Complete Contemp Marketing

Contemporary Advertising

MKT 6014

Gregory Noel-Butterworth – S12794493

Word Count: 1645 (Minus Tables) Table of Contents

BACKGROUND

Founded in 1972, French Connection (FC) was built on the value of innovative

clothing that appealed to a broad range of consumers (FrenchConnection,

2015), however, the company now finds itself in a decade long stage of

restructuring in order to return to meaningful profits (Barmby, 2014).

Known for their individualistic approach to fashion, the company’s 1997 FCUK

branding campaign put FC at the forefront of the publics mind and led to a

significant increase in sales (Barmby, 2014). During this period the brands

acronym was received well by forward thinking 18-35 year olds who

embraced the slogans shock value as it was seen as a way to communicate

‘anti-establishment’ ideals (traits common at the time) (Barnes, 2004). Yet, the

success of the FCUK brand was short lived, highlighted by a 2004 Draper’s

Report that found consumers saw FCUK as ‘tired/tacky’ (Barnes, 2004).

The impact of FC’s use of shock/sex in its advertisements (to differentiate)

started to wane as consumers found adverts ‘boring/over-replicated’

(appendix 1.0) (Barmby, 2014). Consistent failure with advertising led to a

60% drop in profits (Barnes, 2004). Furthermore, the ‘anti-establishment’

target market had grown up (Payne, 2004) and become disillusioned with

FC’s aesthetic definition (Ruddick, 2013). For example, FC was associated

Gregory Noel-Butterworth S12794493

with pretty dresses/smart shirts, yet FCUK were still attempting to break

fashion rules (Gonsalves, 2012).

FC’s 2013 ‘risqué’ sketch campaign (appendix 1.1) attempted to remind

consumers of the fearless attitude that made the FC brand desirable,

however, the campaign led to an 8% reduction in UK sales (Ruddick, 2013).

The use of celebrity endorsements in advertisements (appendix 1.2) from

Zara/Topshop were preferred and led to these competitors gaining market

share on FC (Ruddick, 2013)

Consistently poor advertising, on top of the confusion between FC and its

FCUK brand has put the company in a poor UK position, evidenced by the

fact that FC are attempting to close 15 UK stores (Ruddick, 2013).

(Appendix 2 and 2.1 offer an in-depth snapshot into FC’s current position)

Product Life Cycle

Appendix 3 shows that FC’s UK products are in the maturity stage suggesting

that FC operate in a highly saturated market (Arens et al, 2008). The continual

erosion of FC’s profits (Ruddick, 2013) is down to the fact that their products

have plateaued for over 4 years, meaning that consumers no longer perceive

an advantage when using the products (Lee & Carter, 2012), which has led to

consumers buying cheaper alternatives (Zara/Topshop) (Gonsalves, 2012).

Strategic Considerations

To arrest this continual erosion of profits, you must design a campaign that

rebrands the FCUK brand to a new generation by giving it a newfound

1

identity. The campaign must educate customers of the purpose behind the

brand to ensure FC achieves a healthier product life cycle to ensure long-term

strategic success. Initially, this should be done through increased targeting

(UK Gen Z consumers) through direct marketing.

Boston Matrix

Comparison of FC’s Boston Matrix with its competitors (appendix 4) shows

that the company’s product portfolio is unhealthy. The majority of products are

in the ‘Dogs’ section, meaning that these products are contributing to FC’s

financial losses (Lee & Carter, 2012).

Strategic Implications

Your campaign should focus on revitalizing/rebranding the ‘Dogs with the

highest market share (Menswear/Outerwear) through an exciting FCUK

branding strategy that gives consumers an understanding of what the new

FCUK stands for. A new clothing range specifically targeted to Gen Z

consumers should be developed.

Brand Perception

A perceptual gap exists between the brand and the products. The

product offers styles cut for a youthful audience with a level of quality

that doesn’t match up to the promise of the brands communications.

Neither seen as low-price, or high-fashion. Seen as ‘middle-of-the-road’

with no real consumer value.

