International fashion branding assignment

REPOSITIONING

WEEKDAY TO INCREASE BRAND AWARENESS

Student ID: 220019576

EXECUTIVE SUMMARY 2 INTRODUCTION 3-4 RATIONALE 5-8 RECOMMENDATIONS 9- 13 CONCLUSION 14 APPENDIX 15 BIBLIOGRAPHY 16-17

The fashion industry is an influential force in culture, constantly evolving with changes to consumer preferences, society and technology, leading many brands to fight to keep up with the rate of change and stay relevant in the minds of their market. In order to remain competitive, brands can rebrand their image, or reposition themselves, either into their existing market or internationally, in order to communicate with their customers.

EXECUTIVE SUMMARY

CONTENTS

Repositioning is the process in which a brand redefines itself in order to shift the position it holds in consumers’ minds (Posner; Williams, 2015) and can be due to things such as: a loss of market share, changes to consumer demand, or new brands entering the market. Whilst similar to repositioning, rebranding is a change to the touchpoints of the business, affecting the way a brand looks, feels and represents. This is often due to a change to ownership or to change the reputation. As brands are intended to live long, they may need to grow or be relaunched throughout their lifecycle in order to survive (Hameide, 2011), which is why these strategies would be implemented, to enable further business growth and alter the customer perception.

This report will analyse the current position of the Swedish clothes brand WEEKDAY and evaluate how the business can be both repositioned and rebranded within the European market. An overview of the brand will be provided and an analysis of why the brand is in need of repositioning, featuring data from primary research conducted within the target demographics (See Appendix). There will then be recommendations of how WEEKDAY can achieve this, with the ultimate goal of a growth in awareness, customer retention and sales.

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INTRODUCTION

WEEKDAY is a Swedish streetwear fashion brand that is heavily influenced by youth culture. When they originally opened, the store was called Weekend, but with increasing popularity they remained open 7 days a week, resulting in a name change to ‘Weekday’. Founded in 2002, before joining the H&M group in 2008, they currently ship to 92 markets and have 16 stores across Europe.

Reminiscent of their parent group, WEEKDAY presents itself as a clean, minimalistic brand, with a sans-serif typeface, which helps their name stand out amongst the industry’s ‘competitive visual noise’ (Tselentis, 2012). They boast a ‘unique retail experience’ with a ‘curated mix of women’s and men’s’ assortments (WEEKDAY, 2023), as well as a few external brands. Targeting Gen Z and Millennials with their clothing, WEEKDAY aims to promote circular fashion as the future: garments are made with 24% recycled materials, all clothes are delivered in recyclable paper packaging, and they have a target to reduce value chain emissions by 56% by 2030 (WEEKDAY, 2023). These commitments to Inclusivity, sustainability and affordability underpins their current brand values, whilst resonating with a socially conscious consumer base.

BUBBLE UP

TRICKLE DOWN Ideas from Couture and designer catwalk shows filter down through the fashion market and are used as inspiration for ranges created by highstreet retailers

HAUTE COUTURE AND COUTURE

HIGH-END FASHION LUXURY DESIGNER AND PREMIUM BRANDS

Ideas from street fashion and cultural subgroups gain momentum to become a trend that bubbles up through the hierarchy of fashion, eventually reaching the top when designer versions are created

MIDDLE MARKET DESIGNER DIFFUSION LINES AFFORDABLE LUXURY RETAIL BRANDS MIDDLE-MARKET RETAIL CHAINS

MASS MARKET HIGH-STREET MULTIPLE RETAILERS

VALUE MARKET VALUE FASHION RETAILERS DISCOUNT RETAILERS FIGURE 1: Basic Hierarchy of Fashion

Looking at the Basic Hierarchy of Fashion (Posner, 2015), Weekday would be positioned in the middle market area. This is similar to other brands within the H&M Group, such as Monki. Like Weekday, Monki also targets a Gen Z demographic, and although catering to slightly different subcultures, they both champion creativity and individuality, with a focus on sustainability. In this hierarchy, Weekday occupy a space that bridges the gap between the mass and middle market. Catering to a fashion-conscious demographic who seek contemporary styles at affordable prices, they are able to position themselves in a way that targets each sub group of Gen Z. Although Weekday are successfully bridging themselves across multiple markets, in terms of both demographic and the fashion hierarchy, the way in which the brand communicates isn’t effective. According to Hameide and his branding diagram (2011, p.36), communication is a key aspect of the branding process, with it being the way a brand showcases their identity, presence and value. Weekday appear to be successful with their brand decision and positioning strategy, with product offering, model casting and brand design being reminiscent of their demographic; whilst their objectives remain in line with the values of not only their brand but also with the parent company H&M group. Yet in primary research only 24% of respondents knew of the brand, with 12% aware of the stores in the UK, confirming that WEEKDAY has an ‘illness’ in regards to consumer engagement. D’Arienzo (2016) spoke about what makes a brand unhealthy, and that it should be looked at in terms of how it interacts with its stakeholders, before determining how to extend the brands life or ‘health.’

