ACUITY INVESTMENT DIRECTION INTEL-LIGENCE EXPERTISE KNOWLEDGE SUC-CESS STRENGTH COLLABORATION VALUE AUTHENTICITY AUTHORITY CONSUMER STYLE DRESSING INDEPENDENCE ACU-ITY INVESTMENT DIRECTION INTELLI-GENCE EXPERTISE KNOWLEDGE SUCCESS STRENGTH COLLABORATION VALUE AU-THENTICITY AUTHORITY CONSUMER STYLE DRESSING INDEPENDENCE ACUITY IN-VESTMENT DIRECTION INTELLIGENCE EX-PERTISE KNOWLEDGE SUCCESS STRENGTH COLLABORATION VALUE AUTHENTICITY AUTHORITY CONSUMER STYLE DRESS-ING INDEPENDENCE ACUITY INVESTMENT DIRECTION INTELLIGENCE EXPERTISE KNOWLEDGE SUCCESS STRENGTH R E I S SCOLLABORATION VALUE AUTHEN-TICITY AUTHORITY CONSUM-ER STYLE DRESSING INDEPENDENCE

C1.0 INTRODUCTION

1.1 METHOD research analysis & techniques

2.0 CONSUMER DECISION JOURNEY when is Reiss dropped from consideration

2.1 CONSUMER RESEARCH ZINE

2.2 IDENTIFYING A PROBLEM important factors driving the marketing concept

3.0 CONSUMERS STRIVING for value, authenticity, & authority

4.0 THE DEMOGRAPHIC aiming of the new strategy

5.0 THE MARKETING CAMPAIGN the basis

5.1 THE MARKETING CONCEPT the beginning

6.0 THE IMPORTANCE OF CULTURAL REFERENCING intelligence resembles authority

contents pages

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7.0 THE CREATIVES platforms & executions7.1 MASTERY the magazine7.2 THE SEPARATED BLOG 7.3 THE PHOTOSHOOT power, authority & influence7.4 REISS BRANDED SPACE the in store environment7.5 THE SHORT FILM the independent, the educated & the director7.6 PROMOTION MIX when, where & why8.0 FUTURE STRATEGIES the next five years9.0 SOLVING THE PROBLEM summaries 9.1 TO FINALISE summaries

contents

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iStage Two of the investigation will show a direct, deeper insight and reveal answers on how Reiss can develop their brand through strategies that do not include the opening of more stores. This report aims to show the process from Stage One onto Stage Two, the new key areas of research and their findings, a fresh innovative marketing concept and the creative platforms chosen and curated to link di-

rectly to the brand, the consumer and the brief.

HOW CAN REISS DEVELOPE AS A BRAND WITH-OUT OPENING ANY MORE STORES?

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A new Omni channel that strengthens the coherence of all branded channels

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RECAP OF STAGE ONE AND STAGE TWO OUTCOMES

#1 #2

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This report will summarise the offline generation, and how Reiss can develop the strategy that shows coherence through offline channels and linking them to the online innovation.

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MIn order to extract insightful, colourful and worthy information for the stage two analyses, careful con-sideration was taken in deciding how to conduct each segment of research. First and foremost was to think back to the consumer, Stage one saw interesting insights from the general consumer; the online and the offline shopper, as well as two very different consumer tribes showcased through two consumer profiles and buying habits diaries. For Stage two, a deeper focus needed to be made on the Reiss consumer. It was vital to find out what they thought was influential, what inspired them when shopping in stores and their opinion on branded magazines being substantial platforms for a luxury brand like Reiss.

One key business strategy that inspired the beginning of Stage Two research was the theories of Mckinsey Quar-tely. Their studies show that for brands to be able to be successful in 2012 it’s to reach out to the moments that most influence their decisions. The consumer decision making process has been analysed through this investi-gation, by thinking of the moments that Reiss may have been dropped from the consumer’s consideration. These moments will be the most important times when think-ing of the creative concept and the strengthening of the platforms to prevent Reiss being dropped throughout the journey. (Court 2009)

One area that was not focused upon in Stage one, yet is one of Reiss’s current important platform strategies is the Reiss Journal. The Reiss Journal plays a large role in strengthening the brands message and showing their current consumer insights behind the brands ideas and innovations. To kick start the primary research, The Journal was the first point of call. Using various cof-fee shops in Manchester, Nottingham and London (1), targeting specific consumers who were roughly aged between 21-65 (2), allowing them to flick through a copy of the current Journal. Using a short questionnaire sheet alongside it to gain feedback on what the consumer felt about the Journal whilst reading it.

By attending coffee shops, it approached the consumer in a relaxed environment where the consumer would have time to think about what the questions were and be honest about their answer. The key findings from this research trip will be analysed further on in the investiga-tion.

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MHowever, if the investigation purely focused on the current Reiss Journal it would not allow the investigation to have valid information on the industry of branded magazines, or what the Reiss consumer thinks about branded magazines, as well as the ongoing debate of printed magazine versus online innovation. To extract valid information an online questionnaire was set up and sent out to various industry professionals and the Reiss demographic via micro-blogging site Twitter. (see appendix #11) The questionnaire delved deep into the branded magazines section and offered an open opinion onto what the professional consumer thinks about branded look books in comparison to brand magazines. This acted a different technique to approach the consumer, using an online platform for quick and easy contact to the consum-er, as well as allowing them to complete it in their own time, consequently achieving more thorough results.

Stage Two researches the Reiss consumer through deep analysis, in order to be able to do this effectively a relation-ship needed to be created between the consumer and the interviewer. Again, taking to the high street and coffee shops in and around Nottingham, London and Manchester (1) to approach consumers that were carrying Reiss shopper bags or fitted into the demographic. After introducing the inves-tigation, an e-mail address was needed in order to build a relationship based on research. Another successful way of contacting the Reiss consumer was through micro-blogging and image sharing platform, Instagram. By using the tag for #Reiss, it brought up a list of images that consumers had posted up of Reiss garments. Using the comment option, an e-mail capture was enabled. The consumer contacts gained from this have been in conversation via e-mail throughout the whole investigation and will be used to gain feedback from the ideas and concepts generated.

In order to underpin certain pragmatics of the investigation, valid theory analysis needed to be sourced. A book by Morris Holbrook- Consumer Value: A framework for analysis and Research has been frequently referred to in order to strength-en the ideas expressed in the investigation. Contrasting and analytical opinions were created when using another worthy book, ‘The soul of the new consumer’ by David Lewis, as well as using up to date and current journals, articles and interviews to underpin the analysis as well as showing a diverse range of justifications to strengthen the creative and marketing concepts.

(1) Three locations have been used to create a varied analytical response, as each loca-tion will include different demographics resulting in different opinions and information(2) the current Reiss demographic

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FIGURE #1 Contact cards used when sourcing consumers

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CThrough extensive consumer re-search, combined from stage one and stage two, it became compulsory to understand where and when Reiss was dropped from the consumer con-sideration of brands when identifying a problem and recognising the need to solve it. This area is a representa-tion of consumer value, the voice of the new and ever changing consumer and how Reiss currently fit into their minds.

‘We vigilante consumers seek sub-stance over style. Truth over pack-aging. Answers not press releases’. (Popcorn 100:1999)

‘Today a majority of consumers have largely ex-hausted the things they need to purchase and are focusing instead on what they want to buy, that is, opportunities and experiences that claim to make their lives happier, richer and more rewarding. The companies that are most likely to succeed are those that enables consumers to make these investments of time, attention and money simpler to perform and more rewarding to experience’. (Lewis: 02:2001)

Through these quotes it is easy to understand that in the current market, consumers have become more aware, knowledgeable and ‘in the know’ with brands, products and promotion. This move-ment is named ‘vigilante consumerism’. It is also an important statement to keep forefront in mind when creating and implementing the new market-ing strategy for Reiss. (Lewis: 2001)

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‘56% of consumers asked have never heard of Reiss, 50% of that group being 18-25 and 28% being 26-34, based on magazine questionnaires, 60 consumers responded over Not-tingham, London and Manchester Locations. see appendix #12 for questionnaire examples.

C

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‘loyalty takes time

to ‘Since loyalty takes time to build, the company that is first in the field often reaps the great-est rewards, provided that it maintains the highest levels of quality and service’. (Lewis: 10:2001)In order to rate higher in consumer consideration, Reiss need to be known as the one brand, the one that strives first and demonstrates quality at a higher level against the competition which can be proven through coherent platforms and a strong brand strategy which will be discussed further on in the investigation.

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FOR RETAIL BRANDS TO BE

SUCCESSFUL, CONSUMERS NEED TO

PERCEIVE VALUE, WHICH OCCURS WHEN

NEEDS, WANTS,

OR DESIRESARE MET

‘

’mcdonald: 242:2003

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BRANDS AS SYMBOLS CAN ACT

AS SUFFICIENT COMMUNICATION

DEVICES, ENABLING PEOPLE TO CONVEY MESSAGES ABOUT THEMSELVES AND

FACILITATE EXPRESSIVE

MESSAGES

‘

’mcdonald: 129;2003

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i‘REISS NEED TO BE THE FIRST BRAND CON-

SUMERS THINK

The consumer decision journey shows these problems that need to be solved in order to prevent Reiss being dropped from consumer’s consideration:

Awareness in the younger demographic- how can Reiss create a stronger awareness in the consumer market of 18-34

Familiarity of platforms- what can Reiss do to familiarise their branded platforms within each consumer audience

Consideration- Reiss need to be the first brand consumers think of when identifying a problem or a need

Shopping- The in store and online platform- how can Reiss integrate more with the consumer to push purchase rate

Post Purchase: the afterlife, how can Reiss make sure that the story of the brand does not dissolve after the consumer makes the purchase

These are the factors that will be driving the marketing concept, each factor being a post in the consumer decision journey, an important post that Reiss need to strive to be the most influential at, in order to create the distinctive bond between the brand and consumer and maximise the drive sales.

