COGGLES

HANNAH GRANTONFASH30073: Personal Project Stage 2

Angie Jones

CONT ENTS010203

About Coggles

Report Objectives

What We’ve Learnt

04 The Business

CONT ENTS050607

The Issue

The Solution

The Search for Authenticity

08 The Answer

091011

The Consumer

The Strategy

The Market

12 Online

13 Offline

14 The Future

15 Costs, Risks & Reccomendations

16 Conclusion

17 List of illustrations, Bibliography & References

18 The Appendix

ABOUT COGGLES

‘‘Coggles started life in York, England 1974.

Coggles is the world of design and creativity, music, books, and the people behind the scenes, the people who create and are passionate

about what surrounds them, the quality of simple design.

It’s about the clothes you choose to wear, the bike you ride to work, the book you read in bed, your favourite chair at home, the world that you

design to live in.’’

Coggles 2012 Online

01

WHAT WE KN OW NOW

02WHAT WE KN OW NOW

A SUMMARY:

1. From stage one we’ve learnt that the homeware market is gathering more momentum as furniture sales decline. As discussed with ‘many people in their early thirties in the UK seek to become home owners for the first time. They are expected to spend more on homeware with some people in this group being fashion-conscious when it comes to their homes they redecorate every few years to ensure their surroundings reflect the latest design trends.’ (Granton, H. 2012). With the Coggles consumer aged from 25-35 the Coggles homeware should do well.

2. The Competitor map in stage one led to identifying the gap in the market for a company to breach between design led homeware and the mid-high market. By increasing the appeal of the

Coggles homeware there will be an increase in popularity and therefore sales. Coggles is currently neglecting their homeware collection and therefore failing to take advantage of potential sales.

3. The findings from stage one allows us to implement the core aspects of what it takes to make a lifestyle brand. Stage two must circulate around consumer desires, the Coggles archetype and must create an emotional attachment with the consumer. Doing this will help to develop Coggles into a lifestyle brand and begin to alter the consumer decision journey, creating more loyal consumers.

03OBJECTIVESIN A SENTENCE:

As in stage one, the aim of this report is to redevelop Coggles homeware and bring the brand to the forefront of the design conscious consumers mind.

IN DETAIL:

As consequence to the research in stage one this reports two aims are to implement the relaunch and development of Coggles homeware and to improve Coggles popularity amongst their target consumers.

Stage one’s aims were to market the Coggles brand to bring widespread recognition to potential Coggles consumers. Through identifying the brands core consumer and structuring a relationship with them Coggles can become an intricate part of the consumer’s life – developing the brand into a lifestyle. As identified in stage one, by becoming a lifestyle brand Coggles will enhance the relationship with its consumer altering the consumer decision journey and creating more loyalists customers.

After identifying Coggles homeware as a weak link in the Coggles image this report aims to implement the research from stage one and redevelop the Coggles homeware range to strengthen the Coggles brand identity. By ensuring the brand is strong in all consumer touch-points the brand can develop a stronger relationship

with the consumer. Through developing Coggles homeware the brand can become a stronger and more vibrant competitor in the mid to high price homeware market aiming to increase homeware sales by 60%.

COGGLES TH E BUSINESS

04Figure One Coggles 1ina100 Screen Grab by Coggles.com

Figure Two Coggles Books Screen Grab by Coggles.com

COGGLES TH E BUSINESS

WHAT DO THEY DO NOW?

Coggles currently operates as an independent online retailer stocking brands from APC to YMC. Originally operating as a modern boutique department store collaborating with the best new designers and established fashion houses, Coggles has developed into the ‘best-kept secret in online fashion and design’ (Coggles 2012 Online).Coggles products fall into four categories: Fashion, Life, Books and Vintage. As well as retailing Coggles has created further touchpoints with the consumer via a cultural blog, consumer image upload platform (The Wall) and showcases the UK’s largest Street Style Archive. Coggles fashion retailing is without any flaws and in terms of engaging content Coggles excels with its blog, street style and weekly ‘Sunday Supplement’ email. As figures one and two show the website is clear and simple mirroring the brands values of simple design and quality. Indeed, in the words of an interviewee and Coggles customer ‘They provide interesting, relevant content that isn’t the average ‘spam, spam, spam’ that so often clogs up my inbox from e-tailers.’ (Lister, K 2012) (See

Appendix).Coggles currently limits its online identity through the retailing of its homeware. Currently Coggles only stocks one brand of homeware – Rockett Saint George. The Rockett Saint George brand echoes Coggles individual and independent style although some products on the website seem redundant and irrelevant to the Coggles consumers wants and needs. Rockett Saint George’s items such as stamp rugs and kiss print wall stickers lack the innovative design or classic styling which the Coggles brand demands.

By only stocking one brand of homeware Coggles is limiting its appeal to the consumer in the homeware market. One of the main selling points of Coggles fashion retailing is that it stocks a large array of brands giving the consumer choice and becoming a ‘one-stop-shop’ for their lifestyle. By improving their homeware Coggles opens the gates to becoming a stimulating and thorough lifestyle brand.

can be improved to emulate the Coggles brand values.

The illustration also identifies the brands core principles to be consistent throughout the implementation stage. They principles are: authenticity, independence and Britishness. By sticking to these three main elements the marketing of the brand and homeware can maintain consistent with the Coggles attitude. After researching the brands website the four main consumer touchpoints were identified these were its email subscription (Sunday supplement and weekly look book), Cultural information (blog), its consumer upload platform (The Wall) and street style page. However with a rise in the trend of offline and conviviality it is important for the Coggles to attract the attention of its consumer offline to create a more intimate connection with its consumers who are most likely to be interested in rising trends.

Figure Three The Anatomy of Coggles.

THE CURRENT IMAGE

Figure three is an illustration of the Coggles brand image. The graphic demonstrates the vital ingredients of the Coggles anatomy which were selected after conducting interviews with Coggles consumers and advocates. Through conducting conversations with these consumers over email it was possible to collate the consumer’s views of the brand to insure that the brand image and the brand identity were consistent. The consumers and advocates were selected using social media to identify those who were talking about the brand. After finding consumers on social media sites such as twitter, pinterest and facebook informal discussions were conducted through email. (See appendix for details)

One of the main elements of the graphic is Coggles relationship with design. After researching what makes ‘good’ design it became clear that the brand follows Dieter Rams ten principles of design (Rams, D in Rosenfield, K 2012 Online). This is a concept which is apparent in its fashion sales and an idea which needs to be improved and followed in its homeware. By looking at Dieter Rams principles the homeware stockists

THE ISSUE

05WHAT’S THE PROBLEM?

With this in mind stage two is setting out to solve the issues with Coggles homeware and offline presence developing Coggles as a lifestyle. The inconsistent brand image and lack of awareness is preventing the brand to develop as a leader in the mid-high lifestyle market. By marketing offline the brand is able to create a multi-sensory impact creating a more authentic connection with the consumer and a deeper emotional experience. Martin Lindstorm explains ‘Emotional connections are effectively made with a synergy of all five senses, and as such those brands that are communicating from a multi-sensory brand platform have the greatest likelihood of forming emotional connections between consumers and their product.’ (Lindstorm, M 2006). By marketing offline Coggles can effectively manipulate the consumers’ sense creating an emotional impact developing Coggles as a lifestyle.

REACTION JUSTIFICATION

By looking at the ‘Halo Effect’ we can justify the development of the homeware range on Coggles.com. Killing homeware on the website wouldn’t be an option as halo effect states the brand should be successful with its sales. The ‘Halo Effect’ dictates that if a brand has one successful product then in the consumers eye their other products will be equally as successful. This is seen in Apple products where Apple’s iPod sparked huge interest in the rest of the brands products as the item was such a hit with its consumers. Through sales of their iPod Apple had attracted consumers to the rest of their products and became a leading brand. (Holbrook, M 1983: 247-252)

Coggles isn’t currently taking advantage of the ‘Halo Effect’ despite that its values and personality translate well onto the homeware market. It’s ethos about quality and design is what attracts consumers such as Amy Diggle who stated that it was Coggles ‘reputation and quality clothes’ (Diggle, A 2012) that bring her to the brand. The reputation of Coggles should help carry the sales of their homeware however in failing to present their homeware well the brand has failed to attract

necessary sales.

