STEFANIE SWORD WILLIAMS
Creative Idea 06-11
Communication Strategy 12-19
The Future 44-49
Reference List Bibliography 51-55
Introduction Whilst currently at the peak of its success Universal Works are looking for ways to evolve the brand further to continue to achieve its global presence. As a group we have chosen to extend the Universal Works product range to create a more inclusive offer. Through adding additional sizes to the current collection, our big idea is to make Universal works truly universal. To accompany the product extension we have designed a new communication strategy that heavily focuses on the varying relationships amongst the Universal Works target market. We have developed â€˜Universal Works Presentsâ€™, a series that interacts and engages with consumers through a variety of touch points. Universal Works have positioned themselves in the market as high quality and good value, it is now time for the brand to further their presence through a product extension and a strong communication strategy.
Creative Idea One of Universal Works key selling points is its ability to target a wide audience of males. Currently priding themselve’s as a brand that caters to 18-50 year olds we believe a greater push could be made on the current offer. Through adding additional sizes to the existing range, Universal works could build a stronger relationship with consumers at a younger age, which will in time build brand loyalty. When discussing the idea with head Sales Assistant at Sakis Jack Crofts, he stressed that there was a desperate need to appeal to the younger market. Working with a range of Universal Works products and customers, Jack explained that the brand’s current approach is quite ‘stale’ at the moment. (Crofts J 2012) Jack’s interview confirmed that there is an opportunity into refreshing Universal Works existing offer with an extension and stronger communication. We also discussed the broader offer with Universal Works agent Martin Gill, who explained that the idea of extending the current size range is easily done. With Universal Works already designing smaller sizes for its ever-growing Asian market, it is simply the case of selecting the appropriate products to appeal to the UK consumers.
Product Selection Taking into consideration product types and pricing we have selected a collection of products that could be created in smaller sizes to appeal to a wider audience. As recommended by Martin Gill we have focused on mainly using jersey and sweatshirt materials to create low cost products that would appeal to both the young male and his parent.
To ensure we create an inclusive offer we want to distribute the product through the Universal Works current online platform. Simply by adding the additional sizes alongside the existing products, we believe we can continue to subtly evolve the already successful brand. Figure 4 visualizes how the extra sizes would easily translate through website without excluding a current customers. Initially distributed online, if the extension were to be successful Universal Works could also sell a selection of the smaller sizes instore. 11
With little if any previous marketing, the opportunities for Universal Works to communicate an enticing and meaningful message is huge. Aiming to appeal to a wide audience, our marketing strategy is built around bringing people together through unique hobbies. When examining the brands communication strategy it was clear there was a lack of structure, so in order for Universal Works to communicate a strong and clear message we have developed a marketing schedule.
Model Making As highlighted in the marketing schedule, we have chosen to reach consumers through a variety of touch points. Offering a brand publication, fashion films, online communications and an event to round off the season, the new plan guarantees customer engagement. Initially starting with model making, the concept of bringing people together through unique hobbies allows Universal Works to form stronger relationships and build a ‘Universal Works community’. With the wide range of imaginative and expressive options to choose from, model making has the ability to appeal to both the young and old consumer. When discussing the idea of model making with Founder of Universal Works David he was very impressed with the unique approach,
‘I like the idea of the consumers making something that isn’t directly related to our products’ (Keytes 2013).
Through the theme of model making we can encourage consumers to try something new whilst promoting an activity that brings people together. Our previous research highlighted that the current Universal Works consumer would prefer a marketing strategy that involves the life around the product and focuses on relationships. A common response was that many customers want to see more than the just product as it can be repetitive. Taking on board our results our strategy caters to those who are looking to find out more about the brand and story behind the products.
Instore Promotion As we aim to create a stronger connection with the product and the communication strategy we recommend that to launch each season a limited edition piece designed by David is added to the collection in relation to the hobby. For example as visualized in Figure 9, a printed t-shirt and handkerchief would be designed and sold instore and online with a model inspired print. The choice to apply the design to a piece of clothing and an accessory offers two different options, which can appeal to the wide target audience identified. Incorporating the communication strategy into the design of the product creates a much more wholesome approach whilst showing an overall brand connection with the marketing strategy.