Looking at the model, WEEKDAY suffers from a declining awareness of the brand from key cohorts, with it being one of the smaller brands within the H&M Group, and therefore needs to heighten the profile and prominence of the brand. This can be achieved by repositioning and also a rebrand/revitalisation (Hameide, 2011), to regain prominence, market share and to prevent their death. So, in a world of sustainability driven consumers, why exactly should WEEKDAY be repositioned and rebranded?

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For the past few years, the idea of creating a capsule wardrobe has been growing in popularity, with consumers across different generations stepping away from mostly unsustainable micro trends, and choosing simple garments that can be worn with many different outfits (Parker, 2023). This paired with the resurgence of ‘quiet luxury’, is putting brands who produce higher quality ‘basics’ at the forefront of customers minds, with social media users championing and promoting brands such as SKIMS, H&M and UNIQLO (de la Merced, 2023). So, with WEEKDAY’s competitors and sibling brand having such success, it’s surprising that they are still one of the lesser-known brands within the H&M group, especially as they predominantly sell high quality basics. D’Arienzo (2016) mentioned that ‘80% of a business’ outcome are shaped by 20% of consumers’, making it apparent that WEEKDAY’s promotion isn’t reaching that 20%, and with the customers that it does reach, an emotional connection isn’t formed.

According to Communale (2008), a brand must appeal to a lifestyle in order to be successful as well as displaying consistent promotion which reflects this. Looking at WEEKDAY’s website, it’s clear to see that they are a brand whom focus on responsible business practices, featuring a tab on the drop-down menu and on the landing page with information on sustainability, as well as featuring supplier information on the ‘details’ section on a products specification (WEEKDAY, 2023).

FIGURE 2: Image of product details from WEEKDAY.com

RATIONALE

This is an important detail to note, as brands are often perpetrators of greenwashing and lacking in transparency with their customers, meaning that WEEKDAY carefully consider their supply chain and almost encourage the customer to consider sustainability in future purchases. Being honest with customers is key when trying to form a connection, especially in regards to building brand equity (Armstrong-Gibbs; McLaren, 2017). Yet there seems to be inconsistencies across WEEKDAY’s different platforms. Their social media consists of Instagram, TikTok and a Facebook page that hasn’t been updated since 2021; and whilst the TikTok and Instagram feature similar content, it appears disjointed alongside their website and the values which they promote; there’s often an influx of posts on their Instagram page, creating oversaturation of content leading to a lack of engagement from followers (Peters et al, 2013).

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Furthermore, customers in different regions have access to different elements of the brand, users in England are unable to shop through Instagram, even though the option is available.

Those who try are simply redirected to the website, whilst this adds to the amount of traffic on the site, the chances of shopping carts being abandoned is increased, as customers who use the Instagram shop feature are looking for an instant purchase and would be less inclined to search through the website, create an account and enter payment/shipping details (Kukar-Kinny; Close, 2009).

For those customers who frequently shop online but aren’t aware of WEEKDAY (See Appendix A), it’s easy for them to ‘stumble across’ the brand on ASOS and the H&M app. Whilst this can be seen as a helpful strategy in terms of increasing sales, brand awareness and new customers, these methods come with problems. In recent months ASOS has seen a near £300m loss (Butler, 2023), with customers being overwhelmed with product offering, being faced with competition from cheaper retailers such as Shein and losing their core customer group (millennials), by featuring designs which are ‘too youthful’ (Butler, 2023). Furthermore, the products that are featured by WEEKDAY are surrounded by cheaper alternatives and ‘fan favourites’ such as Topshop (ASOS, 2023), as well as them failing to highlight their sustainability ethos in the same way as on the WEEKDAY.com website, resulting in losing out on those ‘eco-savvy’ consumers who would otherwise opt for their brand.