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V‘With every passing second, with every new interaction with a new tool, digital natives and digital immigrants alike are rewriting, tweaking, and eliminating their own defini-tions’. (Jacobs 67: 2012)

‘Consumers are faced with a complex world’. (McDonald: 72: 2003)

‘Lifestyle marketing- which traces its roots to Weberian notions of stratification and ‘style of life’- is predicted on the recogni-tion that people sort themselves into groups on the basis of things they like to do, how they like to spend their leisure time, and how they chose to spend their disposable income. But Ultimately the notion of lifestyle only has meaning if it is meaningful to consum-ers themselves’ (Zablocki and Kanter 1976; Bordieu 1984; Solomon 1996: 69: 1999)

The theme that revolves and is coherent through these quotes is the idea that today consumers are striving for authenticity within the brands they invest their time and money in. Consumers are now faced with an exten-sive amount of brand images, brand percep-tions and brand stories everyday therefore it is easy to completely miss out on the impor-tant brand strategies. Authenticity comes in when a brand speaks truth, trust and intelli-gence through each and every brand platform it uses. If every branded platform is linked together with one key message, each platform will act as a strengthening platform, broad-casting it’s honesty to the consumer, leading into a relationship of trust, which is one key area that was found problematic within the stage one of consumer research.

The combination of consumers seeking authenticity and value, and the movement of ‘vigilante consumerism’, it becomes a chal-lenge for brands to be able to show authen-ticity and to hold authority, as consumers are finding it easier to see the truth behind so many inauthentic brand messages, and false trends which can be named ‘fads’.

Through talking to many Reiss sales advi-sors within stores nationwide, Reiss come across as having a very high understanding of who their consumer is, what they like and even down to what leisure activities their consumer enjoys. When creating this authen-tic theme across all brand levels this has to be kept in mind.

‘But ultimately the notion of lifestyle only has meaning if it is meaningful to consum-ers themselves’ (Zablocki and Kanter 1976; Bordieu 1984; Solomon 1996: 69 1999)

When a brand creates messages that are go-ing to be conveyed through the visual as-pects of the brand i.e short films, campaigns and editorial spreads, it can be hard to find one key message that can be executed well enough through cultural references and visu-alised in a clever way so that the consumer will understand it. If it is executed well enough that the consumer does understand the meaning it will create a more emotional value bond between the consumer and the brand, allowing the campaign or edito-rial spread to act as a stronger platform of maximising sales and brand authority. This is what Reiss need to think of with care-ful consideration when executing their new brand stories.

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DAn important factor that has been at the fore-front of every brand over the decades is the target market. Every brand has one. Brands cannot be naive in thinking that their mes-sage will touch every consumer and play with every consumer’s emotions. Previous, deter-mined consumer groups have been allocated into groups defined by their shopping habits, interests, preferences and sometimes per-sonalities, however today these groups have become too vague and ambiguous.

‘Consumers can project an image of their own personality, by selecting a brand that reflects that personality. By interpreting the personal-ity of brands, consumers feel more comforta-ble buying into particular brands’ (McDonald: 92: 2003)

'Consumers are increas-ingly turned off by the ideas of widespread offer-ings, and are also, ironi-cally, increasingly sensi-tive about the collection of data by companies hoping to find out more about their niche preferences' (Jacobs: 67: 2012)

These two quotes both different in context and furthermore express a different viewpoint on the idea of demographics and target markets. McDonald states that consumers are attracted to brands that give off a similarity to the consum-er’s personality, whereas Jacobs links the idea to the fact that consumers are bored with generic messages that are fit for everyone, and are more inclined by niche concepts such as Stylist Pick and Lyst.

What’s important for the new Reiss marketing strategy is which route to accomplish. Do Reiss create a generic coherent message hoping to gain awareness from those who listen? Or, Do Reiss take on the fact that consumers prefer the personal touch of brands wanting to involve them and interact with them.

The new marketing strategy will take on both these contradicting ideas to create a fresh ap-proach. The message will be coherent, clear and generic; however Reiss won’t be naive in think-ing that it will reach to all consumers. From the problematic findings, that a greater awareness was found in the older generation rather than young professionals and even some of the young professionals was not aware of all that Reiss offer currently, the new strategy will include elements targeted directly to the younger genera-tion of young professionals and the base of the marketing concept, ‘The Lost Generation’. The underlying theme of investment and success can reach out to a wider demographic of consumers as it is irrelevant of age when it comes to setting out goals, aspirations and achievements on a personal level.

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M

VIGILANTE CONSUMERISM

Stage one delivered a trend called ‘The Lost Generation’, this is a trend that has been brought forward into stage two. The statement defined by the words: the graduate with no future. During the process of brain storming areas that the marketing concept could be targeted to, it became apparent that ‘The Lost Genera-tion’ trend is one that could never go out of fashion. For as long as there is a shortage of employment in all fields, there will be an unstable amount of unemployed graduates. This struck as an idea to build the market-ing concept upon. The concept will be going against the ideas and new theories of ‘adult infantilism’, a term defined by Jeffrey Arnett, a group of 20-somethings who want to extend their youth with no responsibilities. The concept is going to be aimed at the demographic who strive to be successful in everything they do, and want every aspect of their life to show this. (Jacobs: 66: 2012)

Reiss need to be a brand that excels in intelligence, referencing different aspects in culture within their platforms, promoting expertise and knowledge to their consumer. Relating back to the term, ‘Vigilante Con-sumerism’, the consumer can seek out naivety in brands of today; therefore Reiss need to be strong within their executions, in order to achieve the authority set out in the new marketing strategy. The consumer needs to consider Reiss as Reiss consider themselves; there can be no divide in brand image and brand identity.(Popcorn: 100: 1999) (3)

(3) Stage one saw a difference in what the consumer perceived Reiss to be (brand image) and how Reiss perceived the brand to be (brand identity), through the new marketing strategy Reiss and their consumer need to be on the same level.

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From com

bined research between both levels of stage one and stage tw

o, a trend in the lexis choice’s becam

e apparent. Through extensive interviews, questionnaires, consum

-er feedback and trend article analysis a series of w

ords started to appear frequently.

Investment- C

onsumers now

want to invest in key pieces that w

ill see them through seasons

and their events.

Versatility- If a style is to be invested in; it means that the style has to be versatile to fit w

ith current w

ardrobes and each consumer’s lifestyle

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Figure #2 A filter modelfor all creative ideas to flow through for consistence and coherence

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MaShopping is not mere-ly the acquisition of

things; it is the buying

of identity

‘Shopping is not merely the acquisition of things; it is the buying of identity’ (Lewis: John Clammer: 14: 2001)

The concept will place Reiss as a key player of success and authority within the consumers’ minds. Reiss will not be the brand in which consumers will see something in the window or online and buy it because they like it. Reiss need to be a brand where consumers will go to because they know they will find a piece of style that will be tailored to their every need; a piece of their identity.

‘In the quest for authenticity, consumers are really seeking to discover themselves. Not the people they feel themselves to be at the moment, but the kind of men and women they aspire to be and feel it is within their power to become’. (Lewis: 28: 2001)

The lure of authenticity that Reiss will portray will create awareness for Reiss, expressing the idea that you will shop at Reiss to become that person that you aspire to be like every day. Again, instead of consuming a product you’re investing into your identity. ’ AW

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Using the word au-thority without back-ing the statement up would show weak-ness in the marketing strategy. A key theme to emerge from the SXSW discussion was that there is a need for brands to be meaningful in 2012. By this, it means that brands now need to empower the skills of telling stories that mean something, keeping a strong theme on the ground base through each communication strategy, comparing a communication strategy to an ice-berg, ‘the top part is dynamic but the foundation needs to be static’. How does this relate to the new marketing concept of Reiss? (Lanahan 2012)

‘Real retail experiences are especially important for high value items where brands need to work even harder to impress offline consumers. This is not only about creating beautiful spaces that they’ll enjoy exploring, but about offering them something more than basic information about the products on show’ (Bowers 72:2011)As previously stated earlier in the investigation Reiss need to stand out among the crowded retail atmosphere as the brand that the consumer will not only get a beautiful product from, experience an exciting atmosphere yet also take with them some-thing extra than what they were expecting. With this in mind, Reiss need to portray through all branded levels an expertise of intelligence in a hybrid of cultures. ‘What they’re looking for [consumers] when they go into a store is not simply more facts, but a con-vincing and compelling experience of the product and brand’ (Bowers: 73: 2011)

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Cr

One key word that was stated in the original brief was ‘Omni’, a multi channel shopping experience. The investigation has shown that to create a new strategy that empowers strength through all channels in or-der to set sincere brand values into the consumer’s mind, each of Reiss’s channels need to be refreshed with the new concept. The following chapter shows how the coherence of the new strategy will flow across the brand’s main offline channels; the magazine, the photo shoot, the short film, and the in store environ-ment with a clear link of online integration, portraying sheer innovation, culture and consumer direction.

creative prologue

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THE MAGAZINE BIG IDEA:The concept for recreating the Reiss magazine was based on one key finding.

THE CONFUSION OF THE MAGAZINE PURPOSE.

This came direct from the consumer’s mouth. Of course, brand sales assistants and creative’s knew that a branded maga-zine is created to allow the consumer to be able to live the brand and visualise insights into the brand that develop further than the product.

However, the general Reiss consumer is not always based on a creative forward thinking mind. The Reiss magazine needs to be intelligent, aspirational, inspirational and not completely directed to the prod-uct. This is to allow a relationship to build between the consumer and Reiss that is not entirely based on a purchase or profit. This type of relationship will create a bond of trust, honestly and build up the feeling of authenticity.

To relate back to the consumer decision journey and how the current journal was not strengthening the awareness for Reiss, (4) it became apparent that the new maga-zine needed to be placed out of the Reiss retail space in order to bring the consumer back to the brand. The fact that the cur-rent journal was placed in store, it was not creating new awareness for potential future consumers. This is where the idea of creating the magazine as its own brand came from.

