DSM Report Ashley Williams

AshLeyWILLIAMS AshLey WILLIAMS Rae Martins 40087972

embrace your identity.

why walk in their shoes when you can wear their skin?

SS22

Contents

Introduction

2030 industry change makers & retention to advocacy

2025 2021

increasing market share & consumer experience

social media & awareness update in local market

02. introduction 03. ashley williams 05. target customer 09. identity collection 11. phase 1: 2021/2 25. phase 2: 2024/5 35. phase 3: 2030/1 45. conclusion 47. recommendations 49. bibliography 67. appendices

A disruptive brand like Ashley Williams always makes an impact.

Provoking thought through sheer expression, while bringing elements of escapism with the camp nostalgia of the brand image. Putting forward a strategy to increase brand awareness and using the growth to become the change makers that purpose-driven consumers of the 2020’s desire.

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Ashley Williams Describing Ashley Williams as a Londonbased, accessible luxury label with a POV, operating since 2013 (‘Ashley Williams’ 2021), “known for consistently setting the

tempo of womenswear trends” (‘London Fashion Week - Ashley Williams’ 2021).

Leaders in quirky, kitsch and clashing prints (‘Ashley Williams RTW Fall 2020 – WWD’ 2021) adored within youth culture, while consistently referencing previous subcultures as inspiration to both the overall product and campaign design (‘Ashley Williams’ 2021). Offering social presence on Facebook, Twitter and Instagram, the only active channel of the three with 127k followers (‘(っ◔◡◔) っ (@ashleywil-

liamslondon) on Instagram • 946 Photos and Videos’ 2021), presenting Ashley as a smaller-scale brand;

potential room for improved diversity within those key head office roles (‘Ashley Williams’ 2021). *appendix 01 Fig. 1-5 Ashley Williams Imagery

Fig. 6 Ashley Williams LinkedIn Staff

North Star: In a landscape full of exclusivity and outdated norms, becoming the go-to brand to deliver fashion both on trend & reflective of sociopolitical feel, opening up the conversation for youth culture to reinvent the fashion environment.

despite this, Ashley’s stocked in 28 retailers globally, additionally offering worldwide shipping online (‘Stockists’ 2021).

Noting the workplace through LinkedIn, while not a full view of staffing, suggests

03

fluid accessible conscious

Fig. 7-11 Ashley Williams Instagram

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Target Customer

Fig. 12-17 Ashley Williams Consumers

Pen Profiling

Ashley’s consumer is an open-minded (The Everything Guide to Millennials n.d.), non-conforming (Perry 2018) fashion-lover, often creative and confident while residing in an urban environment (Scott 2021). Crossing between the VALS framework, Ashley’s Millennial and Gen Z consumers are typically thinkers and innovators, due to their resources and individual style, yet recognition of, and adaptation to, change, showing considerable social awareness and political engagement (‘Vals Framework - Values Attitude Lifestyle Vals Model’ 2015). Pertaining the Diffusion of Innovation theory, they typically sit at innovator or early adopter, due to being more digitally native and trend-driven, as Ashley are currently a smaller scale brand holding a niche fashion audience. While Ashley’s fashion is innovative, the technology must match to maintain and grow the consumer base within the 2020-30 landscape.

“the new defiance is to reject the conventional boundaries or expressions of identity altogether”

Fig. 19 Customer Pen Profiles

87% of Gen Z state politics is important to them, 85% wouldn’t buy from an unethical brand (‘The Future of Youth Culture: The Area of Monomass’ n.d.)

Fig. 18 Targetted Consumer in Diffusion of Innovation Model

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Age: 20-35, Gen Z/Millennial Gender: Everybody Social Grade: AB, C1 Location: London - urban, inner-city based Housing: Residing in a one bed apartment outside of the city centre Acorn: Category 2, Group D, Type 15 / Type 16 / 17 Lifestage: In a partnership but not yet married or children as they’re career focused Family: Left family home, beginning to think about starting a family Education: BA/MA student or recently graduated Job Title: Fashion writer for an online publication, or another digital creative fashion field Income: £25,000 - £40,000 Lifestyle: Introvert, vegan, ethically concious, career-focused, passionate, mum of the group, creative mind, trendy, optimistic, open-minded, non-conforming to gender stereotypes Tech: Savvy using their phone for daily work and personal life - early adopters in terms of tech Preferences: Loves anything social and visual - Instagram, Pinterest, TikTok and Facebook always looking for new apps and platforms Frequency: 8 hours+ of screen time, and more if you include laptop Online Shopping Frequency: Tries to shop as little as possible as sustainably concious, willing to pay a higher price point for ethical items, however, shops fashion twice a month often through accessible luxury and second-hand online market places like Depop, placing up to 3 orders a month, ranging from fashion, groceries, beauty and interior Devices: Exclusively Apple, their favourite products include the iPhone, MacBook and Airpods Used For: Work, social networking, TV/entertainment, shopping, transport Diffusion of Innovation: Innovators and Early Adapters Maslow’s Hierarchy: Seeking belongingless, esteem and self-actualisation VALs: Thinkers and Believers

Customer Profiling

Not limited to, but typically including...

*appendix 02

Fig. 20 Customer Profile Overview

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Identity Collection Identity SS22 is a collection using a set of bold, inclusive prints resembling human skin, displaying imperfections or health conditions of specific individuals to help normalise and bring awareness to different stigmatised issues.

Each skin relates to an accompanying charity organisation detailed in a personal profile via the app and nostalgic product tag. Adding innovative gender inclusive crotch and

why walk in their shoes when you can wear their skin?

chest size options, as well as a pre-order purchase model to help promote sustainability (‘Future Innovations 2021 Macro Trend Forecast’ 2021), likely to require less returns.

The collection will be available to preorder from October 2021, arriving to consumers from March 2022, increasing longevity through introducing additional products Y-O-Y and commerciality through relating to many underrepresented people as “brands will need to address a wider range of diversity within products and services” (‘Future Innovations 2021 Macro Trend Forecast’ 2021).

When looking to charity organisations for partnership within the major EDI categories we considered: BLM UK, CARG, Scope, Age UK, MindOut, Mermaids and Young Minds, among others

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*appendix 03-05

depending on each skin print. The benefits being how the collection aligns with customer consciousness and creative activism, targeting Maslow’s belongingness to selfesteem as the collection promotes diversity (‘The State of Fashion 2021 Report: Finding Promise in Perilous Times’ 2020) and empathy (‘The Vision for 2025: Hyperpersonalized Care and “Care of One” | McKinsey’ 2021), giving it a place in the future fashion landscape. The print being inspired by a number of previous products suggests a red ocean concept, however, the focus on narrative throughout the creative strategy shows a blue ocean USP as consumers lean towards ethics and purpose rather than trend and fast consumption.

Elliott Baby Vest £135

Toby Baby Tee £135

Denzel Shift Dress £340

aw

aw

aw aw

aw Beth Boxer Shorts £190

aw Marta Kate Bag £150 Winnie Tights £80 Fig. 21 Identity Collection Products from 2021-2030

67% of Gen Z state their style defines their identity, with 52% stating brands must have a purpose and live by it (‘The Future of Youth Culture: The Area of Monomass’ n.d.)

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Uncertainty over the status of the pandemic, the landscape will still be enduring the impacts of Covid through the economic environment, pause in operations and recovery from monetary losses (‘The State of Fashion 2021 Report: Finding Promise in Perilous Times’ 2020)

2021

The technology acceleration boosted through the pandemic indicates the Roaring 20s effect will increase retail therapy as the “growing thirst for extreme self-expression” through fashion flourishes and presents itself via pictorial social channels, helping redeem the economy (‘Future Innovations 2021 Macro Trend Forecast’ 2021)

“purpose-driven brands and meaning-driven experiences will stand out for all the right reasons” (‘Future Innovations 2021 Macro Trend Forecast’ 2021)

Sustainable adoption of limitarianism becoming a theme through slower distribution models and a shift in customer expectation (‘Future Innovations 2022 Macro Trend Forecast’ 2021)

Equality, inclusion and awareness of socio-political issues will be brand must-haves as consumers prioritise self-care and community (‘Future Innovations 2021 Macro Trend Forecast’ 2021)

*appendix 06

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2022

01 Experience, Engagement & Education

Phase 1:

“social commerce will increasingly become a powerful tool for small brands to access their welltargeted customer segments and make them able to compete with large brands”

UK About Shop Identity Stockists Harvey Nicholls Goodhood Dover Street Market Browns Hypebeast SSENSE

unapologeti you

App Socials CSR Statement Transparency

about identity

Charity

Fig. 21-22 Website and App Mock-up

(Page 2020) gain increased control over, and drive traffic to, digital Ashley channels presenting an opportunity to promote education and transparent CSR

First introducing an Ashley application, marketed through social media and available on the App Store and Google Play for a convenient and seamless m-commerce experience (Page 2020), with predictions of Golden Twenties mindset post-pandemic (‘The State of Fashion 2021 Report: Finding Promise in Perilous Times’ 2020). Also investing in UX of the website while narrowing UK stockists.