THE SO LUTION

POSITIONING

As researched in stage one Coggles doesn’t currently position its self like the typical brand, as their chief operating officer stated, ‘Where our competitors at the high-end are focused solely on brands and at the lower end on value, the Coggles emphasis differs in that it is on design.’ (Hatfield, R 2011 Online). As the perceptual map in stage one identified, there is a gap in the market for a design led mid-high market homeware retailer (See Appendix).

06

BUSINESS OPPORTUNITY = COGGLES HOMEWARE

THE SO LUTION

THE INSPIRATION

Further research into independent homeware brands led to an interview with the Do-shop, a small brand who retails online as well as offline with a store in Covent Garden. An interview was made with their head of buying, Fernando Gonzales (see appendix). The Do-Shop collaborates with graduates to create products for their stores. Sourcing designers from degree shows the Do-Shop then showcases their work in The Do-Masters exhibition which takes place during the London design festival. The Do Masters programme offers the graduates a chance to sell their products to the public in the Do-Shop, giving the designers an opportunity to gain commercial experience. Gonzales explained that 90% of the profits from the sales of the products at the store are returned to the graduate designers. Gonzales also explained that this venture allows the Do-Shop to provide their customers with unique products ‘People want something new and original, I went to Milan and still everything was the same. We use graduates so that our customers get something they’ve not seen before.’ (Gonzales, F 2012)

PRODUCT RANGE

Taking inspiration from the Do-Shop, Coggles will sustain its creative archetype by frequently seeking out new and upcoming designers. Sourcing small, upcoming brands based in the UK from online channels such as Etsy.com and EBay, Coggles will maintain its values on independence and innovation as well as help British business. This will also be used as a way to gain public interest both for the upcoming brands and Coggles; the website will have a description of the brand, its relationship with Coggles and how Coggles is trying to support them. This venture will assist the promotion of the Coggles identity and especially its values on ‘Britishness’, which is also a current trend sparked from the recession as discussed in the PEST analysis in stage one

THE INSPIRATION

An example of a potential brand is Little Wren Pottery a small company based in Sunderland that specialises in contemporary handmade English dinnerware. The owner Victoria Baker inherited her pottering talent from her father and hand makes each piece. The company launched on Etsy in 2009 and has a small twitter fol-lowing of 871. The aesthetic of the brand follow Coggles values on design, Figure four is an example of her work and more can be found at http://www.etsy.com/shop/LittleWrenPottery

Figure Four Little Wren Pottery

The new Coggles product range will contain diverse brands who share Coggles’ passion for design. Avoiding the furniture market, the products available will be soft furnishings, textiles and household accessories only. Website analysis of competitor websites (Anthropologie, Urban Outfitters, John Lewis and Next) indicates that products are usually divided by room or product type. Currently Coggles showcases its products by room and product type which can be confusing for the consumer. By changing the titles to room alone it will give a clear indication of what the consumer can expect. Figure five is a table demonstrating the products which Coggles.com will stock.

KITCHEN BEDROOM LIVINGROOM BATHROOM & STUDY

Crockery

Utensils

Tableware

Gadgets

Glassware

Baking

Accessories

Bed Linen

Cushions

Lighting

Storage

Mirrors

Accessories

Cushions

Lighting

Rugs

Curtains

Mirrors

Accessories

Towels

Curtains

Bathmats

Ceramics

Mirrors

Accessories

Having identified that Coggles doesn’t position itself on price or prestige but on design, a visual has been created to illustrate the positioning of the brand in terms of product range. Unlike how it currently operates, Coggles will stock a diverse amount of brands that focus on the importance of design. Figure six shows the essence of Coggles homeware. Understanding that the Coggles consumer wants creative thought behind their products and have an interest in design and innovation, the Coggles homeware range will contain inventive and interesting brands.

Figure Five Product Range

Figure Six Homeware Essence

The Coggles homeware Unique Selling Point is its passion for design and independent brands. The consumer will choose to buy the product from Coggles and not a competitor because they will share interests with the Coggles ethos on creativity and culture. The consumer will also buy into the design of the products because of their unique style and simplicity and the large scope of brands which is sold on the website. As a result of developing the homeware, the consumer visiting the Coggles website will be immersed in the image of Coggles in every corner of their life.

PRICING STRATERGY

Currently Coggles homeware prices range from £2.50 for a tumbler to £1,025 for a chandelier. The scope in pricing mirrors Coggles fashion, after all Coggles isn’t concerned about price it’s about design. Because of this Coggles it is difficult to compare pricing with competitors as it’s not a priority of the Coggles consumer. As a result of this the pricing of Coggles homeware will continue to be diverse as long as the product reflects the diversity. The smaller independent brands which Coggles will sell will be sold at a higher price.

However, 80% of profits made on these will be given back to the brands to ensure that they are able to continue as successful companies.

Figure Seven New Homeware Website

THE WEBSITE

Alongside the changes to Coggles homeware, the website will change to improve the shopability of the products. Figure seven is an illustration of the changes to the homeware section of the Coggles website. Number 1 in the illustration shows the change to the title of the homeware on the webpage. Currently the website titles its homeware as ‘Life’ which could be confusing to the consumer especially when combined with the other titles on the website which are more. A survey was conducted to ask shoppers what their thoughts were about using ‘Life’ as the title for Coggles homeware on their current website. Only 3.1% preferred to keep the title, 25% preferred homeware, 25% preferred home and 31% preferred ‘Living’ (See appendix). Adopting this change will mean that new customers to the website will instantly now what to expect when they click on the title. Number 2 in figure seven illustrates the changes to the product titles on the website. As previously discussed currently the website showcases its products in a mix of titles, some by room –Kitchen, Outdoor Living and some by product – lighting, cushions. By titling the products by room alone shoppers will be able

to select the room they are currently looking for products for and then search products available. This change will mirror the shopping style of fashion products on the website allowing a more fluid shopping experience and ‘together’ brand image. The bubble number 3 on the illustration also shows the improved fluidity of the website. By listing the brands that will be sold on the website alongside the title of the room, shoppers will be able to select their favourite brands as well as what room they want to purchase for in the same style as the fashion products, creating a more consistent brand image. Number 4 in figure seven shows the improvement to the homeware homepage. Instead of listing products available and explaining Rockett St George, the improved page imitates the fashion pages on the website showing collections, new brands and promotions. These alterations aim to create a more predictable shopping experience making it easier for the consumers to purchase on the Coggles website.

THE SEARCH FOR

AUTHENTICITYTHE MARKETING PHILOSOPHY

The success on the marketing of the Coggles brand will rely on making a more ‘real’ and emotional experience with the consumer and not just providing another way for the consumer to buy.

07

THE SEARCH FOR

AUTHENTICITY

Figure Eight Placemaking Portfolio

As Gina Piccalo writer for LA Times wrote:‘In the blink of a satellite, modern life has become an endless high-speed connection. It’s streaming 24-7, with crystal clear reception that’s virtually lifelike…It’s no wonder you’re always online -- and on medication -- checking e-mail, checking voice mail, checking e-mail.What you crave is something far more visceral. You want callused hands and a lungful of fresh air. Or black coffee and a hand-rolled cigarette. You want the stripped-down, low-fi version of life, the kind that feels vintage, handmade or homegrown.’ (Piccalo, G LaTimes: 6/12/2003 Online)

The marketing of the homeware will follow the trend of conviviality and authenticity due to Coggles lack of offline presence. As the brand is primarily an etailer it is important for the brand to appear elsewhere. By looking at Gilmore and Pine’s placemaking pyramid we can see that for a brand to be authentic it needs five levels of placemaking or touchpoints. Figure eight is an illustration of Coggles current placemaking portfolio. The pyramid demonstrates Coggles

main (biggest) touchpoint is through its website. Its derivative presence (a presence inside something else) is from its promotions through dazed digital video’s and targeted advertising on separate webpages. The brands experience hubs are seen through items such as its blog and street style page as well as social medias. The ultimate Coggles touchpoint is in the Sarah Coggles store where the whole brand and ‘Coggles experience’ began and is at its purest form.

The placemaking portfolio however shows Coggles lack of ‘Major Venues’ Gilmore and Pine state that ‘Here lies the ‘heart’ of most companies’ placemaking portfolios, where they put their primary outlets that reach the most people right where they live’ (Gilmore, J et al. 2007:157). Due to Coggles status as an etailer it already has an omnipresence however the true visceral essence of Coggles isn’t being sent to the consumer right where they are unless they go to the flagship store.