(4) It was used simply as an add on/an extra for in store interaction and a take away feature

MAGAZINE THE BRAND, NOT THE BRANDED MAGAZINEIf the Reiss magazine is to be a stan-dalone figure within the Reiss brand and the magazine market it needs to in-clude substantial content to drive read-ers and create a following, potentially creating new consumers and building authentic bonds between the current consumer and Reiss.

‘Ein Magazin Uber Orte, Mono.Kulter and Komfort Mag, has a much closer relationship with their readership than traditional media. They are at the centre of visual culture instead of above it. The editors of these magazines are writers and graphic designers them-selves. It is a form of crowd sourcing that is a vital influence in contempo-rary visual culture’. (Meseguer: 2012: online)

Taking inspiration and ideas from stand alone magazines rather than branded magazines, typography professional Laura Meseguer strengthens the idea that the brand magazine should be cre-ating a closer bond through influence and involving the reader more through individual content.When visiting the Reiss Head Office in Reiss claim to know their consumer, therefore the creative’s, designers, buy-ers and stylists at Reiss will know what content is influential and readable to build the magazine. However, the new separated magazine will use collabo-rations outside of the brand, such as graphic designers, writers and artists to fulfil the content in order to allow the platform to not be entirely directed to the brand.

Mag

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MIS FOR MASTERY.

A brainstorm method was used to create the name of the separated magazine. Mastery was chosen out of many that were based around the themes of director, ownership, and authority. Even though Mastery is a form word of Master which is a male term, in 2012 it can be used to describe both male and female posi-tions. The word Master uses connotations of power, confidence, authority and being able to be in charge of every aspect of your life. It also means knowledge and expertise, using your skills to influence others.

The front cover is a very bright yellow. This came from the 20th century Italian film and literature genre of Giallo, this links with the short film platform and adds a cultural reference, a block colour that can be iconic to Mastery and stand out proud among the book shelves.

A simple, strong and bold graphic layout has been used for both the male cover and the female cover. When researching into niche magazines such as Dap-per Dan and Bon, as well as high end brands the Acne Paper, it became clear that magazines that hold au-thority, make a creative statement with the front cover rather than overcrowd it with meaningless headings and subtitles.

The heads have been taken from the entrepreneurial photoshoot, and filled with images of artists and pho-tographers such as Neil Krug and Gabriel Moreno. A metaphorical image that suggests the viewer could potentially have a brain filled with culture, art and inspiration.

The four languages at the bottom of the cover means Mastery in French, Italian, Spanish and Portuguese.

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MIS FOR MASTERY.

Here are two spreads and a contents page as to what sort of content would be in Mas-tery.

The main concept is that it is not directly linked to the brand, yet is influential in interesting content that will stimulate and educate the reader.

There will be a spread for the short film, integrating Aurasma, allowing the viewer to scan over short film stills with an iPhone or iPad so they can watch the short film teasers, and get quick and easy access to further infor-mation.

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’

Ban influencer

is a special kind of person

who holds great sway

over others

‘An influencer is a special kind of person who holds great sway over others- a person whose preferences are deemed insightful and whose consumer choices are replicated far and wide. Influencers, the mar-keting theory goes, have the ability, due to social connections, expertise, energy and enthusiasm, to spread the good news about a product with unparal-leled efficiency’. (Bewick: 114: 2011)

Based upon the theme of ‘influence’, a key word in the marketing concept model (figure 2 and 3) the concept for the blog is to have an authoritive voice. Taking inspiration from Reiss personal tailor Matt Smithurst’s blog and micro-blog Instagram is where the creative idea for the blog derived from. Matt uses his extensive product knowledge to create a life-style image based on the brands, products and styles he wears and uses himself. The way he styles it in visual imagery sets his aside from the usual Reiss consumer; he expresses his thoughts through an as-pirational way using clever imagery, reference points to happenings in the era’s of the 1960’s (5) and his owm tailored style, a window into his stylish life.

Relating back to the separated magazine platform and how it would drive consumers to the brand by directing the content on a lifestyle rather than hard selling the product, the creative concept sees that the Reiss blog should too, be separate from the online store. Inspiration was taken from French Connec-tions blog ‘Electrique’, an observation taken from stage one’s original outcomes that it creates a more authoritive voice if the blog doesn’t directly sell the product but, like Matt Smithurst’s blog and Insta-gram, shows a lifestyle interpretation of a brand’s product and how to live that quality style of life.

‘

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____ Figure #4:

Blog Interface

Figure #5: Intellectual StyleInterview

Figure #6:A blog of imagesinspiration taken from the Reiss Tumblr,which shows lifestyle, art and cultureinspiration

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Figure #7Another aspirationalInterviewValid content to fit with marketingtheme

Figure #8:This or ThatConsumer integrationinvolving them allowing them to choose their content

B'People have a deep seated tendency evaluate them-selves, their profes-sional accomplishments, their material well being, relative to others' (Hol-brook: 67: 1999)

Morris Holbrook analyses relative themes in his book ‘Consumer Value’ that could be interpreted in the same way as the themes used in this investiga-tion. The previous quote is based on status, equality, and success. It notes that consumers do compare their value and style to others, and the new Reiss marketing concept is not against that. The new concept is about being confident enough to express ones individuality and let it influence others as an authoritive voice.

As previously observed in this investigation, the movement of vigilante consumers will appreciate the direct contact they can get access to, also relat-ing to a movement expressed in Holbrook’s book, Noveau Riches (6) showing the importance of look-ing like you have ‘made it’, working hard and being able to show it off to others in a way that it will inspire and influence.

(5) Smithhurst references 1960’s key icons such as Steve McQueen, The Thomas Crown Affair, the works of Wil-liam Claxton and other areas such as the street snaps by Tommy Ton, expressing his expertise, inspirations and his own influence allowing himself to influence others. (6) Noveau Riches: Advertising that is directed at this con-sumer group often plays on insecurities by emphasizing the importance of ‘looking the part’. For example, ads for Colonial Homes magazine feature consumers who have worked hard to make it look like they have never had to. (Holbrook: 67:1999)

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'People have a deep seated tendency evalu-ate themselves, their professional ac-complishments, their material well being, relative to others' (Holbrook: 67: 1999)

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The image is never

superior to the

viewer.

P

When brain storming inspirational ideas and key themes the photo shoot should convey in order to link in the with the marketing strategy one key idea became most important. The shoot should not divulge in vanity or glamour. It needs to express the same luxury retailer values as Reiss currently does, however it needs to scream modesty riddled with power, authority and influence. Viewers need to feel inspired by the image not afraid, or inferior. There should be no sense of dominance. The image is never superior to the viewer.

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With this in mind, the creative photo shoot inspiration can take place. Through mocking up a sketchbook full of tear outs of inspirational, directional and powerful shoots, the boundaries of the Reiss shoot can be set upon. An important area is to express AW12 trends straight from the London Fashion Week AW12 catwalks and designers, therefore trend boards also needed to be mocked up, showing the fresh trends that would tie in with the concept. (See appendix #10-11 for behind the scenes photo shoot and trend boards).

In order to create the strong coherent image that the marketing concept implies there needed to be more background to the photo shoot than simple pretty-faces. This is why throughout the cast-ing process it became clear that the models also needed a story to tell. Both models within the printed photo shoot were successful within their lives and ambitions. By stating that they were successful, it banished the flaws of inauthentic brand values and created a depth within the cam-paign. The backstage story of the models can be expressed, visualised and portrayed in the first issue of Mastery. This also links directly to the concept of the short film.

After a constructive meeting with Reiss Managing Director Andy Rodgers, and sending out the photo shoot examples to selected Reiss consumers, it changed the way the images were edited. Andy Rodgers wanted to see something that the brand would not usually do. Figure #11 is an example of what was shown to Andy and Figure #12 is an edited version that is out of Reiss’s usual style. This also changed the way the rest of the creative process was manipulated, in order to create something Reiss have not though of before. (See In store Environment).

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Figure #9: Structured PurityTrendboard

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Figure #10:Androgynous H

aze Trendboard

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Figure #11: The Refined Gentlem

anTrendboard

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Figure #12: Male shot Black & White

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Figure #13: Female Shot Edited

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SFrom the summaries of Stage one, one element sourced was the analysis of the in store environment. This is a very impor-tant factor within the consumer decision journey as a brand’s offline space can act as the core of the brand.

‘Service in the virtual world must also be at least equal to that received when the consumer is visiting a physical busi-ness’ (Lewis: 201: 2001)

Again, from deep diving into consumers online and offline shopping habits it became clear that Reiss do not express the same level of service online as they do in-store and vice versa. Intensively meaning that there is a discourse of coher-ence between Reiss’s branded levels.

Reiss’s store space is genuinely pleasing to the eye, which was a key element sourced from stage one research also. However, in order to successfully embrace the online and offline integration Reiss’s in store environment needs to be carefully considered to link into the new marketing strategy. After conducting a series of interviews with Reiss consumers, one element became clear.

The Reiss consumer is driven by beautifully displayed gar-ments, but they find it more inspiring if the visual aspects of the store are interpreted through innovative art and eye catch-ing unique displays.

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Over the last few months, the fashion industry has overseen many innovations within the way brands use interactive technology to express their designs, products and messages. Aurasma and Aug-mented reality both being a top trend that many luxury and street wear brands have divulged in and experimented with. Between the 27th of March and 9th April this year, both Westfield centres in London produced a digital shopping event that combined LCD touch screens labelled ‘styling cubes’, and allowing the viewer to create their very own mood boards of outfits that they wished to purchase from the event, linking in to the consumer as co-producers and customisation themes, ultimately compelling a high consumer interaction rate. However, there has also been a backlash trend in repetition of certain brands jumping on the augmented re-ality theme, according to Cool Hunter writer Bill Tikos states that since the first 3D projection by Samsung in 2010, this trend has started to look the same.