Visual Merchandising To accompany the limited edition piece, the instore visual merchandising would also need to be adapted to fit the seasonâ€™s theme. Retail queen Shari Waters explained than in order to increase store traffic and sales volume implementing effective visual merchandising is crucial. (Waters 2012:online) Replacing Universal Works current instore props with authentic model making items and postcards would be a simple way to make sure that theme of the month is translated through to the shopping experience. Figure 10 illustrates the different types of model related props that could be placed around the store.
Delivery To guarantee that the message reaches all consumers, an origami crane would be packaged with every online delivery. By sending out a free item with each purchase Universal Works are constantly reminding the consumers of the current theme and ensuring the message is received through all platforms.
‘It is a low-cost, high-return tool that can handle marketing and public relations, raise the company profile and build the brand.’ (Alboher M 2007: online) Although Universal Works have already set up their own blog, we feel that it could be further developed to create and engage an online community. We want to move away from the transactional website and create a stronger platform for showcasing the communication strategy and range of ‘Universal Works Presents’ series. As Marci Alboher outlined a blog is a low cost, high return tool that can help build stronger dialogue, interaction and brand relationships. Featuring hobby related content, products details, interviews and stories; the blog is another form of communication that can help promote the brands marketing strategy and messages. To keep continuity between the various online platforms the same colours used for the website and the upto date logo has been included.
Brand Zine The first implementation we would like to offer is the Universal Works brand zine. An interactive and in-depth publication that aims to give customers an insight into the seasonâ€™s hobby. To fit in with Universal Works timeless and long lasting products, we want offer a free brand zine that is given to consumers as a keeps sake item. With high quality and interesting content that appeals to all ages we hope that the brand zine would be considered as a collectable item. The aim of the brand zine is to promote products, build conversation and teach consumers about a hobby they were unaware of. With the content varying from product placement to the top talents of a model maker the magazine starts the journey of â€˜UW presents model makingâ€™. Including old and contemporary model masters the magazine incorporates fashion, art, culture and lifestyle. As Lucy Greene of the Financial Times outlined the benefit of producing a brand magazine is the opportunity to advertise products at a cheap price whilst still building on the brand personality.
The investment makes sense: it gives depth to a brand in an environment they can control. It pushes product without the obvious â€œsellâ€?, and in many instances may be cheaper than advertising. (Greene 2010: online)
In order to appeal to our diverse age group the design of the magazine has been kept minimal, with a simple layout and easy to read format. At the back of the zine an additional interactive element has been added inviting readers to create their own Universal Works â€˜Interceptorâ€™ model. With the step by step instructions and a spare page to use, the brand can encourages customers to get involved with the hobby at the start of the season.
Promotional Film Another platform we intend on engaging with consumers through is the use of film. As highlighted in the marketing schedule we suggest creating three small feature films to be released once every two months. Titled ‘Universal Works presents’ the video would be a moving image that focuses on varying relationships, current products and the hobby of the season. Our aim is to take a more emotive approach in order to reach our end goal of an inclusive offer. The video would be launched via video sharing site Vimeo, with a more targeted creative market and reputation for high quality we felt it was most appropriate for Universal Works. Posted on the blog and social networking sites, the video would be used as promotional material to illustrate the ‘model making’ vision.
