Pickton details how common brand understanding and common brand passion, not standardised messaging (Pickton, 2005:29), Westwood plays great attention to detail with historical knowledge of tailoring, history and what she as the face of the company believes in passionately; includes how to make the world a better place through using eco friendly fabrics. Westwood’s strategy is about efficiency, doing things right, effectiveness is about doing the right things. (Pickton, 2005:29) Vivienne Westwood possesses both strength and direction, evidenced throughout showing it is a brand that thinks about how it can affect the world, being affected both emotionally and physically by what happens and furthered by conative thinking and making public statements, state-mental t-shirts to enforce a catalyst of change. (Pickton, 2005:94)
Vivienne Westwood is many things, a role model, the brand herself, research has proven customer facing staff, are the brand’s visual representations influencing customers’ views about how they are receiving the brand. (De Chernatony 2010:10) As Westwood does speak out and voice her values it creates a strong powerful, emotional and relative impact to the consumers / customers. The success of a brand depends on the extent to which there is harmony between the managerially defined values, effective implementation of values by staff and appreciation of these values amongst customers (De Chernatony 2010:12) Westwood incorporates promised experience, emotional values and functional values which when analysing does equalise to harmony.
This is an example of how Westwood makes harmony, speaking out about ethical issues, promising to do something about them, creating a functional bag with a heart of love, epitomising harmony. A motivating brand purpose is concerned with answering the questions ‘How is the world going to be a better place as a consequence of the brand and will this inspire and guide staff?’ (De Chernatony 2010:130) Westwood speaks out about purpose and how to make the world a better place, creating ethical bags is one foot towards doing just that. Further from the brand vision there should emerge a sense of direction for the brand (De Chenatony 2010:193) Westwood creates visions, speaks out about them and then creates lines to make the consumer think and question how to make the world a better place and through the product created help to do so.
Micro-economic needs of businesses are primarily the need to stimulate demand (Brierley 2002:5) Vivienne Westwood is the brand, it is for fundamental reasons why businesses advertise are to do with the company’s micro-economic needs to stimulate demand and generate profits, without profits companies go bust. It is the state of the micro-economy which determines how successful they will be. (Brierley 2002:6) Westwood approaches the political boundaries which demarcate rules and legislation, size and organisation and the availability and access to the media enforcing her anti conformity of the British government and political system. (Brierley 2002:23) Often this then portrays Westwood as an ‘eccentric, out there, wacky character’. Attracting the media can be very effective as consumers anywhere in the world have the same basic needs and desires and can, therefore, be persuaded by universal advertising appeals such as on Vivienne Westwood’s blog http://www.climaterevolution.co.uk and the worldsendshop.co.uk (Brierley 2002:27) Most consumer classifications systems in Britain came out of media research, thus the large need to match the brand’s potential customers with media usage. (Brierley 2002:28) It is interesting to know why marketers use advertising, but there are three fundamental ones: first to improve long-term profits generally by increasing sales: second to improve the image of the firm or organisation; and third to try to affect behaviour. (Brierley 2002: 51) Westwood’s method, mainly to affect behaviour of what she as a person and the brand itself recognises and believes in:
It is effective as then not only people who like the clothes are consumers but also the brand branches out to consumers who share the same values and anti-conforming ways and beliefs as Westwood does.
For at least 4,000 years, man has marked cattle with red-hot branding irons to prove his ownership. Literally millions of designs have been originated-some romantic, some dignified, some even comical- to distinguish herds. There is a true story behind every brand, frequently a tragedy, a comedy, a tender romance, more often a proclamation of hope.
-Irons in the Fire: Cattle Brand Lore, Oren Arnold. (Millman, 2012: 8)
Whilst regarding Moshi Monsters I do not think they should be marked with red-hot branding irons, nevertheless Oren Arnold does have a point, ownership. Originality, asked to do a collaboration not just do what everyone else is doing and putting their name on it. Moshi Monsters needs a whole world created for them, one big story.