THE ANSWER‘Powerful brands engender Powerful emotions. they all go way beyond the confines of their Product dimensions…they give you not just a Physical Product or service but an exPerience that engages your imagination’ (Travis, D 2000:78).

Understanding this and the findings from stage one, the relaunch of Coggles homeware and the promotion of the brand to new consumers and loyalists must be:• Convivial• Authentic• Cultural• Offline• Creative• Independent• British

With this is mind big idea is the Coggles Street Market.

08

musicians and artists the Street Market will remain true to Coggles values around independence, culture and creativity.

In conjunction with the relaunch of Coggles homeware the Coggles Street Market would take place in locations across the UK selling Coggles brands, including the redeveloped homeware. The Market will have stalls from the individual brands which Coggles stocks as well as authentic British food, music and street artists.Set across different locations on different dates around the UK the Coggles Street Market will be targeted at potential and current Coggles consumers – the 25-35 year old working creative. Only the correct audience will be targeted to maintain the notion of the brand being retails ‘best kept secret’ (Coggles 2012 Online), to insure this, a strategic guerrilla marketing campaign will take place to market the events.The idea of the Coggles Street Market comes from the original retail experience, both historically and for the brand (which began as a market stall in York). The street market creates a vibrant, energetic vibe with young bright things flocking to other markets like Brick Lane and Portobello. Through using the brands Coggles sells online as well as local independent food stall owners,

THE COGGLES STREET MARKET

“PeoPle tend to Perceive as authentic that which refers to some other context, drawing insPiration from human history, and taPPing into our shared memories and longings: not derivative or trivial” (Gilmore & Pine 2007:201)

THE INSPIRATION

In 2007 Prada held an event in Valencia, Spain for the beginning of the 32nd America’s Cup. Held in the thriving produce market Mercado Central in the heart of Valencia the event offered something the Prada consumer had never experienced before. The organisers of the event left many of the stalls intact including a deli stall which housed the DJ of the event (Figure nine) . Other stalls were converted into stalls showcasing Prada products including accessories (Figure ten) and perfumes (Figure eleven) (Prada, 2007 Online). The event offered an unusual experience with the cultural contrast from the lavish Prada products and the daily staples of the average Valencian. The event offered more than publicity for the America’s Cup, it demonstrated Prada’s passion for cultural stimulation, luxury and the brands sense of humour.

Figure Nine Prada Market 1.

Figure Eleven Prada Market 3.

Figure Ten Prada Market 2.

THE AESTHETIC

The aesthetic of The Coggles Street Market will be less elaborate than the Prada event due to Coggles values of simplicity in design. Nonetheless the visual impact will still be as stimulating and vibrant. Taking influence from Nishiki Market in Kyoto (See Figure twelve) with its array of colours and textures, the Coggles market will be equally as eye catching. Like Nishiki Market the Coggles market will sell local food produce and street food to carry the multi-sensory impact of the authentic street market. Using large industrial buildings as venues will create a solid architectural impact that will represents Coggles values of simple and functional design. Researching markets like Hays Galleria and the Central Market in Budapest, indoor markets have defined acoustics that will add to the multi-sensory experience of the Coggles Market as well as a visual impact. Figure thirteen is a mood board

Figure Thirteen Nishiki Market.

Figure Twelve Market Moodboard

to illustrate the desired aesthetic of the market which will be sent to event organisers.

09

Figure 14 Coggles Consumer Graphic

THE CONSUMER

THE CONSUMER

WHO? WHY? HOW?

The Coggles Street Market will be targeted at the Coggles consumer discussed in stage one (see appendix). To insure the street market is interesting and appropriate for the consumer further research was taken into the interests of the consumer. Through qualitative interviews with Coggles advocates and an interview with a Sarah Coggles sales assistant it was clear the Coggles consumer is creative. The research found that 100% of the interviewees were from creative industries varying from bloggers, creative marketing assistants and PR managers. The findings of these interviews were confirmed through interview with a Sarah Coggles store assistant who said:‘More often than not the consumer has an interest in creative aspects of fashion/lifestyle, e.g. fabric types, printing techniques, image and fabric cuts etc.’ (Duffy, K 2012)

An interview with the editor of Betty magazine (Betty Magazine 2012 Online)-a magazine which shares interests with the Coggles brand, revealed that ‘our readers identify with good design and appreciate all things visual.’ (Jacklin, C at Betty Magazine 2012) (see appendix) The creative minds of the consumer mirrors Coggles passion for design and as stated in stage one: ‘The Coggles consumer is switched on to their cultural environment and thrives on learning new things

especially within the world of art and design’ (Granton, H 2012).

In Richard Florida’s The Rise of the Creative Class he discusses the emergence of a new class of consumers called the ‘Creative Class’ – people who work creatively for a living. In this Florida writes, ‘Members of the Creative Class are not looking for a life delivered through a modem. They want one that is heart-throbbingly real’ (Florida, R 2004:166). By developing a Coggles Street Market the Coggles consumer will get an experience that is both authentic and culturally stimulating. A report by Regeneris Consulting Ltd on London markets explains that ‘Customers cited variety of goods available, atmosphere, value, an interesting experience, convenience, a chance to browse and friendly stall holders as reasons to visit the market.’ (Regeneris Consulting 2010 Online). The street market experience offers a convivial atmosphere which is different to any other retail environment. By returning to its routes and adopting the Coggles Street Market the brand can offer something different but attractive to its consumer. Furthermore, reaching to the consumer offline means that the consumer will get a tangible representation of what the brand represents.

Another important finding form the further research was that each respondent expressed a passion for design be it in graphics, art, fashion or architecture. One interviewee explained:

‘to me, design is both an art and a science. it is beautiful and functional, Public and Private. in my mind, good design carries meaning beyond a designer’s imagination into the larger cultural arena.’ (Quillin, J 2012)

These consumers buy into the Coggles image because of their shared passion for good design and cultural stimulation. As a response to this the Coggles Street Market needs to go beyond selling a product and relaunching homeware. To insure the street market attracts and appeals to the consumer a range of culturally stimulating stalls will appear (which will be discussed further on in the report). The stalls will represent the brands passion for all things designed well.As one of the objectives of this report is to attract potential consumers who are unaware of the brand the Coggles Street Market is taking the brand to the doorstep of the consumer. The potential consumer shares the same interests as the current consumer – they just don’t know the brand exists because Coggles has remained stagnant in the marketing of its brand. Therefore the Coggles Market should be successful due to its brand status in the mind of the loyal consumer as well as its attractiveness to those that are currently unaware of the brand.The marketing of the Coggles Street Market should only target the consumer mentioned. By targeting any other consumer the brand will lose a sense of authenticity to current consumers as Beverland notes ‘Being authentic also places

limitations on how far a brand can be stretched’ (Beverland, M 2009:184). By ensuring the brand is only known amongst the correct consumer the Coggles brand can maintain its authenticity as an independent brand retailer. To insure this doesn’t happen a guerrilla marketing campaign will take place.

Figure 15 Market Locations

MANCHESTER

BRIGHTON

EDINBURGH

10LOCATION

The location of the street markets will depend on the popularity of certain districts in cities amongst the ‘creative class’. As Currid notes in The Warhol Economy, members of creative industries ‘hang-out’ in the same places. For these people, these places may be ‘hip, cool and difficult to get into’ (Currid, E 2007:95) but they also exist as important networking locations where creative people discuss ideas and collaborations: ‘These places are also the sites of meaningful social and economic interaction – they are nodes of creative exchange’ (Currid, E 2007:95)

A part of the success of the Coggles Street Market will depend on the event appearing within these districts. The cities selected for the market are presented on the map on figure 15. The cities were selected based on their reputation for cultural stimulation, their population and their geographical location (as widespread around the UK as possible to be accessible to as many

consumers as possible). Realising that each city is unique the markets will cater differently to each city. To help understand the different aspects of each city two tastemakers’ were selected from each city to identify their city’s requirement. The tastemakers were selected for their status amongst creative social networks and how they represent the Coggles brand and share similar values and passions as the brand.The two selected tastemakers from each city were asked to contribute to their cities board on Pinterest.com. These boards gave a visual representation of what they liked to do, where they went and who they spent their time with. This information makes it possible to cater to their cities culture.