(Benjamin, 2012)

2



Your campaign should give FC a clear position by bringing more excitement,

cultural relevance, theatre and desire (Benjamin, 2012).

The newfound positioning must differentiate the brand by identity and focus

on special attributes that match up to the aspirations of our consumers (see

‘Gen Z psychographics’).

Key Insights into the Apparel & Non-Apparel Manufacturing Market (UK)

FC’s Market share fell from 1.6% (2010) to 1.4% (2014) (MarketLine,

2014).

The market declined in 2013, yet has a predicted compound annual

growth rate of 3.1% (over next 5 years), driving total market value to

£15.79bn (MarketLine, 2014). Yet the ‘Youth Male Fashionwear’

segment grew 31.1% over the last 5 years (Keynote, 2014).

FC operate in a highly competitive, fragmented and saturated market

(MarketLine, 2014) and are losing ground in the upper/middle market

(Ruddick, 2013) as cheaper alternatives (Zara/Topshop) continue to

eat into FC’s market share (Gonsalves, 2012).

Over the next 5 years, high growth expected in ‘youth male

fashionwear’ (defined as 13-24 y/o) segment (Keynote, 2014)


3

Your campaign should increase consumer demand to regain lost market

share and take advantage of the markets’ forecasted 16.1% value increase

(2018) (MarketLine, 2014). Focusing your campaign on Gen Z males will give

you the best chance of achieving this.

Conclusion

Although in an unfavourable position, FC are a sleeping giant and are one

campaign away from becoming the force they once were (Barmby, 2014).

Your campaign must give consumers an emotional connection with the new

FCUK brand to create valued brand characteristics. Clear positioning of the

FCUK brand will improve the health of FC’s product portfolio, which will then

place FC in a good position to take advantage of the forecasted market

growth.

Objectives

Corporate

To return FC to a UK profit of at least £10m by 31st Dec 2017.

To create a distinctive position for the FCUK brand amongst Gen Z

consumers by modifying the brands identity to one that works to make

the world a better place (see psychographics) by 1st April 2016.

(Measured using focus groups)

Marketing

To increase market share to 2% of the total UK ‘Apparel and non-

apparel manufacturing market’ by 31st Dec 2017.

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To target Gen Z consumers with a new FCUK product range to

increase overall company sales by 35%, by 31st Dec 2017.

Communications

To reach an additional 80,000 Gen Z consumers through a

combination of social media/online sites

(Facebook/Twitter/Instagram/Snapchat/YouTube) to facilitate a 50%

increase in online mentions by 1st April 2016 (therefore improving brand

recall)

To persuade 20% of Gen Z consumers to switch from Topshop and

Zara to trial FCUK products by 31st Dec 2017. Communications must

demonstrate FCUK’s superior benefits.

Key Gen Z Characteristics

Socio Economic

Targeting male 13-24 y/o.

Students/part-time jobs (C2DE roles)

Live at university or with parents.

Huge purchasing power (high disposable income due to no

childcare/mortgage commitments).

(Passport, 2011)

Mass/Targeted/Niche

Campaign must be niche focused as Gen Z consumers represent a distinctive

part of the market, and have very specific needs that need to be tailored for

5

(West et al, 2006).


Must focus only on UK (as success in this country underpins the success of

FC globally), and center campaign on the needs of Gen Z consumers

(psychographics).

Audience Readiness (DAGMAR)

The lack of advertising of the FCUK brand means that FCUK have missed out

on recent generations (Barnes, 2004). Gen Z consumers are unaware of the

FCUK brand, meaning this generation are unlikely to take action and buy

FCUK products (Koekemoer, 2004).

Strategic Considerations

This campaign must focus on the cognitive stage and make Gen Z consumers

aware of FCUK’s new brand identity/products (Brierley, 1995).

Upon achieving awareness, your campaign must achieve the subsequent

DAGMAR objectives (Appendix 5).

Media Consumption

Heavy users of social media. ‘Addicted’ to

Instagram/Whatsapp/Snapchat/Vine/Tumblr/YouTube.

Avoid using Facebook and Twitter.