‘They’ve gone down as boring and repetitive, just like the hun-dreds of flash mobs that had no real reason to exist. The fun and surprise factor lasts only for the first few times. The impression copycat attempts leave is boring, not creative, and negative. An emotional connection with the brand is essential regardless of the medium. It is still always all about creativity, not the tools’ (Tikos 2011)

What Reiss need to do in order to break the monotonous list of past creations is combine a hybrid of old and new references in art, architecture and sculptures. This will add depth to the concept and strengthen the link between authority and intelligence. ‘If you want people to buy something, there is no more sure-fire way than to find an artist they admire and have that artist some-how incorporate the product into their art’. (Sansom: Max Wiede-mann: 158:11)Taking inspiration from varied levels of art and instalments that were not necessarily directed to fashion brands but create a com-pelling and intriguing experience over different lifestyle brands, a creative concept for Reiss’s in store installation has been thought of.

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figure #01____Martin Pfeifle Art figure #02_____

Lights make SculptureUnknown Artist

figure #03_____Unknown Artist

figure #05____Gabriel Dawe Installation

figure #04___JD Walsh

AW12 STAGE TWO IMPLEMENTATION REISS PAGE 49________

figure #06___Visual Complexity of a Flight Pattern

figure #07____Light Baubles Interior

figure #08_____Own Illustration of VisualComplexity Mapping

figure #09____Lichfield 2007

figure #10_____Visual Complexity Mapping

figure #11_______Visual Complexity Mapof Internet Communications

AW12 STAGE TWO IMPLEMENTATION REISS PAGE 50________

iJapanese born Chiharu Shiota used visual com-plexity inspiration to create the masterpiece named ‘in silence’, 2008. Visual complexity is the mapping of certain aspects in large, portrayed in a visual aspect to create a stunning pattern. This technique directly links in with the idea of creations not being in place to look pretty or to be stunning, but to have meaning behind the creativity in order to connect emotionally with the consumer. The installation will portray intelligence in order to promote expertise to the consumer, gaining of the authentic bond and rela-tionship between the consumer and Reiss.

In order to drive innovation into the concept, as well as considering the repetition of luxury brands using Aurasma to create a digital pres-ence, the art installation within Reiss stores will conduct a role within the digital revelation. The use of the iPad, easy portable and quickly driving away from the ‘niche’ product that Tim Britton stated the iPad to be on Marketing Week online in 2011, will be a main part of the in store instal-lation. (Britton: 2011 online)

Consumers can use their iPad device to hover over the visual complexity installation which will bring up related images and articles to the facts that make up the complexity map installation. Certain areas of the installation can be scanned to reveal different sectors, for example, one area to be scanned could potentially bring up a 3D hologram of clips within the short film, integrat-ing the different media platforms together, and creating a stronger linked in brand message. Fur-thermore this also links in with the consumer as co producer concept, as it forces the consumer to decide and choose which area they want to scan and what area they are more interested in

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CHIHARU SHIOTA ‘IN SILENCE’ 2008

visual complexity

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Figure #14: Chiharu Shiota ‘In Silence’ Visual Complexity 2008

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FTHE INDEPENDENT, THE EDUCATED AND THE DIRECTOR, 2012

A short film has been considered as part of the Omni channel for Reiss’s new strategy. Taking inspiration from many luxury brands and their collaborations with art directors, film directors and artists from the technical world to create a multi media channel that is easily distributed and integrated into different sepa-rated online and offline channels.

One main segment of inspiration came from the film ‘I am Love’ director, Luca Guadagnino pro-duction of an Italian film inspired short film for Giorgio Armani. Not only is the three minute long film beautifully styled within a pale stone architectural back drop but it cleverly reveals and refer-ences a different culture to what the viewer is used to, in Armani’s case, it’s their heritage of culture, however it delves deep into the brands integrity, creating the au-thentic bond that Reiss will also hold.

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Figure #15: Italian Style Female

Mood B

oard

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Figu

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oodb

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THE ITALIAN GENREC U L T U R A LI N T E L L I G E N C E

FThe short film created for Reiss will reference an Italian style, in direct link to the reference points of the magazine. Mood boards and trend boards were created to spur inspiration whilst on set based on photographers, taste makers, locations and stylists based on the Ital-ian genre.

Direct reference points were triggered when watching Show Studios, ‘The New Faces’ by Dean Chalkley. Favour-ing the view points, editing and camera angles, as well as the over voice of the models in the video talking about their aspirations in fashion. The Reiss short film however, includes young entrepre-neurs, alike the photo shoot, describing their aspirations, dreams and visions set out for the lifetime of achievements.

This strengthens the new branded concept of influence and the consumer being able to watch the short film and aspire to it, creating the emotional bond with Reiss that is desired.

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Figu

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17: S

till f

rom

Sho

rt Fi

lmO

utfit

bui

ldin

g, ‘C

lick

to B

uy’

Figure #18: Still of all casted models

from the shoot

Scan for AurasmaUsing iPhone/iPadAurasma App needed

FIn order to communicate clearly, integrate and involved the consumer within the new branded values the short film will boast a new promotion concept, previously used by other brands such as Tippex, in their 2012 campaign, ‘tip-pexperience- write and rewrite’, in which sees the viewer being able to choose the ending of the clip and interact with other features of the clip. The campaign has received over 8, 600,000 views on YouTube, yet without taking inspiration in a literal sense, the Reiss short film will allow the viewers to choose what they watch and how.

By clicking on a certain ‘character’ portrayed in the short film (see images left for characters) it will instantly direct the viewer to the online blog or a part of the Reiss online store to find out more about the character, trend insights and shop what the character is wearing. Stressing on the term ‘co-producers’, immensely involving the consumer, and relating back to the demographics, the view of Jacobs and how he states that the consumer is turned off by widespread offerings from brands. With the co producing concept, consumers can tailor the short film to what they want to see, what they want to hear and what they want to read. (Jacobs: 67:2012)AW

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CASTING_______________

LOCATION______NOTTINGHAM ART CONTEMPORARY

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Figure #19: CastedModels/Actors. If Reissconducted this, it would include real lifeEntrepreneurs.

Figure #20: Location shot

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PPLATFORM WHEN WHERE WHO WHY

MASTERY June 2012-September 2012

Mens Showcase London, Previews and LFW Sep-tember 2012

Bloggers tweeting images of impeccably dressed men in indentical suits hand-ing out copies of Mastery.Creating a buzz and a conversa-tional topic in the run up to LFW

Sparking off interest for the male consumer segmentation at a male based event in order to gain conver-sation with key blog-gers in the lead up to LFW 2012.

AURASMA CODESCONNECTING SHORT FILM AND MAGAZINE

Continuous, the magazine will use aurasma codes to link to a platform for readers to view the short film

In AW12 Mastery Again, authoritive bloggers to talk about the feature before both events

Integrating an online media and interacting with the viewer/reader.

SHORT FILM September 2012-October 2012

Teaser trailers to lead upto the premier of the short film at LFW, the teasers will be implemented in Mastery magazine through Aurasma codes

Matt Smithurst blog posts and other key bloggers, conversation on blogo-sphere, building up aware-ness

building up mystery and excitement, making the consumer wait instead of revealing all at once

IN STORE EN-VIRONMENT & INSTALLATION

gradual between June- Sep-tember

London flagship Head Office, an Aurasma installation preview night, industry profes-sionals and key bloggers to try out the interactive installation.

Matt Smithurst to lead the evening, special guests and talks from key people at Reiss as well as influential bloggers and followers, critics.

Alike the short film, not to give everything away at once, to try before it is implemented into other large stores, and work out how consum-ers will integrate with it

THE BLOG A coherent branded platform supporting the promotion of the other individual platforms. A base to create a con-versation, interaction and behind the scenes, building up a strong following of both consumers and key influen-tial industry professionals

THE PHOTOSHOOT Visual stimulation to strengthen branded message and support online visuals as well as spreads in the magazine and other promotion tools, i.e articles in other magazines, Marketing Week, Press Release, Drapers, The Rake, Grazia and GQ.

7.6

AW12 STAGE TWO IMPLEMENTATION REISS PAGE 63________

FFor Reiss to keep on being at the forefront of consumers consideration and to stay at the top of brands, consequently thriving in investment, authenticity and expertise in areas that are not simply directed at fash-ion, the brand needs to put careful consideration into future strategies and concepts that can execute the new concept in more innovative ways, fitting in with future technologies and trends. Reiss will strive through ambitious outlooks.

THE SEPARATED MAGAZINE AND BLOG.

Aspirations and visions for the brand magazine to be separate to the brand and influence the consumer through in directed knowledge within life style and culture came from stand alone magazines such as Acne and online trend blog LVMH’s Nowness. The Reiss magazine will strive to be a successful magazine known to be rich in cultured con-tent and insightful fashion views, and become a substantial platform to strengthen Reiss’ authenticity value.

A seasonal short film, referencing a new and unique culture within each and every production. Future suggestions for the short film could be collaborations with new and unique artists or up and coming film direc-tors, referencing a hybrid of eras to boast intelligence. Reiss will be the first to express new technologies, finding new ways to integrate short films, 3D and holographic collections in store and out of store.

‘Crowdsourcing and customer reviews can influence decision mak-ing, but people still look for experts they know and trust’. (Bewick: 114: 2011)

Matt Smithhurst, the suggested brand ambassador and influential voice behind the blog will become a stronger figure in the blogosphere. Con-sumers and bloggers alike will recognise him with substantial impor-tance, creating ongoing conversations across online platforms.