Similarly, the H&M app has started to feature clothes from the other brands in the H&M group, such as WEEKDAY. This is a good strategy for both WEEKDAY and the H&M group as a whole, allowing them to compete with businesses with similar models, such as Shein (Reuters, 2023). Once again this can increase WEEKDAY’s customer awareness, with the premise of complementing the clothes, similar to what Marks and Spencer are doing with brands such as WatchShop (Marks and Spencer, 2023). Although this can be true with H&M’s other brands such as Monki and &OtherStories, clothes produced by COS, WEEKDAY and Arket are very similar, removing the need for a separate brand altogether; especially paired with the similar branding that they all feature (H&M Group, 2023).

Despite having an app which is available through both IOS and Google Play, it’s not possible for customers to purchase clothes, with it instead acting as an in-store shopping assistant, and could therefore seem redundant with only 3 stores in the UK (WEEKDAY, 2023); hinting to WEEKDAY being a multichannel brand and failing to connect with the customer on a personal level (Communale, 2008, p8).

Although e-commerce shopping has an increasing popularity (Baluch; Main, 2023), customers are still wanting the in-store experience (see appendix). Not only are they able to try on clothes without purchasing, but a stores’ atmosphere helps to create a pleasant experience for the customer, allowing them to create that emotional connection (Communale, 2008).

FIGURE 3: Screenshots from the WEEKDAY app that show instore only features

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Instagram At a first glance their Instagram looks quite simple and minimalistic, with the only business information being a link to their website in the bio, again drawing attention to their multichannel strategy. Additionally, it’s heavily saturated with product focused content, giving little reflection to their brand value of circularity (WEEKDAY, 2023), which is heavily advertised through their e-commerce. As consumers are now shopping more mindfully (Ruiz, 2023) and would be more likely to buy a product that has a responsible supply chain (see appendix), WEEKDAY is potentially losing out on gaining engagement on social media and profits from those ‘conscious consumers.’ Whilst their page does feature posts that champion their diversity mission (WEEKDAY, 2023), showcase their products and aligns with the brand visually, they’re not effectively communicating what makes their brand stand out. By placing a tag line in the bio that embodies the brand values, the customer is instantly able to absorb the brand message without being too overwhelmed by information, which can encourage them to either further engage with their posts or to be redirected to the website to learn more. Similarly, adding a ‘Responsibility’ highlight onto their page, it gives the customer a chance to visually see the projects and goals regarding sustainability, leading to an element of trust which can create an emotional connection (Communale, 2008).

First line of ‘Bio’ featuring a tagline that highlights their USP still giving customers an opportunity to be featured, but written slightly more formal to create the idea of a sophisticated brand.

Left: Screesnhot of WEEKDAY Instagram Right: Mockup of how it can be changed

RECOMMENDATIONS

In order to strengthen WEEKDAY’s brand equity, customer awareness needs to be improved.

This is because brand equity is the “relationship between consumer knowledge of a brand and the consistent reinforcement of that knowledge” (Gibbs; McLaren, 2017 p180-201), so with inconsistent promotion and a multichannel platform, WEEKDAY is putting themselves at a disadvantage both with creating brand equity and being involved in the consumer decision making process (Macdonald; Sharp, 2000).

With the increasing popularity of both sustainable fashion and trends surrounding building a ‘capsule wardrobe’, there’s space for WEEKDAY to have a significant share in the market, competing with brand such as Zara who operate an unsustainable fast fashion model (Allon, 2022).

The first way for WEEKDAY to address this lack of awareness (D’Arienzo) is by streamlining the information displayed across their platforms. TikTok and Instagram are the top social media platforms that are being adopted by marketers to reach and engage with their target audience (Fernandez, 2022) so it’s important that WEEKDAY optimises the way in which they communicate on these channels (Hameide, 2011).

Now a Responsibility highlight, giving customersthatcomeacross theaccountachanceto learn about their values in a condensed, optic format without having to click through the website

Sophisticated, product focused images that relects their diversity objective

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Similarly, product styling needs to reflect not only the minimalist, clean vibe of the brand, but also reflect the lifestyle that the consumer wishes to emulate (Communale, 2008). This also keeps in mind the idea of wanting to move WEEKDAY up the basic fashion hierarchy (Posner, 2015), for it to become a brand who produce high quality basics that can complement those at a luxury level, as a result improving brand equity.

