Dissertation

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MARBLE
A PERSONALISED
BEAUTY PLATFORM
ALICE HOAR
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PART ONE:
Introduction
Page 12 - 13
The Strength of Online Retail
Page 14 - 19
The Relevance of In-Store
Experiences
Page 20 - 26
The Rise of Hyper-Personalisation
Page 27 - 29
New and Emerging Technologies
Page 30 - 33
The Invisible Consumer
Page 34 - 40
The New Middle Age
Page 41 - 43
The Lady that Lunches
Page 44 - 49
The Big Idea
Page 50 - 55
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[Fig 2] Coloured Marble (2016).

PART TWO:
This is Marble
Page 60 - 61
The Branding
Page 62 - 65
The Consumer Insight
Page 66 - 69
The Marketing Timeline
Page 70 - 73
Phase One: Pre-Launch
Marketing & Website Launch
Page 74 - 83
P h a s e Tw o :
The Press & Launch Events
Page 84 - 87
Phase Three: The Marble Store
Page 88 - 91
P h a s e F o u r : P r i n t A d v e r t s
Page 92 - 95
Phase Five: Future Growth
Page 96 - 99
[Fig 3] Black and White Marble (2016).
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PART THREE:
List of References
Page 104 - 107
List of Illustrations
Page 108 - 113
PART FOUR:
B i b l i o g r a p h y : O n l i n e A r t i c l e s
Page 118 - 127
Bibliography: Marketing Reports,
Tr e n d R e p o r t s a n d J o u r n a l A r t i c l e s
Page 128 - 129
Bibliography: Books
Page 130
Bibliography: Television Programs,
Films and Documentaries
Page 131
Bibliography: Events and
Exhibitions
Page 132
Bibliography: Websites
Page 133
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[Fig 2] Coloured Marble (2016).

[Fig 3] Black and White Marble (2016).
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acetate
pg 1
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[Fig 6] In-store Technology (2014).
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INTRODUCTION
The retail landscape is changing. As the digital age
brings new technologies to the table, brands are
evolving both their online and offline platforms in
order to gain the trust and approval of consumers;
a consumer that’s growing ever-more demanding
and impatient. Online retail and e-commerce are
continuously evolving and growing, appealing to
the younger, connected generations. However,
p h y s i c a l s t o r e s a r e p r o v i n g t o b e a s r e l e v a n t a s
ever, with interactive installations and technological
innovations helping to create real, honest brand
experiences. In order to stay relevant to the up and
coming youth generations, brands need to exploit
this trend and become innovators of integrated,
blended consumer experiences. But what about
the older consumer? Can brands utilise emerging
technologies in new and considered way to create
r e a l , g e n u i n e a n d m e m o r a b l e r e t a i l e x p e r i e n c e s
that engage the not-so-tech-savvy consumer?
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14

THE
STRENGTH
OF ONLINE
RETAIL
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For many years now, online shopping has been on
the rise; but what does this mean for the humble
high street store? As Som Sinha, CEO of Intellibox,
discusses, “the rise of online shops coupled with a
raft of handheld smart devices available to customers,
means that shoppers today are tech-savvy and
becoming increasingly demanding” (Sinha, S. 2015).
According to Mintel, 77% of adults in the UK now own
smart devices (Davies, P. 2015a) and, when Mintel
released their ‘Mobile Device App’ report in 2014, it
showed that ‘95% of iOS users had downloaded an
app in the last six months’ (Gee, S. 2014). Although
this information alone cannot demonstrate any level
of consumer engagement with mobile apps, nor can it
provide insight into the popularity of the various app
genres (such as gaming, retail etc), this information
could indicate one of the reasons for the growth of
online shopping. In fact, Smart Insights highlighted
‘mobile’ as one of three key trends for online shopping
moving forward in 2016 (Allen, R. 2015). This may
also highlight a cause for the rise of a new generation
of consumers; who want instant purchases, the best
price, easily accessible services and a high standard of
customer service, all at the click of a button.
[Fig 9] iPhone (2015).