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FUTURE STRATEGY

Crowdsourcing and customer

reviews can influence

decision making, but people still look for experts they know and

trust(Zinonos: 114: 2011)

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SuREFERING BACK TO THE FIVE MAIN PROBLEMS FOUND FROM THE CONSUMER DECISION JOURNEY, AWARENESS, FAMILIARITY, CONSIDERATION, SHOPPING AND POST PURCHASE. HOW DOES THE CREATIVE AND MARKETING CONCEPTS SOLVE THESE PROBLEMS FOR REISS

AWARENESS in the younger demographic- how can Reiss create a stronger awareness in the con-sumer market of 18-34 The separated blog will be promoted on influen-tial blogs, by stylists of the 18-34 age range. For the working professionals, Mastery the separated magazine will feed them intriguing, informative and insightful information. The short film is di-rected at young entrepreneurs to promote aspira-tions, goals and achievements, playing on the influence factor.

FAMILIARITY OF PLATFORMS- what can Reiss do to familiarise their branded platforms within each consumer audienceEach branded platform has been re-created with the new strategy in mind, with a stronger more coherent message being the base of each platform it will create stronger familiarity.

CONSIDERATION- Reiss need to be the first brand consumers think of when identifying a problem or a needThe new strategy states that Reiss will be the forefront brand in the consumers’ minds, authen-tic and investment buying; buying an identity not a product of consumption. Through intelligence and expertise will influence consumers to not just consider Reiss but to buy into Reiss.

SHOPPING- The in store and online platform- how can Reiss integrate more with the consumer to push purchase rate

The separated branded platforms work subliminally as a way of bringing the consumer back to the brand, and integrating with them on a level that does not directly sell the product. Using unique cultural references and artists for the in store installation is a way of interact-ing with the consumer in store, as well as combining the branded platforms through technology and art.

POST PURCHASE: the afterlife, how can Reiss make sure that the story of the brand does not dissolve after the consumer makes the purchase

Using the separated blog and magazine as a way of involving the consumer after they have made a pur-chase, constant updated articles, newsfeed on the blog and using Matt Smithhurst as the branded voice to influence the uploading of images onto social net-working sites such as Instagram and Twitter, giving the consumer something to tweet about, creating a conversation about all branded levels. The short film involves the consumer by allowing them to click on different outfits and choosing the different characters to read their story and to shop their style.

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STO FINALISE

This investigation has been a journey analysing the Reiss consumer in depth in order to be able to create a new strategy that is relevant and directly answers the brief set out by Reiss.

In order to do this efficiently, before any creative ideas took place, the brief needed to be stripped right back to the core basis. The core basis being; to create an Omni channel for Reiss. Meaning that multi branded channels needed to be reconsidered and refreshed to create a co-herent, strong and sincere branded message that would portray Reiss with the same identity in the consumers’ minds as Reiss consider themselves.

The creative analysis introduced the theme and brand message of investment, allowing Reiss to use an au-thoritive voice that would reach out to the consumer, creating a message and ambience of knowledge, ex-pertise, and style that exceeds typical fashion brands, stressing on values within lifestyle, art and culture through the branded channels.

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SOne key factor that was analysed and justified in this investigation was that, even if a brand is not directly selling the product it can still act as an awareness factor. Drawing in the consumer through areas that keep them intrigued, interested and stimulated, rather than directly hard selling a branded product.

Each idea and statement has been knowledgeably justified with key findings from the consumers and tested against the consumers’ criticism in order to truly create an Omni channel that fits the Reiss demographic on all varied levels. A strategy that is not naive in any way, and a concept that is relat-able but not generic.

The second stage has given a direct approach to the Reiss consumer, using elements of trend in-novation, references of culture and art, as well as revealing answers as to how Reiss can gain more awareness with new consumers and refresh the loyalty with existing consumers without the open-ing of more stores. The new concept, triggering investment, intelligence and authoritive voices will play on the consumers’ desires, emotions and confidence to create a place in their mind for Re-iss; the educator, the independent and the director.

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A Pappendix

Ccontents

01 Matt Smithurst Interview02 Alexis Medrano Interview03 Laura Rushmer Interview04 Sophie Adams Interview05 Diesel Sales Advisor Interview06 Reiss Menswear Manchester Interview07 Kurt Geiger Manager Nottingham Interview08 Kurt Geiger Manager Nottingham Interview09 Burberry, Cos & The Kooples Manchester Interview10 Behind the Scenes: The Photoshoot11 Negative Space as Power Moodboard12 From the Sketchbook: Scan ins of Photography Annotation [12-17]18 Survey Results19 Survey Results20 Magazine Questionnaire Example21 Magazine Questionnaire Example22 Instagram Sourcing23 Declaration Form24 Bibliography25 Books26 Articles Offline/Online27 Articles Online28 References29 Illustrations30 Tutorial Record Sheets31 Critical Path32 Ethical Checklist & Consent Forms

i #1MATT SMITHHURST, REISS MANAGER, PERSONAL TAILOR,

GENTS DRESSER, BLOG OWNERMATT KNOWS MORE ABOUT THE REISS CONSUMER MORE THAN ANYONE, IT SEEMED VITAL TO QUIZ HIM ON HOW HE SEES THE MALE SHOPPER AND HIS INDIVIDUAL INSIGHTS ON THE CURRENT REISS JOURNAL.

As a lifestyle brand the journal for me encap-sulates the entire feeling, aesthetic and vibe of whatever season we are in. Obviously the product is a focal point, but what’s most interesting are the SS12 features i.e The vintage LA and Beat generation ‘On The Road’ inspired pieces are perfect examples.

The purpose of the brand journal is to offer the customer the chance to dive into the collection and give insight into the clothing they will spend their spring/summer in. The inspirations and ori-gins, along with key looks and how to wear them, should inspire our customers further into what we try to communicate in-store.

Obviously the look book is available in all stores as well as online. Along with this, select stores are using iPad that include all of these key looks and make the ‘customer journey’ more interac-tive. Do I think we should have them available for distribution? No, I think it’s more exclusive to keep it as an in-store exclusive.

MATT ON THE REISS JOURNAL__________

As style, more than fashion, has come to the fore-front of the ‘everyday’ guys mind, I feel guys are far more open to service in fashion retail. At the same time, many already know exactly what they want to wear. Shopping is now a very popular thing for guys to do as a leisure ac-tivity. With friends or alone, guys want to dress well and come to REISS in the same routine as going for lunch, coffee or drinks in the evening.

I’ve seen a surge of guys have an interest in style with the advent of men such as David Beckham and Ryan Gosling being adorned by the fashion industry and women alike. With the perfect balance of masculinity and metro sexu-ality (hate that word), it seems a man isn’t ashamed of coming into a retail environment with a pre-empted idea of how they want to present themselves. Also, it goes without saying our customers look to my stylish team for inspiration and advice!

I feel quite strongly these days that men are shopping ‘smart’. Literally and metaphorically- Obviously the smart/formal look is very desirable right now, but I also mean sensible when using the term ‘smart’. By this I mean investment shopping. A man, with the right budget, will have no problem spending £250 on a blazer that will become a staple in his wardrobe year after year. That’s quite common at the moment- Spending a bit more to get a lot more.

MATT ON THE MALE CONSUMER__________

I FEEL QUITE STRONGLY THESE DAYS THAT MEN ARE SHOPPING ‘SMART’. LITERALLY AND METAPHORICALLY-

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i#2ALEXIS MEDRANO, HARVEY NICHOLS P.A, FITNESS FANATIC, ASPIRING FASHION DESIGNER

SOURCED ON MICRO-BLOGGING, IMAGE SHARING PLATFORM, INSTAGRAM, ALEXIS UPLAODS STYLE SHOTS OF HERSELF WEARING BRANDS LIKE REISS, ZARA AND SANDRO

WHAT WAS THE LAST ITEM OF CLOTHING YOU BOUGHT? The last item of clothing i bought was a green dress from ZaraIF MONEY WAS NO OBJECT WHAT WOULD BE THE FIRST ITEM OF CLOTH-ING YOU WOULD BUY? I cant think of anything specific but labels i would have to say something from Alexan-der wang or Alice & Olivia.

STATE THE LAST SINGLE/ALBUM YOU BOUGHT? Emeli Sande WHAT’S THE NEXT FILM YOU WISH TO GO AND SEE? as sad as it sounds, and we all know what happens .. TITANIC AND YOUR FAVOURITE CITY AND WHY? LONDON!! I’m actually from California and everyone asks me why I’m here. Who cares about a little rain, London has some of the best shopping and food, what gets better.

WHAT THREE WORDS WOULD YOU USE TO DESCRIBE REISS AS: Chic, Trendy, sexy

-PRODUCT: well I did a trial day with Reiss and had a nose at quality and consistency. They are pretty much on point. Finishing on the garments is one of the point important things; it can make or break the garments. I feel that’s what makes Reiss look so Luxury. -SERVICE: The service in Reiss is up to standard, they are more about selling through knowledge of the brand instead of the “ oh this looks lovely on you” which again makes the customer feel the garments are worth the cost. -IN STORE EXPERIENCE: In store experi-ence is Luxury standard. Greeted- Ap-proached and so forth, the lay out and the way the store is merchandised is beautiful. Always clean. Usually I would go into a store if there window display was good, and in Reiss they keep their window display stock all in one area so it’s easier to find.

-DESCRIBE YOUR PERSONAL SHOP-PING HABITS.

I like to go shopping and just pick up something I like, regardless of where and how in season it is. I am really good with trend spotting, I actually have been on a very tight budget this last year and managed to not buy any clothes since November, now this is normally a struggle but if you buy key pieces and take care of your goods, your clothes can be reworked and worn for years. With a little make up change and jewellery, you have a new outfit.

-WHAT BRANDS AT THE MOMENT ARE YOU MOST ATTRACTED TO AND WHY? Sandro Reiss and Zara There all so chic, I would gladly wear most items from all these stores. With Zara being the lowest of the chain, I have tops, jackets and coats from Zara that I’ve had for nearly 4 years and still look brand new. so i can imagine if i had enough money to shop in say Reiss or Sandro I’m sure quality would be ten fold.