We have created an example of the first ‘Universal Works Presents’ film that would be used promote the season of model making. With a strong focus on relationships, the narrative of the film is based on two cousins coming together to build a model aircraft. Set in a traditional authentic home, the use of hand held filming and smooth transitional shifts helps to create a much more personal journey. Whilst the limited use of facial shots helps to build and slowly reveal the story behind the film without alienating a particular consumer. With no specific genre, the music choice of Shlomo’s ‘Places’ has the ability to engage with our mixed target market whilst building a gradual tension to the film. Although the video was a successful representation of our vision, we feel that the final version would need be adapted focussing on editing the lighting and narrative. The choice of using natural light within the shoot meant that some scenes are darker than intended, whilst the two models seem to be more focussed on interacting with the model plane than one another. To combat this we would use additional lighting to brighten the shoot and instruct the models to engage and interact more. These changes would make the piece a lot more enticing and welcoming. 35
To sum up each season an event related to the chosen hobby of the month will be held by Universal Works. With the aim to bring the consumers together and invite them to interact with the brand, the event will be a final gathering to celebrate the specific theme. Marketing manager Stephanie Sulivan explained that due to the over saturation of virtual branding, offline events have never been so important to brands. (Sullivan 2011: online) In relation to model making we propose an event that will be held at the end of the season that invites customers to discover their creative side and interact with each other at Universal Works Model Making workshop. An evening that welcomes all ages to enjoy the theme they have spent the season learning about and taking home something to remember it by. With a variety of materials and models to choose from the Universal Works workshop would give the consumers all the right tools to create their own masterpiece.
Special Guest After heavily featuring in the brand zine, we propose inviting Kyle Bean to host and lead the model-making workshop. His diverse range of models and imaginative thinking would be ideal to guide and educate both young and old males. Having previously given talks at various events around the UK, Kyle would be an appropriate and credible candidate for the event.
At the end of the event we would photograph each guest with their final piece to keep as a memory of the day. At the back of zine we have included a page with the event details and a space for the polaroid image to be kept. The idea of capturing the consumer taking part in the hobby and placing it in the zine is a great way to round up the season.
In the media
As Universal Works promote their new strategy there is a wide selection of online platforms that would cover the brand. Both figure 20 and 21 highlight the variety of websites that would feature an article about the Universal Works series.
Moving Forward Now that there has been a marketing schedule developed, Universal Works can apply the new structure to every season. To demonstrate the longevity of the â€˜hobbyâ€™ concept, we have designed two moodboards that represent the next two ideas for unique hobbies; fishing and cycling. The images display the variety of angles each idea could be explored looking at mood, photography and style. If Universal Works follow the plan given, they can continue to engage and promote not only their brand but their products all year round.
When recently interviewed David explained that he has been working with more technical fabrics and discovering ways to incorporate the material into his current styles. His interest in cycling and experimentation with sports material could work really well as part of the â€˜Universal Works presents Cylclingâ€™ season.
Conclusion We believe that by offering an extension of the current product offer, Universal Works could broaden its market and gain more consumers from a younger age. By simply adapting their hugely successful and popular designs the brand could stand out against competitor labels for offering a unique approach. The communication strategy also demonstrates Universal Works originality and quality. The focus on bringing consumers together through unique hobbies creates a meaningful brand message whilst getting customers more involved with the brand. The concept of model making is one of the many themes that Universal Works could present. Focussing on more than just the product the brand could be widely recognised for being a cultural, quality and engaging.