A brand collection which will include:
-Consumer experience and
-the interconnected package (Millman, 2012: 116)
-Facebook has more than 750 million active users,
-About 70% of Facebook users are outside the United States,
-The average user has 130 friends,
-Facebook is translated into more than 70 languages,
-50% of active users log on to Facebook in any given day. (Millman, 2012:146)
-People spend over 700 billion minutes per month on Facebook.
Aspirational growth such as Facebook for Moshi Monsters. Watch this space 😉
Retail business should consist change by monitoring the society of change, Westwood is a great zeitgeist for historical fashions with examples such as punk. Interesting for both Westwood and Moshi Monster’s two brands I am looking into presently. Drapers reports London retailers failing to use new technologies (Drapers, 2013:14) with 14% of retailers on Oxford Street and Regent Street offering in-store Wi-Fi, despite more than half of consumers saying they are more likely to shop with a retailer that embraces technology, according to a report by software provider Omnico. The report which audited more than 90 retailers, also found the most commonly used technology by retailers was click-and-collect 44%, followed by video screens in store windows 35%.
While the average number of technologies deployed by retailers was two, both John Lewis and Nike, who were at the top of the list in fashion retailers in terms of digital innovations among fashion retailers, have six or more customer-facing technologies. Despite high footfall and the challenge of reducing queues, just 9% of the streets’ retailers had interactive in-store kiosks offering access to their full collections.
44% Order online, pick-up in store,
35% Video screens in the shop window,
30% Order in store for home delivery,
19% Order in store for delivery for another store,
14% Customer Wi-Fi,
14% Advert for social media interaction,
9% Interactive kiosks.
A strong brand is one that has a consistent, coherent identity (Randall, 2000: 9) Westwood’s I am what I am, love me or hate me. Similar in the sense of Marmite. Every brand must have some means of communicating with its buyers. This may not be advertising, but it must be direct if it is to be controllable (Randall: 2000: 67) Westwood may well have taken a step back from her brand, nonetheless nowadays is blogging more on http://www.activeresistance.co.uk/ar/ with diary entries and social media , she is more about being out there and not just speaking but doing. That is the key. The brand is all about being you, not someone else, being strong, unaffraid and to DO something to help the world progress.
Westwood’s identity is about non-conforming.
A brand is a name with the power to influence (Kapferer: 2012:8) Vivienne Westwood has certainly influenced myself and I am certain many others to keep the brand going, making profit and to maintain a voice being heard. Awarenes = power, the evocations and emotions it triggers in consumers’ minds (Kapferer: 2012:39)
What does this image mean? Well it means you have a choice, to produce economic good and not be a sheep and follow others because that is what the majority are doing. Adding an evoking symbol (Kapferer: 2012:39) Westwood has the globe as her symbol, which is iconic to ironically the Queens crown but also through Chelsea, within London you can see fencing with the same symbol
The gold emblem furthest to the right represents a similar symbol to that of Westwood’s
Also it is cleverly representing the shape of a globe, very much how Westwood is active resistance to many factors that are globally going on in the world. In cognitive psychology, the prototype is the instance that summarises and carries most of the meaning of the brand (Kapferer: 2012:39) Westwood’s symbol, the prototype summarises that the brand is out to touch and effect the world. Westwood, some may say is admiring to the likes of brands, such as Red Cross, a brand which can save lives (Kapferer: 2012:65) Both have symbols, both are based on great ideas, both act out on what they believe in, local, nationally and globally. This is effective as the notion of engagement is important, for it suggests that some people may rally to our cause and support it (Kapferer: 2012:129) Watching Westwood on TV, social media, magazines, all forms of social networking and digital print in the 21st century from what she stands up for, many of her followers partake in following with her cause.
Brand content gives content to brands, as well as depth and emotion. This content has to drive emotion and attention to become viral (Kapferer: 2012:142) Westwood is the content, people who follow Westwood whether it be the clothing, accessories, which ever category, they follow her as a person.
