andy lipscombe portfolio

8/3/2019 Andy Lipscombe Portfolio

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Andrew LipscombecreAtive portfoLio


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In my career to date I have been ortunate to work with some

innovative brands and some highly creative individuals, andmy experience has provided me with a strong set o principlesregarding brand marketing. I believe that successul brandstrategies must always remain respectul to the product, andthat marketing communications should aspire to be bothengaging and unique in a considered and rened manner.Less is oten, i not always more, and I believe distinctioncomes through quality and not novelty. The ollowing pagesshowcase a selection o my work that hopeully demonstrateswhat I stand or; considered and innovative brand strategiesand rened and aspirational marketing campaigns that havea consistent and engaging message, a genuine respect or theconsumer, and that deliver an eective return on investment.

Ater graduating rom the University o London with a history

degree, my rst job in the sector was as Marketing Managerat renowned shoe designer Patrick Cox. I moved into thisrole ater a year working in the retail store, and I was able tomake good use o this valuable experience when developingseasonal marketing campaigns at a time when the brand wasat its peak popularity in the UK. I then moved to BD-Network,an integrated marketing agency, where I was recruited as aSenior Account Manager looking ater the Bombay Sapphirebrand, and then wider Bacardi-Martini brands promotionalactivity in the UK and European tax-ree domains. This agencyexperience, involving more technical marketing disciplines,served as a great counter balance to the more intuitiveexperience gained at Patrick Cox, and helped to provide me

with important client management skills. In 2002 I joined

Fabris Lane Ltd. with an ambitious brie to grow theirbranded eyewear business through a much increasedemphasis on marketing. In seven rewarding years at thecompany the value o the brands and the overall businesswere increased signicantly by establishing considered long-term brand strategies, and then through the implementationo innovative and eective seasonal marketing campaigns.These campaigns increased consumer awareness andreinorced consumer perceptions o the brands, increasingsales lines accordingly.

intro& HistorY


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The objective at Fabris Lane Ltd. was to become the leadinginternational value ashion eyewear company. The strategiesput in place to achieve this goal were; build a complementaryand complete portolio o brands, promote the ashioncredentials o the business by being credible value ashion butacting premium ashion; be the industry experts through qualityand technical innovation; promoting the creativity o the UKashion high street. Within this context, developing coherentbrand strategies was particularly important as it provided

much-needed consensus or all branded activity, be it productdevelopment, marketing or sales. Unique brand identities wereestablished or the collections ollowing rigorous research romocus groups and market analysis, and these gave the brands anatural condence in what they stood or, so they could fourish,explore, and have opinions in order to be o more interest tothe consumer. For Fabris Lane, the task was to raise the proleo the brand as it was perceived as being too modest and tooclosely associated with key retailers. A unique brand positioning

was developed which primarily celebrated the specialism andItalian heritage o the brand, but also worked creatively topromote the ashion-ability o the collections alongside thetechnical benets o the product and expertise o productiontechniques in a credible way. This brand strategy alsosuccessully positioned Fabris Lane as being more empatheticand engaging with the consumer, and more caring andunderstanding o their eyewear experience, in contrast to theattitudes o many premium brands that were the competition.

brAndstrAtegY


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Spring Summer 2009 was a very signicant season or FabrisLane, as the brand was successully repositioned in the market,moving up to a higher mid-market price range. This careullyconsidered repositioning meant the collections could becomemore ashionable, as was demanded by the market.Key to the success o the repositioning was providing theconsumer with a richer brand and product experience which

more than justied the higher retail price. This was done byproviding the product with much more personality. Individualpieces in the collection were given appropriate names thatprojected the brand heritage, and product details such asinset diamantes or emale styles and engraved anchors orthe mens pieces added value and interest to the product.These new design elements gave the brand more stature, and

provided the consumers with styles and detailing they couldidentiy with and covet. Much improved packaging, and anenclosed brand card communicating the Heart & Soulconcept added to a more rounded brand experience or theconsumer, which was considerably more premium than a midmarket brand would normally oer.

