more coherent, of there being two priority audiences in existence, firstly the designers themselves, and secondly the press/ buyers and media, Vauxhall Fashion Scout are at present moving away from being seen as a generally public, friends and family friendly fashion show company, and becoming more niche and selective. With their launch of a pop-up presence at Paris Fashion Week within their last few seasons, the future is looking promising for Vauxhall Fashion Scout. They want to eventually have an international presence, and designing novel ways in which this could happen, would also help their brand integrity to become more clear, respected and accomplished.

20


conclus i on

In conclusion, Vauxhall Fashion Scout is an exciting company, which does unearth amazing new talents such as William Tempest, David Koma, Peter Pilotto, and Felder Felder to name but a few, that go on to do great things within the fashion industry. What they have available to designers, media and buyers alike is clearly invaluable. But with the connotations that come initially just by using Vauxhall within their title, creates an air of uncertainty associated with their brand integrity. Also, housing shows within an arena that already has mixed feelings and thoughts attached to it by the general public and media alike, again this creates an air of perplexity about VFS as a brand, as it does not initially make the audience think of their core values of innovation, and newness. More attention to utilizing technologies that represent innovation with regards to the how the shows are set out, and paying more attention to detail with regards to the arenas layout and theme itself, would inevitably help create integrity and state clearly what Vauxhall Fashion Scouts main focuses are, as well as making the show platform more exciting and appealing to the designer and audiences. With regards to Vauxhall as a company it would be suggested, to create more links between them as a company for cars, and a fashion based company. This in succession would mean that the link between Vauxhall and the fashion industry would be more accepted and noted by a wider audience. Also it may be an excellent idea for their other creative initiative, Vauxhall Collective, to be utilized to create and produce innovative ideas and a platform for more experiential design to be applied during London fashion Week. Vauxhall Fashion Scout do nurture, help and give designers that either decide to showcase with them, or are chosen by the panel an amazing opportunity at London Fashion Week.

With these changes in mind, one would hope that Vauxhall Fashion Scout will potentially go on to become the leading and ultimate international and London showcase for innovative designers, both on and off schedule.

21


key proposal object i ves

To create a brand strategy and re-launch geared towards a refined target market and solid company integrity. To design marketing tools that reflect the brands ideologies, are contemporary in design, and most importantly support the idea of innovation. To create tangible tools (eg pop-up curations, themed apparatus) which could be manipulated for potential international exposure and use of the company. To enable Vauxhall Fashion Scout as a brand, to be recognised easily and to then become the leading international showcase for innovative designers, and hopefully have an international presence through strong logo, typography and graphical choices. To somehow suggest creating stronger links between Vauxhall as a car company and the fashion industry, to make their initiative of Vauxhall Fashion Scout recognized by a wider audience. To recognise and utilize Vauxhalls other initiatives (Vauxhall Collective, and Vauxhall Events), within the fashion arena. To make Vauxhall Fashion Scout a brand with a clear integrity to rival that of its competitors both at an equal, and higher level, attracting a more coherent audience.

Word Count (excl titles, references etc): 4150

22

Complete Word Count: 5711.


23


references

Airey, D. (2010) Logo Design Love: a guide to creating iconic brand identities. 1st edn. California: New Riders. Elliot, R. & Percy, L. (2007) Strategic Brand Management. 1st edn. New York: Oxford University Press Inc. Kornberger, M. (2010). Brand Society: How Brands Transform Management and Lifestyle. 1st edn. Cambridge: Cambridge University Press. Lockwood, T. (2010). Design Thinking Integrating Innovation, Customer Experience, and Brand Value. 1st edn. New York: Allworth Press.: Till, D., B. & Heckler, D. (2009). The Truth About Creating Brands People Love. 2nd edn. New Jersey: Pearson Education Inc. Mintel Oxygen. Car brands UK July 09. Available at: http://academic.mintel.com/sinatra/oxygen_academic/search_results/show&/display/id=470327/ display/id=470346#hit1 (Accessed 12th Dec 2010). Vauxhall Fashion Scout. (2010) Vauxhall Fashion Scout. Available at: http://www.vauxhallfashionscout.com/ (Accessed: 1st October 2010). Vauxhall Fashion Scout. (2009) Fashion Scout Daily Blog. Available at: http://www.thefashionscout.com/ (Accessed: 1st October 2010). On/Off. (2003). On/Off An Innovative Fashion Showcase. Available at: http://www.onoff.tv/about. html (Accessed: 2nd October 2010).