THE MARKET

Figure 1

6 B

righton

Board

Figure 16 is the Brighton board (available at pinterest.com/hangran/Brighton) who’s taste makers were Anna Taylor a 25 year old business development co-ordinator from Brighton and Tony Marks 29 year old radio DJ from Brighton.The Brighton board demonstrates the vibrancy and multi-cultural essence of the city as well as the cities passion for music and life by the sea. Unlike the other two boards Brighton is appears to be more colourful and has a ‘retro’ aesthetic with its beach huts and promenade. The image Dyson Mitsubishi hand dryer demonstrates a passion for innovative and simplistic design which is a notion that also translates into the image of the black Cos blouse. There are also images of the North Laines area of Brightons suggesting the tastemakers associations with that area. Therefore, choosing the North Laines area of Brighton would reflect the tastemakers’ choice and enter the geography of the Brighton creative class. The coastal location of the city is clearly important to the city’s tastemakers, the images of the sea, beach huts and the promenade suggest that the city dwellers has a strong affinity with the seaside. With this in mind the Coggles Street Market in Brighton will take influence from the vivid colours of the city and sea whilst maintaining the brans own simple

design aesthetic. Food sold on the market will be local from the area, concentrating on traditional British fish & chips and sea food, imitating the ‘retro’ aesthetic of the city but also maintaining the brands values on simplicity. The tastemakers’ choice of music is electronic based; therefore, DJ sets will be played rather than acoustic musicians.

BRIGHTON

Figure 1

7 M

anch

ester Board

Figure 17 is the board used for the Manchester tastemakers. (Full board is available at pinterest.com/hangran/Manchester). The tastemakers used for these boards were Guy Godfrey a 25 year old graphic designer from Greater Manchester and Kayleigh Marsh also 25 who works as a PR account executive in Manchester.The Manchester board shows the city’s ‘Northern charm’ with dark and grey city streets and panoramas. The city’s passion for live music is clear with many images of popular bands from the Manchester area. There are a few images of the Northern Quarter – a popular area of Manchester among ‘bright young things’, positiong the Coggles Street Market in this region of the city would allow the brand to enter Manchester’s creative class’ social hubs. There are images of The Liquorist a Manchester drinks company which creates experiences around cocktails and spirits, available for hire at events. Hosting this as a stall at the Manchester market would add an original experience to the Coggles Street market whilst fulfilling the brand values of cultural stimulation. The board also shows the city’s passion for art and cultural stimulation. Manchester hosts a huge array of galleries and museums which is an element which will be implemented into the street

market. Street chalk artists will be employed to create a visually stimulating market and to add to the entertainment of the Coggles Street Market. The overall dark aesthetic will be assisted with the indoor, factory conversion aesthetic and the food supplied will be the typical greasy-but-good food supplied by street food vendors and inspired by the ridiculously cool burger-bar ‘almost famous’ in the Northern Quarter.

MANCHESTER

Figure 1

8 E

din

burg

h B

oard

The Edinburgh tastemakers were Terry a 34 year old casting director from Edinburgh and Jen a social media co-ordinator.Figure 18 represents the Edinburgh board (Full board available at pinterest.com/hangran/Edinburgh). The board visualises how the city’s passion for the arts juxtaposes with its dense history, the bright flamboyant colours contrast with the grey backdrop of the historical buildings and streets. This visualisation will be imitated by the Edinburgh Coggles market giving visual recognition to the city’s consumers but also showing Coggles passion for culture. The tastemaker’s board also shows the city’s passion for live acoustic music, a trait associated with the Edinburgh Fringe festival. This passion for music will also be adopted and is discussed further on in the report. The food in the city appears to be diverse, spouting from the multi-cultural nature of large cities. However the tastemakers show a passion for ‘Great British Food’ and make a point by having images of pies and haggis. Adding these images clearly means that the tastemakers have a passion for their cities food especially coming from their Scottish heritage. This sort of typical Scottish/British food will be served at the market, ensuring that it is authentic to develop

EDINBURGHthe sense of originality and independence which Coggles stands for. The Market in Edinburgh will be in the New Town area as images suggest the tastemakers’ affiliation with the area. Positioning the market as close to this area of the city will allow the market to target the creative class directly.

‘collaboration is a creative term: two Parties working together to make something new. the real oPPortunities lie here.’ (Morton, T 2009 Online)

The products featured on the market will be the brands sold at Coggles.com. Each brand sold on the website will have their own stall at the market, branded and styled in their own way. Through collaborating with the brands sold online at Coggles.com, Coggles will create a visually appealing market with contrasting vibrancy and individuality. As the Coggles brands sold online have their own unique identity each stall will be different to the other, offering both visual contrast and diverse styles. However each brand sold on the website is connected with through their passion for independence and design.

Selling the brands sold on the Coggles website at The Coggles Market will completely redevelop the image of poor quality, cheap clothes and ‘knock-offs’ usually associated with the fashion sold at street markets. Through selling brands already sold online at Coggles.com the market will maintain the diversity and vibrancy of the street market but bring it to the more modern

consumer that connects with the Coggles identity.

THE PRODUCTS

FOOD

To create the multi-sensory environment needed for a lifestyle brand it is important for The Coggles Street Market to have food stalls. Having researched popular street markets it was clear that the smells of cooking food and the banter of the stall owners played an important part in the buzz of the market environment and so food stalls will add to the authentic market experience. Coggles already expresses an interest in the importance of food to connect with its consumer through its Sunday supplement and Facebook page. The use of food stalls will develop the relationship between Coggles and food. The development will mean that Coggles encapsulates all its consumers’ needs- assisting the growth of Coggles as a lifestyle brand.

The British street food scene has completely changed over recent years and has become the new thing in experiential eating, as an article in The Guardian reads: ‘It’s no secret there has been a recent surge in the London street-food scene. The number of vendors is growing. The standard of the food started high and is getting higher.’ (Spens, E and Gilland, C 2012 Online)To research this further an interview with food writer and creator of the British Street Food Awards (British Street Food 2012 Online) Richard Johnson took place (see appendix). The interview proved that street food offers more than a meal, ‘it has a great element of theatre – you see what’s going on, you see pizza dough being thrown, you see the churros dough being extruded, you see the frying going on, you see the crepes being folded all these things you find behind the restaurant swing doors is going on in front of your eyes.’ (Johnson, R 2012) In offering street food Coggles also makes a connection with its consumer with Johnson also saying that Street Food was most popular amongst ‘cool’ and ‘younger’ consumers as well as ‘foodies’ (Johnson, R 2012). With this in mind it is important that the execution of street food at the Coggles Market goes beyond greasy

burger vans and hot dog stalls. With a key part of street food being the mobility of vendors and with it being an ever growing trend, accessing good street food has become easier than ever. The Flaming Cactus is an example of the street food available, owned by Rowland Hewes it serves up Mexican inspired food from an Airstream trailer (Figure 19). Many street food vendors have elaborately designed ‘vans’ to gain consumer attention; as Johnson notes ‘the best ones are beautiful polished well looked after or weird old fashioned funky and eye catching, there’s a place called ‘what the dickens’ where they dress up in costumes selling old fashioned breakfasts and lots of tripe’ (Johnson, R 2012) Hewes also understands the visual importance of street food and the enjoyment taken from watching food made right in front of you (British Street Food Hero’s 2012 Online) adding to the theatrics of the market experience. The Flaming Cactus attends festivals nationwide as well as private and corporate events. Vendor’s make profit from the costumers so there is not change for hiring them at events.