*appendix 07

increasing engagement with e-commerce trend forecast (‘10 Marketing Trends for 2021 [Infographic]’ 2021) (‘Record-Breaking January Sees Highest Online Retail Sales since 1st Lockdown’ 2021)

Harvey Nicholls, Goodhood, Dover Street Market, Browns, Hypebeast and SSENSE (‘Stockists’ 2021)

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02 Experience & Entertainment

03 Engagement & Experience LIVE

SEPTEMBER

Sept 22 2021 ASHLEY WILLIAMS LONDON

SS22 Exhibition: A Case of Identity Theft

Watch

ashleywilliamslondon A Case of Identity Theft exhibition

Fig. 23-25 London Fashion Week Schedule, Website Live and Instagram Countdown Story Mock-up

Showing at London Fashion Week Digital in September 2021, streaming additionally through the Ashley app, website and Instagram channels. Suggesting the creative direction of a fashion film exhibition “A Case of Identity Theft” to accompany the collection in line with digital fashion week trend (‘“Phygital” Fashion: Your Guide to Paris Fashion Week | SHOWstudio’ 2021), marketing through Instagram and Facebook channels with interactive story features, e.g. countdowns.

reaching the early adopter LFW viewers (‘Fashion Week 2021: Dates, Digitization and the Future’ 2021)

ashleywilliamslondon 50m

aligning with accessibility and inclusivity aims

A CASE OF IDENTITY 22 2021 THEFTSept LIVESTREAM ASHLEY WILLIAMS LONDON

SS22 Exhibition: A Case of Identity Theft

building hype and provoking commentary from press

15

Watch

...

x

increased use of features and one-click sale functions (‘25 Predictions for Social Media Marketing in 2021’ 2021)

Continuing brand social presence through “golden goose” Instagram ” (‘25 Predictions for Social Media Marketing in 2021’ 2021), with a large fashion market while promoting front-facing accessibility as “through optimising the platforms links to Instagram, everyone found e-commerce a seat on fashion’s front row” (‘OnlyFans, TikTok & Clubhouse Are Revolutionising The Fashion Industry All Over Again | British Vogue’ 2021). Going on to adopt Pinterest, posting mainly visual and aesthetic fashion content, mixed with emotive or educational content for Instagram, including interviews, infographics and information regarding sociopolitical causes. Also utilising Stories, Reels, IGTV and forecast features like 4-way global awareness lives (‘Instagram Live Now (‘Most Used Social Media 2020’ 2021) Hosts More People With “Rooms”’ n.d.), using newer innovation like AR/VR story filters to offer increased levels of engagement (‘The Future of Youth Culture: The Area of Monomass’ n.d.).

aw

Saskia Boxer Short £190

56% of Gen Zers globally identify Instagram as their biggest influence (‘The Future of Youth Culture: The Area of Monomass’ n.d.)

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Beth Baby Tee £135

Fig. 26-27 Ashley Williams Instagram Account and Shops Feature Mock-Up

pictorial channel without social vanity (‘Here’s How Social Media Affects Your Mental Health | McLean Hospital’ 2021)

reaching the 35M creative fashion users through shared aesthetic (Elven 2019)

LIVE 10k

Ashley Williams ashleywilliamslondon.com @ashleywilliamslondon 500 followers . 10 following 50k monthly views

Fig. 28 Ashley Williams Pinterest Account for Digital Advertisement Mock-Up

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04 Engagement & Experience

“worlds most used digital platform” (‘The Great Hack’ 2021)

Revamping the Ashley Facebook channel, inactive since 2017, as a brand information hub with easy links to social channels and e-commerce, e.g.

Facebook x Instagram Shops (‘25 Predictions for Social Media Marketing in 2021’ 2021). Facebook becoming nucleus of the brand allows for maximised reach and visibility, using the platform primarily to keep consumers informed. On the other hand, discontinuing the promotion of a brand Twitter, equally as neglected and gaining no adoption of e-commerce or innovation (‘25 Predictions for Social Media Marketing in 2021’ 2021).

capturing innovators to laggards in local and global markets

ashleywilliamslondon

from competitions and events, to links for other social and visual content

Shop FW21 from our new app! Gain access to our exhibition, social channels and new Identity collection by following the link below...

appstore/ashleywilliamslondon ashleywilliamslondon

05 Entertainment, Engagement & Education In line with the trend of “on the go bitesized video” (‘Video Marketing Trends to Cut through the Noise in 2021’ 2020), which Vogue states brands must adopt to attract luxury consumers (‘Vogue Business and TikTok Technology Forum’ 2021), leads us to suggest the launch of a TikTok and YouTube channel. As an emerging platform forecast to adopt e-commerce, TikTok carries a mass luxury fashion audience (‘25 Predictions for Social Media Marketing in 2021’ 2021); while Instagram shifts to become commercecentred rather than community-driven,

there is a gap in the market for platforms like TikTok with its “sledgehammer effect” on trend and culture (‘OnlyFans, TikTok & Clubhouse Are Revolutionising The Fashion Industry All Over Again | British Vogue’ 2021). Utilising YouTube, the 2nd most used social platform (‘Most Used Social Media 2020’ 2021), using cost-efficient in-house production (‘The Future of Youth Culture: The Area of Monomass’ n.d.).

“The fashion community on TikTok is phenomenal..it’s so much easier for people to find others who like the same stuff as them and to exist in the same communities and subcultures”

Fig. 29-30 Ashley Williams Facebook Account and Social Advertisement Mock-Up

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Both support content spanning fashion, culture, education and meaningful causes through a range of external guest collaboration, choosing mostly to promote interviews, masterclasses, styling videos and BTS brand content.

(‘OnlyFans, TikTok & Clubhouse Are Revolutionising The Fashion Industry All Over Again | British Vogue’ 2021)

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Ashley Williams London

Ashley Williams SS21 Throwback Highlights

Ashley Guests: Body Image and Social Media

www.ashleywilliamslondon.co.uk

‘Maya’ Skin: New Print Profile Ashley Guests: Unconscious Updates Bias and Racism

Transparency: Supply Chain Tour with the Managing...

Ashley Williams London Tiktok currently holds 1B daily users (‘25 Predictions for Social Media Marketing in 2021’ 2021)

spread education through entertainment

opportunity for monetisation

provoking consumer advocacy as “videos are especially useful for evoking an emotional response” (‘10 Marketing Trends for 2021 [Infographic]’ 2021)

accessible to masses

B2C digital community building

ashleywilliamslondon

<3 Identity collection out now! <3 ashleywilliamslondon

DAY IN THE LIFE OF AN A.W. DESIGNER BILLIE & BODY HAIR STYLING THE HEAD OFFICE TOUR:

ASHLEY’S FRONT ROW CHALLENGE

LETS TALK SOURCING

Fig. 31-37 Ashley Williams YouTube Channel and TikTok Account Mock-up, Leading to Increased Advertisement and UGC

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YouTube 200B monthly users, seeing a 500% increase since Covid (‘The Future of Youth Culture: The Area of Monomass’ n.d.)

06 Engagement & Entertainment

10%

macro & non-fashion: expensive, new market, risky

70%

5 brand ambassadors per year

nano, micro & previously used: cost-efficient, good engagement, less risk

Adopting influencer endorsement across Instagram, TikTok and YouTube platforms they will offer trusted opinion and the preferred “home-made” UGC (‘The Future of Youth Culture: The Area of Monomass’ n.d.) as “video will be 2021’s most important medium for influencer partnerships” (Johnson 2021). Influencers will help bring reach and commerciality to the mainstream audience, leading to adoption after the chasm within diffusion of innovation. Analysing the overall influencer strategy through the risk 70/20/10 model (‘70:20:10 Marketing’ 2020) - as a small brand we can designate 70% of the budget to nano, micro and previously used influencers, 20% mid-tier and gifting influencers and 10% macro and non-fashion, choosing mostly to promote interviews, masterclasses, styling videos and BTS brand content.