“Shoppers
today
are techsavvy
and
becoming
increasingly
demanding”
(Sinha, S. 2015)
[Fig 10] Wearable Tech Show (2016). [Fig 11] Marco Dal Lago (2016).
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“Even by
2019 the
majority of
retail sales
will remain
offline”
(Chaffey, D. 2015)
Sinha goes on to discuss how “new
initiatives such as click and collect,
which offers the ease and flexibility of a
blended on and off-line experience, mean
it could be argued that there is less need
for physical outlets than ever before”
(Sinha, S. 2015). Whilst this information
is largely the personal opinion of Sinha,
it can be backed up by recent statistics.
In early 2015, Econsultancy reported that
online sales equated to 15.2% of all retail
sales in the UK, meaning that on average
UK consumers will spend £1,174 online
in 2015, which would make us the most
frequent online shoppers in Europe (Moth,
D. 2015).
Econsultancy also estimated that overall
online sales would grow by 18.4% in 2015
(Moth, D. 2015) and an eMarketer report
on UK e-commerce sales found that growth
rates for mobile commerce are around 38%
(Chaffey, D. 2015).
Not only do these figures show e-commerce to be
an exceptionally fast-growing industry, but also
one that clearly dominates the retail environment.
However, whilst these figures do show that
e-commerce remains a growing platform for retail,
this does not mean to say there is no longer
relevance for physical stores. Smart Insights have
predicted, within their e-commerce growth report
for 2015, that “even by 2019 the majority of retail
sales will remain offline” (Chaffey, D. 2015),
meaning it’s not the end for the high street just
yet.
[Fig 12] Click and Collect Ad (2015).
At the 2016 Wearable Technology Show, Marco Dal
Lago, CEO and Co-Founder of CLARA Swiss Tech,
discussed how for every 100 people that enter a
physical store, 30 to 40 people will make purchase;
as opposed to 2 to 3 people making a purchase on
an online platform (Appendix H.8).
Clearly physical stores are still relevant for
consumers, and potentially the most profitable
option.
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In the Office for National Statistics (ONS) ‘Internet Access –
Households and Individuals 2015’ report, it was found that “63%
of women and 52% of men who don’t buy online prefer to shop in
person” (ONS. 2015). This information indicates that there is still a
strong consumer need for physical store shopping experiences, and
most specifically those catered towards a female market. Although
it could be argued that this information is somewhat inaccurate,
due to the fact it is an accumulation of two separate survey results
– the Retail Sales Inquiry and the E-commerce Survey, it does still
clearly highlight a need for brands to maintain physical stores as
well as online shopping services.
[Fig 13] Amazon Book Store, Seattle (2015).
In fact, some of the biggest
names in online retail are
doing the opposite; moving
towards the physical by
creating stores, pop ups or
physical brand experiences.
Amazon is a primary example
of this (Appendix I.1), as last
year the company launched
their first physical store in
Seattle (Bensinger, G. 2014).
This idea is not a sudden
move from Amazon; beginning
in 2014, Amazon announced
that CEO Jeff Bezos was
“experimenting with brickand-mortar
retail” (Duryee,
T. 2014). This was related to
the launch of Amazon’s pop
up kiosks in Westfield San
Francisco Shopping Centre
(Whitney, L. 2014) and
Westfield Galleria in Roseville,
Sacramento (Kasper, D. 2014);
as well as the larger plan to
open their first physical store
in New York (Bensinger, G.
2014). In 2014 alone, Amazon
“Amazon’s move into
stores is the highest
compliment the
e-commerce giant can
pay to physical retail”
(Duryee, T. 2014).