prodUct


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High prole premium brands obviously provided toughcompetition or share o voice in the eyewear market dueto their status and big media spend. Thereore, in order tostand-out rom the competition, advertising creative or FabrisLane and the other brands in the portolio was always highlyconceptual in its style and more emotional and empathetic in

its tonality. Advertising pages were also then given a dynamiclayout designed to project more o the brand liestyle. Also inorder to achieve ambitious objectives against big premiumcompetition, integrated media campaigns or the brandswere always highly innovative and included press campaigns,targeted outdoor advertising campaigns, alternative experiential

activities and more mainstream TV and radio media, all owhich were tailored to reach the brand target audience andachieve as high coverage and requency gures as possible.Digital activities were always placed at the heart o the seasonalcampaigns, providing the core brand platorm around which allother brand activities operated.

Advertising& mediA


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Each brand at Fabris Lane Ltd. benetted rom its own websitewhich presented the collections in a user riendly way, andalso presented seasonal imagery and up to date brand news.The Fabris Lane brand website was more comprehensivewith a corporate introduction page and an extensive sectionon UV protection, and sunglasses saety standards. Eachbrand site then also regularly eatured innovative digitalconsumer campaigns, inviting people to interact with thebrand in order to build customer databases. In 2009 theFabris Lane site eatured the Me and My... competitionwhich invited consumers to submit their avourite sunglassespictures and stories onto an interactive mood board to win

their preerred sunglasses. This was part o the wider Heart& Soul campaign and succeeded in getting many entries,some rom high prole people in the ashion industry. Also in2009, as part o its sponsorship activity at the GlastonburyFestival, visitors to the M :UK sunglasses vending machinewere invited to send a virtual Postcard rom Glastonbury totheir riends via social media. The best entries rom this highlysuccessul campaign were eatured on the M :UK website andalso in The London Paper, who were the media partners orthe campaign. For Summer 2008, as part o its sponsorship othe British Pro Surng Association tour, the Freerange websiteran an interactive tool which invited consumers to design

and order their own bespoke Freerange BPSA Tour t-shirt,using design tools on the website. Each month a winningdesign was chosen and the entrant received the t-shirt andFreerange sunglasses or ree. For Summer 2008, as parto its sponsorship o the British Pro Surng Association tour,the Freerange website ran an interactive tool which invitedconsumers to design and order their own bespoke FreerangeBPSA Tour t-shirt, using design tools on the website. Eachmonth a winning design was chosen and the entrant receivedthe t-shirt and Freerange sunglasses or ree.

digitALmediA


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The high prole early success o the Patrick Cox brand wasalmost exclusively generated by great PR, which was otenocused around the personality o the designer. In the caseo Fabris Lane the brie to the PR agency was to generateas much ashion editorial coverage as possible, but in away which communicated the brand story and projected thebrands on a level with their premium brand competition.

Major PR successes included numerous celebrityendorsements, brand eatures on the launch o Fabris LaneHomme, and a huge amount o editorial coverage eachseason presenting Fabris Lane and M :UK alongside nicheand status premium ashion brands. An advertorial campaignwith Grazia helped to promote the Fabris Lane Heart &Soul concept by using vox-pop interviews to ask consumers

about their avourite sunglasses and how they choose theirsunglasses, thereby projecting Fabris Lane as an empatheticand understanding brand. An annual PR campaign withThe Times, including headline sponsorship o their Visionsupplement, positioned the brand as the market leader instylish protection, highlighting the creativity o the collectionsand the technical expertise o quality testing and production.

