Page 1

Catherine Smith

Strategic Solutionist

3rd Year Portfolio of Catherine Smith 1


Portfolio Contents Page Concept

pg 5

Chapter One: Who, What, How?

Pg 6

Chapter Two: Financial and Business Analysis

pg 12

Chapter Three: Healthy Brand Analysis

pg 20

Chapter Four: A Brand Challenge

pg 30

Chapter Fiver: Creative Development Project

pg 54


pg 60



Portfolio Concept: Seeing the Bigger Picture “Seeing the bigger picture� as a concept, describes my simple approach to problem solving. It is my belief that a brand cannot see the bigger picture if they are sitting in the middle of it; therefore, through doing extensive research, I assist brands in seeing their bigger picture. Seeing the bigger picture; 1. Firstly allows for the current situation of the brand to be evaluated, evaluation will result in the identification of the brands problem area. 2. Seeing the bigger picture, secondly would allow for a path towards solving this problem to be accurately planned. The Creative Execution Mazes are designed as path finding challenges, built to disorientate, confuse and to eventually get the participant lost. A maze perfectly fits the above concept as; if a brand were lost in a maze of ineffective consumer communication (for example), after the brand is given the opportunity to view the maze in its entirety, the location of this brand may be identified and a path can be mapped to take the brand out of their lost position in the maze, through the exit gate, and into a position of consumer communication strength in the market place. The three colours that will be used throughout the portfolio were chosen because of what they symbolize; the blue symbolizes the glass maze and the silver and gold symbolizes the golden opportunities, which research and insight analysis can provide. Hecate Hecate, whom is depicted in this logo below, is the three-headed Greek Goddess of crossroads, paths and gateways. While Hecate’s identity has taken on various meaning over time, her association to helping others plan their way forward and accepting change, has never been shaken from her. Her assistance in moving individuals forward, aligns to what I wish to provide for brands as a Strategic Solutionist, therefore I have chosen to use her in my logo.


Chapter One: Who, What, How? “Seeing it for what is”


The Who The What

The How

Allow me to introduce myself

What I am all about

How can I help you?


Curriculum Vitae of Catherine Smith

Basic information

Previous Education

Name: Catherine Bridget Smith Date of Birth: 14 August 1990 Country of Birth: South Africa Contact Number: Not Available Online Email Address: Postal Address: Not Available Online

Hobbies and Interests Hobbies: • Traveling • Running • Cooking • Creating(painting,fixing,restoring) • Blogging

School: Springfield Convent School Period: Gr1 – Gr12 Subjects: English, Afrikaans, Maths, Histor, Art & Art History, Consumer Studies, Life Orientation Territory Institution: Cape Peninsula University of Technology Period: 2010 Course: Interior Design Position: Elected Class Representative

Current Studies Institution: Vega School of Brand Leadership Course: BA in Brand Building and Management Year: 3rd Year Degree Completion date: November 2013 Modules Covered: - Brand Stratrgy - Critical Studies, - Creative Development - Statistics, - Finance, - Economics, - Logistics - Orginsational Behaviour - Corporate Social Responsibility - New Media, - Innovation in Business Management - Digital Media - Word of Mouth in Branding. Awards: Bright Star Merit Award, Awarded to distinction students, for both 1st and 2nd Year.

Interests: • SocialMedia • NatureandSustainability • Architecture • HealthandNutrition

Previous Work Experience Institution: Taverham Hall School, England Position: Gap Student – Matron in the evening – Assistant Teacher in the Morning – Sports Coach in the Afternoon Time period: January 2009 – December 2009 Institution: Private Position: Aupair Time Period: May 2011 – Janunary 2012 Institution: Rock Sushi Thai Medowridge Position: Waitress Shifts: 3 to 4 Shifts a week Time Period: March 2012 – Septemner 2013

References Peronal Reference Name: Robyn Faraday Relationship: Best Friend Contact Number: 0835315064 Educational Reference Name: Thys de Beer Relationship: Current Lecturer Contact Number: 021 461 8089 Professional Reference Name: Laura Watkins Relationship: Current Manager Contact Number: 0844053544

Written Motivation


I am a hard working, inquisitive individual who loves learning and problem solving. I bring to the table a unique combination of having an equally strong passion for both finance (mathematics) and creativity. I am also a people person, who is inspired through collaborations and exploration.

What: Personal Blue Print Positioning: For previously established brands, I am the Strategic Solutionist, who, through thorough insight analysis, extracts the tools necessary in turning your branding problem into an opportunistic solution.

Vision: My vision is to full the position of Brand Solutionist in a highly effective, collective team, who provides reliable solutions to branding problems.

Mission: To utilize true insights effectively in process of transforming the challenge facing a brand, into an opportunity,

Personality: Confident Dependable Excitable Inquisitive

Values: Positivity Thoroughness Imagination

Essence: Thorough Exploration

Message: Operational Solutions 9

You, Me and the Maze: How Can I Help You? You

You You

You 10


Chapter Two: Financial and Business Analysis “The Quick Look and Obvious Choice”


The Brief The Brand

The Team

Assess and identify the marketing metrics used by a South African brand, in order to measure their return on marketing spend.


Roberto Gallotta Elizabeth Crockett Tania Perdikis Catherine Smith


Why eLabel? eLabel, in short, is a service based company which operates in the form of a online, mobile, application. The app, which has been developed for the South African market, provides its users with information regarding the environmentally sustainable practises of an individual product and its brand. The app works through electronic elabling reading, in this way, the application reads the bar codes of productsto identify and provide the relevant information. eLabel’s purpose and aim was to provide a knowledge base for consumers, in order to allow them to make more informed purchasing decisions. Mobile applications as an industry, is heavily used, popular and growing, according to Joshua Brustein. (2013), therefore assessing the branding metrics and measurements of eLabel was highly appropriate in terms of gaining insight into how a company operates in the digital market place. eLabels overall philosophy on measuring their return to marketing spend, is more than a philosophy, but a integral part of their business model. Capturing and analysing the marketing effect, is how their product gains users. Therefore, funds and resources need to be readily available to adjust their marketing accordingly. The marketing and the research that goes into eLabel goes hand in hand. In eLabel’s case, the marketing is seen in the delivery and supply information to consumers. After initial exposure to the brand, which would fall along the same costing strategy model as a launch campaign, the long term measuring of the marketing spend, directly relates to how much money is spent on researching the new products which consumers want to scan. The more brand disturbances that eLabel causes with revealing previously concealed information, the more the application will be downloaded, and the more media attention it will get. eLabel’s philosophy on measuring their marketing spend, is paramount as eLabel needs to generate enough money to be able to constantly broaden their research, by recording the impact of the application and its usage. The metrics which follow are used to measure this return to marketing spend.


