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S’Introduction.................................................................... 1.......................................................................................... 2Definitions...................................................................... 3.......................................................................................... 4Target Market & Brand Positioning............................ 5.......................................................................................... 6Diffusion Ranges............................................................. 7.......................................................................................... 8Extension Ranges........................................................... 9.......................................................................................... 10Brand Identity................................................................. 11.......................................................................................... 12Environmental Campaigns........................................... 13.......................................................................................... 14Competitors.................................................................... 15.......................................................................................... 16Advertising...................................................................... 17.......................................................................................... 18Promotions & Publicity................................................. 19.......................................................................................... 20Market Communications.............................................. 21.......................................................................................... 22New Diffusion Range ‘Odyssey’.................................... 23.......................................................................................... 24Background & range description................................. 25.......................................................................................... 26Product, Price, USP........................................................ 27.......................................................................................... 28PR Campaign.................................................................. 29.......................................................................................... 30Bibliography.................................................................... 31 .......................................................................................... Image References........................................................... 32 .......................................................................................... 33

Vivienne Westwood is a British fashion designer and business-woman who brought modern punk and new surge fashions into the mainstream marketplace. Since 1960 to present day she has been the designer and creative director for the brand.

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She continues to design rebellious, cutting- edge designs for women and men. (Dillon, 2012).‘’Characteristics of the new Westwood look are items from the history of fashion, combined with provoca tive topical themes. Among her trademarks are tweed fabrics, platform heels, and above all a form of fem ininity, Her quirky, con-troversial heels, and above all a form of femininity. Her quirky, controversial

and eccentric status is the val-ue and symbolic understand-ing within society that her brand embodies. She believes in using fashion as a platform to express views and stories be-yond the realm of clothes. Her brands marketing promotion technique is focused on being a religion brand, in which loyal customers rely on, and buy into.

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‘‘When Vivienne

speaks, you

should listen’’

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‘’Marketing communications is an integrated strategy in which all elements of promotional mix are carefully coordinated in order to deliver clear

and consistent information across all channels. All aspects of promotion are planned in tandem, ena-bling marketers to create a cohesive strategy both in terms of the message and the plan’s implemen-

tation. ‘’ (Rath, Petrizzi and Gill, 2012). This strate-gy is important when presenting a clear message about your product or service to your consumers

and is crucial in ensuring market success.

A brand can be defined in many terms, as compa-nies own unique organisation identity and compo-nent that is used to distinguishes itself from other

competitors. It helps secure future profits and consumer relationships by gaining their loyalty to the brand. They should assure quality and keep of-fering their consumers new and different products as a dependable choice amongst other competitor

offerings.

‘DEFITIONS’

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‘Target Market’

Her main target audience are con-sumers both male and female rang-ing from 25 to 60 years of age, who like a unique look with a chic style combined with attitude, with dif-ferent shapes, patterns, textilesand combined accessories. Her target audiences associate a sense of social and environmentalawareness with Vivienne Westwood and like to portray this through their designer choice. The target audi-ences are also environmentally and politically aware due to Vivienne’s well-known strong belief campaigns, and the brands most popular con-sumers are said to be from UK, USA and Asia. She currently sells interna-tionally, with a total of 86 countries in 5 continents, and 7 stores in the UK.

In regard to her brand position in the market, Vivienne falls under the cate-gory of high-end luxury fashion with a large UK presence and reputation. All her collections fall slightly un-der different categories depending on specific desired target audiences for them. For example her ‘red label’ is less luxurious compared to her high fashion gold label collections, and is also more accessible worldwide than her premium and haute couture de-signs. ‘’Westwood’s codification of punk in the late 1970s represented ‘the practice of the “trickle-up” the-ory in fashion’, which evidenced ‘a rejection of authority in the fashion establishment’.’’ (Baxendale, pg 37).

‘Brand Positioing’

Alexander Mcqueen

Vivienne Westwood Gold Label

Dior

Luxury brand

Premium brand

Vivienne Westwood Red Label

Paul Smith

Inte

rnat

iona

l Pre

senc

e

UK

PresenceCalvin Klein

Mui Mui

D&G

DKNY

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“Gold Label”, the couture range, which she showed in Paris and is sold in her Mayfair store. This line does not adhere to fash-ion trends and is often worn by women want-ing to make a statement through their style and be more fashion forward.

‘Diffusion Ranges’

’Cutting edge but classic, her collections are unflinchingly rooted in her interests and

beliefs, whether it is human rights or classical fiction.’’ (Vogue UK, 2014).