pr

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GQS

eptember2009

GUEOctober2009


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Brand Associations were a vital part o the brie or BombaySapphire, as the strategy was to align the brand with thedesign industry. Ongoing sponsorship activities with theDesign Museum, D&AD and Designers Block helped toachieve this. At Fabris Lane the mass market brands wereoten creatively restricted by their mainstream distribution, sointeresting brand associations were a powerul tool to helpbuild brand credential. A collaboration with high ashion titleCent magazine raised the prole o Fabris Lane amongstthe ashion press, and changed perceptions o the brandwith key opinion ormers. The collaboration culminated in

a contract publishing project called Illumine and launchparty in 2009. The Illumine title was a very conceptual andcreative introduction to the brand, using innovative editorialtechniques and interesting articles on art and design to projectthe ashion-ability o Fabris Lane. It became an excellentbrand manual or both the Fabris Lane brand and company.The launch party was a successul high prole ashion eventheld at the Wapping Project in east London. For Autumn/ Winter 2008 Fabris Lane produced a limited editionsunglasses collection or highly acclaimed new designer JamesLong, which was eatured in his high prole London Fashion

Week show. The show and sunglasses collection received avast amount o PR coverage and successully highlighted theashion credentials o Fabris Lane to the wider industry.In Spring / Summer 2007 M :UK ran a collaboration withexperimental designer Hamish Morrow, creating a modernaviator collection that was available exclusively in Bootsand Topshop. This collaboration projected M :UK as aninnovative and directional value ashion brand, and alsoadded a more creative and ashion orward angle to theBoots and Topshop distribution .

brAndAssociAtions

IllumineTheFabris LaneChapter

Contributors: Museumof IslamicArt /Anne Witchard/DanielFrost /DerekHenderson/Bl inkk/Victor

Boullet /ChristosTolera /Pomme Chan/BenWolff /Claire Wrigglesworth/LuluGuinness/C hloe Beeney

/JohnMaidens/DavidGaffney /TomStubbs/A-Trak/L aura Robins/MichaelHerz/ MarkMaidment/

SusieLau/JennyDyson/ LindaFlorence/FredrikCarling /Gregory/Carolina Bueno/OlivierRaf faelli/

Guillaume Sibaud/Romulo Fialdini/JonathanFisher/Ro dLane /Fiona Lane /Valerie Cuminet

Thankyous: A myWe n tz / Lil ian D e Mu n n o / D an n a Haw le y/ Je an e t Voe t man / al la t Mod u s /

FabrisLane DesignTeam/Scousehaus

FabrisLane

Creative Director

SammyFarrington

Headof Marketing

AndyLipscombe

GraphicDesigner

Louise Hardcastle

Marketing Manager

Assia Lloyd

ModusPR

Louisa Hopwood

ThissupplementisanadvertisingfeatureproducedforFabrisLanebyonehundredpercentPublishing.Allrightsreserved. No part of thispublicationmaybe reproduced, storedina retrievalsystemortransmitted, inanyformorby any

means, electronic, mechanical, photocopying, recording orotherwise, without prior permissionfromonehundredpercent Publishing.Whilst everyeffort hasbeenmade to check the informationcontainedinthisissue of .Cent magazine, the publisherscannot accept

responsibilityforerrorsoromissions. The viewsexpressedby the contributorsare not necessarilythose of onehundredpercentPublishing. .Cent 2009onehundredpercent Publishing Limitedoritslicensers, .Cent and circlicalare trademarksof onehundred

percent Publishing. Everyeffort hasbeenmade to trace copyright holdersof images. We apologise inadvance forany unintentionalomissionsandwouldbe pleasedto insert the appropriate acknowledgement inanysubsequent publication.

.Cent

Creative Director

Jo Phillips

Guest Editor

FabrisLane

www.fabrislane.co.uk

Art Director

ImogenBellotti

DeputyEditor

Natalie Evans-Harding

Assistant Editor

AlexanderHolmes

Creative Editor

Louisa Lau

SubEditor

JennyGadsby

EditorialAssistants

JohnVincent Aranda, Morgane

Bernard, Karishma MurliHarjani

FashionDirector

Jo Phillips

FashionAccessoriesEditor

MichaelTemprano

FashionCo-ordinator

GlendeanRehvan

Creative Associate forArt

ChristosTolera

Creative Associate forLiterature

Anne Witchard

Cover ImagebyChristopher Everard,Head of Research,Interlife

Sometimes, some places, some ideas, some people you

feelimmediatelycomfortable with. There islessneed

to explainthingsin detail. Thereisless energyspent

onsearching forsome commongroundfromwhicht o

move forward. Youcanfocusonthe funthings, getting

thingsdone anddoing thingsright. Collaborationhas

beendifcult forusoverthe years; we have a particular

viewonhow thingsshouldbe.