1. Ad Awareness: Ad awareness is the process of measuring the percentage of the total population that is aware of a brands advertising. The more adverting done, the more chance there is consumers will become brand aware. Ad awareness varies due to the seasons, reach and the frequency of the advertising. eLabel will be able to measure their ad awareness through, for example, social media. After the launch of eLabel’s television commercial, increases in Facebook likes, Twitter followers can be recorded to gain insight into the reach of the commercial. If the television commercial does not produce an increase in brand awareness, alternative advertising can be considered.

2. Heavy Usage: The formulas for heavy usage reads as follows: Category purchases by customers of a brand, compared with general purchases in that category, divided by average customers in the category. The more the application is utilised the more exposure the company receives, which leads to companies seeking to advertise on eLabel, therefore increasing eLabels revenue. eLabel currently sells business intelligence reports to brands so that they may compare their performance to their competitors. The eLabel database is able to tell you who is scanning a barcode, where the person is and the date and time of the scan, therefore allowing for insights into consumers.

3. Baseline Sales Estimations of baseline sales establishes a benchmark for evaluating the sales generated by specific marketing activities. The baseline also helps isolate sales from the effects of other influences, such as seasonality or competitive promotions. Incremental sales are the number of units sold through a sales promotion, in excess of the estimated number that would have been sold without it. Therefore: Baseline Sales = total sales – incremental sales For eLabel this would be adopted to baseline downloads, to see how heavily the brand relies on its marketing for downloads of the application to occur.

4. Incremental Sales or Marketing Promotional Lift Incremental Downloads/ Baseline Downloads = % This metric gives a percentage of how much more popular the brand has become after thier marketing. After the launch of eLabels television advertisement, the company can measure daily, the download rate of their application, to gage the advertisements effectiveness and therefore allows eLabel to adjust airing accordingly until desired results are achieved. eLabel has structured their business model around the free exposure they will receive from revealing hard hitting information about products. Using this metric, eLabel will be able to see which stories generate the most application downloads and can therefore look for patterns as to what stories customers are finding most interesting, providing opportunities for eLabel to better align themselves with consumers. 15

5. Market Penetration eLabel is a new brand therefore it is important for the brand to measure its market penetration. Market penetration reveals how well the brand has been accepted by its target audience in the market. The statistics for application downloads alone wouldn’t be sufficient for measure the popularity of the application, but actual measurements of the usage by those who have downloaded it, will. The application will only own the space of being a respected authority of information, if the application is used regularly by consumers. Therefore in order to work out the market penetration the following formula would be applicable: Application Use (in numbers) / Total downloads of application (in numbers) This will give eLabel an average of how many times customers have used the application, and will therefore tell eLabel how well the application has been accepted in to the lifestyle consumers, allowing eLabel to adjust their marketing if necessary.

6. Learning Curve The learning curve as a metric measure, allows for the company to put a strategic marketing plan in place, as it identifies how long an advertisement should be in circulation before a new one needs to be launched. Different forms of marketing exposure have different shelf lives based on the ever changing taste of consumers. eLabels initial advertising aims to explain what eLabel does, which will only be useful to the brand in the early exposure days. eLabels main form of marketing, will live in the media’s reaction to eLables shocking truth revealations about brands, which is challenging, as news stories are short lived. In order to remain relevant and to gain exposure in popular media, eLabel needs to pace the rate at which high profile information is revealed.

7. Impressions An impression is made every time a consumer views an advertisement. It is important to know this metric because it will allows eLabel to measure how many people are seeing the advertisements (reach) and how many times they see it (frequency). This will give eLabel an idea of how much awareness is being created by an advertisement. An impression measurement will allow eLabel to know whether they have reached their goal, in terms of the amount of people they estimated would see the advertisement. An impression is measure using the following formula: Impression = reach x frequency

8. Effective frequency Effective frequency is a measurement of, the number of times a person need to see or hear an advertisement in order to register the message. Marketers usually consider an effective frequency to be three. Advertisements for large companies with an existing, strong brand heritage may allow a consumer to register the message quicker than an advertisement of a new, smaller company trying to cre16ate more awareness, therefore as eLabel is young, a higher numbers of impressions should be encouraged and aimed for.

9. Click Through Rate A Click through Rate measures and records the clicks on an advertisement as a fraction of the number of impressions the advertisement makes. The purpose of a click through rates is to measure the effectiveness of a web advertisement by counting the number of consumers who are intrigued enough to click on the advertisement. (Finance in Brand Building Module Manual; Pages 166 – 172). In order to make click through rates useful, subsequent convergence should be measured, to get a figure for how many people actually download the Application after clicking on the advertisement.

10. Net reach Net reach measures the number or percentage of people who receive at least one advertisement from a brand. It works together with frequency, which measures the average number of times a consumer sees an advertisement. On average, 91% of online adults use social media regularly. Which would mean that the social media pages of eLabel, could reach a lot of potential their consumers if utilized effectively. (Bodnar, K; 2012) Because of the nature of eLabel, they could get a lot of free advertising coverage in newspapers, websites and word of mouth. As facts about brands are exposed, people will start writing and talking about it eLabel.

11. Page views Page views is a metric that measures the impact, usage patterns and popularity of a company’s website. If eLabel’s web page has a lot of views, it would then be considered to be popular. eLabel as company is web based, which makes their website extremely important, as that is where their target market interact with them.

12. Share of Voice Share of voice refers to the strength of an advert in its market. It takes into account; expenditure, ratings, pages and poster sites. (Davidov, P; 2012).The significance of this metric is that the more people who talk about your brand, the more exposure and popularity it will get. eLabel will get a lot of ‘share of voice’ as their company will stir up controversy in the media, by exposing the wrong doings of other companies.