Figure 19 The Flaming Cactus

MUSIC

Having visited Portobello market one observation made was how street musicians added a sense of enjoyment and experience. Having independent musicians added to the multi-cultural aesthetic of the street market and connected to the consumer in a multi-sensory way. Martin Lindstorm writes ‘Music creates new memories, evokes the past and can instantly transport us to other places and other times’ (Lindstorm, M 2010:75) by adding music to the street market the brand can create new memories for the consumer associated with that brand. As the tastemakers boards demonstrated, each city has a unique music history. Manchester, a city once known as ‘Madchester’ because of its music scene is still thought as ‘the most vibrant, all-encompassing and downright exciting music scene in the UK right now’ (Wilkinson, M NME Online 2010). The city is still passionate about rock and indie bands and thrives on live music with large venues like Manchester Evening News Arena, Manchester Apollo and Manchester Academy and smaller ones in areas of the Northern Quarter. With this in mind, bands will play at set times at areas of the Coggles market. Local bands will be selected after using social media sites such as MySpace and Twitter to find bands who emulate both the Manchester music scene and the Coggles brand. An example of this is the Manchester duo We Are Willow available to hear at: http://www.myspace.com/WAWillowBrighton is known for its flamboyant music scene with music tastes varying from metal to Jazz. The

tastemakers showed interest in live live DJ sets and bands suggesting their eclectic taste in music. With events like the Brighton Fringe which demonstrate the broad spectrum of Brighton music it is difficult to pin-point a specific genre of music that will represent Brighton but will also demonstrate the simplicity of Coggles. Audio Brighton is a successful ‘clubbers club’(Audio Brighton 2012 Online) in the city which showcases the mix talent coming from DJ’s both nationally and internationally. Taking inspiration from the success of this club DJ’s from across the UK will have a set showcasing a mix range of music tastes from French house to Jazz Funk which will encapsulate the multi-cultural nature of Brighton and the simplicity of Coggles. An example of the music played is Alexkid- Electro Jazz available to hear at: http://www.youtube.com/watch?v=lc6Y2jhS4zA

With Glasgow being Scotland’s main music hub researching Edinburgh’s music scene is challenging. However ‘The Edinburgh scene has grown rapidly over the past five years or so,’ according to Dave Cummings DJ and promoter (The Scotsman 2009 Online). Emulating the city’s grey backdrop and dense history dark and smooth live bands will play at the Coggles Street Market in Edinburgh. Using bands like Belle and Sebastian as inspiration, mellow sets will be played. Edinburgh band Aberfeldy is an example, which can be listened to at: http://www.myspace.com/aberfeldytheband/music

THE STRATEGY

The communication and promotion of the brand must only reach the Coggles target consumer to maintain the forward, exclusive image of the brand. As Coggles already takes advantage of online promotional mediums such as social media, email subscriptions and targeted advertising, targeting current consumers is simple.

CO MMUNICATION

CO MMUNICATION

PROMOTIONAND

11

THE COGGLES WEBSITE

Coggles has gained much recognition over the years for its online presence including Drapers independent etailer awards 2009 & 2010. However over the last two years the website has not changed or developed since. The first month of the Coggles communication strategy will bring the launch of alterations to the website. By looking at the AIDA marketing model in web design it is possible to see how Coggles is currently succeeding and failing with its website:

124 W EEKS ONLINE

A- Attention (Through imagery and typography)Coggles currently uses bold rectangles of images which create a linear and simple design. Its use of typography is simple and direct imitating the brand philosophy.

I- Interest (Through practical benefits)Coggles showcases its practical benefits by showing zoomed in images of the quality of the fabrics used in their products

D-Desire (Through organisation of content and sliders)Coggles creates desire around its products through using editorials on the website (although not previously homeware). The website gathers products of a certain aesthetic and showcases them together in a way that consumers may not have thought to put them, making them appear more appealing to the consumer.

A- Action This is where Coggles is currently failing. Consumers need to be able to find the product they want and buy it in the least amount of time and clicks necessary. By implementing a few simple changes this will improve the shopability of the website.

4 W EEKS ONLINE

Figure 20 Website Changes

Figure 20 is an illustration of the changes for the Coggles website. Number 1 on the illustration shows the addition of a search box to the website. A survey was made to ask people how they search for products on websites, 80% of respondents said they use the websites search engine. The addition of a search engine to the website will make it easier for the consumer to find specific items on the website. This will prevent the consumer going elsewhere to find a product by reducing the clicks to purchase. Number 2 on figure 20 shows the change to the touchpoints on the website. By putting the touchpoints under one title of ‘The Life’ it will reduce the clutter on the website page mirroring the brands values of simplicity and Dieter Rams principles of design. Putting the touchpoints under one title also means creating a single space for the consumer to connect with the brand on the website – giving the consumer a more complete view of the Coggles brand. Also in naming the touchpoints as ‘The Life’ the consumer automatically becomes aware that they are a representative of the Coggles life, and in becoming a Coggles consumer you are a part of that – assisting Coggles in becoming a leading lifestyle brand.Finally, number 3 on the illustration shows the

homepage of ‘The Life’, this is where the consumer can quickly view what is new on Coggles Life and select what interests them. This maintains the image of the other areas of the website creating a consistent appearance throughout the website.These small changes will improve the websites shopability making it easier for consumers to use, as consequence this should help drive sales through eliminating any problems with usability.The venture between the small brands sourced from Etsy and EBay will be explained in the product descriptions on the website. These new companies will have a summary of their brand story (like other brands on the current website) and the venture between Coggles and the brand will be clarified. It would be out of character for Coggles to label these brands separately from other products or to promote them differently due to Coggles passion about simplicity. However, when the small brands are launched on the website they will be promoted through the Sunday Supplement and an initial press release will be launched.

SUNDAY SUPPLEMENTAs previously discussed the weekly email Sunday Supplement provided by Coggles allows the website to contact consumers and subscribers of the website to share interests with the brand. Not only does the Supplement share interesting and informative material but it also keeps the consumer up to date with the Coggles website.

Utilising the promotional touchpoints Coggles already has, the Sunday Supplement will introduce the relaunch of Coggles homeware. As respondents have previously stated that they have more interest in this newsletter than any other: ‘it isn’t the usual spam, spam, spam’ (Lister, K 2012), utilising this touchpoint will allow Coggles to automatically gain the interest of subscribers. Figure 21 illustrates how the Sunday Supplement will launch the homeware.

As figure 22 demonstrates further use of the Sunday Supplement will be required in promoting the Coggles Street Market. Using the Sunday Supplement to promote the event will mean that the market influences current consumers, reaching those that the market is targeted at. As these consumers already share an interest in the

brand online, reaching these people will develop a relationship offline strengthening the relationship between company and consumer.

Figure 21 Homeware Sunday Supplement

Figure 22 Street Market Sunday Supplement

Figure 23 Facebook Event

SOCIAL MEDIASocial media will be vitally important in the promotion and aesthetic of the Coggles Street Market. To gain a grass-roots feel to the market Coggles will exploit these mediums to create an independent and authentic experience. In utilising social media and no other online medium (other than the Sunday Supplement) for the promotion of the event it will create uniqueness and an unexploited feeling to the event rather than the ‘spam, spam, spam’ usually associated with cooperate events. A facebook event for each location will be created and all the followers of the Coggles facebook page will be invited to each event. Figure 23 shows how the event page will look and be explained to the consumer. The event page will only be used to assist the offline guerrilla marketing campaign as the event is primarily about creating an offline authentic experience for the consumer.

This report is principally an offline operation and it is crucial to the authenticity of the promotion of the event that minimal online promotion is made. However it is still important for the brand to continue with its current online operations in targeted advertising to maintain current

consumers. However, to gain new consumers and to fulfil the goal of becoming a lifestyle brand the marketing of Coggles will chiefly be offline in the promotion of the street market and consequently the homeware.

13

1-2

1-2Although online marketing is good for spreading second-hand knowledge about brands i.e. people discussing the brand on blogs and social media, offline marketing sends people directly to the website, allowing the consumer to get to know the brand first-hand (Abdul, R 201 Online). As the purpose of this report is to reach new consumers for the brand it is important to project Coggles onto areas which haven’t been exploited by the brand. It is also imperative that the promotion is authentic and represents Coggles as a way of life to the consumer. For these reasons, the communication and promotion strategy will largely take place offline.

MONTH 1-2

With magazine sales falling and consumers turning online for information, investing in print advertising can be risky. However, seven in ten adults currently read magazines and the large part of them are aged 16-34 echoing the Coggles target consumer age (Mintel 2011 online). One of the advantages of print advertising is that you are more aware of who is going to see your advert and as more people turn online, reading a magazine will give a more tangible and distinctive

6 MONTHS OFFLINE

experience. Competitors with similar audiences such as The Kooples and Zara also choose to use print advertising to target their consumers. For these reasons Coggles will use print advertising as a medium to contact new consumers.