-IF A BRAND HAD A MAGAZINE WOULD YOU BE INCLINED TO PICK IT UPYes, I’d pick it up, read all the way through it and keep it. I am the worst with magazines, there are so many ideas.

-WHAT DOES THE WORD ‘LUXURY’ MEAN TO YOU? Luxury to me means Quality, Expen-sive, Exclusive

-HOW DO YOU LIKE TO SHOP IN STORE:

Beautifully merchandised, creative, art led.What happens to me a lot is if a store is well merchandised you can see what colours and styles work together or vice versa. It subliminally gets you to buy trends and shapes.

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i #3LAURA RUSHMER, PERSONAL ASSISTANT, A CONSUMER FOND OF FRENCH CONNECTION, TED BAKER AND PAUL SMITHLAURA WAS SOURCED VIA TWITTER AS AN INDUSTRY PROFESSIONAL AND REISS CONSUM-ER. A CONVERSATION WAS CREATED OVER E-MAIL QUESTIONING LAURA ON HER OPINIONS OF REISS, BRAND MAGAZINE,

About Laura

Age Bracket: - 30-35 Occupation: - Personal Assistant

Dream Job: - not sure.....The one item of clothing that’s on your wish list right now: - some nice maxi skirts/dresses for summer

The one album that you’re planning on downloading/buying: The next film you want to go and see:

Are you a member of any social networking sites: Twitter & facebook

2. Laura and Reiss

Use three words that you would instantly use to describe Reiss.Quality, style, classic

How aware are you of the Reiss Journal. (The magazine that Reiss pro-duce on a seasonal basis) Do you pick it up and read it? – Not aware

Is Reiss a brand that you think of first when thinking of buying some-thing?

A) Formal and business like - yesb) Something special - yesc) Something casual - yes

Would you ever browse the Reiss website before purchasing a product from there? – I browse it but purchase in store

Are you aware of the platforms that Reiss use to promote: their blog, facebook page, twitter page? If so do you look at them regularly and

why? – I read the blog via the links on twitter to see what key items I should be

buying

How much do you know about the background and history of Reiss? If nothing, would it make you more loyal to a brand if you were more

aware of its heritage? – I know it is a British brand, started by David Reiss in 1971.

What other brands do you think of when deciding that you need new items – ted baker, M&S Autograph, French Connection, Paul Smith, In-

dies....

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i#4SOPHIE ADAMS, RETAIL STORE MANAGER SOURCED VIA REISS FACEBOOK PAGE

1. About You

Age:25

Occupation: Retail Store Manager

One piece of clothing item that is on your ‘wish list’ right now: A pair of Christian Louboutins.

The next film your planning on seeing: The Hunger Games.

The next album/single your planning on downloading:

2. Branded Magazines

- Do you pick up brand’s magazines in store and read them (i.e topshop magazine, Reiss Journal, Acne Paper)-If so, then what is your opinion of them?Yes I do, I like looking at new collections informative pieces about the brands and where they find inspiration for collec-tions from.

-What do you think is the purpose of a brand having a magazine to give to consumers?To keep the clients in touch with the company. The direction its taking, new things it had to offer. Tempting lines that are yet to be released to ensure the client makes a return visit.

-What would you rather see, a branded magazine or a look book or even both?I like both as I like to read which I can get from the magazine, but the look book offers press styled images that are great for giving you ideas on how to style looks.

3. You and your Shopping habits

-What is it that makes you loyal to a brand?Excellent customer service, ie a personal service where you feel they know you and remember detail about you and your lifestyle.-When you go shopping for something in particular which is most like you:

a. in and out of different shops and pick up anything i see and likeb. have a good idea on what I want, as I have re-searched it online before handc. look on inspiration sites such a look book or in brand magazines to see exactly what it is I want d. buy everything online at oncec. buy everything online once researching into it

B is most like me.

-Does it interest you to know more about a brand, the history and heritage of it?Yes definitely as it could be the reason why choose to or not to shop with that brand. I definitely buy into heritage and its something that makes me a loyal customer.

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i#5DIESEL SALES ASSISTANT NOTTINGHAM, BASED ON THE DE-BATE OF A BRAND LOOKBOOK AND A BRANDED MAGAZINE.DIESEL ARE A KEY BRAND TO ASK AS THEY ARE A COMPETITOR TO REISS 1971 AND THEIR CASUAL ATTIRE. DIESEL ARE A BRAND THAT USE PRINTED AND OFFLINE ME-DIA TO PROMOTE AND CREATE AWARENESS ON DIFFERENT LINES AND COLLECTIONS.

WHAT IS YOUR VIEW ON THE PURPOSE OF A BRANDED LOOKBOOK?

The lookbook is a taster of the collection, often comes into the store before the main collection does to intrigue the consumer.Diesel have a couple of different lookbooks which are each based on a specialist area of the brand i.e a lookbook specially for jeans as the brand does specialise in denim.

WHAT IS THE PICK UP RATE ON YOUR LOOKBOOKS?

Sometime students, teenagers, or general consumers pick a lookbook up for the sake of it- you will never be able to prevent that.The full range of collections is online- it gives people something to go online for.

WHAT DO YOU THINK WOULD BE THE BEST WAY TO DRIVE MORE PICK UP OF BRANDED LOOKBOOKS?

Offers and discounts may be the only way of consumers picking up and showing more in-terest in a lookbook. A lookbook shows brand value; a brand can show the consumer more into their brand so they buy more- can also show consumer and brand loyalty.

WHAT IS THE DIFFERENCE BETWEEN A BRANDED MAGAZINE AND A LOOKBOOK?A magazine is more for lifestyle purposes- a consumer wanting to LIVE the brands lifestyle, rather than just dress in the brand, they want to live it.

IF DIESEL WERE TO CREATE THEIR VERY OWN MAGAZINE WHAT SORT OF CONTENT WOULD IT HAVE IN IT?

If Diesel were to produce a magazine, it would feature ele-ments of music (Diesel Radio), Dukati Bike, more about the brand as a lifestyle than brand as a product.It would also feature a great amount of their strap line: ‘FOR SUCCESSFUL LIVING’, and be based around the theme of that.

DEAN @ DIESEL, NOTTINGHAM

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i #6ON A FIELD TRIP TO THE CITY OF MANCHESTER, AN INTERVIEW WAS CONDUCTED WITH THE MENSWEAR DEPARTMENT AT REISS NEAR SELFRIDGES. THE PURPOSE WAS TO SOURCE INFORMATION FROM A DIFFERENT STORE THAN NOTTINGHAM AND TO QUESTION THE SALES ADVISOR ON THE REISS JOURNAL AND HOW REISS REPRESENTS THE TERM LUXURY IN THEIR STORE ENVIRONMENTS.

key findings

Reiss often give out copies to local boutique hotels such as; Mal Maison and Great saint John Street.

The journal is more popular begin-ning of season when everything is fresh and new Reiss have a hard copy of a lookbook in store with outfit ideas however it would be a matter of cost issues for them to have both.

The consumer often looks at an on-line lookbook, for inspiration.

Danny believed that the journal had the right balance of images and text. It is based on what the in house de-signers at Reiss think their consumer would like, tastes, personalities.

The point of a brand magazine is to put a message across.

Having a separate mens and womens issue would not be such a good idea, it’s a possibility but the issues may become too thin, and from a male perspective, men do like to browse womens styles too, so they know what’s fashionable.

To avoid confusion, Reiss could do a front cover that’s gender mixed

The Reiss instore envi-ronment is clean, crisp, less is more.

A luxury feel and ambience with a high street price tag.

Reiss look at buildings and architecture for inspiration. Each store has been hand picked, so that the exterior has something special about it.

Reiss already collaborate with local artists to cre-ate awareness and events. The White Wall Art Gallery Event Thursday 22nd March: collection evening, personal shopping, wealthy consumer, Molten Brown, Tom Ford collaborations. Sometimes held in hotels that boast a Reiss vibe.

Danny @ ReissMenswearManchester

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i #7KURT GEIGER NOTTINGHAM STORE MANAGER YASMIN RADECKI STATES THAT SHE IS IN-SPIRED BY ART LED VISUAL MERCHANDISING- WHEN YOU CAN TELL BRANDS HAVE MADE AN EFFORT TO IMPRESS. As a brand conscious consumer and professional, it was useful to get opinions and insights from Yasmin, who also has a degree in Art Direction, and previously worked at Topshop as a visual merchandiser , Yasmin took pride in answering the questions with great detail in visual creation. Inter-viewing Yasmin as she flicks thorugh a copy of Vogue May 2012

Kay: What grabs your attention when flicking through a magazine?

-the photo shoots mainly, especially ones with a beautiful location-something different, out of the ordinary, or even things that are creative and never been done before, juxta positions of creations that have been and gone to create something new and fresh.-I’m not into big blocks of writing, it’s a no go- unless it’s someone I’m interested and want to find out more.

Kay: When you’re in a store, if you saw a magazine that the brand had produced would you pick it up and read it?

-Yes- if i shopped there regularly I would want to know more about the brand.

Kay: How do you shop? What do you like about stores that you’ve been in before?

-I do actually like clutter. Only if I know I’m go-ing to find a little treasure in there somewhere, but most of the time, in places like Topshop, or H&M, I don’t always know where to start.-I like places to feel expensive, even if they’re not

Kay: What feels expensive to you? What do you class as expensive and luxury?

-Places that have an expertise in VM and styling!-A place that you can tell an effort has been made to create outlandish, eye catching VM.-I always go to places/shops where I know I’m going to have an experience, places that scream architechture.-Style that just makes you want to go, even just to look at it.-For example, I wouldn’t go to a department store to buy a Vivenne Westwood product, I’d go to one of her stores, because i’d want to experience it all; the service, the vm, the packaging.

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#7

(Yasmin points to the first image above) Like that, you can’t even see the product that the model is wearing in this image, but the image just makes you want to be that model, and do what she’s doing, living her life.