24


i mage references Image 1: Daisy Lowe on VFS Catwalk

[Online Image] Available at: http://vauxhallfashionscout.com/vfs_lfw_gallery1.html (Accessed 10th Nov 2010) Image 2: Vauxhall Brand Strengths and Weaknesses

[Online Image] Available at: Mintel Oxygen. Car brands UK July 09. Available at: http://academic.mintel.com/sinatra/oxygen_academic/search_results/show&/display/id=470327/ display/id=470346#hit1 (Accessed 12th Dec 2010). Image 3: Audi Brand Strengths and Weaknesses

[Online Image] Available at: Mintel Oxygen. Car brands UK July 09. Available at: http://academic.mintel.com/sinatra/oxygen_academic/search_results/show&/display/id=470327/ display/id=470346#hit1 (Accessed 12th Dec 2010). Image 4: Mercedes Brand Strengths and Weaknesses

[Online Image] Available at: Mintel Oxygen. Car brands UK July 09. Available at: http://academic.mintel.com/sinatra/oxygen_academic/search_results/show&/display/id=470327/ display/id=470346#hit1 (Accessed 12th Dec 2010).

25


Image 5: David Koma on VFS Catwalk Sept 09

[Online Image] availalbe at: http://vauxhallfashionscout.com/ma_david_komass1.html (Accessed 12th Nov 2010). Image 6: Graph to Show Question Results:Would you Associate the brand Vauxhall With Fashion?

[Online Generated Image] Accessible (with password) at: http://freeonlinesurveys.com/mysurveys.asp Image 7: Table of Innovation

Scanned from: Airey, D. (2010) Logo Design Love: a guide to creating iconic brand identities. 1st edn. California: New Riders. Image 8: On|Off Catwalk Show Sept 2010

26

[Online Image] Available at: http://www.onoff.tv/photos/2010/sept10/london/friday-at-onoff-2/ (Accessed 17th Nov 2010)


Image 9: Freemason Hall Outside

[Online Image] Available at:http://thefashionscout.blogspot.com/ (Accessed 14th Oct 2010). Image 10: Freemason Hall:Catwalk Hall

[Online Image] Available at:http://thefashionscout.blogspot.com/ (Accessed 14th Oct 2010). Image 11: Vauxhall Fashion Scout Current Logo

[Online Image] Available at:http://www.fashiontrendsetter.com/fashion_events_images/2009/ Vauxhall-Fashion-Scout.jpg (Accessed 2nd Oct 2010) Image 12: Graph to show Questionnaire Result: How would you rate VFS logo for it being associated with Fashion, from a scale of 1 to 5.

[Online Generated Image] Accessible (with password) at: http://freeonlinesurveys.com/mysurveys.asp

27


Image 13: Vauxhall Fashion Scouts original Web Page Design

[Online Image] Available at: http://2.bp.blogspot.com/_4vyAzwiUH4s/SgQjFdpuU3I/AAAAAAAAAlI/dB8XS9xrbuY/s400/ (Accessed 1st Oct 2010). Image 14: vauxhall Fashion Scouts new Web Page Design.

[Online Image] Available at: http://www.vauxhallfashionscout.com/index.html (Accessed 1st Oct 2010).

VFS marketing photos For All Document Front Covers: [Online Images] Available at: http://www.vauxhallfashionscout.com/index.html (Accessed 10th Dec 2010).

28


b i bl i ography 1. Books. a. Airey, D. (2010) Logo Design Love: a guide to creating iconic brand identities. 1st edn. California: New Riders. b. Barnard, M. (2002). Fashion as Communication. 2nd edn. London: Routledge. c. Berridge, G. (2007). Events Design and Experience. 1st edn. Oxford: Butterworth-Heinemann. d. Brogan, C. & Smith, J. (2009). Trust Agents: Using the Web to Build Influence, improve Reputation, and Earn Trust. 1st edn. New Jersey: John Wiley & Sons Inc. e. Caron, G. (2009). DesignInEurope: 40 Design Case Studies. 1st edn. Paris: Pyramyd NCTV. f. Earls, M. (2002). Welcome to the Creative Age: Bananas, Business and the Death of Marketing. 1st edn. West Sussex: John Wiley & Sons ltd. g. Elliot, R. & Percy, L. (2007) Strategic Brand Management. 1st edn. New York: Oxford University Press Inc. h. Hoyer, D., W. & Macinnis, D., J. (2010). Consumer Behaviour, 5th edn. Ohio: South Western:Cengage Learning. i. Kornberger, M. (2010). Brand Society: How Brands Transform Management and Lifestyle. 1st edn. Cambridge: Cambridge University Press. j. Lockwood, T. (2010). Design Thinking: Integrating Innovation, Customer Experience, and Brand Value. 1st edn. New York: Allworth Press. k. Mono. (2004). Branding: From Brief to Finished Solution. 1st edn. Switzerland: Rotavision SA. l. Neumeier, M. (2008). The Brand Gap: How to Bridge the Distance Between Business Strategy and Design. 1st edn. California: New Riders. M Sonmez, B. (2004). Fashion and Communication Concept in Industrial Design. 1st edn. Izmir: Izmir Institute of Technology. Pp1-208. n. Till, D., B. & Heckler, D. (2009). The Truth About Creating Brands People Love. 2nd edn. New Jersey: Pearson Education Inc. o. Wheeler, A. (2006). Designing Brand Identity: a complete guide to creating, building and maintaining strong brands. 2nd edn. New Jersey: John Wiley.