PRINT

Figure 24 is an illustration of three potential adverts for the Coggles offline campaign. As the aim of this report is to develop Coggles into a lifestyle brand, the Coggles adverts are not product orientated. Instead of selling the product the aim of the campaign is to sell the lifestyle and the idea of Coggles to the new consumer. Coggles has the UK’s largest street style archive and utilising these images in the adverts will give the consumer an immediate idea of who Coggles are and how buying their products will represent them. The adverts promoting the homeware range are images used on the website, showing the products in their environment, the imagery is to represent the values and lifestyle of Coggles rather than just the product. The adverts will feature in magazines associated with the creative class. The adverts will only feature in Wallpaper Magazine, Dazed and Confused and The Creative Review because of their high readership, audience and monthly circulation, (See appendix)allowing a the adverts to target as many of the target consumers as possible. The adverts will run for three months, after which time the success of print advertising will be

assessed and considered for future use. As it is difficult to monitor the success of print advertising, Coggles will have to monitor changes in the traffic going to the website. The brand will also use software such as Google Analytics to monitor Google searches.

Figure 24 Print Advert

2-4Figure 25 Rag and Bone Campaign

2-4THE INSPIRATION

The inspiration for the guerrilla marketing plan comes from Rag and Bone’s DIY ad campaign. Featuring models Abby Lee Kershaw, Sasha Pivovarova, Lily Aldridge and Edita Vilkeviute, campaign asked the models to photograph wearing the brands clothing (See Figure 25). The images were launched in a guerrilla-style campaign in Manhattan. In an interview with Dazed Digital the brand said ‘These four girls have amazing style and represent the ‘cool,’ downtown, New York girl that Rag & Bone is all about. We wanted to take a completely different approach to the traditional, highly polished campaign, so we decided to let them take the reigns’ (Dazed Digital 2011 Online). The campaign went viral with almost half a million hits online (Google, 2012 Online) and resulted in huge publicity for the brand.

MONTH 2-4

A guerrilla marketing strategy will take place for the Coggles Street Market to insure that the correct audience is targeted. Taking place in Brighton, Manchester and Edinburgh’s ‘coolest’ areas, authentic street fliers will be posted in well reputed areas of the city.

5+THE AESTHETIC

Using The Rag and Bone campaign as stimulus the Coggles Street Market campaign will be plastered across the ‘cool’ areas of the three city: Brighton’s North Laines, Manchester’s Northern Quarter and Edinburgh’s New Town. The posters will vary from the three designs shown in figures 26, 27, and 28. The appearance of the posters needs to be as raw and homemade as possible, therefore imitating Rag and Bone the ‘tear-away’ website information will be feature at the base of the posters. The Coggles market poster will lead the potential consumers to the Facebook event page and also visually represent the street markets aesthetic. Alongside this, the posters will be printed from a basic printer on simple A4 paper to give an understated finish. Ensuring that the posters remain untarnished in case of weather constraints the damaged posters will be replaced by a Coggles team member. As this offline campaign is offline it creates a more immediate connection with the consumer. With this in mind, it is important that the campaign visually represents the brands values of simple design and independence. Using the guerrilla marketing campaign allows the brand to show that it is independent from ‘over-marketing’ and large corporations. The aesthetic of the promotional material is also simple in design and understated.After the launch of the guerrilla marketing press invitations will be sent out. A press pack (See attached) will be sent out to bloggers and journalists in local and surrounding areas of the cities. The press pack will contain a press release detailing the event and will also be posted on the Coggles blog. To drive as much traffic to the blog post the press release will be search-engine-optimised ensuring key words are used throughout such as ‘Coggles Street Market’, ‘Coggles’, ‘Manchester’, ‘Edinburgh’ and ‘Brighton’.

Figure 26 Coggles Street Market Ad 1Figure 27 Coggles Street Market Ad 2Figure 28 Coggles Street Market Ad 3

5+MONTH 5+

The Coggles street markets will take place in the penultimate month of the six month strategy allowing time to promote the brand before the markets and gather consumer interest. After the events Coggles will remain vigilant in the PR of the markets. Bloggers and Journalists will be contacted again asking if they attended the event and if they require any more questions or photographs for their posts. Social media will continue to promote the event posting photos on Facebook and twitter accounts and asking fans to tweet and post their own. Followers will be asked if they attended the event and those that respond will be asked contacted to ask what they liked and disliked about the event. Following this the Coggles blog will create a post about the markets and discuss the day’s events.

THE FUTURE

MARKET

Post- event the success of the Coggles Street Market will be measured in a variety of ways. The overall popularity of the event will be measured by looking at the sales of Coggles brands on the market. Social media will be used to account for the amount of attendees at the markets. Facebook event attendees will be measured against the amount of Twitter and Facebook followers and against the amount of actual attendees. The amount of hits the street market press release has on the Coggles blog will be counted alongside the hits on blog posts after the event. Software such as Google analytics will also be used to monitor how many times ‘Coggles Street Market’ has been searched.

HOMEWARE

To insure that Coggles homeware is a success, close monitoring of sales performance will be necessary. After relaunching the homeware interviews will be conducted with Coggles consumers found through social media to gather their views and thoughts on product ranges and

brands on and thoughts on product ranges and brands on the website. Furthermore the homeware products will be monitored through referencing the product life cycle model. By using the product life cycle as a reference, Coggles can ensure profitability through altering and terminating products and brands when necessary. Making sure that all products don’t fulfil their lifecycle at the same time will also maintain profitability. Therefore it is imperative that Coggles does not remain stagnant in buying products for the online store and consequently not all brands will be launched together. Through not launching all brands to be sold on the website at once, Coggles will also maintain consumer interest in the homeware line. After the 6 month strategy there will be an expected 60% sales increase for the Coggles homeware which will be measured against actual sales.

14

RISKS

When implementing the strategy there are many risks to consider. There must be thorough communication to ensure the branding is fluid between brand and promotions.

• There is a risk that the event appears inauthentic to the consumer and come across as purely another way to sell. This will only be able to be assessed after the execution of the event and so communication beforehand is imperative so as not to ruin the image of the Coggles brand.• The location of the market in the cities relies on the tastemaker’s social breeding-ground. It is therefore vital that the tastemakers selected are respected members of the ‘creative class’ within their city. • Promotion of the event: Guerilla marketing is vital to ensure that the event is only directed at the target consumer. If the information is incorrect from the tastemakers the event could become popular among the wrong audience and lose the integrity of the brand (as seen in Burberry and the chav subculture).• The promotion of the homeware range could be risky because of its understated nature. Not heavily promoting the homeware creates a chance that products become unnoticed. Therefore the communication needs to not be so subtle that it becomes unnoticeable. The wording of promotional material needs to be persuasive and communication between marketing and social media teams needs to be constant in the first few months of the relaunch.

RISKS, RECCO MENDATIONS AND COSTS

15

RISKS, RECCO MENDATIONS AND COSTS

ESTIMATED COSTS

Print Advertising Costs: £98,000Designs and visual: £1000Event: £60,000Event Promotion: £5,000

The predicted costs add to £164,000 for a 6 month campaign. Although this seem like an expensive campaign Coggles has recently had investment from Pentland and is an in an international brand. The most expensive part of the marketing strategy comes from print advertising. However magazine advertising will mean that Coggles can immediately target people they want to sell to.

RECOMMENDATIONS

Pending on the success of the campaign the following recommendations will be put forward:1. A permanent Coggles Market could take place on an already existing market. This will reduce costs that would be involved in a store and would also reduce overheads. This would also mean that the brand connects to its roots and maintains an independent and convincing brand.2. Developing Coggles further as a lifestyle brand will require creating more touchpoints with the consumer. The Coggles Street Market could travel around the UK to reach out to all the Coggles con-sumers.3. As Coggles ships internationally it is possible for the Coggles Street Market to go international and take place across Europe – pending on financials.4. Should the furniture market improve, Coggles could extend its homeware into the furniture market as well. The brand values and image combined with the halo effect will reflect well onto the furniture market. However as the market is competitive and struggling for profitability at the moment, this is unlikely to happen within the next 5 years.