6


Rarely read print magazines/newspapers, however, online versions of

FHM/ZOO/T3/Futures Fast Car/XBOX One or PS4 and Nuts are

popular.

(Blodget, 2014)

Psychographics

Motivated to make world a better place. Regard social justice/absence

of discrimination as more important than money/status. Take

environmental issues very seriously.

Brand aware and highly influenced by opinion leaders/friends.

Prefer brands that have a social purpose and have connection with

music/imagery.

Enjoy online gaming/cinema/social networking.

(Passport, 2011)

(Please see appendix 6 for a more in-depth view of a typical Gen Z male)

Key Product Considerations

Campaign must focus on design/branding (tangible) and symbolic

value (augmented) to create a distinctive position as a fashion brand,

and to separate the brand from discount retailers (Zara/Topshop)

(Brïdson & Evans, 2004).

Branding/Design should be exclusive to Gen Z consumer and link with

music/strong visuals (Passport, 2011)

Symbolism must represent the aspirations of the brand wearer (Evans,

1989), therefore, FCUK must be symbolised as a brand fighting to

make the world a better place (matches with Gen Z aspirations).

7

Previous considerations will contribute to the attribute of ‘brand

ownership’ (Goodyear, 1996). Gen Z consumers must perceive FCUK

as a brand ‘for them’, which reflects their personalities and aspirations.

Market Position – Campaign must separate FCUK from being

associated with mid-market brands such as Zara/Topshop. You must

advertise FCUK as a fashionable brand that competes at a higher end

of the market and has a symbolic value to Gen Z consumers.

(Appendix 7)

Proposition – ‘’FCUK is a young and energetic fashion brand that

strives to make the world a better place’’.

Message Structure

Notes

Ad

Design

Consumers lack awareness of the new FCUK brand, therefore, the initial

message must raise awareness amongst Gen Z consumers

Advertisements should ‘subtly’ use the brand, as Gen Z consumers are critical of

intrusively branded advertisements. Subtle use of the brand is seen as more

credible, and is likely to be ‘shared’ with online friends (Passport, 2011).

Although from a fairly low context culture, Gen Z consumers value imagery over

words (Passport, 2011) – more emphasis on imagery should be given.

Gen Z consumers prefer buzz/social media/online advertisements (Passport,

2011) – call to action to be made through these methods to visit a dedicated

FCUK website.

Headline and strapline to be centered on promoting the brand values of ‘making

the world a better place’.

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Communication of benefits to be centered on design/brand (tangible) and FCUK’s

symbolic value (augmented).

Ad

Strategy

Gen Z Respond To: Music/endorsements from opinion

leaders/visuals/humour/brand story/aspirational attributes (You can use a range of

these).

Gen Z Do Not Respond To: Intrusive messages/fear/repetition.

(Passport, 2011)

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Media Strategy

Media

Mix

Qualities Targeting and Promo

Tool

Mobile

Phone/

Text

Allows for peer-to-peer marketing –

power of this type of marketing huge on

Gen Z consumers as it’s seen as a

credible method, and serves to increase

attention and dwell time on

advertisements (Passport, 2011).

Gen Z often text to send advertisement

videos to friends. Text marketing

programs are very popular amongst

demographic (Relander, 2014)

FCUK video content targeted at Gen Z

consumers will result in these

consumers texting the ‘link’ to a large

number of friends (Relander, 2014)

Method increases brand loyalty,

preference and demand amongst Gen Z

consumers (Relander, 2014)

Targeting

Consumers

Promo

Direct

Marketing – contacting

consumers directly and

developing a long-term

relationship.

Social

Media

(Specifics in

‘media

Instagram popular amongst Gen Z, and

supports 15-second videos (Martin-

Willbourn, 2013), giving FCUK a real

opportunity (due to short attention

Targeting

‘’Consumer

&

Businesses

10


consumption’

section)

span/preference for visual

advertisements of Gen Z) (Passport,

2011).

Cost-effective way of reaching wide

audience.

Gen Z brand preferences heavily

influenced by opinions of friends on

social media (Passport, 2011).