20%

Cora Delaney @coradelaney 27.2k 6.73%

Kai Jamal @kai_isaiaah_jamal 62.5k 3.20%

Chloe Felopulos @chloe.felopulos 14.1k 14.60%

Brooke Candy @brookecandy 403k 3.37%

Jasmine McKing @jasminemcking 10.3k 5.56%

Rhiannon Isabel @rhiannon_isabel 12.5k 7.34%

Betsy Johnson @betsyjohnson_ 60.1k 3.34%

Evie Clark @lovevie 159k 4.50%

Lava La Rue @lavalarue 48k 7.02%

mid & gifting: more expensive, not guarenteed coverage

3% engagement rate or above (‘Micro-Influencers vs Celebrities’ n.d.)

intent of customer conversion and awareness

Fig. 38-39 Annotated Risk 70/20/10 Model and Board of Suggested Influencers with Engagement Rate Analytics via (‘Instagram Engagement Rate Calculator’ 2021)

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Trends of hyper-personalisation and localisation are prominent (Page 2020) as data is used to predict consumer behaviour (‘The Vision for 2025: Hyperpersonalized Care and “Care of One” | McKinsey’ 2021), expecting empathy and a more inclusive, flexible, opportunistic and accessible environment (‘Life in 2025: What Will the Future Look Like?’ 2021)

Tail end of the pandemic’s impact will lead to more freedom in experiences and debt (Page 2020)

China is forecast to become the largest economy (‘Is the UK about to Drop out of the World’s Top 10 Economies by 2030?’ 2019) (‘What Will the World Look like in 2025? FT and Nikkei Reader Predictions’ 2021), predicting a trade deal likely be put in place between both UK and Chinese markets before 2025 (‘UK Trade Agreements with Non-EU Countries’ 2021)

2024

2025

Increase in digitisation innovation and hybrid, one-stop experiences, as online sales increase 4x faster than physical retail (‘Global Fashion Market to Grow 3.9% per Year by 2025’ 2021), and technologies such as AI become normalised (‘RETAIL 2025 Predictions on Innovation’ 2025)

The re-election of the Conservative party made possible as “we’ll forget our outrage at the NHS and social care being brought to their knees”, pushing inequalities without the consideration of historical austerity (‘Could Boris Johnson Be Eyeing Another Snap Election? Don’t Bet against It | Polly Toynbee’ 2021)

*appendix 08

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01 Engagement & Experience

Phase 2:

*appendix 09

Considering the Eagle vs Dragon (Adan 2020), we put forward the vision of increasing market share for Ashley within an emerging Asian market. Focusing firstly on China (‘BRICS or MINT: The Good, the Bad and the Ugly’ 2017) as the “overriding economic force in Asia” (Andrew J. Smith 2021) and “world’s largest social media market” (‘Top 10 Chinese Social Media for Marketing (Updated 2021)’ 2021), due to the high population and promising economy, will ensure a sustained profit in the future, reaching many more consumers than the current UK market (‘Is the UK about to Drop out of the World’s Top 10 Economies by 2030?’

2019). Additionally, using Ashley’s stockists for scale within the new market, including Canal Street and D-Mop, as well as Dover Street Market, a kept UK stockist who have a store in Beijing

to offer resources and support (‘Stockists’ 2021). Going on to re-prioritise social channels with the new market focus – firstly transferring Instagram content to Facebook, engaging with newly introduced features, with the demise of Instagram (‘OnlyFans, TikTok & Clubhouse Are Revolutionising The Fashion Industry All Over Again | British Vogue’ 2021), and Facebook’s domination of BRICS markets (‘25 Predictions for Social Media Marketing in 2021’ 2021). Going on to adopt emerging Chinese WeChat and Weibo channels, for personalised and authentic communication like livestreaming (Ren 2018); similar to Clubhouse, “the best platform for connecting with interesting and important people” (‘OnlyFans, TikTok & Clubhouse Are Revolutionising The Fashion Industry All Over Again |

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British Vogue’ 2021), allowing cross-level educational, accessible video content to be transferred to the audio channel (‘Who Will Be Fashion’s First Clubhouse Star? | BoF Professional, News & Analysis | BoF’ 2021).

Overall, adopting more one-click social e-commerce, through the now normalised Instagram/Facebook Shops and other platforms predicted to utilise similar technologies, e.g.

TikTok (‘OnlyFans, TikTok & Clubhouse Are Revolutionising The Fashion Industry All Over Again | British Vogue’ 2021). Opting for glocalisation in terms of social and digital B2C as localism trends and preferences of personalisation continue, fully resonating with all consumers for better ROI (‘The Vision for 2025: Hyperpersonalized Care and “Care of One” | McKinsey’ 2021).

Fig. 40-42 Ashley App Glocalisation Feature Changes, New Glocal Asian Social Handles and Chinese Social Channels Adopted

ashleywilliamsasia Clubhouse has been commended for acting as an updated Twitter platform, with more ‘real life’ digital encounters through direct audio (‘OnlyFans, TikTok & Clubhouse Are Revolutionising The Fashion Industry All Over Again | British Vogue’ 2021)

Chinese channels set to become adopted worldwide (‘Top 10 Chinese Social Media for Marketing (Updated 2021)’ 2021)

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02 Experience, Entertainment & Engagement Hosting a monthlong phygital pop-up experience within Satisfying experienceall worldwide DSM driven consumer demand forecasts locations (Page 2020), for social connection connection (‘The attracting innovators Future of Events | Dazed Media’ 2021) to early adopters.

Recommending ‘Find global scope Yourself’, an in-store potential through partnering with DSM hide-and-seek style (Hopkins 2020) event concept, allowing consumers to search for free Identity products through hidden QR codes found in-store, driving traffic to the linking to an app camera app, DSM store and Identity collection feature offering clues and AR (‘The Future of Youth Culture: The Area of Monomass’ n.d.), while in store. Marketed through digital 3D 5G a predicted future (‘The billboards (‘Watch: From technology Future of Youth Culture: The Area Roaring Lion to Giant of Monomass’ Waves, Ultrarealistic n.d.)

3D Displays Bring Billboards Alive’ 2021) and drone technology (Storm 2021) within city aiming to centres, transport links create customer and DSM storefronts, immersion and promoting through Ashley and DSM social channels. To promote accessibility this would primarily using be a free, ticketed event Instagram, (due to any remaining Facebook and TikTok, as well Covid impacts). as influencer endorsement

03 Engagement & Education

Dazed, i-D or The Face for UK

FIND YOURSELF: ASHLEY WILLIAMS X DSM

You’re invited: Find Yourself

Join us as we host our first phygital event in partnership with all Dover Street Market locations worldwide!

Find Yourself with iconic Identity items up for grabs. Simply download our app, or look our for our QR posters, and follow the instructions to find out when the Ashley Williams Find Yourself experience comes to a DSM store near you.

For one month only, play a game of scan and seek to find Identity items through QR codes hidden in your local DSM store & watch out for real-time clues via the app!

Get ready, set and scan!

Fig. 43-45 Event App Features, 3D Drone Billboard Advertisement and Event Emailer Mock-up

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Yoka, Trends or Ray Li for China (‘Top 5 Online Fashion Magazine in China’ 2020)

Seeking digital PR and “advertorial” opportunities (‘WSA The Communications Agency’ 2021), specifically within the new and local market, to increase awareness and drive sales through brand coverage via established critics. As digital media becomes more influential in China (‘Will Digital Media Break China’s Fashion Magazine Oligarchy?’ 2016), it’s global reach and measurability (Salarizadeh 2021) make for promising marketing tactics; prioritising editorials due to their costfree and authentic nature, building on consumer base (‘PR & Communication in 2021: Focus on Authenticity, Personality & Tradition’ 2021).

The Hot London Brand Taking Over China’s Fashion Scene

Explore

Main image via Ashley Williams London promotional lookbook.

12 November 2025, 4:20pm

Inside the Latest Ashley Williams Identity Profiles As part of Ashley Williams focus on the Chinese market the brand release three new skin prints as part of the Identity collection.