Kay: So you like imagery that makes you feel like you can step in and escape for abit?-Yes- absolutely!

Kay: Overall, when thinking about going shopping, what do you do, do you research first or just go shopping and see what’s there?

-I’d just go shopping and see what I like. I’m not trend driven I buy what I like, I wouldn’t look in Vogue and see that tribal is in this season then go out and buy a tribal piece. I guess I’d subconsciously see things that catch my eye in magazines then match it up to what’s in shops.

Yasmin @ Kurt GeigerNottingham

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i#8INTERVIEWING SALES ASSISTANTS AT BURBERRY, COS AND THE KOOPLES IN SELFRIDGES MANCHESTER ON IN STORE ENVIRONMENTS AND BRAND-ED MAGAZINES. TARGETING LUXURY BRANDS FOR REISS TO ASPIRE TO.

INSTORE ENVIRONMENT:Best seller- burberry checkered navy shirt: burberry but not burberry enough/ not the typical burberry shirt

International concession: International consum-ers love Burberry as they feel like they truly have brought some English heritage.

In store product merchandise is changed every week to keep a fresh vision in the consumers mind. New stock every month

The Selfridges retail outlet likes contemporary spaces, so every brand has to live up to that

The Burbbery concession is new, modern, brand new lights at the back of shelves to create a relaxing dark mood. A yellow light, which best shows product.

Dark light to create a luxury ambience

Old English style- homely, comfortable Every concession in Selfridges has a different type of light Ted Baker: Floral Street and Regent Street: the float-ing illusion

REISS V BURBERRY:

Huge disconnection in retail space, Reiss is too bright, unfinished, no attention to fitting rooms, consumers like attention to detail, nothing to in your face. E.g Ted Baker fitting rooms when you click a switch the glass turns frosted!

Reiss sometimes look like theyre trying to do an outdoor feel but indoor.

BURBERRY

Men help themselves to the magazine more than the women do

Better for the brand and the consumer to have a lookbook and a magazine: magazine is personal to consumer, lookbook is direct to the brand

Interviews on collections, a collaboration feature e.g Eric canto-nar, Pete Doherty, some men come in just to pick it up because it features a desired celebrity (LINKS TO INFLUENCE FACTOR)

The brand image of ‘couples’, isn’t as unique as it was

Be careful when featuring a celebrity; love or hate relationship with the consumer

COS

High interest everyday

Purpose: to promote, create awareness, likability, building brand relationship and value

More images that text- image is more brand related

A lookbook online and only one hard copy in store

Consumer 35-40

THE KOOPLES

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BEHIND THE SCENES OF: THE PHOTOSHOOT APRIL 2012 AW12/13

the location, the styling, the trend boards

SOMEWHERE SIMPLE YET BOASTED ARCHITECHTURAL ELEMENTS. SIMPLE TO ALLOW POST EDITING CREATIVITY AND A PLACE THAT COULD REPRESENT POWER AND SUCCESS

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#9

THE USE OF NEGATIVE SPACE TO CREATE IMPACT AND A THEME OF STRIKING POWER______________________________________________

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#10

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AGE RANGE 22-26OCCUPATION AND DREAM JOB AND WHY: Creative Direcotor because I can then be the boss of the whole creative process in a company.STYLE ADMIRATION Male style, Ozwald Boetang, very chic, sophisticated and colourful. Female, I don’t look to any one in particu-lar. I would have anything in the Olsen Twins or Alexa Chungs’ wardrobe though.YOUR FAVES PIECE OF CLOTHING=Parrot jumper from Topshop. FILM=Titanic in 3D. ALBUM=Drive SoundtrackYOUR COLOUR Gothic Black

MAGAZINES IN GENERAL What do you read? e.g which magazines on a regular basis and why do you read them. What draws you to them. Are any of them brand magazines?

Self Service. Tank. It’s Nice that. Vogue. 10magazine. The Gentlewoman.

BRANDED MAGAZINES Would it disappoint you if your favourite brand (i.e Topshop) only had a magazine online? Does it make you more loyal to a brand if you can take a copy of their printed magazine? If a brand has exclusive content online would you look at it online instead?

Yeah, I think they can spare a bit of cash to do that & it only promotes them. If I had to pay for a magazine from Topshop, I never would buy it in a million years. And I don’t read magazines online.

ONLINE V PRINTWhat is it that you prefer about online and printed magazines? (think of how you flick through a magazine, how you handle it and use it, or online how you scroll, do you print screen images or copy text?) I prefer offline obviously, online is a waste of time and money. It defeats the whole purpose, magazines should be a valued item. I have piles of them in my home, I think they are almost like a piece of furniture.

THE FUTURE OF THE PRINTED MAGAZINE There are many magazines in the industry that not everyone has heard of. Then there are the weekly issues of Grazia and Look, and the glossy monthly issues of Vogue, Elle and Harpers Bazaar. In your opinion, what is the future of magazines that are printed? I think they will remain printed. I don’t know anyone, as of yet that buys online magazines. I would browse online magazines but never purchase them.

THE MAGAZINE AND IT’S CONTENTIf a brand had a magazine that featured a desired celebrity/beautiful visuals/unique content would you be willing to buy the brand’s maga-zine? Yeah if it was amazingly done.

THE MAGAZINE AND THE IN STORE ENVIRONMENT Where about in a shop would you notice the magazine more: fitting rooms, merchandised with product, tills. Does it make you feel more involved/in the know with the brand if it had a magazine?

Near the till, or around displays. Yeah I like it when brands have magazines, I do feel like the company cares a little bit more. It shows ef-fort.

BRAND MAGAZINE V LOOKBOOK BRANDED MAGAZINE: content, photoshoots that reflect the brands values, the brand as a lifestyle, you can live the brand

BRAND MAGAZINE V LOOKBOOKWhat is your opinion on branded lookbooks? Is it a case of flick through and chuck them away? What would make you want to pick up branded/print magazines/look books from a store that you don’t go in that often? I like Look Books when they are nicely done, some of them are more like special books which is a lovely keep sake from a brand. Espe-cially if you can’t afford anything. Word of mouth that the look book was good would make me go to a store I don’t shop at to pick it up.

WHERE DO YOU NORMALLY GET YOUR STYLE INSPIRATION FROM?

Shopping, I don’t follow blogs and I don’t admire any one in particular. I just do my own thing and hope it works...Perhaps subconscious-ly imagery from the internet might inspire me.

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SOURCING CONSUMER GROUPS VIA MICRO BLOGGING PLATFORM, INSTA-GRAM. SEARCHING FOR THE #REISS TAG AND APPROACHING THE USERS WHO HAVE UPLOADED IMAGES OF THEMSELVES WEARING REISS AND/OR PROD-UCTS FROM REISS. THIS WAS A SUCCESSFUL WAY IN EXTRACTING INFORMA-TION RIGHT FROM THE CONSUMERS MOUTH.

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#13

I confirm that this work has gained ethical approval and that I have faithfully observed the terms of the approval in the conduct of this project.

This submission is the result of my own work. All help and advice other than that received from tu-tors has been acknowledged and primary and secondary sources of information have been properly attributed.

Should this statement prove to be untrue I recognise the right and duty of the board of examiners to recommend what action should be taken in line with the University’s regulations on assessment con-tained in its handbook.

signed ....................................................................................................................

date .......................................................................................................................

Ddeclaration form

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Cowles C, 2012 Fashion Brands Would Rather Make Their Own Magazines than Buy Ads available at http://nymag.com/daily/fashion/2012/02/advertising-make-a-magazine-fashion-brands.html [accessed 27.03.2012]

Carr D, 2011 Print Empire Braces a New Order available at http://www.nytimes.com/2011/12/05/business/me-dia/at-time-inc-a-leader-to-help-it-fit-the-new-digital-order.html?_r=1&pagewanted=all [accessed 28.03.2012]

Levy D, 2010 The Future of Magazines is here Good ideas about content, media and marketing available at http://sparksheet.com/the-future-of-magazines-is-here-qa-with-susan-currie-sivek/ [accessed 28.03.2012]

Anon, 2012 Design and Architecture available at http://retailtrafficmag.com/design/architecture/ [accessed 28.03.2012]

Anon, 2012 A focused online magazine available at http://www.spookmag.com/ [accessed 28.03.2012]

online articles/information

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AAnon 2012, Pelikamo Concept Store available at http://www.ilovetownhouse.com/?p=1827 [accessed 28.03.2012]

Anon 2012, Louis Concept Store available at http://www.louisboston.com/about-louis/ [accessed 28.03.2012]

Tezenkova A, 2012 El B by Selgascano available at http://www.louisboston.com/about-louis/ [accessed 28.03.2012]

Meseguer, L, 2012 Laura Meseguer Type and Graphic theory available at http://www.laurameseguer.com/news/facing-pages/ [accessed 01.04.2012]

Waite A, 2011 Brand Ambassadors Model Siblings Poppy Devlinge available at http://fashion.telegraph.co.uk/news-features/TMG8385208/Model-siblings-Poppy-and-Cara-Delevigne.html [accessed 01.04.2012]

Blackmore R, 2012 Top Ten Mistakes made by Online Entrepreneurs available at http://www.management-today.co.uk/news/1128126/top-ten-mistakes-made-online-entrepreneurs/ [accessed 01.04.2012]

Thompson J, 2012 David Reiss Top Retailer is well suited to the High Street Buzz available at http://www.independent.co.uk/news/business/analysis-and-features/david-reiss-top-retailer-is-well-suited-to-the-high-street-buzz-913327.html [accessed 03.03.2012]

Millar J, 2012 Personal Style Simon Crompton available at http://www.gq-magazine.co.uk/style/arti-cles/2012-04/25/simon-crompton-personal-style-interview-tailoring [accessed 04.04.2012]