GOLD Label

As a brand, Vivienne Westwood offers a vast array of different ranges and collections including women and men’s RTW and haute couture, shoes, bags and wallets, eyewear, diamonds and costume jewellery, bridal wear (RTW and ready to or-der), watches, fragrances and gifts. In 1993 West-wood divided her wom-en’s wear into two lines.

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“Red Label” the pret-â-porter and diffu-sion line follows the styles of current trends but is still continuous with the iconic brand image throughout, retailed at lower pric-es. This collection is aimed at typical wom-en’s daywear and entails lots of tartan and plaid fabrics, body conscious and flatter-ing cuts with eccentric design elements.

RED LabelA

NG

LOM

AN

IA L

abel In 1998 Westwood launched her new line “An-

glomania” which was used to complete her West-wood universe and to cater her designs and brand to a younger and more casual daywear market.

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“Man” her independent menswear line made its debut and achieved internation-al approval in 1996 in Milan.’’ Fashion con-scious males who like a different and mod-ern twist on a classic look are targeted.

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‘Extension Ranges’

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A C C E S S O R I E S

F O O T W E A R

F R A G R A N C E

E Y E W E A R

J E W E L L E R Y

F U R N I S H I N G

L U G G A G E

H A N D B A G S

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‘BRAND Identity’

Vivienne Westwood has a strong brand identity, including creative en-ergy with her revolutionary shapes and constructed garments, produc-ing designs persistently ahead of the times and always challenging con

pany’s presence such as the logo, signage and packaging are all strong and prominent aspects of Vivienne. The brand im-age and the consumers percep-tion, coincides with the brand

‘Choice is offered in an age of con-formity, clothes allow people to

project their per-sonalities and ex-press themselves.’

throughout designs. It is contempo-rary, extravagant and avant gard, and this is evident continually through-out all her daring and impudent products, which remain dignified with Vivienne Westwood brand val-ues. The corporate identity of the brand and visual aspects of the com

identity and is seen exactly by its consumers as what it wants to portray due to Westwood’s brand transpar-ency and loyal ty. Westwood’s retail experience, as these are what the consumers, associate, relate

sumer expectations. Historical referenc-es and techniques are also an occurring element in her de-sign approach. The brand identity has been strong since the 1970s punk era, with a strong heritage and collections relating to contemporary issues and historical twists

and expect from the brand. For example, Vivienne Westwood may be classed as a corporate concept brand due to its famous UK and internationally recog-nised brand logo. Consumers to show an ideal self or to make what they feel as a social and ethical impact on society may wear this.

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‘‘Buy less, choose well’’

The EFA programme provides a sustainable and re-liable wage for the community workers and teach-es life long skills to the employees. The products are manufactured here, and made using recycled local Nairobi materials, including leather off-cuts, tent canvas and electrical wires. In conjunction to these campaigns, Westwood believes it as an in-vestment when consumers purchase and buy into her brand goods that are high quality fashion and one off pieces, due to their longer life cycles and therefore helping to reduce current fast fashion habits and consumerism. Many more campaigns regarding climate change have been performed by Westwood, and injected into designs and com-mercially advertised, portraying her strong aware-ness of beliefs socially and environmentally as well as challenging fashions common preconception. A Classic linear approach is used by Westwood when communicating value, as well as an applied approach in which customer services, packag-ing design, journalism, branding, and technol

Westwood backs the Greenpeace arctic campaign, and donated 1 million to rainforest charity ‘cool earth’. Vivienne has an EFA collection, which is collaboration with the Inter-national Trade Centre, and works in helping to provide a sustainable income for the poor

labour workers in Nairobi.

ogies such as photography and social me dia, are all important factors that consumers expect and rely on from the brand. From a marketing and consum-er perspective, the brand promises and delivers an experience far from expectations, which keep con-sumers interested, up to date and loyal. From a busi-ness perspective, the brand should give a sense of se-curity of their future earnings after purchasing from the brand, and know that the product will last and be an investment piece in the future. (Budha, 2014).

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Paul Smith

‘Competitors’

Due to their brand also being an iconic British designer, Paul Smith is also one of Westwoods high-end luxury market competitors.