(an increased brand

preference pressures

retailers to stock FCUK

goods)’’

Promo

Increased social media

presence will come from

awareness through

advertising.

YouTube Gen Z heavy users of YouTube, and

watch 2x more videos than any other

demographic (Relander, 2014).

Gives FCUK opportunity to align brand

with strong visuals/music.

Targeting

‘’ ‘’

Promo

Advertising (advertise

before popular Gen Z

videos)

Events Opportunity to develop FCUK’s brand

values, i.e. a gig centered around

raising money for GreenPeace would

align FCUK with the aspirations of Gen

Z consumers.

Opportunity to gain coverage from

bloggers/social media alongside PR

coverage from invited journalists of

Targeting

Consumer/

Businesses/

Internal (staff motivated as

working for conscious/

fun brand)

Promo

Sponsorship, as

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magazines such as Vice (Relander,

2014).

musicians/opinion leaders

will endorse brand by

wearing it.

PR from attending

journalists.

Online

Magazines

(See

‘readership’)

Can alter advertisements tone of voice

to appeal to different types of Gen Z

consumers

Targeting

Consumers

Promo

Advertising

Please note – Gen Z consumers do not respond to billboards/TV/print

newspaper advertisements (Passport, 2011).

Advertising Objective

After considering the information available on this report, your advertising

objective is to:

Inform male Gen Z consumers of FCUK’s new brand characteristics

through the use of advertising on the target market’s proffered social

media sites. The campaign must increase awareness in 150,000 Gen Z

male consumers by 1stApril 2016. (Measured with statistics on

‘views/online traffic/followers/likes).

Mandates

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The desperate need to revitalise the FCUK brand means that more freedom

has been given (in terms of the logo/fonts/colours).

Integration

Example of Integration Estimated Costs Rough Schedule

Stage 1

Advertisements to run on popular Gen Z

YouTube videos, persuading consumers to

text FCUK for a chance to win free tickets to

a FCUK event.

YouTube advertisement

costs are done ‘per

view’.

Average cost of an ad

viewed is £15.

(Alleger, 2012)

Jan-April2016

Stage 2

FCUK text winner with free tickets, and link

to promotional video of event.

Text marketing costs

range from 3.4p per text

(when reaching 10,000 –

24,999 people), to 3.2p

per text (when reaching

100,000-249,999

people).

(TextMarketer, 2015)

April2016

Stage 3

Winners will then share video (which will

have details on how to purchase tickets)

with friends through text/social media so

other friends can attend.

Free

April-June 2016

Stage 4

The event will use musicians that heavily

influence the opinions of Gen Z consumers.

Musicians will wear the new FCUK clothing

range to increase interest and desire in the

brand.

Venue

rental/artists/advertising

costs/equipment

rental/ticket

manufacture will cost in

the region of £10,000-

£60,000 if using

June 2016

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established artists/DJ’s.

(McDonald, 2014)

Stage 5

Pictures/videos/mentions of the event will

start to appear on social media

sites/YouTube. Alongside this, the invited

journalists will be compelled to write positive

reviews of the event in online magazines.

FCUK will benefit from free peer-to-peer

endorsements and PR.

Free

June-July2016

Evaluation

Advertising effectiveness measured by:

Evaluation on whether the campaign achieved the briefs objectives.

Focus groups to measure whether the campaign successfully modified

the brands identity to its desired position.

Analysis of online/social media statistics (e.g.

traffic/mentions/views/followers).

The use of paid evaluation services (Universal McCann) to evaluate

data on ad recognition and media effectiveness.

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Appendix 1 – Examples of Previous Campaigns Vs. Competitors

1.0

The 2006 ‘Fashion vs. Style’ campaign that attempted to differentiate the

brand through sex, humour and violence. The campaign made consumers

decide upon which ‘side’ they were on. The campaign was met with public

scrutiny as over 120 complaints were generated from within the first week of

release as it was thought to insight random acts of violence (FashionReview,

2011).