CONCLUSION

16As more people pour into the virtual online domain there will be a further demand to create something more tangible and authentic. As Coggles primarily retails online the store needs to create authenticity by operating offline. By creating offline experiences Coggles can create a physical connection with their consumer. The Coggles Street Market addresses this issue by connecting to the roots of the brand and creating a multi-sensory environment which will engage consumer emotions. By engaging consumer emotions through multi-sensory experiences the Coggles brand can assist the development of the brand into a lifestyle. To further the lifestyle branding, Coggles also needs to engage the consumer through its products. Currently Coggles excels in its fashion retailing; however, the homeware range is limited and not engaging. By relaunching the homeware and creating editorials for it the consumer will have more motives to buy the ranges. Moreover, the changes to the retailing of the homeware on the website will create a more fluid brand image, which in turn will allow the Coggles consumers to fully understand what they are buying into when the make a purchase at Coggles.Through these changes Coggles aims to create an

engaging lifestyle brand that provides the consumer with well-designed products and cultural inspiration.

LIST OF ILLUS TRATIONS, BIBLIOGRAPH Y, & REFERENCES

LIST OF ILLUS TRATIONS, BIBLIOGRAPH Y, & REFERENCES

17

LIST OF IL LUSTRATIONSFigure One Coggles 1ina100 Screen Grab by Coggles.com. Available at: http://www.coggles.com/man/brand/1ina100/12B

Figure Two Coggles Books Screen Grab by Coggles.com. Available at: http://www.coggles.com/book/group/fashion/YB

Figure Three The Anatomy of Coggles by Granton, H: 2012.

Figure Four Little Wren Pottery by Baker, V available at: http://www.etsy.com/listing/83062068/oops-seconds-sale-ruby-red-potteryFigure Five Product Range Table by Granton, H: 2012

Figure Six Homeware Essence by Granton, H: 2012

Figure Seven New Homeware Website by Granton, H: 2012

Figure Eight Placemaking Portfolio by Granton, H: 2012

Figure Nine Prada Market 1by Photographer Unkown (2007) Available at: http://www.prada.com/en/valencia

Figure Ten Prada Market 1by Photographer Unkown (2007) Available at: http://www.prada.com/en/valencia

Figure Eleven Prada Market 1by Photographer Unkown (2007) Available at: http://www.prada.com/en/valencia

Figure Twelve Nishiki Market by Naoko (2012) Available at: http://naokoeats.com/2012/04/22/japan-2012-nishiki-market/

Figure Thirteen Market Moodboard by Granton, H: 2012

Figure Fourteen Coggles Consumer Graphic by Granton, H: 2012

Figure Fifteen Market Locations by Granton, H: 2012

Figure Sixteen Brighton Board by Granton, H: 2012. Available at: pinterest.com/hangran/Brighton

Figure Seventeen Manchester Board by Granton, H: 2012. Available at: pinterest.com/hangran/Manchester

Figure Eighteen Edinburgh Board by Granton, H: 2012. Available at: pinterest.com/hangran/Edinburgh

LIST OF IL LUSTRATIONSFigure Nineteen ‘The Flaming Cactus’ by Photographer Unknown

Figure Twenty Website Changes by Granton, H: 2012.

Figure Twenty One Homeware Sunday Supplement by Granton, H: 2012.

Figure Twenty Two Market Sunday Supplement by Granton, H: 2012.

Figure Twenty Three Facebook Event by Granton, H: 2012

Figure Twenty Four Print Advert by Granton, H: 2012

Figure Twenty Five Rag and Bone Campaign by Designer Unkown. Available at http://www.fashionolo-gie.com/Rag-Bone-Ad-Campaign-Featuring-Abbey-Lee-Kershaw-Edita-Vilkeviciute-Sasha-Pivovarova-Lily-Aldridge-13516345?page=0,0,2#2

Figure Twenty Six Coggles Street Market Ad 1 by Granton, H: 2012

Figure Twenty Seven Coggles Street Market Ad 2 by Granton, H: 2012

Figure Twenty Eight Coggles Street Market Ad 3 by Granton, H: 2012

REFERENCESREFERENCES

Coggles 2012 OnlineGranton, H. 2012Coggles 2012 OnlineLister, K 2012Rams, D in Rosenfield, K 2012 OnlineLindstorm, M 2006)Holbrook, M 1983: 247-252Diggle, A 2012Hatfield, R 2011 OnlineGonzales, F 2012Piccalo, G LaTimes OnlineGilmore, J et al. 2007:157Travis, D 2000:78Gilmore & Pine 2007:201Coggles 2012 OnlinePrada, 2007 OnlineDuffy, K 2012Betty Magazine 2012 OnlineJacklin, C 2012Granton, H 2012Florida, R 2004:166Regeneris Consulting 2010 OnlineQuillin, J 2012Beverland, M 2009:184Currid, E 2007:95Currid, E 2007:95Morton, T 2009 OnlineSpens, E and Gilland, C 2012 OnlineBritish Street Food 2012 OnlineJohnson, R 2012Johnson, R 2012Johnson, R 2012British Street Food Hero’s 2012 OnlineLindstorm, M 2010:75Wilkinson, M NME Online 2010Audio Brighton 2012 OnlineThe Scotsman 2009 OnlineLister, K 2012Abdul, R 201 OnlineMintel 2011 OnlineDazed Digital 2011 OnlineGoogle, 2012 Online

BIBLIOG RAPHYBOOKS

Aaker, David A (1991). ‘Managing Brand Equity: Capitalizing On The Value Of A Brand Name.’ New York: Free.

Adamson, Allen (2007) ‘Brand Simple’. Basingstoke: Palgrave Macmillan: New York

Beverland, M (2009) ‘Building Brand Authenticity: 7 Habits of Iconic Brands’. Palgrave Macmillan: New York

Clark, T (2008) ‘Starbucked’ New York: Back Bay Books

Currid, E. (2007) ‘The Warhol Economy: How Fashion, Art, And Music Drive New York City’. Princeton University Press: Princeton

D&AD (2003) ‘D & Ad Creativity Works: How Advertising And Design Can Power Up Business’. London: D & Ad (British Design & Art Direction).

Dibb, Sally (1997) ‘Marketing: Concepts and Strategies’. Boston: Houghton Mifflin.

Florida, R (2002) ‘The Rise Of The Creative Class’. New York: Basic.

Frank, S (1998) ‘The Conquest of Cool.’ University Of Chicago Press: Chicago

Gilmore, J and J, Pine (2007). ‘Authenticity: What Consumers Really Want’. Boston, Ma: Harvard Business School.

Hartman, H (2001). ‘Marketing In The Soul Age: Building Lifestyle Worlds’. Bellevue, Wa: Hartman Group.

Israel, S (2009)l. ‘Twitterville: How Businesses Can Thrive In The New Global Neighbourhoods’. New York, Ny: Portfolio.

Keat, R et al (1994) ‘The Authority Of The Consumer’ London: Routledge

Klein, N. (2000). ‘No Logo.’ London: Harper Collins

Kornberger, M (2010) ‘Brand Society’ [Online]. Cambridge University Press Textbooks. Available From: <Http://Lib.Myilibrary.Com?Id=256069>

Kotler, P (2010) ‘Principles Of Marketing’ 12th Edition. London: Prentice Hall

Lindstorm, M (2010) ‘Brand Sense’. Kogan Page Ltd: London

Mccandless, D (2009). ‘Information Is Beautiful’. London: Collins.

Olins, Wally (2008). ‘Wally Olins: The Brand Handbook’. London: Thames & Hudson.

BIBLIOG RAPHYRyals, K (2008).‘Seo 100 Success Secrets’ Lighting Source: London

Schreiber, A L. (1994) ‘Lifestyle And Event Marketin’. Usa: R.R. Donnelley & Sons

Travis, D (2000) ‘Emotional Branding’ USA: Prima Publishing

Walker, O et al (2008). ‘Marketing Strategy: A Decision-Focused Approach’. Boston: Mcgraw-Hill Irwin.

Westwood, J (2006). ‘How To Write A Marketing Plan’. London: Kogan Page.

APPE NDIX

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APPE NDIX

18

INTERVIEWS

KAY DUFFY - COGGLES SALES ASSISTANT

Would you say the Coggles consumer is the creative type? More often than not the consumer has an interest in creative aspects of fashion/life-style, e.g. fabric types, printing techniques, image and fabric cuts etc.“Coggles is the world of design and creativity, music, books, and the people behind the scenes, the people who create and are passionate about what surrounds them, the quality of simple design. It’s about the clothes you choose to wear, the bike you ride to work, the book you read in bed, your favourite chair at home, the world that you design to live in.”