Tikos 2012 Art Installations Trend Research available at http://www.thecoolhunter.co.uk/art/10 [accessed 04.04.2012]

Marshall R, 2012 Future Consumer Forecast available at WGSN [accessed 05.04.2012]

Britton T, 2011 iPad: the Mass market niche product available at http://www.marketingweek.co.uk/the-yougov-take-ipad-the-mass-market-niche-product/3026556.article [accessed 06.04.2012]

Arther R, 2012 Gap Restoring Brand Purpose available at WGSN [accessed 05.04.2012]

Arther R 2012 AW13/14 fashion Weeks Digital Initiatives available at http://www.wgsn.com/content/report/marketing/communication_strategy/2012/march/a_w_12_13_fashionweeksdigitalinitiatives.html [05.04.2012]

Bezamat B, 2012 Dunhill continues use of technology available at http://wgsn.com/content/marketing/cam-paigns/best_practice/2012/march/dunhill_shanghai.htmlHughes A, 2012 New York Menswear Update available at WGSN [accessed 06.04.2012]

Lichtenstein J, 2012 Sensory Shopping Melissa Shoe NYC available at WGSN [accessed 06.04.2012]

Lanahan R, 2012 Brands as Patters SXSW discussion available at http://austin.lanyrd.com/murphysbar86[accessed 10.04.2012]

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References

Page

05: (Court 2009: online)09: (Popcorn: 100: 1999) (Lewis: 02: 2001) (Lewis: 2001)

11: (Lewis: 10:2001)12. (Mcdonald: 242:2003)13: (Mcdonald: 129: 2003)17. (Jacobs: 67: 2012) (Mcdonald: 72: 2003) (Zablocki & Kanter 1976, Bordieu 1984: Solomon 1996: 69: 1999: Holbrook: 1998)19. (Mcdonald: 92: 2003) (Jacobs: 67:2012)21: (Jacobs: 66:2012) (Arnett: 2012) (Popcorn: 100: 1999)25: (Lewis: John Clammer: 14:2001) (Lewis: 28: 2001)27: (Lanahan: 2012: online) (Bowers: 72: 2011) (Bowers: 73: 2011)31: (Meseguer: 2012: online)35: (Bewick: 114: 2011)37.A(Holbrook: 67: 1999)47: (Lewis: 201: 2011)48: (Tikos: 2011: online) (Wiedermann: 158: 11)

51: (Britton: 2011: online)60: (Jacobs: 67: 2012)64: (Bewick: 114: 2011)

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Report Illustrations

Fig #1 Contact Cards used to source consumers (Own image) 2012Fig #2 Filter model for creative ideas (Own illustration) 2012Fig #3 Filter model for creative ideas (Own illustration) 2012

A: Mastery magazine Front Cover (Created by Kay Pearson) 2012B: Mastery magazine page mock ups (Created by Kay Pearson) 2012

Fig #4 Blog Interface (Created by Hannah Dodds) 2012Fig #5 Intellectual Style Content (Created by Hannah Dodds) 2012Fig #6 Blogging Images (Created by Hannah Dodds) 2012Fig #7 Expertise Interview (Created by Hannah Dodds) 2012Fig #8 This or That blog content (Created by Hannah Dodds)2012Fig #9 Structured Purity Trend Board and description (Created by Kay Pearson) 2012Fig #10 Androgynous Haze Trend Board and description (Created by Kay Pearson) 2012Fig #11 Refined Gentleman Trend Boards and description (Created by Kay Pearson) 2012Fig #12 Male shot from photoshoot (Own image, Edited by Kay Pearson) 2012Fig #13 Female shot from photoshoot (Own image, Edited by Kay Pearson) 2012Fig #14 Chiharu Shiota ‘In Silence’ 2008 found on http://www.chiharu-shiota.com/Fig #15 Italian style mood board female (Created by Kay Pearson) 2012Fig #16 Italian Style mood board male (Created by Kay Pearson) 2012Fig #17 Still image of the short film (Created by Hannah Dodds & Kay Pearson, Edited by Nick Booth and Hannah Dodds)Fig #18 Still image of the short film (Created by Hannah Dodds & Kay Pearson, Edited by Nick Booth and Hannah Dodds)Fig #19 Casting of the short film (Own images created by Kay Pearson)Fig #20 Location of the short film (Own image)

installation moodboard illustrations

Fig #1 Martin Pfeifle Art Trendland Online 2012Fig #2 Light Sculpture Designspiration Online 2012Fig #3 Unknown Designspiration Online 2012Fig #4 JD Walsh Picdit Online 2012Fig #5 Gabriel Dawe GabrielDawe.com Online 2012Fig #6 Flight Pattern Cool info Graphics Online 2012Fig #7 Light Baubles Twig Decor Online 2012Fig #8 Own Illustration created by Kay PearsonFig #9 Light Stobes Lichfield Sebastian-Hempel Online 2012Fig #10 Visual Complexity Map Atelier Online 2012Fig #11 Visual Complexity Map Geninelarin Online 2012

TTutorial Record Sheets

Date: 22.03.12Work to bring / prepare for session:Research done so farPrimary & SecondaryLearning issues to discuss in session:What’s next to do in research termsA brief look at stage 2 reports to gain an idea on different research methodsResearch that was found in stage 1 that could be useful in stage 2 Feedback from session:Only conduct research that is relevant to the brand and will gain worthy resultsTasks for next session:Bring useful PR/Advertisements bad and good

SIGNED (TUTOR):_________________SIGNED (STUDENT):____________________

Date: 18.04.12Work to bring / prepare for session:Prepare for Interim presentation (10mins)Learning issues to discuss in session:Present to peers what stage I am at now and what I plan to do in the up-coming weeks in order to gainfeedback from tutor and peers. Feedback from session:Main overall idea of investment is interesting,and thorough use of con-sumer primary researchTasks for next session:Look at learning outcomes sheetSIGNED (TUTOR):_________________SIGNED (STUDENT):____________________

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TDate: 25.04.12Work to bring / prepare for session:Look at learning outcomes sheetLearning issues to discuss in session:Went through the learning outcomes sheet one by one to gain a clear idea of what each means and what is expected in each criteriaFeedback from session:Tasks for next session:Think about press release and what will go in Who is the press release aimed at

SIGNED (TUTOR):_________________SIGNED (STUDENT):____________________

Date: 02.05.12Work to bring / prepare for session:Any visuals or writing to go over and get feedbackLearning issues to discuss in session:Thinking about order of report, spoke about meeting with Andy Rodgers and Tim Rundle, cultural referencing and how this can be implemented into marketing and creative strategies. Feedback from session:Good idea to not create a whole magazine mock up but to implement a mock up of cover and a few spreads in order to focus on cultural referencingTasks for next session:Individual tutorialsBring in work and plan questionsSIGNED (TUTOR):_________________SIGNED (STUDENT):____________________

Date: 08.05.12Work to bring / prepare for session:Individual TutorialsLearning issues to discuss in session:Talked through each platform, and visuals of the report and consumer mini zine.Feedback from session:Visuals were creative and portrayed hard work ethicTasks for next session:Bring in a piece of writing and/or a visual example to discuss with rest of the groupSIGNED (TUTOR):_________________SIGNED (STUDENT):____________________

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Ccritical path and deadlines

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Nottingham Trent UniversitySchool of Art and Design

Ethical Clearance Checklist for individual student projects

To be completed by the student for an individual project that involves the collection of primary data this includes images, drawings, pho-tographs, questionnaires and interviews. Please complete this document following the guidance in the School of Art and Design Ethical Guidelines and Framework for Research and Practice Undertaken by Students.

Section A: About the research

Name: KAY PEARSONProgramme of Study: FASHION PROMOTION AND COMMUNICATION Module Title and Reference Number: FCP3 REISS LIVE PROJECT Name of module leader/supervisor responsible for the management of the project Duration of project 1 YEARProject title REISS LIVE PROJECT

Section B: Training and experience

Have you had previous experience of or been trained in the methods employed to collect data, and/or discussed with your supervisor? yes Have you been informed, given guidance, had issues outlined in relation to research ethics and consideration in relation to your project? yes

Section C: Methodology/Practice/Procedures

Does your proposed study involve procedures which are likely to cause physical, psychological, social or emotional distress to partici-pants or yourself? NoDoes your proposed study involve the use of hazardous materials, other than those currently covered by the School Health and Safety procedures? no

Section D: Ethical checklist

Does your project involve observing/questioning/the use of people in any way?Yes Please complete the remainder of the formNo Go straight to Compliance with ethical principles and DeclarationDoes your study involve vulnerable participants as described in the Student Ethical Toolkit? no n/aDoes your study involve observation and/or recording of identifiable participants without their knowledge? yes n/aWill participants give informed consent freely and be fully informed of the study and of the use of any data collected? yes Will participants be informed of their right to withdraw from the study? yes no n/aWill all information on participants be treated as confidential and not identifiable unless agreed otherwise in advance and subject to legal requirements? yes Will any recordings of participants be securely kept and not released for use by third parties? yes Will storage data comply with the Data Protection Act 1998? yes

Compliance with Ethical PrinciplesIf you have completed the checklist to the best of your knowledge without selecting an answer shaded in grey, the research is deemed to conform with the ethical checkpoints and you do not need to seek formal approval from the Subject PREC.Please sign the declaration below, and lodge the completed checklist with your supervisor.

DeclarationI have read the Ethical Guidelines and Framework for Research and Practice Undertaken by Students. I confirm that the above named investigation complies with published codes of conduct, ethical principles and guidelines of professional bodies associated with the research discipline.

Name of student: ……………………………………………………………………………… Signature of student ……………………………………………………………………………….

Signature of supervisor/module leader ……………………………………………..…………………………..………. Date ………………………………………………………………

CARRON LOWE (MALE MODEL)Model Release Form

Matt Smithurst ConsentVia Online Twitter

Please see Hannah Dodds appendix for other models consents forms