29


2 Electronic Journals a. Auty, S. & Elliot, R. (1998) ‘Fashion Involvement, self monitoring and the meaning of brands’, Journal of Product and Brand Management, Vol. 7 Iss: 2, pp.109 – 123. [Online]. Available at: http://www.emeraldinsight.com/journals.htm?articleid=857655&show=abstract (Accessed 10th Oct 2010). b. Dawar & Parker (1994). ‘Store brands and Retail Differentiation: the influence of store image and store brand attitude on store own brand perceptions’, Journal of Retailing and Consumer Services, Vol 10 Iss: 6, pp. 345-352. [Online]. Available at: http://www. sciencedirect.com/science?_ob=ArticleURL&_udi=B6VGN-47GHRDY-1&_user=10&_ coverDate=11%2F30%2F2003&_rdoc=1&_fmt=high&_orig=search&_origin=search&_ sort=d&_docanchor=&view=c&_searchStrId=1511756213&_rerunOrigin=scholar.google&_ acct=C000050221&_version=1&_urlVersion=0&_userid=10&md5=a99f65227590d6358388b9f9 d3dcd932&searchtype=a (Accessed on 10th October 2010). c. Deppe, M. et al. (2006). ‘Nonlinear Responses Within the Medial Prefrontal Cortex Reveal When Specific Implicit Information Influences Economic Decision Making’, Journal of Neuroimaging, Volume 15, Issue 2, pages 171–182, April 2005.[Online]. Available at: http://onlinelibrary. wiley.com/doi/10.1111/j.1552-6569.2005.tb00303.x/abstract. (Accessed on 14th October 2010). d. Duncan, T. & Moriarty, S. E. (1998) ‘A Communication-Based Marketing Model For Managing Relationships’, Journal of Marketing Vol 62 pp. 1-13. (online). Available at: http://www.jstor.org/ pss/1252157 (Accessed on 10th October 2010). e. Heath, R., & Howard-Spink, J. (2000) ‘And now for Something Completely Different: Current Thinking About the Brain Means we Need to Change the Way Brands are Researched’, Market Research Society Conferences, Available at: http://74.125.155.132/scholar?q=cache:sZN6DYtrcQJ:scholar.google.com/+heath+2000+glue+that+holds+the+entire+world+of+brand+toge ther&hl=en&as_sdt=2000 (Accessed on 13th October 2010). f. Kant, I. (2005). ‘Kant’s View of the Sublime and Its Contemporary Significance’, Journal of Zhanjiang Teachers College, Vol 2. Available at: http://en.cnki.com.cn/Article_en/CJFDTOTALZJSX200502008.htm. (Accessed on 14th October 2010). g. *Kardes, F., R., Kalyanaram, G., Chandrashekaran, M. & Dornoff, R., J. (1993) ‘Brand Retrieval, Consideration set Composition, Consumer Choice, and the Pioneering Advantage’, The Journal of Consumer Research, Vol 20 No. 1 (Jun., 1993), pp. 62-75. Available at: http://www. jstor.org/pss/2489200 (Accessed on 13th October 2010). h. Stephenson, N.J. (2008) ‘The Fashion Retrospective’, Fashion Theory: The Journal of Dress, Body & Culture, Volume 12, Number 2, June 2008, pp. 219-235(17). i. Tversky, A., & Kahneman, D. (1981) ‘The Framing of Decisions and the psychology OF Choice’, American Association for the Advancement of Science, Vol. 211. no. 4481, pp. 453 – 458 Available at: (Accessed on 13th October 2010).