Are they wealthy? Usually - Coggles do however offer a range of high-quality/premium fashion at vary-ing prices.The quality of the garment or standard of the designer usually reflects the price, and this is something that the consumer is aware of.

Also I’m interested in creating an offline experience for them that’s nationwide. I know they have the original Coggles store but do you think it would be a good idea to do a pop-up market in different areas of the UK that sells the Coggles brands so as to attract more of the right people to Coggles?(This is my personal opinion as a sale assistant)Coggles have many world-wide consumers (online) and in my opinion it works very well in having the website and the 2 unique and family owned stores in York. Because of the target market I think having pop-up market’s may commercialise the unique-ness of Coggles.

Annnnd finally I’m interested in developing their homeware. Do you know why online they only sell Rockett St George? is it the same instore? How well does the homeware sell?Sorry, I’m not very familiar with this area of Coggles at the moment and we do not sell home-ware in our stores.

MATTHEW PIKE

1. Age: 262. Sex: Male3. Occupation: Sales Assistant / Creative Marketing Assistant / Classroom Assis-tant (3 jobs that is!)4. Passions: Design, Graphics, General Style, Homeware & Art5. What does design mean to you? No matter what it is, when someone designed something they made several design desiscions (good or bad is subjective) and how they reached their outcome is most interesting to me. Design desiscions effect every piece of your lives in England. That’s how I see it.6. What brings you to the Coggles website? Always loved it to be honest, they have a great eye for modern design, interesting menswear brands and great street style. It was one of the first online stores I bought from, maybe about 6 years ago. I haven’t been to the shop but I know plenty who have, it looks great. Really my sort of place, my gf loves it too.7. Finally what is your view on buying homeware online? Fine yeah, totally fine. It’s always better to see stuff in person but if you do your research beforehand and see something online then I see no reason why not. I buy lots of homeware and ac-cessories online. I’m always looking for vintage and antique homeware pieces online and at fairs (when I can).

LAURIE

1. Age: 252. Sex: Female3. Occupation: PR Manager4. Passions: Good design, be it fashion, graphics, interiors or architecture.5.. What does design mean to you? It means the combination of utility with style.6. What bring you to the Coggles website? I found them through Twitter. 7. Would you ever consider purchasing homeware online? Have you looked at the Coggles homeware? I have looked at it and I would consider buying it although I haven’t yet :)

LAURENCE

AGE: 25SEX: MaleOCCUPATION: Student/Blogger

IMPORTANCE OF DEISGN: Design is quite important to me. It definitely shows what you represent etc.

WHAT BRINGS YOU TO COGGLES? Bolzoni and Walsh brought me to Coggles as I wanted to purchase the Lea Shirt.

WOULD YOU BUY HOMEWARE ONLINE? Yes I would however I would only shop online if I KNOW that I am buying online is going to be in great quality.

HAVE YOU LOOKED AT COGGLES HOMEWARE? Yes I have but I didn’t pay much at-tention to it though.

JESSICA QUILLIN

1) I understand that one of your passion and interests is fashion and luxury so what does design mean to you? To me, design is both an art and a science. It is beautiful and functional, public and private. In my mind, good design carries meaning beyond a designer’s imagination into the larger cultural arena.

Have you ever made any purchases from the Coggles website? Are you familiar with them and do you subscribe to their emails? Unfortunately, I haven’t purchased from them and do not subscribe to their emails. However, I like their streamlined site design and focus on vintage wear.

Finally what is your view on buying homeware online? I’m interested in developing their homeware range and develop the brand into a ‘lifestyle’ brand.Buying homeware online can be a tricky thing. I have purchased homeware that I returned because it looked different in person than it did online. But, the internet obviously is a logical place to make these types of purchases. People are looking for innovative design at an affordable price.

BETTY MAGAZINE

What does design mean to betty magazine and its readers?Design is really important to us here at Betty, it affects everything we do. Each page, layout and image has to be unique to Betty and really compliment / work within the layout. I think our readers identify with good design and appreciate all things visual.

Have you ever made any purchases from the Coggles website? Are youfamiliar with them and do you subscribe to their emails?

I have never made a purchase from the online store, but have purchased in the shop. Although I haven’t purchased online I am an e-mail subscriber and visit their website on a regular basis.

What was it that drove betty magazine to their website? York is one of my favourite cities and I know Coggles.com as Sarah Coggles the boutique which has been around for many years. It’s a beautiful shop, with a great edit of collections, it is really good to see the translation online.

Finally what is your view on buying homeware online? I’m interested indeveloping their homeware range and develop the brand into a ‘lifestyle’brand.I like buying homewares online, I like Urban Outfitters and their selection. Having homewares online works well for me, as going to different stores for your kitchen, bedroom and bathroom accessories can be quite time consuming. I would be reluctant to buy furniture online though.

Any comments or anything you might suggest I look at would be reallyuseful.

I would look at a website called made.com x

RICHARD JOHNSON - FOOD WRITER

Why is street food different from any other culinary experience?I think that it has a great element of theatre – you see what’s going on, you see pizza dough being thrown, you see the churros dough being extruded, you see the frying going on, you see the crepes be-ing folded all these things you find behind the restaurant swing doors is going on in front of your eyes. You then get that they are all great sales people they are cost abundant they make their living by their interactions, they’re not going to be quiet they’re not going to be shy and retiring they are big mouths so they’ll have the old fashioned patter which makes it entertaining to watch. Then the vans – the best ones are beautiful polished well looked after or weird old fashioned funky and eye catching, there’s a place called ‘what the dickens’ where they dress up in costumes selling old fashioned breakfasts and lots of tripe – that sort of thing is typical of street food, you need to draw attention to what you are do-ing and there are increasingly restaurants , the big heads, that are doing the same thing, it’s not just a starter and a main course dessert, you need to be a bit more clever about what you do which is why places like the fat duck and elBulli and Noma are so clever at presenting what they do.

Do you think the sensory element is a strong point for street food?Yes! Actually, yeah, when you’re walking along and you smell a baked potato or fried chicken or a curry being stirred I think absolutely. I think when you see it being prepared you see how fresh it is, when you see a stir fry being specially made just for you it’s not something that’s gone on out of sight – you know its fresh.

Who is buying into it? Why?I think it is a younger thing, it’s quite a cool thing, I think that it’s quite a foodie audience, people who are a bit narked they couldn’t afford a hundred and fifty quid for the taster menu at the Fat Duck but wanted something that was their own. They want to repossess the food culture in this country on a smaller budget. Street food was seen as boring but people wanted to get on board this change and trend in British food culture they didn’t have the money but starting off on street food came as a start and in some cases an end too.

What is the new thing in street food?The idea of fusing together different food cultures. I think it was about recreating food from your child-hood – fish and chips, pies it was about those kind of foods but actually now because you’re having so many qualified chefs getting into street food you’re starting to get more creative.

Creative Review Wallpaper Dazed & ConfusedReaders Business Creatives 34 year old ‘Creative Influencers’ Young CreativesDistribution 60,000 105,328

(Creative Review, Online 2012) (Wallpaper 2012 Online)

COSTS

PEN PROFILE STAGE ONE

Consumer Portrait for Coggles Who?o Aged 25 – 35o Males & Femaleso Creativeo Professionalso Young Bright Thingso Design Matterso Fashion Conscious

What?o Cycleo Reado Cooko Socialise at barso Festivalso Museumso Musico Culturally Minded

Why?o It’s about hard work and being healthyo Design is a part of how they see thingso Being with others makes things bettero Simplicity is key

Fashion is...o Brandedo Simpleo Innovativeo Qualityo About style not trends

Shop at?o High streeto Key items from designerso Mid-Market storeso Vintage shopso Charity shopso Dover Street Market, Flannels, Coggles, Reiss, Whistles, Anthropolgie…

Media?o Internet: - Fashion Blogs - Brand Blogs - Personal Blog/Website - Social Media particularly Tumblr & Pinteresto Magazines - Wallpaper - ID - Vice - Vogue/Elle - GQ/FHM - The Creative Review - Private Eye

o Newspapers - The Sunday Times - The Observer - The Independent/ i

PERCEPTUAL MAP STAGE ONE

SURVEY