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eleased Prime Music (Gayles, C. 2014), Fire TV, Fire Tablets, the Fire Phone and
new Kindle e-readers (Duryee, T. 2014). The pop up kiosks, temporary set ups for
the holiday season, were designed to offer customers with hands-on experiences of
the products, and consequently the brand; an experience that had never previously
been available to Amazon customers. Amazon had tried this, on a small scale, prior
to the release of the pop up stores; by means of automated vending machines,
smaller kiosks and lockers in other, existing stores (Duryee, T. 2014). It was
success in these trials that led to the pop up Amazon kiosks; and consequently,
the success of the pop ups that led to the first physical store in Seattle. As Tricia
Duryee highlights in her article, Amazon have long dominated the e-commerce
industry, but they are now clearly recognising the value of high street retail and
physical store experiences. She goes on to discuss that the “vast majority of
retail revenues today still occur in the offline world”, which consequently, makes
“Amazon’s move into stores is the highest compliment the e-commerce giant can
pay to physical retail” (Duryee, T. 2014).
This is a somewhat surprising move for Amazon, as a company that has made its
millions solely through online sales; but perhaps this is a reflection of the current
financial climate. Many people believe the rising success of online shopping
was, at least partially, a consequence of the recession. A report from the Center
of Retail Research stated that “the recession has induced many shoppers to
buy online rather from traditional stores” (Retail Research, 2016); the internet
provided companies with a low-cost platform, and allowed consumers to shop
comparatively for the lowest prices and best deals. They also found that the
[Fig 14] Amazon Book Store (2015).
online shopping share in the UK has grown from 9.4% in 2010 to 16.8% in 2016
(Retail Research, 2016) and believe that, today, “retail focus on the growing use of
mobile technology is an additional factor in making online retailing attractive and
convenient” (Retail Research, 2016).
However, what Amazon’s physical store launch demonstrates, first and foremost,
is that physical stores remain strongly relevant in today’s retail environment; and
consequently brings to light the crossover between offline and online retail. This
idea of merging the online and offline is not new, but it is where we start to see
the emergence of new in-store technologies and innovative brand experiences. As
we transfer into the digital age, customers need to be shown the value of physical
experience alongside the ease of online platforms in order to make stores relevant
to the impatient, modern consumer. This idea of integration will allow brick-andmortar
retailers to make stronger connections with their consumers, and open up
new potential for brand advocacy.
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THE
RELEVANCE
OF IN-STORE
EXPERIENCES
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[Fig 68] Deathtoknocko (2001). [Fig 17] Black and White Marble (2016).
[Fig 18] Internet Dream (1994).
[Fig 19] Substrat 34 I (2007).
The dawn of the digital age has not only driven online and mobile
shopping, but it has also driven a new age of consumer needs and
expectations. Born out of a lifestyle saturated by technology, ‘Generation
Impatient’ presents retail brands with many new challenges. A recent
survey found that Brits as a whole “have become more impatient in the
last five years” and a third claimed to have “no patience at all” (Stylist.
2015). This growing wave of impatience has significant implications when
it comes to brand-consumer relationships; resulting in dynamic changes
around the increasingly technological interface between consumers and
brands. Not only does consumer impatient drive outside-the-box thinking
in terms of quick and engaging marketing strategies, but it also forces
changes within the retail environment. Brands need to enhance their instore
experiences in order to attract the impatient consumer; this is where
blended offline and online retail environments can help brands generate
real, engaging experiences and create stories.
[Fig 20] Poemfield No. 1 (1967). [Fig 21] Loading (2007).
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The digital age has also spawned a new era of digital marketing and
consumer engagement. Not only has digital marketing grown to sit
alongside TV, outdoor, direct marketing and PR; it integrates these
communication channels and disciplines. Digital provides a platform for
brands to create a new dimension of interaction and engagement between
retailers and consumers. It’s a two-way interface, an idea that transfers
through all aspects of brand-consumer relations, not just within marketing.