Shop and meet the Zhang, Liu and Wang Xiu skins, with i-D, your one-stop-shop for this week’s fashion news to know.

Among other issues, these newly released skins from the Ashley Williams Identity collection surround the racial tensions and impacts on the Chinese community off the back of Covid and derogatory comments made by media personnel including Trump with ‘the Chinese virus’. Ashley’s new skins bring light to the experiences of three inspirational Chinese people living in China, as well as the US and UK, during the tail-end of the pandemic.

Ashley Williams London SS25

the iconic Identity collection Fig. 46-48 Editorial and PR Mock-Ups

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04 Experience, Engagement, Education & Entertainment increasing Introducing a limited commerciality using hyperedition app gamification personalisation and feature, allowing for inclusivity (‘The Vision for 2025: more mass adoption as Hyperpersonalized Care and “Care of consumers show what One” | McKinsey’ 2021) diversity means to them building exclusivity through technology, personalisation and limited availability. This would play on both intrinsic aiming to and extrinsic motivators build on hype - intrinsically it promotes curiosity and education of the different personalisation features which can be added, as well as being Ashley have previously able to share to socials adopted (‘Ashley Williams Slip and purchase, which is the Animal Crossing: New Horizons factor drawing on extrinsic Custom Design motivators (‘Extrinsic vs. | Nook’s Island’ 2021) Intrinsic Motivation: What’s the Difference?’ 2021).

Marketed through Instagram and Facebook, heavily using influencer endorsement through TikTok and YouTube catering to nostalgia small happiness trend to display the aim of the (Dan 2021) product and app feature.

Spreading the message that it’s made to represent the person wearing it, avoiding confusion, insensitivity and increased app traffic, provoking appropriation (‘Cultural purchases and social media Appropriation: Everything conversation Is Culture and It’s All virtual try on and Appropriated’ 2021) by scan yourself in (Hall 2021) subtly discouraging inaccurate design purchase.

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“Bring users into the process to make sure innovations meet their needs”

Fig. 49-50 Gamification App Feature with Self Scanning Print Technology

(‘Future Innovations 2021 Macro Trend Forecast’ 2021)

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The UK economy drop below 10th largest globally (‘Is the UK about to Drop out of the World’s Top 10 Economies by 2030?’ 2019), driving the sharing economy with community, localism and meaning continuing as norms (‘Consumer Trends 2030’ 2021) (‘Ten Tech Predictions for the Decade Ahead: What Will Happen by 2030?’ 2021)

The growing demand for ethics, sustainability and waste accountability (Zylberberg 2019) pushes for the implementation of The Extended Producer Responsibility Policy (Cernansky 2021), Blockchain (‘2021 Supply Chain Technology Trends To Watch’ 2021) and Smart AI (Page 2020) with the adoption of a slower fashion calendar (‘Gucci Bids Farewell to Fashion Week as Brand Goes Seasonless’ 2020) and potential demise of Fashion Week (Jennings 2021)

2030

2031

Digital connectivity pushes for social norms to change (Vogels et al. 2020) as tech-savvy consumers become more non-conforming and open, using their digital voice to promote activism through cancel culture, boosting equality (‘Consumer Trends 2030’ 2021)

Accessible online, and tech-infused offline, experiences will shift from 5G to 6G (‘Consumer Trends 2030’ 2021), expecting a seamless online-to-social journey (Page 2020) utilising big data, now better monitored and transparent, as legislation catches up with the digital age (Vogels et al. 2020) (‘Ten Tech Predictions for the Decade Ahead: What Will Happen by 2030?’ 2021)

*appendix 10

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01 Experience & Engagement

Phase 3:

Starting with an exclusive partnership with DSM, allowing for Ashley’s focus to shift from e-commerce to other ventures, including the promotion of meaningful causes due to the slower fashion calendar and support capabilities of DSM in 2030. Utilising the relationship to build on resources and scope for Ashley, managing the majority of commerce on Ashley’s behalf.

Limiting stockists to just one provider will help narrow traffic to Ashley and DSM channels only, benefitting both retailers.

In a conversation with DSM employee Andre Stanbridge, we discussed how DSM could support with future events, physical retail, data privacy, industry relationships

and manufacturing capabilities. Also considering the direction of DSM, and how they have already taken steps to support a few focus brands – e.g. DSM Little Market (‘Dover Street Market Is Opening a “Little Market” in Paris’ 2021) or partnership with Nordstrom (‘Nordstrom Partners with Dover Street Market’ 2021).

Using DSM’s status to gain PR, as well as Instagram, Facebook and WeChat channels of Ashley and DSM to detail the partnership. Adding more creative store reveals through TikTok and 6G billboard advertisements (‘What Is 6G and How Far Are We from Rollout?’

2021), upgrading last strategies use of 3D 5G with DSM’s support.

“It [collaborating with other brands] allows you to do things you aren’t able to do on your own” (Johnson 2021) *appendix 11

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TikTok to create buzz

DOVER STREET MARKET X ASHLEY NOW THE EXCLUSIVE STOCKISTS OF ASHLEY WILLIAMS LONDON

ASHLEY WILLIAMS

aw

Main image via Dover Street Market Ldn on Instagram.

12 November 2030, 4:20pm

DSM Become the Sole Stockists of Ashley Williams Earlier this week Dover Street Market released news surrounding the London designer brand, Ashley Williams, becoming the lone stockists for the worldwide market. i-D, your one-stop-shop for this week’s fashion news to know.

Fig. 51-54 Website Announcements, Consumer Social Buzz, the DSM Beijing store and Digital PR of Collaboration Mock-ups

drawing into conglomerate trend and hybrid bricks-andmortar experiences (Page 2020)

B2B approach less risk overall

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02 Education, Entertainment & Education

03 Engagement & Experience

supported through agencies like Creative Diversity Network Network (‘Creative Diversity Network’ n.d.)

Going on to launch a brand media platform to the app and website as “68% of Gen Z state opportunity for online publications have monetisation through online the biggest influence advertisement (‘How to Start a on their opinions” (‘The Media Company Steps?’

Future of Youth Culture: in 12 Easy 2019) The Area of Monomass’ n.d.). Contributed to by the previous Identity print muses as this would help exclusively hosting Ashley work towards workplace fashion week presentations, inclusivity, an aim from similar to the original CSR put GucciFest (‘Gucci Bids Farewell to forward, showing a Fashion Week as Brand Goes more T-Shape model as Seasonless’ 2020) the contributors utilise their specialist skills centring EDI to provide an unbiased perspective for Ashley followers.

Marketing through all socials, with influencer incentive to subscribe with a endorsement from the quarterly emailer zine lookbook contributing Identity previously adopted

by Ashley muses, also advertising (‘Ashley Williams through emailers, digital Just Dropped a No-Fucks-given transport advertisement, Fashion Zine’ 2020) DSM beacons and app push notifications.

“Make sure your teams are as diverse as your consumers”

increasing control over Ashley re-commerce

ashleyzine FW30

scan to shop

Fig. 55-56 News Channel App Feature and Quarterly Emailer Zine Mock-up

Adopting an app marketplace feature as new sustainability policies emerge (Cernansky 2021), aiming to promote the circular and sharing economy of 2030 (Hyseni 2017). combining consumer Eliminating cost preference for and barriers and improving digitisation sustainability accessibility to luxury fashion (‘A New Era and a New Look for Luxury’ 2020) as “consumers have been turning to second-hand retail as a more affordable and accessible option” (‘ReCommerce: Luxury’s Next Big Thing?’

2020). Suggesting advertisement through emailers, Instagram, Facebook and WeChat, seeking PR opportunities from professional e.g. Drapers or LinkedIn publications.

ANALYSIS

Ashley Williams Tackle ReCommerce

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Fig. 57-58 Marketplace App Feature and Professional PR Mock-up

*appendix 12

(‘Future Innovations 2021 Macro Trend Forecast’ 2021)

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04 Entertainment & Engagement

Referring back to 70/20/10, we can justify the use of celebrity endorsement through the reduced risk level of brand reputation and support, adopting new, limited edition Identity skin prints using celebrity muses.

Considering technology predictions of the time, and the early 2020s development in video tagging (‘Video Marketing Trends to Cut through the Noise in 2021’ 2020), opting for product placement within streaming channels (Desiderio 2021). Seamlessly and subtly advertising through the customers favourite fashion and youth series. The reach of online streaming services (‘Netflix Revenue and Usage Statistics (2021)’ 2018),

05 Engagement & Experience

evan mock as akeno Gossip Girl Generation 2: Queer Identi...