This advert did little to resurrect the brand, as for the first time, profits swung

from £5.1m in the green, to losses of £3.6m. Therefore, this campaign is seen

as a massive failure and elements of this campaign should not be repeated

(FashionReview, 2011).

Link to T.V Advert: https://www.youtube.com/watch?v=oQvSmSixxsU

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https://www.youtube.com/watch?v=oQvSmSixxsU

Screenshot as an example: Source – FashionReview (2011)

1.1

French Connection ran their shock 2013 ‘From Sketch to Store’ campaign on

print, online and outdoor, however, the campaigns’ risqué approach failed to

attract custom and led to a further 8% in UK sales (Ruddick, 2013).

This serves as another reminder to eliminate aspects of ‘sex’ in future

campaigns, as historically, this ideal has failed to work.

Campaign Examples: Source – Burgoyne (2013)

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1.2 – Competitors

H&M and Zara

H&M’s style of advertising highlights the fact that consumers can acquire ‘fashion

and quality at the best price (HM.COM, 2015), and therefore communicate the

savings that consumers can make when choosing H&M over brands such as FC.

Furthermore, the use of celebrity endorsement (e.g. David Beckham’s clothing

range) has served to increase the brands popularity amongst impressionable Gen

Z consumers (Telegraph, 2015).

This is also true of Zara. The Duchess of Cambridge has often been photographed

wearing Zara products. Although this form of celebrity endorsement may be

17

unintentional, it still led to a surge in profitability for the Zara brand (Waterlow,

2012).

FC’s lack of celebrity endorsements (in advertising) may have contributed to

their downfall, as its clear to see that the use of David Beckham has significantly

improved the fortunes of H&M (Telegraph, 2015).

Example of H&M advertisement – Source Telegraph, 2015

Example of Zara brand endorsement – Source DailyMail, 2012

From Telegraph, 2015

The Duchess of Cambridge is often

photographed wearing Zara products.

This acts as a free and credible method of

celebrity endorsement and has

contributed to a surge in demand for items

worn by the Duchess of Cambridge

(DailyMail, 2012).

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Appendix 2.0 – SWOT Analysis

Strengths

FC’s new design team is highly skilled, and are looking to give FC’s

brands clear aesthetic definitions that can be easily communicated to

consumers (Ruddick, 2013).

Strong leadership. Mr. Marks (owner) has lead the company since its

inception and has a clear vision on creating success for FC in the UK

market (Ruddick, 2013)

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FC are still profitable in regions such as North America (£6.2m profit in

2013) (Ruddick, 2013).

Weaknesses

FC still making a loss in the UK – reducing their ability to match profit

making competitors in terms of advertising spend (Ruddick, 2013)

Confusion on FC aesthetic definition still exists in consumers.

FCUK brand has been forgotten about in recent UK generations as

FCUK didn’t respond to changes in fashion tastes and consumer

trends (Gonsalves, 2012).

Opportunities

A gap in the market exists in youth and teenage specific fashion wear.

Market is currently focused on children’s/adult fashion wear (Keynote,

2015).

E-Commerce is creating opportunities for fashion brands as it enables

them to specifically target tech savvy consumers (Gen Z). Gen Z

consumers often make impulse purchase decisions on the move via

tablets/smartphones (Keynote, 2015).

Generation Z consumers are highly influenced by celebrities/opinion

leaders. Celebrity collaborations (with fashion brands) is proven to

have a very high success rate (Keynote, 2015).

Threats

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Competitors with more advertising spend may react to FCUK’s new

campaign and take their share of voice.

An increase in manufacturing costs has occurred due to the higher

minimum wages of overseas manufacturers. This could potentially

squeeze out Gen Z consumers as their earnings are not rising in line

with the increased prices that fashion brands are forced to incur.

Appendix 2.1 – PEST Analysis

Political Considerations

Interest rates are at an all time low (0.5%), meaning that firms in the

fashion industry can borrow large amounts of money at lower rates

(BBC, 2015)

UK is a low risk political environment, and offers UK fashion brands the

opportunity to make secure long term capital investments (CIA, 2013)

21

Corporation tax has been lowered in order to stimulate economic

activity (Telegraph, 2012).