13. Visitors Visitors are the number of unique website viewers within a given period of time. This number measures the reach of a website and can determine the traffic of a website and can track occasional or regular website viewers. eLabel, should check their visitors at least once a day and then compile the data to create an average visitor rate. (Finance in Brand Building Module Manual; Pages 166 – 172). 17

As it stands eLabel already comes up as the first search hit on Google, which suggests that the website is already receiving a lot of traffic. Online marketing is easier to measure than billboard and magazine marketing as data the can be recorded as to how long, and which marketing was viewed and used. However, online marketing does present other challenges. Therefore as a closing the challenges in measuring online brand effectiveness and marketing spend were identified: 1. There is little face-to-face interaction being an online brands and their clients, and therefore a subsequent loss in consumer insights. 2. Without knowledge about what products customers will use in the future, eLabel could waste time and money on products that aren’t in demand. 3. Currently what separates a brand and a company is that a brand has a relationship with their customers. However for an application that is downloaded onto a cell phone, it is challenging for eLabel to measure how effective the information they are supplying is, for their target audience. 4. eLabel is an application, therefore, limits its use to only those who have cell phones that hold the application, further limiting it to those who know how to use this applications. 5. eLabel could be approached by brands asking for paid approval. This is a challenge for the marketing effectiveness spends of the company, as it is an easy solution to get money and exposure for the company.



Chapter Three: Healthy Brand Analysis: “The Penetrating Gaze”


The Brief

Perform a full brand analysis on a non-mainstream South African brand.

The Brand


Done By

Catherine Smith


Overview of Wakaberry Wakaberry was first established in Durban in May 2011. The brand was inspired by the global trend and growing popularity of Froyo (which is the popular term used globally for frozen yoghurt. The name “WAKA” berry came from the song by Shakira, “Waka Waka”, which became an anthem for South Africans during the 2010 World Cup according to Wakaberry 2013. Wakaberry, as a frozen yogurt company, has acknowledged that consumers desire the ability to personally customize their purchases. Previously in the ice cream and frozen yogurt market in South Africa, the brand was in control of the portion sizes, and had price per scoop barriers as to how many flavours you could try in one sitting. Wakaberry differentiated themselves from these competitors by completely abolishing these barriers and giving complete control to the customer by introducing self-service Wakaberry bars. This way, as Wakaberry (2013) states “each customer is the boss of their own creation”.

Wakaberries Target Market In order to understand whom the brand is for, the target market was defined. Wakaberry targets market consists of young individuals either in heart or age. This is identifiable from the bright fun colouring of pink, blue and green used in their stores, advertising and logo. The fun theme is seen again from what Wakaberries calls their customers; Waka-fans, who are apart of Wakaberries Waka-Nation. Wakaparties, availble to be held instore, again reinforce this fun element according to Wakaberry (2013). Another characteristic of Wakaberries target audience is that they are health conscious. Frozen yogurt is perceived to be a healthier alternative to ice cream according to Rosalind Ryan. (2013). Wakaberry has used this knowledge to their advantage by stating that their products are “super low in fat” and that their product is a guilt free pleasure. This alignment targets individuals looking for healthy treat alternative, which would be for; individuals for themselves, or parents for their children. In summary Wakaberries primary target market is young, fun, health driven individuals and secondary target market include mothers, looking for healthy treats for their children.

Stakeholder Communication Next, an analysis of Wakaberries stakeholder communication was conducted. Wakaberries communication strategy should be tailored to specific stakeholders to ensure that the brands purpose is being effectively transferred to all who come into contact with it. The three main stakeholders who were assessed in this project were Wakaberries Consumers, Employees and the community. Wakaberries communication for these three has been tailored with the use of; social media and in-store maintenance for their consumes, a high internal brand value system and culture for their employees and lastly involvement in charity schemes with in the community. 22

Wakaberries Positioning Once the brands differentiation, target market and communications of Wakaberry had been outlined, the positioning could be developed. A brands positioning utilizes a space in the market and minds of their consumers to live. The easiest way according to Reis and Trout to claim this space is to be the first to exist in the market, and this is exactly the advantage that Wakaberry had. Through the application of bellow model the ensuing positioning statement was constructed.

Kapferer Four Question Model

A brand for what?

A brand for whom?

A brand for when?

A brand against whom?

For youthful and healthy individuals, Wakaberry is the self-service Froyo bar, whose continuous rotation of flavours gives their Waka-fans an opportunity to design their own unique, delicious treat, on every returning visit.

Vega Healthy Brand Practise Analysis The next step in the analysis process was to measure the brand against Vega’s healthy brand criteria which are as follows: 1. Does the brand have a particular and an engaging, authentic and coherent communicator? Wakaberry is a particular communicator, as it communicates in the same way across all of its stakeholder groups. Therefore a shared meaning of the brand has formed across these stakeholder groups. Wakaberry has done this by personifying themselves, as having a fun, and high-energy personality. Therefore there communication, both in the form of their signage, colours and the words they use in their advertising and media, all have the same, fun and cheerful underlying meaning. To align Wakaberries high energy feel it ensures a quick response rate on social media, which intern motivates relationships as if generates a too way communication between the brand and its stakeholders. 23