Screenshot from WEEKDAY’s TikTok account

TikTok TikTok on the other hand requires a slightly different strategy, which can give the opportunity for experiential marketing leading to the emotional connection and improved equity. The fast-paced nature of the app means creating content that draws users in immediately, to avoid being ignored; although many Gen Z consumers tend to be brand enthusiastic rather than brand loyal (Criales-Unzueta, 2021) when the goal of entertaining videos has been achieved.

It’s therefore important that WEEKDAY think like their target market and create their own voice on the platform rather than posting inconsistently.

There are several ways that WEEKDAY can go about creating this type of content, one being creating their own trends that hook in both influencers and customers similar to fast-fashion brand PrettyLittleThing and viral brand Crocs (Barnett, 2023). This can be achieved by promoting their Zeitgeist t-shirts, which are produced weekly to reflect current events (WEEKDAY, 2023), and linking them to a certain sound or hashtag to increase experiential marketing; this idea could be particularly fruitful when looking at how it can be linked to the recent ‘Y2K’ and graphic ‘Baby Tee’ trend (Eggenberger, 2023). The other can be with user-generated content (UGC). This is content created by individuals to express their opinion on the brand, rather than WEEKDAY producing the content themselves. This is a good strategy to use to increase awareness of WEEKDAY, as customers are much more likely to trust an individual reviewing the brand (Piga, 2022), as well as being presented to a wider demographic who they may not be able to reach with their inconsistent, basic videos. It’s still important that the theme of transparency is portrayed by WEEKDAY in both of these examples, to prevent losing control of their brand message and values to negative commentary from users on the app.

A second way to improve the overall lack of awareness and improve the communication element (Hameide, 2011) is through and creating an omnichannel experience for customers, this is due to it being the most user-friendly experience; multichannel creates frustration and puts WEEKDAY at risk of losing the customer, as aforementioned in relation to Instagram traffic. With the increased use of social media, e-commerce and m-commerce, customers shop around to compare multiple brands across channels before making a purchase, yet WEEKDAY come across differently on different platforms. For example, the lack of an m-commerce app severely restricts them in terms of sales, as the ‘during service’ experience touchpoint (Schell, 2011) has been neglected. Although WEEKDAY are featured on both Asos and H&M’s app, its unlikely that a customer would look straight to them during the consumer decision making process (Macdonald; Sharp, 2000), so it’s therefore imperative that they create an app to provide the purchase of goods, especially seeing as there are only 5 stores within the UK, almost making the current app’s uses redundant. WEEKDAY developing a fully functioning app gives them a direct line to their consumer, being able to offer purchases in a few simple steps, as well as sending out push notifications with the lates deals to entice the customer, giving them a sense of dopamine and achievement when they buy (Burgess, 2023).

Mock-Up of an app and landing page for WEEKDAY

On Instagram there is more room for product centred content as opposed to TikTok, but it’s important for the brand to remain authentic and not completely focused on sales in order to keep a conversation with their customer to create brand loyalty; this can be done using Instagram stories and Instagram reels, as they are kept separate from the main feed but are still easily accessed. By keeping product image captions specifically on the details or style suggestions, customers can still get a sense of the ‘sophisticated’ personality of the brand (Aaker, 1997), even whilst featuring this conversational content.

- Both the App and Website design follow the rule of the ‘F-shaped pattern’. This includes featuring key searches on the home screen, optimised differently for optic aesthetics depending on the device the customer is using.

- Features a poduct centred image which highlights the key offerings of the brand (high-quality basics).

- A responsibility tab is featured on the landing page to ensure that the brands key messages are viewed across every platform.

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CONCLUSION Currently, the barriers to touch when shopping online inhibit the use of haptic information (Peck, Childers, 2003) which leads to a decreased confidence from buyers. To combat this issue, WEEKDAY need to increase the number of touchpoints that a customer would experience on both the E and M-commerce sites. Brand touchpoints play a pivotal role in enhancing brand equity by establishing and reinforcing a brand’s identity, with consistent and positive interactions with the customer (Baxendale; Macdonald; Wilson, 2015). Each touchpoint provides an opportunity for WEEKDAY to communicate their values, personality, and promise to the consumers, thereby fostering brand recognition and loyalty. An example of how WEEKDAY could incorporate this could be by ‘chunking’ information about both responsibility and product information into digestible and memorable ways for the customer; this can be done across social media, online adds and WEEKDAY’s website and app to establish that omnichannel experience. The post-service touchpoints are equally as important as it allows the brand to form a more personal connection with the customer, offering personalised discounts and helpful customer service.