Looking at brand architecture, what to call brand products? Westwood smartly relates the names of lines, products to everything she, the company, believes in; such as Anglomania, “On the English side we have tailoring and an easy charm, on the French side that solidity of design and proportion that comes from never being satisfied because something can always become more refined.” (Vivienne Westwood, accessed on 10th October 2013) Have a store based on Conduit Street, within London remains close to British tailoring roots of the likes of Savile Row tailor’s which bring international interest from all over. The upmarket french assumption of fashion with the likes of Coco Chanel and historical associations of french chic, the two endorsed together brings quality and style hand in hand.
Westwood is strategic with her skillset, experience, awareness and knowledge obtaining goals and results.
In relation to the British fashion designer: Dame Vivienne Westwood:
Aim: Design is a creative activity whose aim is to establish the multi-faceted qualities of objects, processes, services, and their systems in whole life cycles. Therefore, design is the central factor of innovative humanization of technologies and the crucial factor of culture and economic exchange. (Borja De Morzota: 2003: 3) Westwood clearly identifies the products within her work that they are showcasing different identities, architectural shapes within her tailoring.
Techniques of the design involve innovation, aesthetics, and creation (Borja De Morzota: 2003: 4) Within Westwood’s designs you can conform that all of the points BDM mentions are clearly laid out and thought about, for example the use of tartan in asymmetric shapes, not just classic red but bright, bold yellows to give it an edgy dysfunctional approach which creates interest to admirers of her art. Comparatively and historically VW showcases: the designer is an innovator and trendsetter who tries to initiate change, to make a leap of imagination. (Borja De Morzota: 2003: 4)
Example of the Design Tree:
Westwood is well known for her history, both in her array of training and historical research but also influences such as; punk, reinvention, sex, dressing up, 70’s inspiration, cultural links such as ethical values with strong women and climate revolution, see image below:
Design history reveals the diversity (Borja De Morzota: 2003: 21) researching her work thoroughly and conclusively it is evidenced how strongly she has equipped her work through different time frames.
Innovate to design (Borja De Morzota: 2003: 116) Today there is a strong emergence within the art world, furthered on into fashion with intricate cuts and artistic cuts, Westwood’s suit in particular visualises proof of this:
The design process is a combination of analysis (like strategic planning) and synthesis (Borja De Morzota: 2003: 148) It is an argument as to how much input and output Westwood puts into her company today, nonetheless the British heritage focus is still heavily considered within the brand as she prevented a big Asian globalisation of the brand; perhaps to prevent the Burberry effect of the brand being no longer exclusive, (before it was recently reinvented).
Dame Vivienne Westwood is about active resistance, the lady with the orange hair (CBS News- Sunday Morning America which aired on Sunday 4th August 2013) At 72 years old, she is not giving up, with the likes of Gwnyeth Paltrow and Meryl Streep following her and wearing her pieces. An inspirational and admirable person, she brings the brand to life, she is the brand. With 126 stores, irreverent and uncomprimised, a reaction against what is. The Queen is a wonderful asset, like social cement. Expect the unexpected, make the world a better place. Fashion is STILL about the message. Don’t you agree?
Making the world a better place with the use of re-cycled, reflective sunglasses (Active Resistance, accessed 10th October, 2013)
It is hard to disagree with the comment. Branding is the goal in building brand equity = profit. Internal role models are stories, programs, events and people that are perfectly represent in brand identity. Branding is not a function built by one department. Every touchpoint, not just design, advertising and promotion, must be on brand, every individual within the company should believe, eat and breath the brand ; as they are charged with the responsibility of knowing what it means. They are the souls, face, identities and formers and trendsetters of the brand. (Borja De Morzota: 2003: 206) Westwood is a strong personality at 72 years old unworried about what she says, after all we live in a free country; nonetheless takes the risks and consequences that it may have and play as an effect on her brand.
vivienne westwood – Profile
Dame Vivienne Westwood has rebooted London through putting her stamp on it with her thorough research of history’s costume making to create traditional, tailored and quintessentially Londonesque, British designs. The Dame herself informs that “I wanted
to show people how exciting the world of fashion can be by presenting the different ways it is communicated” (Wilcox, 2004). This interlinks with what Grand Union is forming as they both want to strike out from the standard. Both Grand Union and Dame Westwood focus on London and their heritage of being one of few originals from London and all the marvel it holds. When selecting which designer to collaborate with, this was a strong key to the interlink, previous collections of this mixed with culture of crowns, punk styles, being eco friendly and recreating past structured pieces. Dame Westwood’s home is London and being one of a few originals from London knowing the marvel it holds she understands and believes deeply in a city’s culture stating that “The only thing I really do believe in is culture” (Wilcox, 2004).