Collaborationshouldbeaboutsharingknowledge,each

collaboratorlearningand creatingaconsensus.When

youare s oobs e s sed ( as weare ) wi th thede tai l in l i fe,

smallthingsmatterand canmakea bigdifference.We

donotcompromiseeasily,so ndingpeoplewithwhom

wecan workhappily, enthusiastically,creatively and

passionatelyisalwaysajoy.Workingwiththe.Cent team

onthisprojecthas beenjustthat;weshare aviewof the

worl dandhowweare invol ved in thatworl d . I mnot

surehowor whybutitjustfelt comfortableimmediately.

We haveenjoyedworking onthis project immensely

andare bothexcitedandhonouredto be partnerswith

.Cent inthisadditional chapter to the mainissue.

Whenit came to considering the content, we couldnot

resist theopportunityto expose ourselves a little and

whilst weare not revealing all(that wouldbe improper)

we are, Ithink, opening upa door to the worldof

FabrisLane. Sharing more of who we are andhowwe

thinkhasbeenquite a catharticprocessandin turnwe

have learnt a little bit more about ourselves.

T hi s al l fee ls veryappropriatewi th the themeof the

main i s s ue . I ti s anopportun i tyforu s to throws ome

l igh ti f you l i keonthes pac e thatexi s ts be tweenthe

brand,Fabri s L ane ,andyou thereader.Henc e the

titlefor thischapterIllumine.Illumine;to givelight,

toilluminate.To enlightenspirituallyor intellectually.

Well...

SammyFarrington,CreativeDirector,Fabris Lane

Achanging worldis exciting; whenthings shift they

allowspace for a different approach. When.Cent

started, itsapproachwasto redressthe balance between

celebrating the creative content of a publication

withits nancialneeds. To acknowledge allitsneeds,

whilst keeping the integrityintact. Not overriding the

creative cornerstone of the magazine forcommercial

sake, getting thebalance right. Hence ourbelief in

celebrating creative people, andthe creative process,

rst andforemost.

Allcompanies, including us, want to growand need

to becommerciallyviable but the wayyouchoose to

do that, andwho youdo it with, saysso much about

who youare andwhat youstandfor. Forus, thismeans

working withpeople andbrandswitha sharedset of

valuesandintegrity behindwhat theydo. One brand

we have a fantasticon-going working relationshipwith

iseyewearcompanyFabrisLane.

Andthis isour wayof growing, a collaboration; so

welcome to ourrst supplement,an extra chapterof

the issue, Guest EditedbyFabrisLane. The content

i s anextens ionof the themes exp l ored in the main

edition, the greyworldIssue. But, thisextra chapter,

Illumine, seesFabrisLane guest editing, ratherthan

a single personGuest Editing, fromtheirimaginative

perspective.

Dont be fooledbya brand, ratherthana person, Guest

Editing asit allcomesdownto a common theme. That

iscollaboration; of people andsharedideals. Atheme

centralto greyworld, andto .Cent, whichwe were able

to explore withthe teamat Fabris Lane. Because life

ultimatelyis about interactionwith people, shared

ideals, opinions, andvalues, withone endgame inthis

supplement, to communicate togetherin a dynamic

andemotionally engaging way. We explore the world

of FabrisLane and.Cent introducesyoufurther to

a brandand the people behindit, in a unique and

refreshing way. It isa personalinsight that youwould

not get elsewhere.

We rst met overtwo yearsago when.Cent hada party

andFabrisLane got involved, andthe relationshiphas

grownfrom there. One of the mainthingswe have in

commonis a wishto communicate ina creative way,

but neverpatronising. To share ourlove of what we

do withthe integrity, care andquality. We bothwant

to offerup the informationbut neverdictate it. Give

people a perspective to lookat but,ultimately, let people

come to theirown conclusions. We hope to inspire

withimages andwords, but give people the space to

make uptheirown minds. Dont dictate, openupthe

debate. We bothunderstandthat itsimportant to push

boundariesandstando ut fromthe crowdbut neverat

the cost of alienating people; invite people in to share

yourexperience.