Word Count - 2042
REFERENCE LIST Alboher, M. (2013) Log In - The New York Times. [online] Available at: http://www.nytimes. com/2007/12/27/business/smallbusiness/27sbiz.html?_r=0 [Accessed: 7 May 2013]. Crofts J 2012. Head Sales Assistant at Sa-kis: Interview with Alice Hammerton, Sa-kis store, Nottingham 23rd November. Gill M 2012. Agent of Universal Works: Interview with Ellena Barron via email 15th November. Greene, L. (2010) The boom in branded magazines - FT.com. [online] Available at: http:// www.ft.com/cms/s/0/82754772-fbe0-11de-9c29-00144feab49a.html [Accessed: 23/03/2013] Keyte D 2012. Universal Works Briefing [Lecture to Fashion Communication and Promotion]. 25/10/2012 Sullivan, S. (2011) Why Event Branding is Even More Important For 2012 | Fashionâ€™s Collective. [online] Available at: http://fashionscollective.com/FashionAndLuxury/12/why-eventbranding-is-even-more-important-for-2012/ [Accessed: 5 May 2013]. Waters, S. (2012) Visual Merchandising. [online] Available at: http://retail.about.com/od/glossary/g/visual_mdse.htm [Accessed: 18 May 2013]
Illustration List Figure 1: Sword Williams S (2013) Universal Works jacket sleeve [photograph] own image. Figure 2: Sword Williams S (2013) Folded trousers[photograph] own image. Figure 3: Sword Williams S (2013) Example of capsule collection [digital] own image. Figure 4: Sword Williams S (2013) Product online [digital] own image. Figure 5: Sword Williams S (2013) Painting model [photograph] own image. Figure 6: Sword Williams S (2013) Marketing Schedule [digital] own image. Figure 7: Sword Williams S (2013) Waistcoat should [photograph] own image. Figure 8: Sword Williams S (2013) Chris laughing [photograph] own image. Figure 9: Sword Williams S (2013) Marketing Schedule [digital] own image. Figure 10: Sword Williams S (2013) Instore model making props [photograph] own image. Figure 11: Sword Williams S (2013) Origami packaged shirt [photograph] own image. Figure 12: Sword Williams S (2013) Blog Mock up [digital] own image. 51
Figure 13: Sword Williams S (2013) Universal Works Presents Zine [digital] own image. Figure 14: Sword Williams S (2013) Examples of the brand zine [digital] own image. Figure 15: Sword Williams S (2013) Behind the scenes view [photograph] own image. Figure 16: Sword Williams S (2013) Stills of feature film [photograph] own image. Figure 17. Canvas Events (2013) Old Truman Brwery [photograph] Available at: Figure 18: Kyles Bean (2012) Mobile evolution [photograph] Available at: http://kylebean.co.uk/portfolio/mobileevolution Figure 19: Sword Williams S (2013) Polaroid Event Page [digital] own image. Figure 20: Barron E (2013) Universal Works in the press [digital] Figure 21: Barron E (2013) Universal Works in the press [digital] Figure 22: Sword Williams S (2013) Fishing Moodboard [digital] own image. Figure 23: Sword Williams S (2013) Cycling Moodboard [digital] own image. Figure 24: Sword Williams S (2013) Plane in Universal Works film [photograph] own image.
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APPENDIX A1 : Intiial Briefing with David Keyte pages 57-58
A2: Interviews pages 59-61
A3: Case Study page 62-63
A4: Behind the scenes page 64-67 A5: Consent Forms pages 68-69
A6: Critical Path pages 70
A7: Tutorial Sheets pages 72-75
A1: INITIAL BRIEFING WITH DAVID KEYTE: - UW currently sold through many independent retailers, small boutiques, also Urban Outfitters now and trade shows/fairs - small independent/community aspect important to brand - Just opened new store and website, beginning to grow, brand needs to keep up - online presence, marketing, branding and communication needs improvement. - Currently don’t have a marketing strategy, other than putting their own products next to other products and brands of similar desirability (another reason stockists important) -
Strengths - really good product that really works - now need to let everyone else know
- Menswear is less about revolution, more about evolution (we want to evolve the brand, but subtly so that it is still understandable and accessible menswear, just extended) -
Always considering womenswear but its an issue of time and a different market
- Men are either really lazy or really loyal, women shop around across different brands more (Steph doesnt want to do womenswear) - David “doesn’t understand marketing” - understands product more as this is where it all starts - now need to work out how to get it in front of people. 57