Economic

Weakened state of the economy (since the 2008 recession) has

impacted the clothing industry significantly. Rising production costs has

forced manufacturers to increase prices. This, on top of a lack of

consumer confidence, has caused spending to fall on the high-street

(Keynote, 2014).

However, improvements n the housing market, and increases in

personal tax allowances have improved consumer confidence in 2014.

Consumer spending grew by 1.9% in 2014, and is expected to grow to

2.2% in 2015 (returning it to levels seen before the financial crisis of

2008) (Keynote, 2014).

Social

An APPG study on body image found that 60% of young adults feel

ashamed about the way they looked. Part of this growing level of body

dissatisfaction has been put down to the increasing levels of

advertising coverage dedicated towards promoting unattainable/ideal

body shapes. Analysts suggest that the fashion industry should do

more to develop advertising campaigns that reflect greater body

diversity (Keynote, 2014).

Technological

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The rise of e-commerce has been significant. The online retail market

was worth £78bn in 2012, and since then, sales have grown quarter on

quarter (Keynote, 2014).

Online clothing segment grew by 29% in 2013, and is continuing to

grow year on year (Keynote, 2014).

Increased use of smartphone and tablets are continuing to facilitate the

growth in online sales (Keynote, 2014).

Appendix 3 – Product Life Cycle

Below is a diagram of French Connection’s current UK product life cycle.

KeyMS = Market

Share

Apparel MS =0.2%-0.2%Period = 2009-13

Apparel Accessories MS =1.3%-1.3%Period = 2009-13

Menswear MS =0.6%-0.6%Period = 2009-13

Men’s Outerwear MS =0.6%-0.7%Period = 2009-13

Womenswear MS =0.1%-0.1%Period = 2009-13

Fragrances MS =0.1%-0.1%Period = 2009-13

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Source for figures on Market Share and Growth – Passport (2013)

Appendix 4 – Boston Matrix

French Connection are no longer competing with premium brands as the

brand has lost its value in the minds of its consumers (Ruddick, 2013)

French Connection’s biggest competitors are now Zara and Topshop as

consumers have switched from French Connection to these cheaper and

more stylish alternatives meaning that the company has lost ground in the

upper/middle market (Gonsalves, 2012). Zara and Topshop have been used

in this Boston Matrix to better understand French Connection’s relative market

share and growth.

24


Key product categories from each brand have been used to help analyse

French Connection’s current position.

KeyFrench Connection Product Colour – BlueZara Product Colour – RedTopshop Product Colour – GreenMS=Market Share. Market growth is measured from the period of 2009-13

Market Growth Rate Period of 2009-13

High

Low

Question Marks Stars

Dogs Cash Cows

FragrancesMS=0.1%-0.1%

MenswearMS=1.2%-1.4%

Men’s OuterwearMS=1.2%-1.4%

Apparel Accessories MS=1.3%-1.3%

WomenswearMS=0.1%-0.1%

Men’s OuterwearMS=0.6%-0.7%ApparelMS=0.6%-0.7%

ApparelMS=0.2%-0.2%

MenswearMS=0.6%-0.6%


ApparelMS=0.7%-0.9%

MenswearMS=1.9%-2%


Men’s OuterwearMS=2.1%-2.2%

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Appendix 5 – DAGMAR Objectives

Stage Campaign ObjectivesAwareness Make Gen Z consumers aware

of FCUK’s new brand identity.

Make Gen Z consumers aware

of FCUK’s new product range.

Comprehension Give Gen Z consumers an

understanding of the purpose

of the resurrected FCUK brand

(I.e. a fashionable brand

tailored to the needs of Gen Z

consumers/the new brand

takes social responsibility

seriously, and is in tune with

the issues that Gen Z

consumers are faced with.

Conviction Make Gen Z consumers feel a

connection with the brand by

matching the needs of the

consumer (e.g. the for a

fashion brand that takes CSR

very seriously) with the

promise of the product (e.g.