They have a distinct look and style about all their products and continue to inject their signature style through all their pieces, for example the prominent Paul Smith pin striped fabric. How-ever, Westwood is one step of her competitor again due to repu-tation being worldwide as well as the UK, whereas Paul Smith’s brand development is limited to the UK only. (Bjorgvins, 2011)

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The clothes are modern and avant garde with bold design elements. However, due to them creating haute couture designs, this makes the brand less accessible to a large target audience as opposed to Westwood who has not only produced a variety of collections for high end haute, but has some which are ready to wear and aim at the younger generations.

Vivienne Westwoods direct rival competitor in the high-

end fashion market is Alexander McQueen, due to their reputation in fine tailored products and creativity throughout their collections and overall brand. They target the same audience as Westwood, with consumers that have an eccentric and fierce style.

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Westwood’s communication model is expressive due to her ec-centric and sometimes controversial advertisements, designs and typogra-phy, which make bold statements to issues effecting society socially and economically, whilst portraying the brand image and status. Imagery is one are where luxury brands are able to make a large impact on consumer perception whilst also aligning values of issues such as ethics and sustaina-bility. Due to the brands reputation, Westwood’s media strategy for her advertising is simple yet very effec-tive. The use of TV, radio or billboard advertisements is unnecessary for such a respected and prestige brand, therefore only magazine prints and online advertising takes places. Vivi-enne Westwood herself is the icon-ic face of her brand, therefore she is featured in each and everyone of her magazine spreads which are always eccentric, distinctive and reflect her personality throughout and to rein-force the brands message. They con-tinue to portray the brands heritage while showing off her latest collec-tion on the models, as the history of Westwood is essential to convey in their style and imagery through-out all prints. (Bjorgvins, 2011) As the brand is notoriously British, these prints are mostly present in UK magazines, however other mag-azines that she has known to be fea-tured in are Vogue, Marie Claire, Grazia, Elle and Vanity Fair. These all feature high-end fashion adver-tisements aimed at their fashion for-ward readers. Her online presence is also important as Westwood has to make sure she communicates the brand ethos in a captivating way on her website, as online shoppers are known to make snap judgements about the brand within the first few seconds of viewing. Due to the grow-ing impact of social media, Vivienne Westwood must keep up to date and present. She is featured in profession

‘ADVERTISING’

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al blogs such as the Vogue edi-tors, with street style blogs by un-known editors promoting people in the street styling Westwood’s garments together in their own in-dividual style. In relation to using advertising at a different angle and reaching a wider target audience, she archives her activities, cam-paigns and beliefs on the website ‘Climate Revolution’ where con-sumers can get involved more and read further about these issues she portrays throughout her brand.

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‘PROMOTION’

‘PROMOTIONS &

PUBLICITY’‘’Fashion shows for Westwood have also become an opportunity to talk about her beliefs. Celebri-ties are often the key to getting a message across,

and Vivienne hopes to do more work with fa-mous names. (Thorpe, 2014).’’

which high end fashion brands use to promote their new collec-tions and is a way of engaging with the consumer, and for them to take a look further into their current designs. ‘Vivienne West-wood today continues to show in Paris, Milan and London. She uses the medium of her shows to talk about culture and politics, more specifically about the ur-gent need to act against climate change.’ (Thorpe, 2014). Fashion shows are another medium used

In 2004 Westwood hosted a retrospective exhibition at the V&A to celebrate her 34 years in the fashion industry. The exhi-bition toured the world for over 4 years and was shown in over ten cities worldwide, which was a change to get her brand im-age and status more recognised as well as the understanding to her consumers of her designs and collections The technique of holding exhibitions is one

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for promoting and publiciz-ing a brand and this technique is one of the most popular used by Vivienne. As quoted by The Guardian, ‘’Fashion shows for Westwood have also become an opportunity to talk about her be-liefs. Celebrities are often the key to getting a message across, and Vivienne hopes to do more work with famous names. As quoted by Westwood “Public opinion is very responsive to celebrity. The first thing I tend to do is ask

cial milieu, since they functioned also as meeting places where the customers and those behind the counter got to know each other and met up later in the pubs and clubs.’’ (Stanfill, 2002, p. 339). Mi-chael and Gerlinde Costiff, devot-ed customers of Westwood from the outset of her career, played an important marketing role in hosting parties that attract-ed a specific ‘set’ of flamboyant trendsetters that came to idolise Westwood.’ (Baxendale, pg 37).

them for a small amount of mon-ey, something that means nothing to them. Then they feel involved, rather than as if they are just do-ing me a favour.” (Thorpe, 2014). Westwood’s shops ‘’SEX and Se-ditionaries’ were a very effective means of publicising Westwood’s designs, placing her work out on the street and in close proxim-ity to potential customers and investors. Such was their suc-cess that the stores facilitated the formation of a distinctive so

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Vivienne Westwood has created a strong-er overall image for her brand due to her variety of different lines under her brand name. As Westwood is known as a high- quality luxury brand, she can easily shift into new developments and retained her loyal cus-tomers throughout, as they know what to expect from the name.