30


3. Websites a. General Motors UK Limited. (2010) Vauxhall Motors. Available at: http://www.vauxhall.co.uk/ vehicles/vauxhall-range/cars/new-meriva/index.html (Accessed on 2nd October 2010) b. Mo Ka (2004). Mo Ka: We Create. Available at: http://www.moka.be/ (Accessed on 5th October 2010) c. On/Off. (2003). On/Off An Innovative Fashion Showcase. Available at: http://www.onoff.tv/ about.html (Accessed: 2nd October 2010). d. Vauxhall Collective. (2010) Vauxhall Collective. Available at: http://www.vauxhallcollective. co.uk/site/#/news/ (Accessed on 2nd October 2010) e. Vauxhall Fashion Scout. (2009) Fashion Scout Daily Blog. Available at: http://www.thefashionscout.com/ (Accessed: 1st October 2010). f. Vauxhall Fashion Scout. (2010) Vauxhall Fashion Scout. Available at: http://www.vauxhallfashionscout.com/ (Accessed: 1st October 2010). g. Mercedes Benz. (2004-2011) Mercedez Benz UK: Available at: http://www2.mercedes-benz. co.uk/content/unitedkingdom/mpc/mpc_unitedkingdom_website/en/home_mpc/passengercars. flash.html?csref=WEB1007080004&s_kwcid=TC|8850|mercedes%20benz||S|e|6899385668 (Accessed 10th October 2010). h. Audi (2010). Available at: http://www.audi.co.uk/ (Accessed 10th October 2010). i. LFW (2009). London Fashion Week. Available at: http://www.londonfashionweek.co.uk/ (Accessed 12th Oct 2010). j. BFC (2008). British Fashion Council. Available at: http://www.britishfashioncouncil.com/ (Accessed 12th Oct 2010). k. Doll (2010). Doll Creative Events Agents and Consultancy. Available at: http://www.thedoll.org/ (Accessed 11th October 2010). l. Transition Tradition. Lee Lapthorn Interview. Available at: http://www.transitiontradition.com/ node/359 (Accessed 11th October 2010). m. Fashion Fringe (2010). Available at: http://www.fashionfringe.co.uk/ (Accessed 11th December 2010). n. Fashion East (2010). Available at: http://www.fashioneast.co.uk/ (Accessed 11th October 2010). o. Newgen (2008). About Newgen. Available at: http://www.britishfashioncouncil.com/content. aspx?CategoryID=144 (Accessed 11th October 2010).

31


p.Fashion Mavericks (2009). Available at: http://www.fashionmavericks.com/ (Accessed 10th October 2010). q. Paris Tranoi (2010). Available at: http://www.tranoi.com/alldesigner.php (Accessed 10th December 2010). r. Rendevouz (2010). Available at: http://www.rendez-vous-paris.com/ (Accessed 10th December 2010). s. Fashion United (2008). Available at: http://www.fashionunited.co.uk/ (Accessed 10th December 2010). t. Fashion Mode (2011). Available at: http://fashionmode.co.uk/ (Accessed 3rd January 2011). u. Wikipedia (2008). Available at: http://en.wikipedia.org/wiki/Main_Page (Accessed 1st October 2010).

32


4. Statistics. a. Mintel Oxygen. Car brands UK July 09. Available at: http://academic.mintel.com/sinatra/oxygen_academic/search_results/show&/display/id=470327/ display/id=470346#hit1 (Accessed 12th Dec 2010). b. Mintel Oxygen. Fashion Store Environments 2009. Available at: http://academic.mintel.com/sinatra/oxygen_academic/my_reports/display/id=480974&anchor=atom/list/ id=480974&type=RCItem&list=list/display/id=480782/list/id=480782&type=RCItem&list=list/display/id=395658/display/id=466843?select_section=395658 (Accessed 12th Dec 2010). c. Mintel Oxygen. Youth Fashion UK 2010. Available at: http://academic.mintel.com/sinatra/oxygen_academic/search_results/show&/display/id=480974 (Accessed 12th Dec 2010). 5. Videos a. Audi A7 Sportsback TV Advert: Imagination Meets Engineering.(2010) Available at: http:// www.youtube.com/watch?v=mZC2219U6Co (Accessed 12th Nov 2010). b. On|Off Marketing video. Available at: http://www.onoff.tv/seasons/sept10/london/index.html (Accessed 5th Dec 2010). c. Vauxhall Fashion Scout Video. Available at: http://www.vauxhallfashionscout.com/vfs_video_ galler.html . (Accessed 4th October 2010). d. Vauxhall Astra Advert. (2010) Available at: http://www.youtube.com/results?search_ query=vauxhall+tv+ad&aq=f (Accessed 12th Nov 2010). e. Vauxhall Corsa Advert. (2010) Available at: http://www.youtube.com/watch?v=tprl8s-RGDw (Accessed 4th Nov 2010).

33


34


35


copyright kat i e dobson 2010

Dissertation  

Rebrand and Relaunch Strategy Proposal for Vauxhall Fashion Scout