2. Does the brand have a meaningful and particular purpose? Brands aren’t defined by their form, but rather by their purpose (G Cook (Undated; 1-5)) and therefore customers don’t necessarily buy a product, but instead they buy a brand. Wakaberries stated purpose is to create a value adding experience that “will bring a smile to the mind, body and soul.” Wakaberry aims to instil this purpose by providing “real yoghurt, real people and real fun” Wakaberry. (2013). Maintenance of this value adding experience would for example require; ensureing staff be friendly, knowledgeable and passionate. Through having a purpose Wakaberry has given themselves guidelines and characteristics that they need to constantly uphold and meet. 3. Is the brand purpose served in all that it does? Media sources and Internet is making it increasingly difficult for brands to deceive customers on whether they are fulfilling their promises or not. Wakaberry, being a new brand, made information concerning their value chain and stakeholders available to the public through use of an info-graphic, which can be found on website. Information regarding who, why and how Wakaberry was started, is also readily available. Stating that they uphold their values in all interactions with their stakeholdersaccording to “how we do business” Wakaberry. (2013), Wakaberry has made themselves accountable for their actions. In terms of product, and staff the purpose in served, openly as is witnessed by customers in-store. 4. Does the brand have a distinctive Identity Having a unique identity is fundamental to a brand; for example if 2 brands had the same identity neither would achieve loyalty over the other, as they would be sharing the same spot in customers mind. Wakaberries identity is one of a fun unique experience, paired with a high quality product. The fun aspect is pulled through the multicoloured interior of Wakaberry bars, the colours of the frozen yogurts themselves, the funky chair design and the self-service machines. This distinct identity removes itself from its main competitors, who even though also use the two bright colours of pink and green, don’t however have a fun experienced based interaction, as you get your frozen yoghurt and leave. At Wakaberry you interact from the time you enter and pump your own yoghurt, to the time you leave having eaten and enjoyed your own creation on one of Wakaberries funky chairs. 5.Does the brand add value to the lives of people? A brand shouldn’t be harmful, to mind, body or the environment according to G Cook (Undated; 1-5)). Wakaberry provides organic frozen yoghurt, which is 98% fat free. As discussed earlier, the brand has aligned its self to provide a healthy guilt free pleasure. Therefore in the form of the product itself it isn’t harming customers, but rather providing them with treat that is better for their bodies. Their toppings however which range from Cadbury flakes and whispers all the way to jelly tots, don’t align with being healthy treats, 24

and therefore creates a contradiction for the healthy offering of the brand. In terms of not taking away from the environment, across the country Wakaberry uses eco-bows, which you use to self serve into. 6. Does the brand build sustainable relationships by never taking more than it gives? Suitability of relationships for a brand refers to a brand being able to meet the current demand, but at the same time not compromise future generations according to G Cook (Undated; 1-5). Wakaberry gives back with their eco bowls and through their own charity program. This program is called the Ubuntu Youth Empowerment Project. This project aims to give the youth a place where they can be supervised and supported during times of the day where they cant get this support at home, for example after school in the afternoon, while their parents are still at work. Having both internal giving back systems and external giving back projects in place, is important for a brand, it not only gives the brand likability, but sustainability for the future. 7. Does the brand and business that underpins Wakaberry demonstrate that profit isn’t the driver but rather a consequence of the above? Wakaberry states in their business strategy, that creating stakeholder value is their number one priority. In order to obtain and create this value they push for their strict purpose and correlating values of real yoghurt, real people, real fun, to be maintained and sustained constantly. By having these strong values Wakaberry communicates to their customer that what they get out of the brand is Wakaberries driving force and focus. In Wakaberry case, their reason to exist lies in upholding their purpose in all form of communication to their stakeholders, and with this profit has become a consequence.

Brand Image versus Brand Identity The next step in this project, after identifying Wakaberry to be a healthy brand, was to analyse whether this health was effectively being projected outwardly through examining if the brand identity matched the brand image. The brand identity refers to the unique, particular meaning and value that the Wakaberry has created and wishes to sustain. The brand image is how external stakeholders really see Wakaberry. In order to acquire the core Identity of Wakaberry, the Aaker 4 perspective model was applied. Having the identity of Wakaberry then allowed for the image to be measured against it. As seen in the diagrams which follow, the essence brand is Fun Through Creation, which demonstrates that the brand identity matches the brand image.


Wakaberry Identity Brand as a Product

As an Organisation

As a Symbol

As a Person

7. Organizational attributes: 1. Product scope: 9. Personality:

$&G""-รท- Frozen yoghurt "$4G3 $#"รทG รท" " 2. Product Attributes: รท

4G &-รท" .! 8. Local vs global; 10. Brand Customer % &2Qรท-%$& รทG"รท#รท $ Relationship 3. Quality / value: รท &$รท"# $ 3 $"$-"Gรท&&&$รท"#G?;รœ รท $ )%6 $รท,รทรท,รทรท รท"7รท&$รท"& Gรท& 4. Uses: &รท& O&$-3 $!%$"รท"  5.Users: "

%"G0% 6. Country of Origin: )%6 $รท Extended Core Core Multiple Flavours Essence

Self Service Experience



Assistance Based Relationship

Fun Through Creation High Energy



11. Visual Imagery and Metaphors: '"รท"2&$& 2  & 7$%$&F รท"%"&รท"&%$ รท&F 12. Heritage: 6&รท"27$รท"G$รท& #"#รทG2-$"รท#  7$รท"G& $#

รท$ %$$"&$4G -"7$รท"รท- ""&รท$รทF


Organic Milk 98% Fat Free Bright Colours

South African


Wakaberries Portfolio With Wakaberries identity clarified ,Wakaberries brand portfolio inventory, roles, structure and graphics needed to be assessed in orde to ensure that the brand was performing at their utmost potential, while also projecting a coherent brand identity. 1. Brands inventory: 1. 2. 3. 4. 5. 6. 7.

Wakaberry 98% Fat Free Frozen yoghurt 40 toppings Wakaberry Sorbet Wakaberry Merchandise Wakaberry Self service experience Waka- Parties Wakaberry Loyalty Card

Wakaberry Portfolio Roles Strategic Role


Silver Bullet


,รทรท7$$4V& รท $รท" รท$4 $&$7&&$รทG รท&&$&%& รท&&&&" รท#รท$&#-""รท รท"&%&$"G $ $,รทรท7$$4รท& &$รทรท4รท" #&-&2$ %&#$&&$&F

The Wakaberry loyalty card P&" "$รท&G รท%&"V#รท" $-$ $ $% %$รท&G  $-&รท3$รทรท -รท%%&#$G2 7%&%&#$4รท4F

,รทรท'รท$&รท$&-$ 7%Gรท&&รท"3"&"  7$รท"G2& " 7$รท"#รท"$-รท" รท"% รท2$%&#$&F&#รท"#&  "27 %&&$รท$" 7$รท"Gรท"-"%&#$&รท"

$%"4รท- $& รท7$รท4รท "2  %รท$ รท"2"F F

#7"รท" & &$-รท"?;รœ รท $ $5"4%$G&รท& 2 7$รท"F"--& "-&#"Gรท&&รท $รท"&G%" %3 $"G2"&%#$  $%$"" $F F