The integration of online and offline platforms, especially within digital
marketing, became a trend described as the ‘phygital’ movement. This
trend was highlighted early on by Justin Cooke, CEO of the London based
Digital Agency ‘Fortune Cookie’, who stressed the potential of “creating a
‘phygital’ ecosystem between brands and consumers”, stating that “when
it comes to true customer engagement, the term ‘phygital’ sums up where
marketing is going and is set to become one of the big trends of 2012”
(Cooke, J. 2011). Over the past few years the ‘phygital’ trend has become
increasingly relevant; in 2016 we are believed to be living in the ‘postinternet
age’, as explored by Whitechapel Gallery’s recent art exhibition
‘Electronic Superhighway (2016-1966)’ (Whitechapel Gallery. 2016). This
entire exhibition was an exploration of phygital art, demonstrating how the
art world has been impacted by the internet and computers in a backwards
timeline from now to 1966. Adrian Searle, an Art Critic for The Guardian,
commented on a particular piece from the exhibition, Evan Roth’s Self
Portrait: July 17, 2012 [Fig.], a piece that regurgitated a visual record of
Roth’s online activity on a single day. Searle described Roth’s collection
of images as “terrifying to behold” (Searle, A. 2016), summarising the
exhibition with the statement “we are all post-internet now, roadkill on the
electronic superhighway” (Searle, A. 2016). (See Appendix H.3).
“We are all
post-internet
now, roadkill on
the electronic
superhighway”
(Searle, A. 2016)
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[Fig 22] Internet Cache Self Portrait (2015).

In 2015, fashion powerhouse Louis Vuitton hosted a somewhat similar experiential
exhibition within 180 Strand in Central London (Appendix I.4). The exhibition
consisted of several rooms over 3 floors of the 180 Strand building; each featured
deliberately disorientating videos of the catwalk show projected on to walls, tables
and other objects. Described as “an exploration and showcase of creative director
Nicolas Ghesquière’s creative process” (Buchanan, V. 2015b), the exhibition provided
a platform for the public to view the collection in an immersive, phygital experience.
Michael Burke, chairman and CEO of Louis Vuitton, explained that they were
“experimenting with how to make you feel the show more intensely than being at the
show” (Buchanan, V. 2015b).
This demonstrates how fashion is adapting within the ‘phygital’ movement; as
highlighted by LS:N Global, “brands are looking for new ways to transcend its
temporary aspects and let consumers into the experience” (Buchanan, V. 2015b). In
a recent IPA seminar, Rory Sutherland and Nick Southgate discussed ‘Behavioural
Economics in Action’; suggesting that there are now “two dominant rules for modern
communications; ‘context counts’ and ‘small things can have big effects’” (Machen,
D. 2015). Consumers need more than gimmicks in order to give brands the time of
day, they need stories, emotional connections and a real, memorable experiences
from brands. This Louis Vuitton case study shows how tapping into phygital,
integrated experiences can be an effective concept for brands.
[Fig 23] Louis Vuitton, Series 3 Exhibition (2015). [Fig 24] Louis Vuitton, Series 3 Exhibition (2015).
This isn’t an idea that’s restricted to high end retailers; in fact, Topshop also created
a unique experience for their 2014 London Fashion Week catwalk show (Appendix
I.7). This particular example of a phygital brand experience was created by the
London-based ‘Inition’ production company, who focus on producing installationbased
platforms using new and emerging technologies (Inition. 2014). Inition created
customised Oculus Rift virtual reality headsets that streamed live virtual reality
360-degree footage to five participants; “we created a telepresence experience,
transmitting the show live from a front row seat…the virtual reality experience
allowed people even more access than official show attendees…we pulled in multiple
media streams of the live environment including two streams of live HD from the
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[Fig 25] Topshop x Inition (2014).
front row and backstage” (Inition.
2014). Overall, Inition and
To p s h o p m a n a g e d t o c re a t e a
fully phygital, integrated catwalk
experience that captured great
attention from both consumers
and press. Seeing a high street
store successfully incorporating
emerging technologies into their
brand experience goes to show
that this is achievable on many
market levels.
“Brands are looking
for new ways to
transcend its
temporary aspects
and let consumers
into the experience”
(Buchanan, V. 2015b)
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THE RISE OF
HYPER-
PERSONALISATION
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Online and digital platforms have
provided brands with ability to
offer quick, easy, instant and
accessible services to demanding
consumers. However, this isn’t
all online retail can do for it’s
customers. Online can provide
solutions to addressing individual
consumers rather than consumer
stereotypes. As highlighted by
Adam Woods, writer for Marketing
Magazine, “most people don’t want
to be anonymous. Customers want
to be treated as individuals and
they are heading for platforms and
companies that understand this”
(Woods, A. 2012).