- All their “marketing” atm is about distributing, selling and clients (all internal operations, no consideration of consumer communications) - Methods of communication - old mediums seem to be dying - film seems to be very exciting, cheap and easy, engaging, looks more real to people - Wants to make products ageless, questioned people about age targeting, and all results and answers varied by and reflected the models’ and respondents’ own ages. -
Stylish products - depending on style of person, not age brackett
“We happen to be of a time where age is very forgiving”
Brand extension would have to be in line with this ageless style etc
- Story of the brand - small team of motivated, talented team - brand story never intended to be personal though, but have been wary of the ‘cult of celebrity’ - Wanted product success to be about strength of product, not celeb endorsement - But, brand story and authenticity and authority can be related through real people, and stories, and relatability. -
UW is interested in lifestyle of consumers, particularly aesthetically
- Want website to talk about music, fishing, chip shop on friday as well as newest shirts - Don’t want to sell stuff to people, just want to engage with them and let them buy if they like it - Womenswear is hard market, don’t have enough time for it and women are much more loyal. - vibe
Want honesty, a bit of humour and wit, a “go on, buy something else” “lets just chat”
Want to create dialogue with consumer
- Think about realistic limitations of staff and time etc which comes with creative ideas (all our ideas are relatively easily executed - adding new sizes, may only be 1 extra pattern size? creating stronger branding and identity not hard, comm strat tbc) -
Could market menswear as unisex
Japanese buyers bought collection for women - but some sizing issues - need smaller
A2:Interview with Universal Works agent Martin Gill Hi Martin, Hope you are well. Im not sure if you remember but my group are looking at the potential of adding additional sizes to the range to appeal to a broader audience so we just have a few questions related to the idea. If okay with you we would use your response as a reference within the body of our reports. No Problem. From a practical point of view how easy would it be to create additional sizes of the current collection? Practically it relies on grading and grade scales. Some factories are very good at grading across broad size ranges but some may be reluctant to have to grade down too far. It is though a not too difficult. We are aware that UW cater to the smaller sized market in other countries, is it a possibility that sizes made for japan could be translated to the uk? Absolutely it’s all proportionate; so it’s simply a case of the smaller sizes being more important commercially in the Japanese market. Which of the garments included in the current collection would the easiest to adapt into smaller sizes? It’s not so much about the easiest styles to adapt per se but more about the end consumer’s ability to accept those garments. A mini version of a parka for example may prove too expensive whereas jersey and sweat styles can be manufactured more cheaply as the fabric rating is lower. More complex garments such as outerwear still have lots of sewing work and component parts that will keep the price up and not so child or youth friendly. That’s in crude terms about consumer expectation of pricing. Which items would customers be prepared to spend more money on? I think that’s fairly apparent based on the garment type but in reality I find trousers/jeans to be very price resistant and knitwear of anything like decent quality tends to be more expensive but the end consumer often doesn’t ‘get’ what’s gone into the garment and higher priced knits are often a more difficult sell. Relatively speaking printed/embroidered jersey and sweats can command a good margin and appear to be able to command higher prices relative to cost. Outerwear and jackets also tend to be able to command relatively higher prices. How do you think stockists would react to UW adding additional sizes? The current distribution would not find smaller sizes very relevant I think you need to look at an alternative or an addition distribution channel for this kind of extension to the range. See if you can see any new opportunities outside of the current stockists. Having said that there are some of the current retailers who could carry extra product like you are suggesting. And of course any UW own retail. Do you think that a product extension in size should distributed through external stockists or should they be distributed purely through Universal Works as a brand exclusive? ( see answer above) Hope all goes well. Martin.