Wakaberry Portfolio Structure Products

Wakaberry Portfolio Graphics Services

Eadable Products


98% Fat Free Frozen Yoghurt

Caps Towls Key Rings Bags

Self-service Experienece



Eadable Products




Dairy Free Sorbet

Once the portfolio was outlined horizontal and vertical brand extensions, that could enhance brand equity, were explored. Creating vertical extensions to Wakaberry could damage the brand becauseit is monolithic brand, creating a less or more premium product, would change the entire imagine, or this singular purpose brand. Therefore horizontal extensions a better align with Wakaberries as these new products would equally matches their premium product quality standard. The two I recommended were: 28

1. To introduc sugar free frozen yoghurt- Wakaberry wouldnโ€™t use a harmful sweetening chemical, but Instead use xylitol, which is natural sweetener and therefore aligns to their โ€œreal productโ€ value. 2. A Wakaberry truck - modelled on old ice-cream trucks that has self-service machines on the outside. It could be ordered for private home parties, which are more accommodating to active children than shopping malls which aligns to the brands value of โ€œreal funโ€.

Integrated Brand Contact Management Analysis The last step in Wakaberries brand analysis was to perform Dr Carla Enslinโ€™s Integrated Brand Contact Management Analysis. Through undergoing the process shown bellow, Wakaberry has the opportunity to better itself and create a more a coherent brand image by managing their contact points effectively to all project Wakaberries message.

The Steps of an Integrated Brand Contact Management Analysis

Step 1

Step 2

Step 3

Perform a Brand Contact Inventory

Do a Full Brand Contact Audit

Build a Brand Contact Vehicle

8F$&รท#รท รท& 2.Consumer Generated รท 3.Wakaberry branches <F3 $" =F'รท6-$&#"& >Fรธ2&รท" รทรท" @F##%"4 $$รท# 8.Collaborations ?F $รท"& 10.Word of mouth 11.Care line operator 89F'$#" 13.Events

1.Wakaberry Froyo Self Service Branches โ€“ as they provide the รต$"รท"3 $" of Wakaberry.

8F'%7(รท"& รท"รท$K"-"&

2.Wakaberries Social !2$"'รท&ยรท&& how the brand connects with its consumers outside of the store. 3.The Events that Wakaberzy Attends โ€“ as it -&&"27$รท" 3 &%$"&$2F

2. An Overall Branch -$&$K"&%$ franchises have coherency . :F)รท รท รท"รท$K#รท"รท best tool for our-of-store communication. 4. The Owner of the # รท"4K#รท &$รท7$รท"&"&F

Step 4

Develop an Implementation Strategy

8Fรท-""%%&&รทรต #$รท7%"รท"$รท"" $$รท#&F 9F "&%$3$#4รท%tious event selection, to %รท$รท" &-รท"ment with the brand. :F รท"รท"3$#4 quick response rate to all consumer communication


Chapter Four: A Brand Challenge “The Stare Down”


The Brief The Brand

The Team

Brunel approached Night Light with the objective of releasing a new challenger lip care brand onto the market. The lip balm was titled “Kiss This” and the flavour was “Purple Haze”. The brief entailed both a strategic and creative solution for the brand to successfully launch the product into the established brand landscape. Kiss This

Candice Botha Tatyana Truskalo Dominic Irla Luke Stoch Carla Hechter


Stage Zero: Before the Kiss This brief could be tackled, we as a team had to transform ourselves from a group of students into an agency. The blueprint bellow outlines the agency we created; Night Light.

Night Light Agency Blue Print Positioning:

Night Light is the brave and bold collaboration that helps brands face their fears through uncomplicating scary challenges.


Bravery Simplicity Foresight Open Culture Uncompromised Quality


Brazen and brave, Night Light ain’t afraid of no ghost. We’re not about bells or whistles, we’re about tenacious and playful energy. 


To slay brand monsters. 

So, what are brand monsters?

Brand Monsters are those intimidating decisions that brands are afraid to make. Such as being in the dark and not knowing the outcome. Big changes and scary challenges. 

Tone :

Brave. Bold. Simple. 

 Bravery 32

With our angency in place we could engage with our bried. Stage one in tackling the brief entailed doing extensive research, in order to gain the true insights necessary to move onto stage 2 of brand challenge process.

Research Objectives: Primary: • • • • • • •

To determine consumer usage patterns of lip care products. To distinguish between different consumer segments. To find out which competitor brands are most popular and why, within relevant consumer segments. To determine who makes the purchase decision for those relevant consumer segments. To determine which qualities are most important to relevant markets when it comes to lip care products. To research how top competitors are displayed at the point of purchase with regards to packaging and position. To determine how potential consumers feel about the product when testing it.

Secondary: • Once top competitors have been derived, competitor research was conducted in order to determine points of parity and points of difference so as to find a gap in the market and better establish a sustainable differentiator for the Kiss This brand. • To analyse the current market situation. • To analyse current and upcoming trends.

Research Methodology  • An online consumer survey of 244 people was conducted containing both qualitative and quantitative questions. • Qualitative observational research of competitor’s in-store displays was conducted. • Qualitative product testing was conducted determine opinions about the products physical attributes such as smell, colour, moisturisation effectiveness and the tingle feeling. These were informal interviews conducted with 10 males and 10 females. • A qualitative telephonic interview with pharmacy sales representative for Sandoz Pharma was conducted in order to gain knowledge of the limitations of in-store product promotion. • Secondary competitor research was conducted in order to establish points of parity and points of difference so as to find a gap in the market. 33

Analysis’s Performed: • Situational Analysis • Industry Analysis -- PESTLE Analysis -- SWOT Analysis • Stakeholder Analysis - focusing specifically on: • Consumers • Sales Representatives and retailers • Manufacturers and Research Scientists • Target Audience Analysis • Lip balm usage by gender • Trailing of the product • Current most popular brands Competitor Analysis – Based on the target Audiences most popular brands included: Zam- Buk