“Customers
want to be
treated as
individuals”
(Woods, A. 2012)
[Fig 27] Facebook (2015).
Big Data is one of the many revolutions that has opened
up the doors to targeted marketing on a whole new
level, allowing hyper-personalisation to come into
it’s own. Facebook alone holds enough information to
target extremely specific, niche consumer bases; not
just by age or gender. As reported by Digital Trends
in 2013, “there are 1.15 billion [people] on Facebook,
making it the one of the best resources for information
on any given individual with an account” (Kotenko, J.
2013). Today, Facebook has over 1.59 billion monthly
active users (Statista. 2015), this continuous growth of
Facebook is not just insanely fast, but also contributing
to level of data it holds and consequently the power of
Facebook. The combination of advanced algorithms and
Big Data means that computer-based decision-making is
more accurate and multifaceted than ever before. These
advanced computer systems are allowing companies to
analyse data and respond with the appropriate marketing
techniques and advertisements in a matter of minutes.
Not only does this help to make targeted marketing much
more specific, but also more personal than ever. Meaning
that companies can not just target extremely specific or
niche consumer groups, but also personalise this further
to meet individual consumer tastes and needs. This is
where Facebook excels.
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Those that identified the personalisation trend early
on were quick to make it an integral part of the brand,
an idea that also sparked many new brands. An area
of specific interest here is subscription box services,
and one of the biggest success stories in this sector is
Graze (Appendix I.3). The healthy snack subscription
box, launched by LOVEFiLM co-founder Graham Bosher
in 2007, is now a £50m turnover brand headed up by
CEO Anthony Fletcher (Dunsby, M. 2015). The evident
success of this business set the trend of personalised
subscription services skyrocketing, and not just within
the food industry. The cosmetics industry was quick to
follow suit and the UK quickly became awash with Beauty
Box subscription services. In an interview with Startups.
co.uk, Fletcher discusses to what he credits for the
business’ success; “from the outset, graze as a retailer
and as a brand has been underpinned by innovative
technology...our intelligent use of data has meant that
we can take risks, and be much bolder in our strategy
than other blue-chip FMCG companies” (Dunsby, M.
2015). Big Data and computer-generated algorithms are
fundamental to the Graze business model, and they have
demonstrated how successful this can be; “we can take
a new product to market in 48 hours, get immediate
feedback from our grazers, and then work from there.
We get 15,000 customer reviews an hour – and this
continues to power the evolution of our exciting snack
combinations” (Dunsby, M. 2015).
[Fig 29] Birchbox (2015).
Despite this, some consumers still turn purely towards
in-store experiences for personalisation, finding one-toone
customer service an important part of the shopping
experience. However, the want for personal interaction
isn’t the only reason some consumers chose to not
shop online. The ONS ‘Internet Access – Households
and Individuals 2015’ report found that wanting a more
personal shopping experience was not the leading
reason for not buying online or using online services;
“the second highest reason for not purchasing, for both
sexes at around 26%, was payment security or privacy
concerns”. (ONS. 2015). Brands today, most especially
those targeting an older and less tech-savvy consumer,
need to seriously consider privacy around the use of new
technologies both in-store and online.
[Fig 28] Graze Box (2014).
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30

NEW AND
EMERGING
TECHNOLOGIES
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At the AW17-18 trend presentation
by The Trend Boutique, Sally Denton
discussed the ‘Movement’ trend;
a trend driven by our ‘constantly
connected’ lifestyles, in which
everything is instant and accessible.
She believes that, as we move forward,
“creatives are becoming secondary to
technology”; all aspects of life, from
science, to health, to retail, are being
driven by new possibilities provided
by emerging technologies (Appendix
H.7). The digital age is here and now;
innovation and advances are making
technology more accessible than ever.
For example, advances in motion
sensors and NUIs mean that many
technological can be now be easily
controlled by natural human gestures.
These technologies were perhaps
first made commercial via the games
industry, with the launch of the
Nintendo Wii in 2006 (Nintendo.