Interview with Sa-Kis head sales assistant Jack Crofts Alice: So what is your role at Sa-kis? Jack: Im the main sales assistant working full time pretty much. Im also in charge of the full promotion of the shop around Nottingham Alice: And how long have you been working at Sa-kis? Jack: For just under a year now Alice: What type of consumers come into the store? Jack: All ages really, mainly from twenty plus and you’ve got a lot of your high end 40 year old men Alice: Do you get like a range of consumers, men women and children? Jack: Usually males really obviously as it’s a menswear shop but towards kind of Christmas time you’ve got a lot of women coming in. And children, we’ve got quite a streetwear area, which appeals to the younger ages. So you get quite a mix. Alice: And what are your views on universal works as a type of brand? Jack: Its nice brand, the quality of the clothing is lovely I believe that the designs could be better they’re a bit basic. Alice: And would you wear the brand? Jack: Yeah I like some nice stuff they have, the jumpers and shirts are really nice. Alice: Are you aware of any marketing from the brand? Jack: No I’m not aware of any, Alice: So you’ve never seen any in your own time? Jack: No I’ve never come across any, I didn’t hear about the brand until worked at Sakis Alice: Do you think that maybe marketing could help appeal to a wider audience? Jack: Definitely Alice: What areas do you think universal works could improve? Jack: Designs maybe, and appealing to a younger audience mainly because at the moment its quite stale in my opinion. It could do so much better as a brand if they put themselves out there a bit more. Alice: Because we want to create a stronger brand identity and potentially extend the offer to appeal to a broader market, how do you think the current consumer would react to it? Jack: I think theyd be quite open to it, I mean the customers we usually get with universal works kind of do their own thing if they like the product they buy it. They wouldn’t feel intimidated if you brought in other things, as long as the stuff for them is still there. But I do think they could with bulking out the label a bit more.
Interview with Founder David Keytes 20/05/2013
Model making needs a lot of planning and designing, what is the first thing you do to create your final pieces? First thing you do, start from where the last season ended, more often than not. So if you’ve had a jacket that everyone wanted to buy, you would assume that that jacket may have a lifetime more than one season and perhaps you should do another version of it. Its about moving things on and adapting. So that is often where the collection begins, what are we going to re offer as we want to continue the life of those things. It is also very much led by the fabrics we choose. So often instead of saying ‘I really want to make that sweater’ i might say ‘I really want to use this yarn or this stitch. I really like the way this fabric falls, so what garment will that work in well?’ What are the essential pieces in your toolkit? hmmm good questions. Well i think partly the things that I have just said are part of that toolkit, such as past seasons. There is rarely an clean sheet design. You tend to say ‘well i’ve got those shapes. where am I going with them?’ For me, also I’d say a huge part of it is understanding menswear and where its all come from. And sometimes it is just travel and research where things come from. We can all travel these days because of the internet I can search ‘what are people wearing in Peru today?’ and within about 10 minutes I’ll be able to see what someone is walking down the streets in Lima wearing because there will be a blog on it. A model maker often plays around with different materials what’s the strangest fabric you’ve worked with? Although a lot of what we have done can be perceived as heritage fashion as it has an understanding of its traditions and has that blue collar type of feel, but I really like working with new modern sports fabrics as I think they can be great with not just only sportswear. I think technically advanced fabric is really interesting. So we are doing a couple of our more ‘traditional’ pieces in really mad tech fabrics this season which I love as its probably not what people expect. When you are designing what is the one thing you cant live without? Coffee. What models (if any) did you used to play with when you were younger? When I was younger I used to make a lot of things like Airfix they had a lot of models such as planes and tanks. If I’m honest I think the thing I liked the most was the painting as you would get all of the parts to put together and instructions on how you are meant to paint it but I used to like not painting them how you were meant to. You could have more fun with it that way and it was more my own interpretation of it. In terms of craft who do look at for inspiration? Craft itself is really interesting and there is a lovely textile craft magazine called Selvedge that is published 6 times a year about craft in the UK. That is inspiring as in it talks about individual craftspeople and it may not be people that would have done anything massive or been particularly successful, they may just have done this one thing and that is inspiring, not