Blistex DTC




Key insights • From our interviews, surveys and in-store observations we found that premium priced brands had a higher brand loyalty, while, affordable brands relied on convenience and brand awareness in order to inspire purchase. • Our surveys revealed that women between the ages of 18 and 25 based their preference on attributes in the following order: quality, price, ingredients and recognition. • Our informal interviews and statistics revealed that females are resistant to change because of the emotional risk involved with cosmetic products. • The main competitor brands focused on medicinal and functional benefits rather than attitude thus leaving a gap in the market, which Kiss This can fill. • Competitors have relatively well established brand loyalty, however they lack brand attitude and personality. • Competitor marketing strategies are often focused visually around kissing and lips and therefore should be avoided. • The flavour of the product is potentially limiting, as not everyone likes this flavour. • Large portions of men don’t buy their own lip care products but rather borrowed from friends or used products bought for them. • The green movement has caused consumers to be environmentally conscious and this ought to be considered when manufacturing and packaging for the product. • There is a trend of nostalgia within the market, for example the vintage clothing trend, the return of Rascals and the old Lip Ice packaging, which they have recently returned to. Kiss This could potentially harness this emotional connection through the song “Purple Haze” as it relates the brand back to the old days. • Almost all South Africans have mobile phones above television or radio, Kiss This could potentially utilise this when strategising their marketing contact points.


• A fair amount of the women above the age of 26 used the Elizabeth Arden 8 Hour Cream, which was handed out as a promotion with Elle South Africa fashion magazine. This could also provide an effective marketing channel for Kiss This. • In the male surveys it was revealed that Labello was by far the supreme market leader, however, females had a larger variety of preferred brands. This is most likely due to the fact that very few brands are marketed toward men. • The males who tested the product appeared to be hyper aware of the purple tint and the feminine con- notations of the colour, gloss and name of the product. • The men who used lip care products use it mainly for medicinal purposes and therefore may not connect with an attitude brand. Based on the thorough research and subsequent key insights, the key issues and objectives were developed. These key objectives outlined what needed to done in order to answer the brief effectively .

Key issues 1. How can an attitude driven, attractive brand identity be created for Kiss This? 2. How can an attention grabbing, unique visual identity be created for Kiss This? 3. How do we successfully launch Kiss This Purple Haze into an existing, highly competitive, market?

S.M.A.R.T. Objectives 1. Develop a relevant, unique and clearly defined brand identity for Kiss This by 12 September 2012. 2. Develop an appropriate visual identity, which will live in all Kiss This communication points, by 12 September 2012. 3. Create a launch strategy for the Kiss This product that will increase brand awareness within its target audience from 0% to 50% within 6 months from launch. 36

In the second stage of answering the Brief we used the insights, and objectives to develop the following strategic Identity and blueprint for the Kiss This product.

Proposed strategy Value Proposition #"áø"P&K

%""áø"P& ￟

)  3 $&&-ø"P&K

)34 6"4%$# %&& Self Assured "áá"&$á"

Ăľ-4#&%$&" 4%$ &F

Extended Core Core Essence

4 á$&4 6$á- Bold

No excuses








Mischievous Sexy


Edgy Self assured



Proposed Kiss This Blueprint After “Act on impulse” was established as the brands essence the following brand blue print for Kiss This was developed:

Values Being Blunt, Fearlessness. Bold StyleMischief

Tone We say what we want, when we want and how we want. We’re blunt and assertive. Sometimes we’re a little bit arrogant but it’s only because we’re better than you.

Vision We don’t want pretty, we want sexy. We don’t want girls, we want women. We want rule breakers and risk takers who act on their impulses and speak their minds.

Mission To lead by example by being the sexiest motherfucking lip balm around.

Positioning Kiss This is the lip balm that stomps on convention and brings blunt attitude to the table for self assured, opinionated and edgy women who reject the boring.

Message Act on impulse. 38

After the strategy and blueprint were completed, a concept intended to communicate the Kiss This message, was developed, making concept development the third stage in answering our brief.

Concept Lose your inhibitions. Concept Description Losing inhibitions as a state of mind embodied all of the proposed brand personality traits. It is daring, impulsive and exciting. It was completely unique concept to the lip balm category, and thus could have successfully differentiated Kiss This from competitor brands.

Logo The visual identity was centred around a flexi- logo. This meant that it could appear in a variety of different forms between varying contact points. The logo consists of the image, the text, and a combination of the two. The skull design was inspired by the sugar skulls associated with the Mexican Day of the Dead festival, tattoo designs as well as the fine curved and feminine lines of lace fabric. The rhinestone eyes were inspired by Damien Hirstâ&#x20AC;&#x2122;s diamond encrusted skull titled â&#x20AC;&#x153;For the Love of God.â&#x20AC;?



Once the Kiss This strategy, identity and visual identity was complete, stage 4 was to propose a launch campaign that had to; firstly align with the brand message and secondly create the brand awareness necessary to make this brand successful.

Launch Campaign Concept

The cult of living The concept of â&#x20AC;&#x153;lose your inhibitionsâ&#x20AC;? is brought to life in the launch campaign through creating the â&#x20AC;&#x153;Cult of living Campaing. The purpose of this is to clearly communicate the state of mind of the brand and find consumers who resonate with it. The launch campaign praises grabbing life by the balls and giving inhibitions the finger - making this state of mind desirable, and aligning the brand with it.

Launch Campaign Competition The launch Campaign was based around a competition in which consumers posted their home made videos of themselves acting out their ultimate thrilling activity they would like to experience. The makers of video with the most votes on the Kiss This website at the end of the competition would receive their ultimate experience made real, arranged by Kiss This. An example of one of these activities would be riding on the biggest roller coaster in the world. 40

Print Cosmopolitan has a 73% female readership. 28% of their readership is between the ages of 15-24, with 29% in the 25-34 age group. These combined ages reached our primary target audience perfectly as well as include the spill over age groups of above 25 and below 18. Cosmopolitan has a diverse readership that crosses all ethnic group and has a massive readership of 833, 052 people monthly. Glamour has an 86% female readership. 44% of their readership is between the ages of 15 - 24, with 28% in the 25 - 34 age group. These combined ages perfectly reached our primary target audience as well as include the spill over age groups of above 25 and bellow 18. Glamour also has a diverse reader- ship that crosses all ethnic groups and has a large readership of 556,577 people monthly. Elle has an 83% female readership. 43% of their readership is between the ages of 15 - 24, with 20% in the 25 - 34 age group. These combined ages perfectly reached our primary target audience as well as include the spill over age groups of above 25 and bellow 18. Elle too has a diverse readership that crosses all ethnic groups, however the magazine has the smallest readership of 261,715 people monthly. Despite its relatively small readership we felt the attitude that Elle magazine encompasses and matches that of the attitude of our target audience, therefore we feel it to be a good strategic move to also place our print advertising in Elle. One Small Seed was chosen specifically for its unique readership. This was to directly target the bloggers and opinion leaders that we feel influence our primary target market. One Small Seed has a different image in comparison to more traditional magazines. It has a strong following within the creative community. It was our aim to get these opinion leaders and bloggers talking about our product, as consumers are more likely to trust reviews over advertising.