‘MA

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’

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T he brands different line offerings are all aimed at different target markets therefore hold different price brack-ets. Westwood manages to retain

and hold her rightful and original position in the market, whilst aiming different collections to consumers in other markets. Her collec-tions all have different looks but elements of her brand identity are retained and contin-ued throughout all the lines such as her col-our semiotics. The colour red, which portrays passion and feelings, is continuously inject-ed throughout all her collections, some more than others, whilst black conjunctively is con-tinued, reflecting elegance and mystery. Her ‘red label’ is aimed at a younger market with a lower budget, therefore to adjust to this dif-ferent target market, Westwood has designed the clothes to be more trendy and in keeping with current trends, also looking less extrav-agant and therefore appealing to the wider younger generation. Westwood continues to up her international profile and accessibili-ty of her brand through collaborations with major designers. She is ‘’currently in collab-oration with denim label Lee and Brazilian footwear brand Melissa, offering affordable pret-a-porter designs available from online fashion outlet and social media site ASOS. Her uses of social media will also her to reach out to her younger consumers.’’ (ASOS, 2012).

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‘MYTHICALDECADENCE’

Westwood is highly regarded among cognoscenti around the world for her trade-mark punk styles, structured jackets and tartan tailoring, and since, her global reach is on a constant growth spurt. Due to Vivienne Westwood’s high brand status and renowned/distinct style, identifying a new diffusion range has to be carefully evaluated in order to aim at the correct target consumer and maintain her brand

ethos.

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After conducting primary research on her current

Westwood’s rang-es are revolved around the eccen-tric, historic and

punk element

d i f f u s i o n and exten-sion ranges, I have iden-tified a gap in the mar-ket in which

s p i r a t i o n s that these aspects can be contin-ued and in-corporated throughout.

Westwood can implement a new diffusion range to attract a new set of target customers. As all West-wood’s ranges are revolved around the eccentric, his-toric and punk element, I have thought of range in

ODYSSEY

RESEARCH

My diffusion range ‘Odyssey’ (meaning a adventur-ous journey/ experience in a story based on folktale), will have an enchanted and mythical wonder theme, designed and inspired by nature, femininity and mystic decadence, with a mixture of more natural colours such as greens, taupe’s and pale pinks. Flicks of inky floral smudges dispersed across designs will be used to continue Westwood’s icon staple attitude and danger twist, being portrayed through the dark forest elements. Designs will be delicate and femi-nine with undulating waved hems, but also showing a sense of restraint with the structures and bodices. Westwood historical references will be continued with Elizabethan effect ruffles and high collars, with further nature referenced detail cascading down the arms. Garments will be festooned with encrust-ed floral and vine details, injecting nature twists in accordance to the whimsical world influence.

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Product & PriceThis product range will feature an array of different bodices, skirts, dresses and some tai-lored pieces. This range leaves room for dif-fusion and growth towards extensions prod-ucts such as accessories and fragrances, if it were that the range became successful under the brand. The pricing strategy for the new diffusion range must remain in-keeping with the luxury brand ethos and prices throughout similar diffusion ranges, therefore they will replicate the prices of her ‘red label’, which are marketed at lower retail prices in contrast to her Gold, Man and Anglomania lines. The target consumer will be female between the age brackets of 25-35 who likes a feminine twist on her slightly eccentric, quirky and in-dividual style. These prices will help to aim at a younger demographic with lower budg-ets, which I feel is the sector of the market that lacks engagement throughout her other brands ranges, and that will mostly be of inter-est and attraction towards this diffusion range.

Unique Selling PointOdyssey’s USP will be the fairy-tale/mythical creature twist featured on all these garments, with a more girly, decadent and feminine twist in contrast to Vivienne’s other product line styles. The mystic realm prints and décor used will be recognisable and continued through-out design elements of all the products.