2015), followed by the launch of the
Xbox 360 Kinect in 2010 (Hartley, A.
2010). Both of these devices came
with new, innovative motion-sensor
control systems; a technical revolution
at the time. In 2011, Bill Gates hailed
Kinect as “a remarkable technical
achievement”, stating that “the ability
to take video cameras, multi-array
microphones, and depth sensors and
bring them all together in order to
recognise people, understand and
anticipate how they move, incorporate
voice recognition, and insert them into
games—all at 30 frames per second—is
phenomenal” (Gates, B. 2011). Today
NUI controls are much more common;
with speech-command, personal
assistant systems like Siri and Cortana
built into the majority of smartphones.
Not only do technologies like these
offer up great advances in our daily
lives, science and health; but also a
breadth of opportunities for the retail
industry.
[Fig 31] Movement (2016).
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“creatives
are becoming
secondar y to
technology”
(Sally Denton. 2016)
One beauty retailer that has
experimented with new technologies
and in-store experiences is Sephora
(Appendix I.6). Sephora has
been praised endlessly for their
experimentation with new and
emerging technologies; and in terms
of brand experience and the phygital
trend, there is no exception. Last
year, Sephora launched their instore
augmented reality mirrors; an
installation that allows consumers to
‘try on’ the make up without actually
having to physically try it on. To create
this project, Sephora teamed up with
the augmented and virtual reality
technology company, Modiface (Nesbit,
T. 2014); these mirrors provided an
interactive experience, as well as an
easy and accessible platform. This was
a revelation for the beauty industry,
as a move that sparked several brands
to join the technology movement and
create their own in-store experiences.
NYX Professional Makeup have also
tapped into new technologies in order
to create unique brand experiences
(Appendix I.5). In 2015, NYX opened
their first store in California, and they
are set to open up more throughout
the USA this year (NYX Professional
Makeup. 2015). Their store concept
included built-in iPads with interactive
content as well as physical, engaging
experiences; “as a digital-native brand
with a global online community made
up of millions of beauty fans, the
NYX Professional Makeup store was
created for today’s makeup consumers
who are adapting the skills and the
tools of professional makeup artists
to their own personal styles” (NYX
Professional Makeup. 2015). The fact
that another brand has followed up
on this idea shows that this emerging
trend is coming through into the
beauty industry, however both of these
examples are targeting the younger,
US consumer. So can these ideas be
adapted the older, UK consumer?
[Fig 32] NYX Store (2015).
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34

THE
INVISIBLE
CONSUMER
35

“Older
consumers have
long been
the ‘invisible
majority’ in
advertising
despite their
rapid increase
in an ageing
population”
(Yoon, H and Powell, H. 2011)
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Many of today’s consumers are consumed by technology, and none as much as
‘Generation Z’. Alex Williams, writer for The New York Times, discusses how ‘Generation
Z’ may be “emerging as the next big thing for market researchers, cultural observers
and trend forecasters” and are “primed to become the dominant youth influencers of
tomorrow” (Williams, A. 2015). Whilst this consumer information is extremely relevant to
any brand or marketers looking to target a tech-savvy consumer; appropriating brands
to this consumer can mean avoiding issues that result is shutting out other, large market
sectors. For example, an older generation, such as the ‘Baby Boomers’, that may be a lot
more sceptical of technological, internet-based brands. In fact, Mintel found that “44%
of women in the Baby Boomer generation are classified as ‘Technophobes’” (Davies, P.
2015a). However, Baby Boomers are currently the second largest generation in the UK
(Mintel. 2015), so addressing the issues these consumers have with technology could
have great potential; and may also result in stronger ideas for brand experiences, which
avoid gimmicks and focus on honesty and accessibility. A 2015 Mintel report on Baby
Boomers and Technology, found that “around half (51%) of ‘Technophobes’ aged 51-
69 prefer to receive in-store advice over any other customer service channel” (Davies,
P. 2015a), showing that physical retail is still of importance to this generation. This
may mean a ‘phygital’ retail experience may be the perfect answer for introducing this
consumer area to the benefits of integrated online and offline retail.