Print Advertisements


Merchandise The merchandise shown bellow was planned to be handed out as a promotional tool at these popular clubs and bars in South Africa: Johannesburg: Capital ,The Woods, Truth

Cape Town: Fiction, Rafikiâ&#x20AC;&#x2122;s, Deco Dance Vest

Key Rings

Durban: Amsterdam, Origin Live Stickers

Ear Plugs

Online Advertising Banner Advertisements Banner advertisements were proposed to placed on relevant websites where our consumers can be found, drawing them to the Kiss This website.


Website and Mobile Site It is imperative for a brand in todays, in a technologically driven world to have an online presence. The Kiss This website incorporates the brands visual and ve bal identity and easily links to the relevant social media websites, which is immensely important in firstly spreading our campaign and secondly to create a two-way conversation with our audience. It is not sufficient anymore to simply have a well functioning website, brands must now engage with a mobile audience, therefore a mobi site would also have been developed. The Kiss This webiste would not only have been an information source but would have also hosted the Cult of Living competition.

Facebook and Twitter Facebook is one of the best mediums in reaching our target audience as communications can be targeted specifically to age and gender. It is also seen as noninvasive. It opens the channels for brand-consumer conversation and all results are immediate and is vital in spreading word-of-mouth. The Facebook page will contain an iFrame of the website so that users can access the site without leaving their comfort zone of the Facebook interface. Twitter is a widely used platform within our target audience. Correct use of trends and hashtags will further spreads brand awareness and is valuable in creating hype around the campaign, therefore a Twitter page will also be utalised 44

Bloggers Press Pack

A press pack of products and merchandise was to be sent to prominent South African bloggers in order to generate more hype around the campaign and by reaching consumers through their trusted word-of-mouth channels. These bloggers could include;

Bloggers Press Pack was suggested to include: 10x Product, 50x Stickers, 5x Event Tickets, 2x T-Shirts 2x Key Chain, Info Booklet, Banner Ad and a Manifesto Video


5fm is arguably the most relevant national radio station to our target audience. Despite the female listenership being 20% lower than that of the male, it is still the most relevant radio station, especially as it reaches a national audience. 53% of listeners are between the ages of 15 - 24 and 26% between the ages of 25 - 34. This proves that 5fm is indeed highly popular amongst Generation Y. The listenership is also very racially diverse, hence not limiting brand exposure.


Launch party To announce the winners of the Cult of Living Competition, and to bring the launch campaign to a big finale, a Launch Party was planned. The launch Party was to be held at 3 Venues in Johannesburg, Durban, Cape Town with a live feed between them. The Launch party will include the following elements:


Launch Party Event Flyer


The Brand Exposure Loop

The purpose of the brand exposure loop is to demonstrate impactful-ness and inter connectedness of the proposed campaign. Simply put, the more efforts are focused towards competition, the more traffic will be generated towards the web and mobile sites. The more people who visit the website, the more people will enter the competition by uploading their videos, the more those videos are shared, both by those uploading them as well as the viewers. The more videos shared, the more brand exposure is generated on social media sites. The more online exposure, the more video votes will be achieved. The more votes for the competition directly equates to the brand exposure through the competition. This is also intersected by our daily #HashTag competition give-aways, thus promoting the brand further. It was our goal to achieve maximum exposure in a short space of time. We aimef to â&#x20AC;&#x153;EXPLODEâ&#x20AC;? onto the scene, not merely launch. 48

Media Planning It is vital for stakeholders to receive a coherent brand experience at every contact point. This will reinforce the brand message and ensure and that communications are effective. As it was a new brand and product, there were no existing brand contact points. Therefore upon the launch of the product, many of the contact points will be initiated simultaneously. This means that there is no specific order in which the consumer contact journey will commence. Bellow is a prediction of the most likely customer contact journey.

The Media Roll Out Once all of the contact points and campaign was been developed, the media roll out, was put into a calendar format to ensure that all of the components of the campaign work together, on schedule in an integrated an effective manner.


The Media Roll Out


The Budget

The final stage in completing this brand challenge was forming the budget, which outlined all the costs involved in creating the above brand and launch campaign




Chapter Five: Creative Development Project “ When seeing is believing”


The Brief The Subject

Done By

Take a personal ideology from private to the public

Personal Ideologies

Catherine Smith


Ideology Rationale The ideology which both the bellow manifesto and the structure were inspired and based upon was: “you have to shift to develop”. This ideology was born from a pattern that is noticeable in my family’s history. Each individual in my family believes that they are on their own path in life, with the goal being to develop themselves to the up most. In order for the Smith’s (dad’s surname) and Flanagan’s (mom’s maiden name) to develop themselves, they regularly re-assess what their current situation in their life is and decide whether in fact they are being drawn down a the right or a different path. Differing paths choices have previously centred around: career changes, moving houses, changing religions (and not small religion changes either, we are talking about Christianity to Judaism and atheist to Christianity). It is of our belief that you developed when you shift your life, as when you are continuously learning, you are identify things and situations which you really enjoy, therefore building your lives on what you love. The word shift was chosen in replacement of words such as; change, as shift has a connotation of a mind and body movement. Change is impersonal, and doesn’t acknowledge the previous development that one has undertaken. Shift infers that something, that is already established is moving to something else, therefore it was appropriate for this ideology.