Asmentionedinthe mainissue, goodcollaborationhas

to bebuilt on respect. We met, we discussed, laughed,

joked, jostled, to make anextra chapterwe all felt proud

of. Because afterall, a collaborationisthat space in

between; the space that illuminatesa newwayforward.

Thinkof it like this, AplusB equalsC, anditsthe C

place that isso exciting to go to.

Enjoy.

JoPhillips,CreativeDirector,.Cent

Bright Alliances


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In 2007, as part o its strategy to become a leading youthashion eyewear brand, M :UK collaborated with Topshopin sponsoring the Vice Live music tour o UK student venues.The nationwide tour added stature and scale to the brandsmarketing activities, and the association with Topshophelped to enhance the brands credibility and orged closerrelationships with a key retailer. The sponsorship was urthersupported by the Whats Your DJ-name website promotionthat invited ticket holders to engage with the brand beorethe gigs. The M :UK partnership with Vice magazine was

continued in 2008 and 2009 at the Glastonbury Festivalwhere the extremely popular M :UK vending machinewas sited in the Vice tent. Free sunglasses vouchers weredistributed throughout the estival, and consumers were invitedto visit the vending machine to receive their complimentarypairs o sunglasses. Polaroid pictures o the winners werethen taken and posted on the website blog board. This wasa highly successul PR event introducing many new consumersto the brand in a highly relevant environment, and was urthersupported in 2009 by the Postcards rom Glastonbury

website promotion. Between 2002 and 2009 FreerangeSports Optics was the proud sponsor o the BPSA sur tour,the high prole Boardmasters Skateboard tour and the UKsleading Mountain Biking competitions, as it aligned itsel tothe burgeoning UK active sports scene. Sponsorship o theseevents, and also high prole athletes on the tours added muchneeded credibility to a collection that was only available inhigh street mass distribution. Furthermore, the high number oevents and widespread venues throughout the UK introducedthe brand to a high number o new consumers.

sponsorsHips


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Each season brand catalogues were made to a very highproduct specication to present the new collections. Thesewere particularly important items or those brands thatdid not benet rom wider advertising campaigns as the

catalogues also presented the wider brand liestyle byshowcasing the new seasons ashion photography.The catalogues were obviously vital selling tools as thecollections were introduced into new markets, and they also

perormed an important marketing unction, supporting widerconsumer campaigns as they were distributed in key retailstores and other locations such as partner hotel groups andart galleries and stores.

cAtALogUes


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Trade marketing materials were an essential part o the seasonalmarketing programme or Fabris Lane Ltd. as the collectionswere reliant on a successul early sell-in to high volume massmarket retailers. For this reason, trade marketing items wereproduced to a very high standard so that they exceededexpectations o collateral or mid market brands, ollowingthe strategy that Fabris Lane Ltd. was more premium and

ashionable than its competitors, or both its house brands andlicensed brands portolio. A number o items were producedseasonally such as company and brand introduction packs,sales presenters and press releases which were all designed toan exacting standard and all items were also produced in adigital ormat. Industry leading trends reports were unctionalyet also highly conceptual and always ounded in broader

social and cultural trends to give product trends real context. Apremium client presentation and introductory brand lm weredening statements or launching the new collections eachseason, and were presented at key early sales appointments inthe Fabris Lane showroom.

trAdemArketing

The Fabris Lane Optical Collection 2009Launching March 2009

We are truly delighted to announce the arrival of the new Fabris Lane optical collection. This long-awaited and much anticipatedcollection has been carefully designed and crafted with real love and affection, and we are very proud of the range we have created.