When selecting which designer to collaborate with, this was a strong key to the interlink, previous collections of this mixed with culture of crowns, punk styles, “Famed for her high-heeled shoes and punk-inspired collections” (Wilcox, 2004), the emphasis on shoes will be emphasised through the collaboration along with being eco friendly and recreating past structured pieces. It is the perfect time for Dame Vivienne Westwood to be making a landmark on London, especially as “In London you feel your back’s to the wall from the very beginning” (Wilcox, 2004).
Anything goes and this has been shown through Westwood’s previous collections, involving her collaboration with the imagery of the safety pin in the lip of the Queen was saying: “You too can be punk” (Wilcox, 2004). Anybody is adaptable and can be ‘out there’ the selling and marketing of Royalty is what will be created for Grand Union’s exclusive collection. London’s Queen British designer Dame Vivienne Westwood designing for the landmark of London Grand Union in 2012.
ECCENTRIC – Flora is 28 (going on 36) year old who enjoys being involved in many different creative activities at one time and often works long hours to finish what she has started and believes hard work pays off in the long run. Her eccentricity is shown through bright, tailored outfits, well made with a little bit of something extra added to them. The goal of Flora is to be independently successful, both financially and spiritually. Companions to Flora are other independent creative types from various industries that like to meet together to share their ideas, dreams and aspirations. Flora enjoys travel and different cultures, and lives in London
as central as possible. Flora works in the creative industry and is interested in using blogs and other mediums to communicate her creativity. She uses travel and people watching as a continuous progress for learning. Flora wants to make a difference and strives to be a role model to other women.
REBEL – Zoe is 26 and moved to London right after finishing high school to pursue her dream to work in fashion PR. Her parents wanted her to complete her degree first, but a rebel at heart, she decided to go ahead with her plan. After working her way up to senior management at a successful fashion brand, she got a PR position offered at the head office. A year later she opened her own boutique PR agency. Her office is near the epicentre of London’s fashion world. She works hard but she keeps a good work/life balance. She loves go out partying with friends and enjoys Sundays at Colombia Market or Brick Lane. Zoe loves a classic designer piece, is always on the hunt for an edgy vintage necklace or bag. She likes to keep her outfit simple both at and out of work: clean lines, neutral colours, interesting textures and statement accessories. Trademark rock’n roll inspired pieces to give her outfit a twist. REtRO – Ava is 26 who lives in one of the trendiest areas of London. She works as a freelance stylist; therefore she visits charity
shops and markets on a regular basis to pick up quirky vintage and second hand pieces which she then converts into a stylish look. Her income is average, but she likes to spend every penny on casualties, not a saving up type. Her flat and wardrobe reflects her love of vintage but there are designer pieces in there too, making it harmonious and trendy. Conscious of her appearance, she wants to be seen as different from the crowd but also sophisticated when she is out socializing. Her busy social life includes dinner with friends or going out for cocktails on a Friday or Saturday night. Ava spends Sunday doing creative activities, decorating, sewing etc.
Eco – Tara is 32, a white collar professional and has recently paid off her university student loan and now has increased disposable income. She is cohabiting with her boyfriend in a rented flat in central London and lives close to work. Tara has grown up being socially aware regarding recycling and organic food culture and has embraced these ideologies as an adult. Tara has become increasing aware of eco-fashion. She likes to travel locally and abroad, and minimizes her carbon foot by walking, cycling or using public transport. She spends her free time socializing with her single, recently married and cohabiting (straight/gay) friends through creative activities such as: art galleries, music festivals, dinner parties/restaurant dining, and a nights out drinking and a chatting.