“You have to shift to develop”


The Pattern Manifesto Rationale The umbrella ideology for this project as mentioned above is “you have to shift to develop”. While individually and personally to my family it means the world, and represents us, to the public it may be seen as directionless and unclear. Therefore in order to take the ideology into a public space and transfer it into a call for action, it needed to be narrowed down into one simple example, of how someone could shift, just something small in their lives. Hence the Pattern Manifesto was born. The word “pattern” is highly relevant, as, as the ideology suggests that one needs to continuously break their lives patterns, in order to develop. To translate this into a simple manifesto, research into the patterns that people traditionally undertake was conducted. The patterns that presented themselves included: people taking the same route to work in the morning, people making their coffee the same way, the time at which people got up in the morning and the position they chose to sit every day in lecture theatres. However it came down to the on foot journeys which became most interesting. The repeated paths one takes to go to a bathroom, the repeated path to go to the library. Taking it bigger, the same parking bay they walk to everyday, and the same home they walk around every evening. If an individual looked back at the pattern they had made with their foot traffic in a day, and then compared that foot traffic to previous days, would it look similar? Or almost exactly the same? This became the basis for the pattern manifesto, inspiring people to start shifting, even in the tiniest way, by simply changing what their daily foot patterning looked like. Stage one of this manifesto was to do a written call for action which resulted in the following:

What pattern are you creating? Re-evaluate your repetition Break your pattern Cultivate your creation Develop It is time to design your steps


In order to translate this written manifesto into a creative expression of what these written words meant an attractive, yet unassuming activity had to be established. The activity had to be attractive, as it is a call for action, therefor needs to pull people in to take part, however, it needs to be unassuming as it canâ&#x20AC;&#x2122;t force someone to take part, if they arenâ&#x20AC;&#x2122;t convinced by it. The manifesto, as it was calling people to change their foot traffic patterns, already had specifications: it would be most effective on the floor, it would need to be attractive and make people want to take part and subtly hint patterning. Traditionally people take part in fun activities, therefore games. A game, on the floor, which can incorporate patterns. After several development processes and discussions the execution which suited the project best was: hop scotch. The almost undeniable urge to jump on a Hop Scotch when one is spotted together with placing it in a mundane one-in-front- of-the-other foot traffic path suited the manifesto perfectly. The Hop Stock squares themselves each have a different patterned material in them as to inspire the jumpers and to symbolize the new and exciting pattern that they were making. The Hop Scotch itself was placed in high foot traffic, but usually rushed through area on route to the bathroom and kitchen, which changed the preconceived journey that individuals believed they would be taking. It changed their journey, by providing them with a chance to break that days pattern.

The Pattern Manifesto

The Hecate Passage


The Hecate Passage The final step of this project was to build a triplex structure, either functional or not, which could live in space, to take your manifesto and ideology public. As both my manifesto and ideology work with the basis that people should be shifting their own path, a requirement for my structure was that it had to be able to be walked through. Previous ideas involved a high rise building however a single level passage, proved to be most ideal. A set path or passage however would have again contradicted the umbrella ideology. Therefore a manipulatable, shifting passage became the focus of the project. This is where the idea of slides or partitions on rollers was developed from. There were 5 slides were included in the final building, two on side and three on the other. Each slide has a unique pattern cut into it. The pattern again, simiThe Pattern lar to the Hop Scotch, is both inspiring and representative of the process of one interacting with this passage, shifting the partitions and Manifesto therefore creating a new passage and pattern to follow when walking through this structure. The name of this structure the, Hecate Passage, comes from the name of the goddess of crossroads and change; Hecate. As she represents change and the decisions life presents you with, to shift your life and to choose a new, exciting and developing path, therefore her name suited and emphasized the underlying ideology of this monument, and became a name I based my personal brand around.

The Hecate Passage


References Concept Reference Goddess Gift. (Unkown). Greek Goddess of The Crossroads. Available: Hecate.htm. Last accessed 20 October 2013.

Finacial Analysis References (Paul W. Farris; Neil T. Bendle; Phillip E. Pfeifer; David J. Reibstein. (2006). Reach, Net Reach, and Frequency. Available: http:// Last accessed 8th October 2012.) Davidov, P. (2012). What is the “share of voice” metric in media marketing in. Available: Last accessed 8th October 2012 (Paul W. Farris; Neil T. Bendle; Phillip E. Pfeifer; David J. Reibstein. (2006). Reach, Net Reach, and Frequency) Kipp Bodnar. (2012). 21 Internet Marketing Stats That Will Blow Your Mind .Available: bid/33328/21-Internet-Marketing-Stats-That-Will-Blow-Your-Mind.aspx#ixzz28jykXGZN. Last accessed 8th October 2012.

Healthy Brand Analysis Reference Aaker, D. A. (1996). Building strong brands. New York: Simon & Schuster Inc. Anne Olsson. (2006). The Brand Proposition. Available: Last accessed 20th April 2013. BizMag. (2012). Start-up inspiration. Available: Last accessed 20th April 2013. CD. (2012). Wakaberry Lands in Rosebank. Available: Last accessed 20th April 2013. EDD. (2013). Myög & Wakaberry Frozen Yoghurt . Available: Last accessed 20th April 2013. Gordon Cook, kira Erwin, Patrick Carmody and Dr Carla Enslin. (Undated). How Healthy is your brand. Not Applicatble. NA (Whole), 1-5. 60

Kapferer, J-N. (2001). Strategic brand management (Creating and sustaining brand equity long term). London: Kogan Page Limited. Marcels. (2013). 21 years and still swirling. Available: Last accessed 20th April 2013. Ries, A. & Trout, J. (1993). Positioning â&#x20AC;&#x201C; The battle for your mind. New York. Warner Books, inc. ROSALIND RYAN. (2013). The healthy ways to eat ice cream.Available: Last accessed 1 May 2013. Wakaberry. (2013). About Us. Available: Last accessed 20th April 2013.

Brand Challenge References Lips. (2012). Retrieved September 12, 2012, from MAC Cosmetics: http://www.maccosmetics. Products. (2012). Retrieved September 12, 2012, from Labello: Products. (2012). Retrieved September 12, 2012, from Blistex: Products. (2012). Retrieved September 12, 2012, from Vaseline: w fault.aspx



Thank YOU for taking a LOOK

The End


Portfolio of Catherine Smith  
Portfolio of Catherine Smith