Fig. 59 Netflix Product Placement Advertisement Mock-up for Gossip Girl 2

coupled with consumer ability to relate to the vulnerability of celebrities (Hashaw 2019), helps bring Ashley to a mainstream audience, provoking after the chasm adoption through celebrity influence, sparking Gartner’s slope of enlightenment.

Choosing to promote additionally through social channels, consumer reposts and an as-seen-on-TV story series.

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‘adless advertisement’

Netflix, YouTube and Hulu

suggesting shows similar to Sex Education or the Gossip Girl reboot

*appendix 13

In 2030 it’s likely that Ashley will have a focus on Facebook, Instagram and WeChat, along with YouTube, Clubhouse and TikTok, as well as Pinterest but not so heavily. The forecast consumer shift from e-commerce heavy platforms (‘OnlyFans, TikTok & Clubhouse Are Revolutionising The Fashion Industry All Over Again | British Vogue’ 2021) showing it’s vital to focus on visual platforms for entertainment and experience, along with the traditional platforms for engagement and education (‘Ten Tech Predictions for the Decade Ahead: What Will Happen by 2030?’ 2021). Despite predictions, noting that social platform hierarchy is reactive, meaning they will need to be monitored and revised closer the time (Serrano 2016).

information hubs

customer-facing, creative platforms

Fig. 60 Final Socials Used: Facebook, WeChat, Instagram, Clubhouse,TikTok, YouTube

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Conclusion reaching more early majority consumers as brand awareness grows globally and inclusivity is normalised

Focusing on digitisation, equality, experience and sustainability as “brands will need to address a wider range of diversity within products and services” (‘Future Innovations 2021 Macro Trend Forecast’ 2021) while we come towards the end of the pandemics impact. Looking at the Ashley consumer, they will progress from desiring tech-infused experiences to more purpose and education as they opt for ethics over innovation by 2030. Evaluating the success of Identity, it’s important to outline barriers of adoption including consumer style, cost of product, delay for pre-order and everchanging trend, which are unavoidable

awareness consideration conversion advocacy risks when ensuring the promotion of such important causes. These factors will however help build loyalty with niche Ashley customers, building commerciality through utilising previous Ashley styles, creating inclusive content highlighting many causes, and adding price accessibility throughout the personalised strategy.

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still retaining original before-the-chasm consumers, turning them to brand advocates within the marketing funnel

*appendix 14

Fig. 61-62 Revised Targetted Consumer in Diffusion of Innovation Model and Annotated Marketing Funnel

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Recommendations Reflecting on my role, the lack of brand social adoption has been the biggest challenge, but having first focused on social as the foundation, then digital for buzz and lastly, smart innovation for purpose, we can expand to target techsavvy innovators, through trend and technology, down to the early majority, with ethics and commercial adoption over time, by 2030. It’s imperative to utilise the revised marketing mix (‘The New 4Ps of Marketing | The Business of Fashion’ 2021) when future-proofing the on and offline creative business strategies, appealing to consumer preference postpandemic through smarter, not flashier, innovation as the target consumer widens.

The aim to organically grow Ashley as

a brand involves attracting consumers who share the same values (Johnson 2021), using digitisation to increase awareness, experience and thus sales. Helping make real change through slower purchase models, normalisation of inclusive sizing options and promoting educational content.

Putting forward a course of action for Ashley to continuously monitor the strategy, analysing emerging trends and channels through SWOT analysis and SMART KPIs, as well as primary research through A/B testing, reviews, email surveys and Instagram story polls.

All research indicates the success of Identity and its three-part strategy - while there’s always risks, particularly for smaller brands, these are

2021 specifically recommending an increase in social engagement and brand control, bringing Ashley into the 21st century

*appendix 15-17

important to take, and those responsible for sparking change across industry. While not everyone’s cup of tea, it’s painted within the brand values that Ashley aren’t shy to stand for what’s right.

Identity uses digital innovation and an Ashley twist with the potential of creating an iconic, long-lasting product which makes a statement within the luxury fashion scene over the next decade.

“Everybody needs to feel represented…we cannot stop until the change is complete” (‘Sex Sells? The Return of Playgirl, the Rise of Fenty, and Fashion’s New Gaze’ 2020) and we hope that Ashley can become leaders of this within the 2030 landscape.

2025 a focus on market share, branching out to larger economies and gaining global awareness with hybrid, experiential technologies

personalised: gamification

2030

partnerships - DSM positioning - media and advocacy

following through narrative and experiences

purpose - charitable, educational concept

matching custumer values and social movement Fig. 63-65 Primary Research Survey Data Visualisation, Annotated 4Ps Revised Marketing Mix Pyramid and Specific Concluding Recommendation

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and after gaining loyalty, using that to promote ethical consumption and meaningful causes with more subtle technology as ethics becomes the priority

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continue to appendices...

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Brand Positioning Map

Appendices

01

luxury

01. brand positioning 02. consumer preference 03. product trend 04. sample range plan 05. product inspiration 06. pestle 2021/2 07. product strategy 2021/2 08. pestle 2024/5 09. product strategy 2024/5 10. pestle 2030/1 11. product strategy 2030/1 12. primary research talks 13. gartner’s hype cycle 14. student evaluation 15. primary research survey 16. swot analysis 17. example kpis 67

trend-driven

purpose-driven

affordable

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Young Consumer Preference

02

2020 has seen a ripple of creative clicktivism (‘New Spaces for Social Movements: Defiance in 2020’ 2021) and cancel culture pushed by the fluid “new world” youth (‘The Future of Youth Culture: The Area of Monomass’ n.d.), as empathy is harnessed through global connectivity, access to education (‘The State of Fashion 2021 Report: Finding Promise in Perilous Times’ 2020) and “the information society’s” (Yigitcanlar and Inkinen 2019) blossoming growth mindset (Stanford Alumni 2014). The rise in revolutionary social movements, including BLM, MeToo and Trans Lives Matter, has helped spread awareness and shift values through a process of cause, action, effect and benefit (‘Types and Stages of Social Movements | Introduction to Sociology’ 2021).

The overarching benefit being increased inclusion – plus-size models on the runway (‘Area Spring 2021 Couture Fashion Show’ 2021), rise of commercial disabled models (Barr 2020) and diverse BAME representation in the workplace (‘Dazed Announces Its New Team and 2021 Vision’ 2021). While part of society moves towards equality, the others continue to use anonymity in the digital environment to push hate and low self-esteem (‘Here’s How Social Media Affects Your Mental Health | McLean Hospital’ 2021). Young consumers are transforming the landscape with their control over spending power (The Everything Guide to Millennials n.d.); prioritising activism within ethics, inclusivity, community and accessibility (‘The Future of Youth Culture: The Area of Monomass’ n.d.) due to their fluid, progressive nature and adoption of growth mindset (Stanford Alumni 2014) through education via digital connectivity (Yigitcanlar and Inkinen 2019) - challenging retailers to reflect these beliefs (The Everything Guide to Millennials n.d.).

With this in mind, aiming to alter the way Ashley target consumers to include an updated approach to gender (language, imagery, sizing) and increased accessibility (educational content and purpose-driven product), also editing segments of profiling, e.g. adding pronouns or removing education/income (Johnson 2021).

Using customer profiles to broadly outline consumers, while using digital web profiling (Riley 2018) to create multiple inclusive pen profiles to differentiate specific styles and preferences.

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Product Trend

03

(‘Gender-Neutral Fashion: Fluidity as Freedom’ 2021)

The products align with trend forecasts, for example, “bold graphics and all-over print” with a narrative (‘The Graphic Top’ 2021), baby tees (Huber 2021), genderless boxers (‘Undergarment Neutrality - Fashion Labels Reject the Gender Binary through Neutral Underwear Designs’ 2021) (Militano 2020) and tights ‘for men’ (‘I Love Shia LaBeouf’s Tights | Vogue’ 2021), also utilising the Ashley baby vests and shift dresses as well-performing current product styles (‘Ashley Williams’ 2021). Alongside this, the print adheres to EDI social trend, considering representation of marginalised groups, e.g. highlighting Asian (‘Covid “hate Crimes” against Asian Americans on Rise’ 2021) or transgender (‘The Representation of the Transgender Community in Fashion’ 2020) discrimination using emotive campaigns; as well as looking to empower consumers of all body types (‘Designer Runway “Tribute to Human Body”’ 2017) by showcasing the beauty in fluidity (‘Gender-Neutral Fashion: Fluidity as Freedom’ 2021) and imperfections (‘Rick Owens on Drawing Inspiration From Imperfection’ 2021), like scars (DouglasDavies 2018).