Our seasonal sunglasses collections have always been the very epitome of elegance and style, but the launch of this complementarynew optical range represents a new era in luxurious yet accessible eyewear. With a new signature styling, refined materials and

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EXOTIC

EVERYDAY -

NATURE

HUMAN

MODERN -

MUTATION

PSYCHEDELIC

SPORTS -

FUSION

SHAPE

BIG GLAMOUR / PLASTIC

AVIATORS / VINTAGE INSPIRED

/ LARGER SIZED CLASSIC

AVIATORS / OVERSIZED SQUARE

FRAMES / THIN WRAP SHAPES

/ THE WAYFARER /

ASYMMETRIACAL SHAPED

TEMPLES

(MICHAEL KORS / FENDI)

JEEVICE

VERSACE

POLORALPHLAUREN

BEAUSOLEIL

BOTTEGAVENETA

MARCJACOBS

BURBERRY

DOLCE&GABANNA

FABRIS LANE LTD.

Int roduct ion t o Brands 2009


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Seasonal POS items have been an integral part o seasonalmarketing campaigns at every brand I have worked with.Product launches and events have been communicated withmailers, such as the invite to the Patrick Cox Autumn /Winter1999 catwalk show at Paris Fashion Week, and the launch othe Patrick Cox Pieces modular clothing collection in 1999. Themodular unction o the Pieces collection was communicated in

a clever way with an innovative lenticular postcard.POS items were an indispensible part o the Bombay Sapphirecollateral to ensure the brand was well represented in the on-trade bar environment. Matchboxes, cocktail stirrers and bottleuplighters were some o the key elements which were all ocusedon light, transparency and the all-important blue bottle.At Fabris Lane showcards, postcards sets and other seasonal

POS items were produced each season or clients such asFrench Connection, Ben Sherman, Karen Millen, Jigsaw andNicole Farhi, as well as or the house brands. It was alwaysimportant to ensure the design and production values wereappropriate or these high prole brands, and that the brandsall benetted rom an individual and unique treatment.

pos


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In-store display bries were numerous and varied, with arequirement or generic xtures as well as bespoke ttings orretail partners which were oten used as the basis or longterm distribution agreements. Important in all bries werecontemporary design and good brand communications butmost critical was the clear presentation o product and easeo use and interactivity or the customer. High quality display

solutions were delivered rom bespoke window displays,through to product gloriers and FSDU modular systemso various sizes. A major part o the marketing brie was todeliver bespoke shop ts or high prole retailers such as BootsThe Chemist, House o Fraser, World Duty Free, Aer Rianta,El Corte Ingles and Magasin du Nord. Exhibition stands andshowrooms were another opportunity or Fabris Lane to act

in a premium way. International exhibitions such as MIDO,Silmo and Vision Expo East were the main ocus o the exportstrategy at Fabris Lane Ltd., so the design and unction othe stand at these high prole shows was very important.These selling spaces were designed to communicate the stylephilosophy and open spirit o the company whilst allowingindividual brand values to shine through.

dispLAY


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It was an important strategy to project Fabris Lane Ltd. as theUK market leader in sunglasses, both to the trade and theconsumer, and leading the industry in product and technicaltraining was a good method to achieve this. Thereore,an adaptable training presentation was developed whichpositioned Fabris Lane Ltd. as the leading European authorityon UV protection and sunglasses saety s tandards and alsocommunicated the technical expertise o the Fabris Lane testing

laboratory. Each season training sessions were then held withall leading sunglasses retailers, both in the UK and globally.Interactivity was key to the success o the training sessions.Trainees were invited to produce and present mood boardsrepresenting the brands, and to consider how sunglasses couldprovide enhanced protection and present new ideas or testingsunglasses. Interactive merchandising sessions were alsoincorporated so store sta let the presentations well educated

and condent about the product, and how best to represent it.The training sessions were supported by training DVDs andtraining manuals that were developed seasonally. The FabrisLane training manual is considered the industry bible or UVprotection and technical training or eyewear, and was thenadapted to become the ocial training manual o the EuropeanSunglasses Association, being translated into 8 languages.

trAining

Training ManualFabris Lane Ltd.

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