[Fig 34] Innovation Curve (2016).
One area where this consumer is the most unidentified by retail may be within the
beauty industry. Within a primary research questionnaire, it was found that 72.5% of
women over the age of 40 wear makeup everyday, and 56.8% use a daily cleansing
skincare routine (Appendix F.2). This idea is supported by the Mintel report on Facial
Skincare in the UK from May 2014, in which they found that “eight in 10 women used
facial moisturiser in the 12 months to March 2014 (79%), with a further 37% using antiageing
products” (Khanom, R. 2014). This data proves that cosmetics and skincare is an
integral part of their daily lives, and consequently an area that brands should be tapping
into. There is no denying that there are several brands on the market catering to Baby
Boomers, but many fail to see that there is a wealth of opportunity to make much more
out of their brand experiences in order to fully engage the consumer. It is equally easy
to identify many brands who have created ‘phygital’ brand experiences in the past few
years. Yet, the beauty industry may be the one retail sector that is yet to make the most
of ‘phygital’ experiences, most specifically brands catering to an older demographic.
As demonstrated in Rogers’ Diffusion of Innovation Theory (Rogers, E.M. 1962), late
adoption of this trend places the beauty industry within the ‘Late Majority’ category.
Identifying the potential within the ‘phygital’ trend could help brands within the Beauty
Industry to create more meaningful brand-consumer relationships and experiences; it
could also be the answer to providing an appropriate platform for targeting a female
consumer aged between 45 and 60.
37

One brand that trialled this is Clinique
(Appendix I.2); Clinique’s Great Skin Lab
was launched in Covent Garden, London
(Conway, L. 2014). This experience-led
pop-up store was a concept that allowed
the consumer to learn about Clinique’s
‘iconic skincare system’, while also
experiencing interactive, multi-sensory
shopping (Conway, L. 2014). The store also
tapped into the hyper-personalisation trend
by offering one-on-one consultations with
Clinique experts. The store was designed to
create a brand experience around the launch
of some new key products, such as customfit
moisturisers and the Sonic System
[Fig 35] Clinique Great Skin Lab (2015)
“Nearly a
third (31%) of
younger Baby
Boomers (aged
51-59) describe
themselves as
being ‘techsavvy’”
(Davies, P. 2015a)
[Fig 36] Clinique Great Skin Lab (2015)
Purifying Cleansing Brush (Conway, L. 2014).
Later in 2015, they took this idea to new level of technological
installations; in November, they created ‘The Orb’, a socialmedia
activated art installation. The Orb was a “four metreround
glowing sphere that sits eight metres above the ground”,
the sphere was activated by consumer engagement on social
media platforms – the more the hashtag, #CliniqueGlow, was
mentioned, the brighter The Orb glows. This was a really
unique collaborative platform for consumers to engage
with the store; it was also a great example of a ‘phygital’
brand experience. This shows that technology-based brand
experiences can be appropriate for an older consumer, as
Clinique have a brand loyalty from an older demographic of
consumer from 40 upwards. Looking at the lower end of the
Baby Boomer generation, 50-year-old women are an age group
of untapped potential. Generally speaking, the younger sector
of this generation may prove to be the most receptive to these
new and emerging technologies; Mintel found that “nearly a
third (31%) of younger Baby Boomers (aged 51-59) describe
themselves as being ‘tech-savvy’ compared with just 25% of
older Boomers (aged 60-69)” (Davies, P. 2015a).
38

As demonstrated below, the cosmetics and skincare industries are a heavily saturated area;
meaning there is little room for new products. However, when focusing on technology-based retail
and brand experiences, there is room for further innovation. This demonstrates a clear gap in the
industry, that a new beauty brand could address in the UK.
[Fig 37] Perceptual Map (2016).
The wealth of products already on
the market means it could be worth
considering alternative ideas, such as
introducing a new platform. Creating
a platform that sells multiple brands
and products could provide the best
solution for targeting women over
40. There already services like this
out there, such as Beauty Bay and
Feel Unique; however, both of these
are purely online platforms with no
physical store. These brand are also
both aimed at a younger, millennial
consumer; meaning they may be
failing to harness the potential of
targeting an older consumer basis.