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Range Plan

04

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Product Inspiration Garments

Ashley Williams Naked Baby Tee

Andrea Grossi Body Print Leather Biker Jacket

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05

Walter Van Beirendonck “Finally Chest Hair”

Walter Van Beirendonck FW98

Andrea Grossi Body Print Leather Biker Pants

Beloved Swimwear 2017

Vivienne Westwood “Tits” 1977

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PESTLE 2021/2

06 P

Young consumers demand brands to engage socio-politically, with 54% of consumers believing brands have an important role to play in social conversations (‘The State of Fashion 2021 Report: Finding Promise in Perilous Times’ 2020). Continued opposition to the Conversative party by young consumers as pandemic impacts continue (‘Could Boris Johnson Be Eyeing Another Snap Election?

Don’t Bet against It | Polly Toynbee’ 2021).

E Within our economy the lockdown impact is as follows – 4.2% and 5.5% growth in GDP for 2021 and 2022 following the -9.7% drop from 2020, inflation vs interest rate will grow 1.5% and a further 1.7% in 2021 and 2022 following the smaller increase of 0.9% in 2020, and lastly, enemployment will increase to 6% and 5.9% in 2021 and 2022 following the 4.5% increase in 2020 – the bleak economic status of the uk due to effects of the pandemic, using this period to grow our local economy, which is a perfect time for the Ashley Williams brand to focus on its current UK market and catch up to current innovate e-commerce strategies while limited with the tail end of the pandemic and worldwide economic struggle posing risk and limited opportunity for market expansion and innovation (‘January 2021 UK Economic Outlook - KPMG United Kingdom’ 2021).

S Consumers celebrating ‘small happiness’ to cope with uncertain future and social pressure/ anxiety, creating happiness from insignificant moments, just as the human body is insignificant and ordinary, celebrating it through this collection, “this is self-care 2.0, driven by both convenience and community”. Consumers are weary of AI and data protection, but used right could make the consumer targeting process much more inclusive - another norm for 2021/2 (‘Future Innovations 2021 Macro Trend Forecast’ 2021). The consumer demand for online B2C communications has led to an increase in innovative online experiences, also noting connectivity during the Covid period leading to consumers being more empathetic to vulnerable supply chain workers and people as a whole, too – supported with the newly adopted collectivist and localist outlook for brands in response to slower international tourism (‘The State of Fashion 2021 Report: Finding Promise in Perilous Times’ 2020).

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T The consumer preference shift to personalisation (Page 2020) and digitisation helping boost e-commerce yet simultaneously declining physical retail, with e-comerce sales doubling globally in 8 months, also shown with Indiditex who are closing up to 1200 stores to prioritise digitalm or Kering creating a joint e-coomerce venture. Supporting consumers digital shift, Kering Chief Digital Officer states that he expects e-commerce to accelerate, with the group already beating McKinsey’s forecast of e-commerce accounting for 20% of brand sales by 2025, particularly in the Chinese luxury market (‘The State of Fashion 2021 Report: Finding Promise in Perilous Times’ 2020). Technology will provide solutions for a flawed supply chain with hyped technologies, like 5G and Blockchain, similar to the more promising Digital Twin Model and Next Generation Control Towers as SCP solutions, set to enter the industry soon, with their implementation being small wins and baby steps for Ashley Williams to become more sustainable, and transparent to consumers showing the effort towards ethics. AI, autonomous trucking, robotic automated storage and robotic process automation will become widely used (‘2021 Supply Chain Technology Trends to Watch’ 2021).

L There’s opportunity for increased legislation concerning Covid (PPE) and Brexit (trade) – stores and physical events will need to adhere to current and local guidelines whereas worldwide trade will depend on the deal set for each region, many small businesses will qualify for a selection of loan and funding schemes through this financially strained time (Howell 2021).

E Covid impacts (‘The State of Fashion 2021 Report: Finding Promise in Perilous Times’ 2020) in 2022 will bring a rise of limitarianism, shifting consumer habits and expectations to support the slow model undertaken by Ashley Williams “Identity” distribution scheme (‘Future Innovations 2022 Macro Trend Forecast’ n.d.). A purchasing model first adopted through the late 2010s was the slow fashion, pre-order format of consumption, or limited quantity drops, asking that consumers give leeway to an extended wait time, ensuring less wastage and better consumer satisfaction with less risk of online returns, which could be implemented to Ashley Williams as it becomes more commonly adopted through the beginning of the 2020s as a highly values consumer expectation (‘PRE ORDERS’ 2021). Sustainable packaging will become a norm, giving Ashley Williams an opportunity to use only recycled materials for their paper “Identity” ty teddy tags, tissue paper and cardboard box packaging, vouching to use no plastics within a new brand CSR, published along with more in-depth brand transparency reporting found in the educational segment of their app and site (Zylberberg 2019).

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Product Strategy 2021/2

07

In one year Ashley Williams will begin using their increased customer base and social presence to spread awareness and education of important causes surrounding EDI. In order to reach our vision, we need to make Ashley as digitally relevant as their competitors, fully optimising social channels as e-commerce grows and building a community through the digital audience by first release in March 2022.

In order to reach our challenge, we first need to relaunch all current social channels, adopt TikTok and YouTube and gain following on all through the optimisation of their features by the first promotion of the collection in October 2021.

After measuring, we know our current state is only 131k followers on Instagram and 2.1k on Facebook, which isn’t a massive reach.

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PESTLE 2024/5

08 P

The idea that, once finally returning to normal life in 2024, that the public will forget how poorly the Convervatives handled the pandemic due to being euphoric about returning to normal life, therefore vote them back in again “we’ll forget our outrage at the NHS and social care being brought to their knees, at the exams fiasco, at the billions squandered on failed contracts for Tory friends, at the overflowing morges. As tills ring out, the economy will leap up briefly. Less noticed will be the half of the country counting the cost, mouring their dead, strickened by unemployment, debt, evictions, escalating poverty and young futures blighted”, pushing the social and political inequalities gap wider (‘Could Boris Johnson Be Eyeing Another Snap Election? Don’t Bet against It | Polly Toynbee’ 2021). High unemployment post-pandemic, particularly for the youth, and the lag in updated policies and legislation will be common and cause threats, leading to social frustration and consumers looking to express themselves through arts and fashion to vent (‘Life in 2025: What Will the Future Look Like?’ 2021).

E Global economy impacts may force smaller/poorer counties to come together with up to 20-25 country mergers to take place in 2025 to ensure critical economic strength and ability to look after their populations with the speed and cost which it takes to survive in a “globally connected planet”, ideal for Ashley Williams market expansion and growth, with newly refinanced markets available globally (Talwar 2014). Financial services are said to be more widely available, with digital currency like Bitcoin offering extra security for smaller brands and businesses like Ashley Williams following the Covid impact (Talwar 2014). The fashion industry will go from 300 billion dollars in 2020 to 360 billion dollars in 2025 with online sales currently responsible for 12% of global retail sales, increasing 4x faster than physical retail (‘Global Fashion Market to Grow 3.9% per Year by 2025’ 2021).

S 2025 will be more inclusive and flexible with an increase in hybrid work, boosting morale and work accessibility to women, poor and disabled people, with corporate gender imbalance improving and better opportunity for those in developing countries, supporting the Ashley Williams mission with this collection, as well as the decision to expand to new markets (‘Life in 2025: What Will the Future Look Like?’ 2021). Personalisation and empathy are at the heart of consumer expectations, supporting the move to personalisation gamification and overall concept of provoking empathy (‘The Vision for 2025: Hyperpersonalized Care and “Care of One” | McKinsey’ 2021).

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T E-commerce will shift from convenience purposes to immersion and engagement, supporting the Ashley Williams app gamification, media outlet and livestream/video marketing services (Page 2020) immersion will be a recurring theme with live and virtual experiences, referring to gamification and supporting Rosalyn Page point for Ashley Williams personalisation gamification (Talwar 2014).