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PR Campaign

The marketing aspects of the new diffusion range will include many different devel-opment stages before Odyssey reaches the public eye of its target audience. A PR and integrated marketing campaign with con-sistency throughout online and offline ad-vertisements will need to be developed

for the launch of this new range. This will first in-clude digital fashion advertising of the luxury brand via Vivienne Westwood’s official online website fol-lowed by other social media platforms including their Instagram account, featuring updates and the identity/inspiration of the soon to be revealed brand with which consumes can first engage. This is com-pleted after the creative direction and understand-ing of the target market has been evaluated and pin pointed. A Pop-up shop promotion event will then take place to show the new exclusive range in a new and neutralised environment, making the whole am-bience related and tailored to Odyssey’s style and to really show off the brand ethos. The pop-up will be stated in Covent Garden, a busy, exciting and ac-cessible area of London, which is in the media and celebrities eye. The pop-up will be used for a press launch day, where all press will come along to traf-fic samples and take shots of the garments, pulling out specific garments which they will take away and shoot for their following monthly press release for extra brand coverage. High status celebrities or their stylists which fit with Westwood’s brand im-age, will contact the luxury brand and receive invites to this event to drive the brand status and product

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The post 3 months embargo date will be set for the press release, before the in store launch to keep Odyssey ex-clusive, and a brief press re-lease will also be featured on Westwood’s official website. Media coverage will then include a set of editorial im-ages and a print interview with Vivienne herself talking about the new brand, in high end fashion magazines such as Vogue and Marie Claire, as well as magazines such as Elle and InStyle who are aimed at the slightly younger fashion forward demograph-ic. These images will be shot in a style that reflects the ranges USP and a selection of her key items and products. The print should include

Vivienne Westwood is renowned for her halo effect advertise-ments and eccentric prints in high- end fashion magazines

a full description of the diffusion range, including the inspiration and whom it is aimed to attract and be marketed at, inviting new consum-ers to an insight into the brand. As Vivienne Westwood is renowned for her halo effect advertisements and eccentric prints in high- end fashion

magazines, endorsement and celeb-rities to be the model faces of the brand, is a clever way of pushing Od-yssey’s image. Once all press days and releases have been covered, the final unveiling to the public will take place firstly in her main store ‘World’s End’, Kings Road, London, which was the

original and first store to be opened, making it more of an exclusive event for viewers. The AIDA adver-tising method has been successfully cemented throughout the wholte PR Campaign and promotinoal mix.

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• ASOS, (May 2012) Vivienne Westwood Anglomania for Melissa. [Online] Available at: http://www. asos.com/au/Women/A-To-Z-Of-Brands/ Vivienne-Westwood-Angloma nia-For-Melissa/ [Accessed 6 Nov 2014].

• Baxendale, C. (2012) Vivienne Westwood and Postmodern Couture: A Corrupter of Mod ernism and ‘Good Taste’? [Accessed 6 Nov 2014] • Budha, K. (2014) Brand Management 2. DESN2355, Fashion Marketing and Product Devel opment. Lecture 3, 16th October 2014. [Accessed 6 Nov 2014].

• Bjorgvins, S. (2011). Vivienne Westwood. [Online] Issuu. Available at: http://issuu.com/srefania/docs/vive_west [Accessed 6 Nov 2014].

• Dillon, S. (2012) The Fundamentals of fashion management. Lausanne: AVA Academia.

• Rath, P., Petrizzi, R. and Gill, P. (2012). Marketing Fashion. New York: Fairchild Books.

• Werle, S. (2010) 50 fashion designers you should know. Munich: Prestel.

• Wikipedia ‘Quest- Odyssey’. [Online] Available at: http://en.wikipedia.org/wiki/Quest Accessed (10th November 2014)

• Stanfill, S. (2002) Punks and Pirates: The Costiff Collection of Vivienne Westwood. Linda Welters and Abby Lillethun, editors, The Fashion Reader. Oxford, Berg.

• Thorpe, V. (2014) Arts and Media correspondent, The Observer, GMT. [Online] Available at: http://www.theguardian.com/lifeandstyle/2014/feb/08/vivienne-westwood-arctic-campaign [Accessed 3 Nov 2014].

• Vivienne Westwood Official ‘Collections’. [Online] Available at: http://www.viviennewestwood.com/collections/campaign/autumn-winter Accessed [12th Nov 2014].

• Vivienne Westwood Official ‘Westwood World- The story so far’. [Online] Available at: http://www.viviennewestwood.com/history Accessed [12th Nov 2014]

• Vogue UK, (2014). Vivienne Westwood. [Online] Available at: http://www.vogue.co.uk/spy/biographies/vivienne-westwood-biography [Accessed 4 Nov 2014].

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