FCUK will tackle contemporary

problems such as issues with

the environment)

Action Entice Gen Z consumers to

take action and purchase

FCUK products.

Information on the needs of Gen Z consumers from – Passport, 2011.DAGMAR model principles from – Brierley, 1995.Appendix 6 – In depth view of a Gen Z male

Cognitive/Knowledge

Affective/Feelings

Conative

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Key Gen Z Characteristics

Socio Economic

Male 13-24 y/o. Represent 14% of UK population.

Students/work in P/T C2D roles (skilled/semi/unskilled manual labour

work)

Live with parents/university. 40% live in households with income less

than £32,822 (parents=C2DE roles), whilst 40% live in households with

income £50,000+ (parents=ABC1 roles – Higher to intermediate

managerial roles, professional roles and administrative roles.

Huge purchasing power through P/T jobs/financial gifts through family.

Majority of income is disposable (no childcare/mortgage commitments).

Pester power strong amongst younger Gen Z members, and plays

huge part in family purchase decisions.

(Passport, 2011)

Media Consumption

Heavy users of social media, and are ‘addicted’ to

Instagram/Snapchat/Vine/Tumblr/YouTube.

Stay away from Facebook as its ‘used for old people posting pictures of

their kids’. Twitter use is also rare.

Tumblr/Instagram – Used to share excitement/news about favourite

brands.

Whatsapp – Used to send links of brand events/videos/news to large

number of friends.

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Snapchat/Instagram – Used to ‘brag’ about being at events/acquiring

favourite brands.

Readership – Read online versions of magazines including, FHM, Zoo,

T3, Futures Fast Car, XBOX, Nuts and T3. Newspaper readership is

low.

(Blodget, 2014)

Psychographics

Motivated to make world a better place (Wallop, 2014).

Highly individualistic, skeptical and self-directed.

Make risky fashion choices.

Community-minded attitude, and take environmental issues very

seriously – 81% are concerned by global warming.

Mature at younger age (vs. previous generations) in terms of fashion

choices and opinion.

Less discriminating as bought up in a politically correct and

multicultural society.

Regard social justice and absence of discrimination as more important

than money/status.

Very brand aware. Highly influenced by opinion leaders/friends.

Enjoy brands that have a story/social purpose. Prefer brands to be

connected with music/imagery.

Popular activities: Online gaming/cinema/shopping with friends/social

networking.

(Passport, 2011)

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Appendix 7 – Proposed Market Position

Luxury/High End Fashion Brand

Discount Fashion Brand

Emphasis on symbolic

brand messages

Standardised brand

messages

Zara

Topshop

H&M

Levi Strauss

Louis Vuitton

Chanel

Diesel

Ralph Lauren

FCUK

Your campaign must separate FCUK from the circled discounted retailers as

consumers are currently confused with FCUK’s current product offering, meaning that

they associate FCUK with said discounted retailers.

The campaign should align FCUK with youthful/energetic and high end fashion

brands such as Levi Strauss.29

References

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http://www.pennapowers.com/how-much-do-ads-on-youtube-cost/. Last

accessed 11th Feb 2015.

Arens, W; Weigold, M; Arens, C (2008). Contemporary Advertising.

11th ed. Ney York: McGraw-Hill/Irwin. p188-190.

Barmby, J. (2014). The French Connection Turnaround Story: A

Geared Play On Improving U.K. Consumer Sentiment. Available:

http://seekingalpha.com/article/2538155-the-french-connection-

turnaround-story-a-geared-play-on-improving-u-k-consumer-sentiment?

page=2. Last accessed 4th Feb 2015.

Barnes, R. (2004). FCUK. Marketing. 22 (1), p1-22.

BBC. (2015). UK interest rates held at 0.5% by Bank of England.

Available: http://www.bbc.co.uk/news/business-30726535. Last


Benjamin, K. (2012). Brand Health Check: French Connection.

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health-check-french-connection. Last accessed 5th Feb 2015.

Blodget, H. (2014). A Member Of 'Gen Z' Just Explained The Different

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