AI being another norm in 2025, adding new options for inclusivity and education, allowing the option for Ashley Williams to utilise intelligence, similar to Siri, SAT NAV and automated call centres, allowing the ‘skins’ to record a voiceover of their profile, ailment or stigma, adding new quicky traits to the brands app, as well as supporting accessibility for blind consumers (Talwar 2014). Understanding the consumer, using data to predict the consumer, creating a seamless digital omnichannel experience and adding real time customer service is key (‘The Vision for 2025: Hyperpersonalized Care and “Care of One” | McKinsey’ 2021).

L The objective of The Global Data Protection Market provides a positive influence on the market growth in 2025, considering current and future growing concerns over data protection, loss and cycle security, provoking also response and solutions from governments and organizations as we will likely see increased legislation over data protection, with recent examples of detrimental breaches via Facebook – some software included in this market include IBM, McAfee, Oracle Corporation, which Ashley Williams could explore (‘Insights on the Data Protection Global Industry to 2025 - Featuring CA Technologies, Oracle & McAfee Among Others - ResearchAndMarkets.Com | Business Wire’ 2021).

E Robotics will adopt many industries, particularly in retail, warehouse and supply chain, offering another option of sustainability within the Ashley Williams supply chain operation and experience within the Ashley Williams DSM pop-up (Talwar 2014).

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Product Strategy 2024/5

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In five years Ashley Williams will be well-known within both the UK and Chinese markets, further using their increased market share and newly adopted technology-driven experiences to become more inclusive and personalised while promoting important causes to an even bigger audience.

In order to reach our vision, we need to break Ashley into the Chinese market by the second release, with an Asia focus, in March 2025.

In order to reach our challenge, we first need to reach out to Chinese, and wider Asian, stockists, PRs and influencers to help gain recognition within this specific audience - also adopting Chinese social channels WeChat, Weibo and Clubhouse, just prior to the promotion of the collection in Asia for October 2024.

After measuring, we know our current state is no presence on any of the new social channels and no influencer endorsement but currently stocked within Addicted Seoul, Alter, Canal Street, D-Mop, DSM Singapore, Escalier, Her, It, Joyce, Journal Standard, K3, Sister and The Four Eyed within Asia.

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PESTLE 2030/1

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Mass surveillance affecting the political, social and legal feel in the uUK, with questions over its ethics and forecast fights against facial recognition and social media monitoring “in 10 years from now, we could be a mature surveillance state with a population that’s watched, listened to, recorded and tracked more pervasively than ever before - and indeed, a population that records and tracks itself”, potentially driving inequalities with 2021 calls to defund the police rather than increase resources which could discriminate further against marginalised people and communitites (‘Ten Tech Predictions for the Decade Ahead: What Will Happen by 2030?’ 2021).

E China and India will be the two biggest economies in the world, followed by US, but the UK will be below 10th place with Indonesia, Turkey, Egypt and Brazil ahead, measured through GDP and PPP, supporting and justifying the previous 2025 Ashley Williams expansion and focus to emerging BRICS and MINT markets (Page 2020).

S

T The consumer journey will be seamless through online and social experience, provoking this as an expectation, offering highly personalised experiences, user generated content and smart chatbot customer service as a result of the technology boost from Covid in 2020 (Page 2020). Omni-channel will be the norm, “highly immersive retail experiences will be provided by virtual and augmented reality”, same-day drone delivery will be among those expected, large brands vs challenger brands “Social commerce will increasingly become a powerful tool for small brands to access their welltargeted customer segments and make them able to compete with large brands”, perfect for Ashley Williams as a smaller brand growing through the 2020s into fruition in the 2030 landscape with the help of innovative technologies, in order to compete with smaller, and still larger, retailers on the market (Page 2020). Data will become more honest and transparent in the process of consumer awareness of how their data is used as a push from current unethical, exploitative use of online data (‘Ten Tech Predictions for the Decade Ahead: What Will Happen by 2030?’ 2021). Social media will see big changes or be taken over by the rise of newer social platforms, while AI will improve and be used across on and offline channels (Vogels et al. 2020).

L Politics and legislation will address ongoing privacy concerns regarding online identity, fake news and misinformation online will be more closely monitored (Vogels et al. 2020). End of clothing life laws will finally address the climate crisis in fashion (Cernansky 2021).

Human nature will take a while to change, with adoption of technology still forecasted to be questioned or distrusted by the public, with continued worry over data protection, safety and privacy (‘Ten Tech Predictions for the Decade Ahead: What Will Happen by 2030?’ 2021). Community will become more meaningful, along with 2020-2025 trend predictions of localism, continuing to give the Ashley Williams identity product meaning and inspiration (‘Ten Tech Predictions for the Decade Ahead: What Will Happen by 2030?’ 2021). Consumers will hold brands accountable, financially and physically, for the end-life of their products, giving opportunity for Ashley Williams to provide a loyalty incentive for using the Ashley Williams second-life and archive marketplace feature through the app (Zylberberg 2019). Driven by necessity and community with a population of 8.5 billion causing strains on resources and space, forcing the reduction of consumption, space and energy use, meaning overcrowded cities will increase the price of property space as it becomes more valuable/ desired. Consumers will become more tech-savvy, growing the “data- as-currency” approach by 2025, also focusing more on human rights as we enter a more collectivist, localist society (‘Consumer Trends 2030’ 2021). Consumers become more non-conforming with gender, creating a fluid approach to identity as they become more connected than ever utilising the digital age, however, loneliness and mental health will reach significance by 2030 with consumers replacing emotional connections with digital ones with remote working on the rise. Reinvented identities lead to a rise in consumers loving their authentic selves, pushing for the abolishment of beauty filters, as well as “anti-tech tech” promoting disconnecting from social media. By 2030 there will be more subtle gender labels overall, supporting the Ashley Williams “Identity” focus, battling social stigma and gender discriminatory sizing (‘Consumer Trends 2030’ 2021).

Consumer preference will shift from overconsumption to minimal consumption in a bid to slow climate change and value the impact of each purchase, using the rise of the sharing economy with second-hand purchasing (and decline of fast fashion) to consume more sustainably with authentic and unique products which fit their non-conforming identity, further supporting Ashley William’s marketplace feature and overall slow fashion model. In 2025 brands will prioritise people and the environment, the second-hand economy will grow, and ethical business philosophies will be the norm, helping consumers in 2030 value durable products and slow production methods ‘Consumer Trends 2030’ 2021). Use of smart supply chains with AI “to predict demand and calculate supply” to avoid wastage, predicting the majority of retailers will adopt suppliers with model supply chains to adhere to consumer expectations, allowing Ashley Williams to smart calculate stock levels rather than have customers wait for their pre-orders while still being sustainable (Page 2020). In terms of Ashley Williams consumer stance on future-forward sustainability issues “the large majority of the younger generation are in favour of sustainability. Very soon all of the population will share this value...if we want to continue to be a creative and innovative company, we need to understand our consumers [and] what could be next; what they consider [to be] important in their lives” (Zylberberg 2019). Education will shift to reflect updated social change, sparking earlier conversation for environmental issues with innovation needed due to it’s necessity (Vogels et al. 2020).

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Product Strategy 2030/1

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In ten years Ashley Williams will be more than just a clothing brand - one infamous for creating change and conversation surrounding education of EDI causes through the purpose-driven collection and direct B2C communications of their now much larger online audience.

In order to reach our vision, we need to take the focus away from flashy innovation and new products which helped gain the audience they have today, instead creating smart, ethical solutions and services, solving sustainability and equality issues and consumer demand in industry by the third relase in March 2031.

In order to reach our challenge, we first need to build a retail partnership for support with commerce so that Ashley can increase inclusivity from within the staff-force and invest in newer features and services to accompany the collection aims by the promotion of release three in October 2030.

After measuring, we know our current state is only stockist support for Ashley, from what we can tell, very minimum staff diversity and a current focus solely on commerce rather than other ventures, besides the occasional relevant promotion of socio-political issues through Instagram.