By strategically managing touchpoints, a brand can shape the overall customer journey, creating a cohesive and memorable brand experience.

This consistent and positive engagement not only fosters trust but also strengthens the emotional connection between the brand and its consumers, ultimately leading to increased brand equity (Baxendale; Macdonald; Wilson, 2015).

Enhancing WEEKDAY’s brand awareness is important for several reasons. Firstly, an increased brand awareness can amplify the reach and visibility of WEEKDAY’s products and services, creating a broader and more engaged customer base. This heightened visibility is crucial in today’s competitive market, where consumers are inundated with choices.

Secondly, a strong brand awareness creates trust and familiarity among consumers, influencing their purchasing decisions and promoting loyalty. Consistent exposure to WEEKDAY’s brand through various channels can solidify its position in the minds of potential customers, making it a top-of-mind choice when considering relevant products or services. Furthermore, a strong brand presence can generate positive word-of-mouth and organic referrals, creating a ripple effect that extends the brand’s influence beyond its initial outreach efforts; which links to the positive impact that User Generated Content can create for marketing. Moreover, improved brand awareness can facilitate effective marketing strategies, enabling WEEKDAY to convey its unique value proposition and differentiate itself from competitors. 90% of people follow brands on social media (Wong; Bottorff, 2023), so communicating with customers on these platforms is extremely important when portraying both their identity and product mix (Hameide, 2011); ensuring that they consider how to produce effective content to stimulate people’s minds (Schmitt, 1999), as online visitors are less likely to engage with the brand message (D’Arienzo, 2016).

Ultimately, by prioritizing and investing in brand awareness, WEEKDAY not only secures its presence in the middle market, but also creates a space to complement the high end market; laying the foundation for sustained growth and success in the fast paced business landscape.

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APPENDIX Appendix A

Appendix B

BIBLIOGRAPHY (2023) Weekday: Jeans & Fashion | Shop Online at weekday.com - weekday. Available at: https://www.weekday.com/en_gbp/index. html (Accessed: 09 November 2023).

(No date) 52 huge environmentally conscious consumer statistics 2023 - the roundup. Available at: https://theroundup.org/environmentally-conscious-consumer-statistics/ (Accessed: 09 January 2024).

(No date) Fashionmonitor.com. Available at: https://www.fashionmonitor.com/blog/TmF/6-fashion-brands-killing-it-on-tik-tok (Accessed: 09 January 2024).

(No date) H&M to grow third-party brand strategy as online rivalry intensifies. Available at: https://www.reuters.com/business/ retail-consumer/hm-grow-third-party-brand-strategy-online-rivalry-intensifies-2023-06-29/ (Accessed: 09 January 2024).

Aaker, J.L. (1997) ‘Dimensions of brand personality’, SSRN Electronic Journal, pp. 347–356. doi:10.2139/ssrn.945432.

Appendix C

Appendix D

Allon, G. (no date) Our addiction to quick, cheap fashion is adding 101 million tons of waste to landfills each year - and holiday shopping only makes it worse, Business Insider. Available at: https://www.businessinsider.com/fast-fashion-christmas-shoppingclothes-returns-shein-zara-waste-mountain-2022-12?r=US&IR=T (Accessed: 09 January 2024).

Asos expects sales slump to continue as it is hit by near £300m loss (2023) The Guardian. Available at: https://www.theguardian. com/business/2023/nov/01/asos-expects-sales-slump-to-continue-as-it-is-hit-by-near-300m-loss#:~:text=%E2%80%9CAlongside%20the%20ongoing%20inflationary%20pressures,with%20it%2C%E2%80%9D%20she%20said. (Accessed: 09 January 2024).

Bain, M. (2023) Does your brand need an app?, The Business of Fashion. Available at: https://www.businessoffashion.com/articles/ technology/does-your-brand-need-an-app/ (Accessed: 09 January 2024).

Baluch, A. (2023) 38 e-commerce statistics of 2023, Forbes. Available at: https://www.forbes.com/advisor/business/ecommerce-statistics/ (Accessed: 09 January 2024).

Baxendale, S., Macdonald, E.K. and Wilson, H.N. (2015) ‘The impact of different touchpoints on brand consideration’, Journal of Retailing, 91(2), pp. 235–253. doi:10.1016/j.jretai.2014.12.008.