that I want to go and create just that but their methods and the way they do things. Often the thing in craft that inspires me the most is the Japanese approach to craft. They have almost a level of government intervention to try and continue their traditional crafts of textiles and ceramics where we have left them to die. They feel it is important to maintain that craft for the future. Fashion is a much more commercial end of the scale of craft but I think making anything can be seen as craft. I think the nice thing is in the last 5 or 10 years craft has gone from being a bit of a twee thing that funny people do to being looked upon as a great thing which is nice. If you could design any type of model what would it be? I would say I’d probably be interested in something architectural. So if I had another lifetime to come back I’d want to build things and therefore design those things that you build. Its an interesting concept, I like the idea of the consumers making something that isn’t directly related to our products. 61
A3: Case Study Notes CASE STUDY: THE KOOPLES One brand that we feel successfully communicates the idea of relationships is The Kooples, through this unique approach to marketing. The Kooples was founded only three years ago yet has been extremely successful with 180 stores, 100million euros in sales and about to enter the US market. Brazenly launched just months before the recession hit, it apparently ‘helped’ them, according to their creative director, rather than hindered. Founded by three French brothers, Alexandre, Laurent and Raphael Elicha, and their success has been staggering. Their entrance to Britain in November 2010 was aggressive, opening 20 stores and running a hard-to-miss campaign that featured ‘real life’ couples modelling the label’s sharply tailored clothing. “For Elicha and his two brothers, Laurent and Raphael, the “spirit” of The Kooples is as important as the product. “Today, a brand isn’t just about the product. Of course, the product has to have an esprit,” he tells me in French, “but then it’s the message, the store, Raphael’s films [featuring the likes of Johnny and Corinna, which are shown in cinemas and on The Kooples’ website]. It all goes together.”” (drapers) In this quote, the creators are highlighting the importance of a brands ‘spirit’ alongside the brand message, the store and other communication methods such as film. The Kooples use real people, real stories and real relationships as their main marketing campaign. Through the use of these various communication methods, they are able to bring together their main message of couples and their relationships through the brands marketing. The Kooples offer different ranges and collaborations to broaden their appeal. These include the Kooples Sport casualwear and a Pete Doherty collaboration march 2012. Some say ‘I don’t think there’s anything particularly unique about its fashion design’ (Portas, 2012: Online) possibly revealing the strength of the brand lies in their creative marketing campaign. With the high quality products Universal Works offer alongside a creative communication strategy could be key in helping them stand out from competitors. Although The Kooples have accumulated huge success over their short existence of 3 years, we feel that their message of couples could be seen as restricted and could struggle to continue to capture their audience’s interests over the years. We feel that our idea of ‘community’ using relationships through the ages holds longevity through the numerous routes and relationships that could be focused on throughout Universal Works life span.
UW UNIVERSAL-BRAND MESSAGE: Marketing to “families” CASE STUDY: Brand Communication Analysis: KINFOLK - - - - - - -
Kinfolk Manifesto video etc Communications are calming, soothing, simple, beautiful - blue/grey tint An artistic and soothing approach to living life well - gentleness and awareness, slow Bleak and rustic aesthetic, raw, honest, true. “Take your time” “Friends will be found in shared experiences” Simple, uncomplicated, less contrived
What can be learnt: GOING BACK TO BASICS. - - - - - -
Re-connecting and re-energizing with people Respect and care for one another Challenge modern contrived inter-connectivity Return to communications round a table Share yourself with others, have relationships Inclusive Community, Universal Community?
Applying inspiration to UW: Marketing to families. Starting points and themes for communications stategy: - Nostalgia - Generations - Tradition - Emotive - Hobbies - Skills - Teaching - Advice - Respect - Speaking and listening - Communication - “Old fashioned” - Back to basics - Authentic - Respect your elders - Photographs, memories, stories, sharing - Male bonding activities, skilled hobbies - Fishing, camping, sport, mechanics, hunting, road trip, music, gardening, DIY - Encourage forming small communities, and spending more time in person - Quality time, father-daughter, brother-brother, grandfather-grandson, aunt-nephew - Connections, relationships, collaborative
A4: Behind the Scenes Shoot One
Behind the Scenes Shoot Two
A5: Concent forms
A6: Group Critical Path
TEAM BLOG: http://teamthumper7.tumblr.com PINTEREST: pinterest.com/teamthumper7
A7: Tutorial Sheets
Published on May 24, 2013