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Primary Research Talks Talks I attended with Dazed Executive Editorial Director, Lynette Nylander, and AnOther Mag’s Deputy Editor, Ted Stansfield, considering the future of magazines and entering the digital space. Getting the opportunity to ask questions surrounding the future of online, hybrid future magazines. My masterclass with Meena Alexander, the Fashion Features for Stylist Magazine, also had the same conclusions:

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Gartner’s Hype Cycle

mid-term tech immersion, events and new focus in China

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far-term celebs + netflix = mainstream adoption & product relatability

https://youtu.be/IsHi6k13N0Q

Anotber talk I attended with Dazed Media, this time discussing the future of events and hybrid event experiences post-pandemic, with insights from Dazed’s Izzy Farmiloe, Lucy Warwickevan and mock as akeno Annabelle Phillips on the events team, as well as Sharmadean Reid, the CEO and founder of Beautystack/The Stack World. The key takeaway was the prediction of blended events in the future:

post-2030 (if no new adoption of experience, tech and social) after mid-term events and maximised tech adoption in retail

product launch in near-term

https://youtu.be/VY4uTlAsxlA

(recordings to evidence primary research, not for distribution)

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Student Evaluation

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Overall on this project I was happy with the report produced, concepts put forward and XD app created.

I did, however, remain quite confused with what was meant by ‘strategy’ and how much detail that required per time-frame to make a realistic campaign for the brand while also adhering to the technical specifications of student uploads; similarly with creating a professional look while also adding each student element which needs to be added, but I ended up using my interpretation of what should be included and what the brand would need in an initial report. Looking back, Ashley Williams was a difficult choice as there was little-to-no social presence, therefore making large leaps to adopt innovative products and technologies wasn’t realistic. On that note, it was also hard to keep the theme of purpose and almost minimalist production towards the end, however, these are things I personally feel are important recommending, particularly with fashion and the future of technology, fast consumerism and exploitation. While different to most of the other projects I saw, I still feel my direction and leaning away from ground-breaking innovation was justified in terms of both the Ashley brand currently and the aims I put forward. Sustainability and equality will have a place in the future landscape, particularly in 2030 where, even through the rise of tech, this mindset is heightened and desired among consumers, particularly after gaining their attention with the most innovative technology for the brand thus far in 2025. If I was to change anything doing this project over again I’d reconsider branding and potentially focus on one product but instead with mutliple skins and digital innovation in terms of printing more ethically and conveniently, e.g. through repeat prints and using AI try-ons and scan-ins, but I wouldn’t have been as happy with the project being more non-fashion or non-EDI related, which is where my passions sit. I’d also get more clarity on the meaning of each ‘strategy’ and what was expected - I did ask during tutorials but in terms of my strategy was still unsure whether what I was putting forward was right. Lastly, I’d consider the XD app creation portion earlier on in the unit, with the amount of app features and mock-ups included I wasn’t able to add as many elements as I wanted; while I liked my app outcome and featured as many elements as possible in the time frame, looking back I wish I had created different XD documents for each time frame to fully emphasise the differences in app and better display my creative recommendations. I like the outcome of my project and believe in the purpose, its less innovative in terms of tech but stays true to how fashion brands could evolve in the future, particualrly Ashley with a quirky retro aesthetic but strong purpose. Even if a little behind in industry innovation, the changes are realistic for this specific brand with authentic growth over time. Everyone has an identity and Identity is for everyone - this iconic staple collection will help amplify margianalised voices until the whole fashion industry follows to celebrate, not alienate, our differences.

Primary Research Survey

Conducting initial primary research to consolidate consumer interest, I surveyed 20 High Fashion Talk (Facebook group founded by Iolo Lewis Edwards) consumers within the popular Facebook group founded

by Iolo Edwards. My results determined that the vast majority of consumers, whether Ashley consumers or not, valued sociopolitical issues, inclusivity, education, philanthropy and workplace diversity, while also showing particular interest in personalisation, gamification and retail partnerships (and some stating the same for social media, phygital experiences, brand media channels and gender inclusive sizing also).

https://xd.adobe.com/view/0dc88f40-3cbc-4bf2-85ff-750103c6be10-589b/?fullscreen

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SWOT Analysis

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Example KPIS

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S

Track social success in 2022 by ensuring social growth e.g.

200k Instagram and 50k Facebook followers, also gaining 100k TikTok, 20k YouTube and 500 Pinterest followers by 2023

W

Measure app adoption through comparing downloads vs sales, aiming for 40% of site sales to shift to the app by 2023, as well as measuring engagement of features e.g. digital exhibition

Ashley Williams merge a range of styles and aesthetics, drawing inspiration from opposites such as Punk and camp, allowing for a broad spectrum of consumers. Known by a strong community of underground fashion consumers has great links, partnerships and stockists which can be used to support the brand. Has a really unique and quirky brand identity, often easily recognisable. Tends to be fairly accessibly priced for designer garments, often allowing for end of season sales and deals. Already well established by institutions such as LFW.

Despite being known to a fashion consumer, and acknowledged by many brand and publications, the designer is still fairly small, with just 124k Instagram followers showing little brand awareness/presence. As a brand they don’t participate or optimise many social medias or features, using Instagram as a main platform despite not utilising tap-to-shop, checkout, IGTV, reels etc - also not updating the brands Facebook or Instagram in 4 years. With such a large amount of stockists, and no physical stores, the majority of Ashley Williams sales will be made through third-parties, indicating a lack of control in the brands strategy. The brands designs, while quirky and silly, lack conceptual inspiration in terms of the 4Es, showing little, if any, education, engagement, entertainment or experience, and not referencing inclusivity at all. The brand only seem to advertise as “womenswear” so broadening this market would allow for better inclusivity and diversity.

O

To reference previous Ashley Williams products e.g. the Naked Lady Baby Tee, Baby Vests, Shift Dresses, Kate Bags, graphic tights, as well as bold, quirky prints and graphics as a whole. To educate consumers on socio-political issue in a light-hearted, whimsical and camp way to drive the theme of acceptance and equality. To open inclusive conversations in fashion industry. To give underrepresented groups and individuals a platform. To grow to become a well-known and iconic leader in the fashion landscape. To develop the brand and host innovative experiences through close partnerships with DSM. To gain more control over brand sales, communication and distribution. To push consumer engagement through fully engaging with socials. To normalise imperfections among a community of young consumers. To offer more accessibly priced product alternatives and conscious shopping through marketplace. To better support the rising m-commerce and e-commerce platforms. To create an iconic product print transferable through many different inclusive skins and identities, adding longevity. To utilise gamification and personalisation features for user engagement. For blue oceaning the size-inclusive boxer short idea for gender inclusive shopping. For a range of celebrity, influencer and charity collaborations. For many partnerships and a range of phygital experiences and events, particularly with DSM and LFW. For consumers to associate the brand with meaningful, representative and inclusive garments. For different imperfections, stigmas and ailments to become normalised within fashion image and casting, e.g. how Gucci boosted Ellie Goldstein.

T

Competing brands in both high-end and fast fashion may mimic the design to a larger audience, similar to the Ashley Williams diamonte hair clips. Competing brands may release the size inclusize boxers before Ashley Williams do, minimising the product concept, usp and value of their release. Focusing on a more neutral-toned, politically-driven product targetted inclusively to a youth market may lose the interest of the super-girly Ashley Williams market. Narrowing stockists and focusing more on brand-owned POP may result in less sales if Ashley Williams social and digital investments aren’t engaging or entertaining enough. When marketing near-term, new medias like Clubhouse, currently emerging to the UK market, may capture consumer attention, hindering the brand for being digitally out of touch and requiring a touch up for brand relevancy due to having such a late introduction to current digital innovations and e-commerce. The media feature may not take with consumers if the brand hasnt’t gained appropriate market scale, perhaps needing the support or form of email newsletters to build following initially.

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Ensure Chinese market are responding well to the Ashley Williams brand using A/B testing of e-commerce channels, also beneficial to the local market, aiming to establish key differences between the markets’ consumer preferences by mid-2025 e.g. influencers or models used Monitor tactics with a larger risk, e.g. gamification and phygital pop-up, through engagement, participation and sales, as well as positive social media coverage from consumers and press Compare sales pre-DSM partnership and one year later to help confirm this was the right move for consumer preference and business operations, hoping for a 15% rise in sales (ROI), using this to forecast and outline consumer trends and preferences for the future Confirm adoption of the brand media channel through positive PR press and user engagement via social announcements and app channel clicks, aiming for 30k regular weekly users by the following year

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Further research: https://padlet.com/rae_ashton/ujz84mdyi0v0blpa Presentation Recording: https://youtu.be/LIfREM6wkGk App: https://xd.adobe.com/view/0dc88f40-3cbc-4bf2-85ff750103c6be10-589b/?fullscreen