Complete Contemp Marketing

Contemporary Advertising
MKT 6014
Gregory Noel-Butterworth – S12794493
Word Count: 1645 (Minus Tables)
Table of Contents
SITUATIONAL ANALYSIS 1-4
OBJECTIVES 5-6
CUSTOMER PROFILE 6-8
PRODUCT CONSIDERATIONS 8-9
MESSAGE STRUCTURE 9-10
MEDIA STRATEGY 11-13
ADVERTISING OBJECTIVE AND MANDATES 13
INTEGRATED MARKETING COMMUNICATIONS 14-15
APPENDIX 1.0 – 1.2 CAMPAIGN EXAMPLES 16-19
APPENDIX 2.0-2.1 SITUATIONAL ANALYSIS 20-23
APPENDIX 3 PRODUCT LIFE CYCLE 24
APPENDIX 4 BOSTON MATRIX 25
APPENDIX 5 DAGMAR 26
APPENDIX 6 CUSTOMER ANALYSIS 27-28
APPENDIX 7 PROPOSED MARKET POSITION 29
REFERENCES 30-35

1
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
with pretty dresses/smart shirts, yet FCUK were still attempting to break
fashion rules (Gonsalves, 2012).

Gregory Noel-Butterworth S12794493
2
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
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

3
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)

4
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)
Your campaign should increase consumer demand to regain lost market
share and take advantage of the markets’ forecasted 16.1% value increase

5
(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.
 To target Gen Z consumers with a new FCUK product range to
increase overall company sales by 35%, by 31st Dec 2017.

6
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
(West et al, 2006).

7
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.
 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)

8
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).
 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.

9
 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’.
Communication of benefits to be centered on design/brand (tangible) and FCUK’s

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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)

11
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
consumption’
 Instagram popular amongst Gen Z, and
supports 15-second videos (Martin-
Willbourn, 2013), giving FCUK a real
opportunity (due to short attention
span/preference for visual
Targeting
‘’Consumer
&
Businesses
(an increased brand

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section) 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).
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
magazines such as Vice (Relander,
Targeting
Consumer/
Businesses/
Internal (staff motivated as
working for conscious/
fun brand)
Promo
Sponsorship, as
musicians/opinion leaders

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2014). 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
The desperate need to revitalise the FCUK brand means that more freedom
has been given (in terms of the logo/fonts/colours).

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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-April
2016
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)
April
2016
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
established artists/DJ’s.
(McDonald, 2014)
June
2016

15
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-
July
2016
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
Screenshot as an example: Source – FashionReview (2011)

17
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
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
From Telegraph, 2015

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Example of Zara brand endorsement – Source DailyMail, 2012
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)
 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).

21
 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
 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.

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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)
 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

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 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
 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).

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Appendix 3 – Product Life Cycle
Below is a diagram of French Connection’s current UK product life cycle.
Source for figures on Market Share and Growth – Passport (2013)
Key
MS = 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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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.
Key product categories from each brand have been used to help analyse
French Connection’s current position.
Key
French Connection Product Colour – Blue
Zara Product Colour – Red
Topshop Product Colour – Green
MS=Market Share. Market growth is measured from the period of 2009-13
MarketGrowthRate
Periodof2009-13
Relative Market Share High
High
Low
Low
Question Marks Stars
Dogs Cash Cows
Fragrances
MS=0.1%-0.1%
Menswear
MS=1.2%-1.4%
Men’s
Outerwear
MS=1.2%-1.4%
Apparel
Accessories
MS=1.3%-1.3%
Womenswear
MS=0.1%-0.1%
Men’s
Outerwear
MS=0.6%-0.7%
Apparel
MS=0.6%-0.7%
Apparel
MS=0.2%-0.2%
Menswear
MS=0.6%-0.6%
Womenswear
MS=0.7%-0.8%
Apparel
MS=0.7%-0.9%
Menswear
MS=1.9%-2%
Womenswear
MS=1.1%-1.1%
Men’s
Outerwear
MS=2.1%-2.2%

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Appendix 5 – DAGMAR Objectives
Stage Campaign Objectives
Awareness  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.
Cognitive/KnowledgeAffective/FeelingsConative

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Appendix 6 – In depth view of a Gen Z male
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)

29
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.

30
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