Belle Wong, J.D. (2023) Top social media statistics and trends of 2024, Forbes. Available at: https://www.forbes.com/advisor/business/social-media-statistics/ (Accessed: 09 January 2024).

Appendix E

Appendix F

Brands (2023) H&M Group. Available at: https://hmgroup.com/brands/ (Accessed: 09 January 2024).

Burgess, W. (2023) The power of push notifications for e-commerce: How to boost sales and engage customers, LinkedIn. Available at: https://www.linkedin.com/pulse/power-push-notifications-e-commerce-how-boost-sales-engage-burgess#:~:text=Personalized%20push%20notifications%20that%20include,user%20to%20take%20action%20immediately. (Accessed: 09 January 2024).

Criales-Unzueta, J. (2023) To hold Gen-z’s attention, brands need to show some personality, The Business of Fashion. Available at: https://www.businessoffashion.com/articles/marketing-pr/to-hold-gen-zs-attention-brands-need-to-show-some-personality/ (Accessed: 09 January 2024).

D’Arienzo, W. (2016) Brand Management Strategies: Luxury and mass markets. New York: Fairchild Books.

Eggenberger, M. (2023) Every editor on our team bought this specific style of T-shirt this week, Who What Wear UK. Available at: https://www.whowhatwear.co.uk/baby-tee-trend (Accessed: 09 January 2024).

Fernandez, C. (2023) How Tiktok won over fashion, The Business of Fashion. Available at: https://www.businessoffashion.com/ articles/media/how-tiktok-won-over-fashion/ (Accessed: 09 January 2024).

HAMEIDE, K.K. (2011) Fashion branding unraveled. S.l.: FAIRCHILD BOOKS.

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Jin, B. and Cedrola, E. (2017) Fashion Branding and Communication: Core Strategies of European Luxury Brands, ProQuest Ebook Central. New York, NY: Palgrave Pivot.

Keller, K.L. (1993) ‘Conceptualizing, measuring, and managing customer-based Brand Equity’, Journal of Marketing, 57(1), pp.

1–22. doi:10.2307/1252054.

Kukar-Kinney, M. and Close, A.G. (2010) ‘The determinants of consumers’ online shopping cart abandonment’, Journal of the Academy of Marketing Science, 38(2), pp. 240–250. doi:10.1007/s11747-009-0141-5.

Merced, M.J.D.L. (2023) Kim Kardashian’s skims is now worth $4 billion, The New York Times. Available at: https://www.nytimes. com/2023/07/19/business/dealbook/skims-kim-kardashian-fundraise.html (Accessed: 09 January 2024).

Parker, A.B. (2023) The perfect fall capsule wardrobe-built around your 6 favorite brands, Vogue. Available at: https://www.vogue. com/article/capsule-wardrobe#:~:text=The%20concept%20of%20curating%20a,the%20most%20mundane%20closet%20essentials. (Accessed: 09 January 2024).

Peck, J. and Childers, T.L. (2003) ‘To have and to hold: The influence of haptic information on product judgments’, Journal of Marketing, 67(2), pp. 35–48. doi:10.1509/jmkg.67.2.35.18612.

Peters, K. et al. (2013) ‘Social Media Metrics — a framework and guidelines for managing Social Media’, Journal of Interactive Marketing, 27(4), pp. 281–298. doi:10.1016/j.intmar.2013.09.007.

Piga, A. (2022) Council post: The rise of user-generated content and its impact on brand loyalty and affinity, Forbes. Available at: https://www.forbes.com/sites/forbesagencycouncil/2022/09/12/the-rise-of-user-generated-content-and-its-impact-on-brand-loyalty-and-affinity/ (Accessed: 09 January 2024).

Posner, H. (2015) Marketing fashion: Strategy, branding and promotion, ProQuest Ebook Central. London: Laurence King Publishing.

Schmitt, B. (1999) ‘Experiential marketing’, Journal of Marketing Management, 15(1–3), pp. 53–67. doi:10.1362/026725799784870 496.

Search: Weekday - page 1 of 18 (no date) ASOS. Available at: https://www.asos.com/search/?q=weekday (Accessed: 09 January 2024).

Shaping the future : One year of brands at M&S (no date) Marks & Spencer. Available at: https://corporate.marksandspencer.com/ shaping-future-one-year-brands-ms (Accessed: 09 January 2024).