This brand model would combine the
ease of online, where you can compare
multiple products, with the physical
experience of a store; this may be
the phygital experience missing from
today’s high streets.
Creating a platform that sells multiple
brands may also help to draw in
their existing, loyal customers, who are perhaps just
looking for the extra service or new approach that this
platform offers. The primary research questionnaire
indicated that 74.5% of respondents agreed that they
are loyal to the brands they like and consequently
repurchase from these brands (Appendix F.2). The
same participants also highlighted customer service
(84.3%), waiting time (68.6%), range of choice (76.4%)
and memorable experience (17.6%) as their 4 most
important aspects of a positive in-store experience
(Appendix F.2). Selling multiple brands under one
roof is also perhaps the most sustainable model for
a brand to follow within the current retail landscape;
department stores are showing great growth at the
moment, as Charles Barker, managing director of the
Northallerton Barkers department store, discusses
“It’s very convenient to customers to have such a lot
of things under one roof” (Bearne, S. 2016). Maureen
Hinton, group research director at retail consultancy
Conlumino seconds this, stating that “department
stores have the ability to flex their ranges and give
space to the sectors and brands that offer the most
growth opportunities” and “this means they can tap
into consumer trends and react far quicker than own
brand stores” (Bearne, S. 2016).
39

40

THE NEW
MIDDLE AGE
41

Looking further into the issues and obstacles that arise around beauty
and cosmetics for women over 40, it is clear that ageing is at the
forefront of most women’s minds. This was also reflected within the
primary research questionnaire, where 76% of female respondents aged
over 40 agreed that they are concerned by the effects of ageing on
their complexion (Appendix F.2). The more obvious signs of ageing are
often starting to show for women in their late 40’s and early 50’s, this
may be a reason for such a high rate of concern. This concern about the
ageing process is most likely sparked by problems that arise within the
retail environment. In a focus group held by Sindy Kaur (Appendix F.5),
Founder of ‘Challenging Perceptions of Beauty’, women aged 45 to 60
shared some of their primary issues with the current beauty industry.
“Focus on the functions
or features that help
achieve tasks with greater
ease...this would be more
important to older people
who might be struggling
with eye-sight, mobility or
health issues”
(Mitskavets, I. 2015)
There are many effects that ageing can have on the complexion, each
causing very different problems. Focusing on solving these could be the
key to a successful brand model for the older consumer. As stated in a
recent Mintel report, “marketing strategies targeting older consumers
could be more effective if they avoid reminding people that they are
getting older and instead focus on the functions or features that help
achieve tasks with greater ease...this would be more important to
older people who might be struggling with eye-sight, mobility or health
issues” (Mitskavets, I. 2015); demonstrating that there is a real need
for solutions to these problems that many older consumers face.
42

A new personalised beauty platform may be the answer to
solving these problems that women face on a regular basis . For
example, employing Independent Makeup Artists as opposed
to brand-specific sales assistants, may help towards creating
a safe space for women to discuss their concerns and ask for
advice. It is also important the these makeup artists are of
a similar age, or perhaps even older than the consumer. As
Kaur discusses, “a woman who is going through hot flushes...
menopausal, struggling perhaps with their skin getting drier,
doesn’t want to go and talk to a young, 20/30 year old who
has no idea what she’s going through...she wants is...a friend,
someone who understands what they’re going through, or
maybe even someone that’s further along the journey than
she is” (Appendix F.4). This is an idea supported by Marketing
Consultant Beau Green, who states “Boomers look to their
peers in terms of advice and guidance for making fashion
decisions...you generally don’t want to have a 22-yearold
working with a 60-year-old client” (Hughes, A. 2014);
addressing this issue may be beneficial for both the brand and
[Fig 39] Beauty Bible (2011). [Fig 40] Pretty Honest (2016). [Fig 41] The Invisible Woman (2015).
consumer, allowing them to share a friendship-like bond.
Several beauty books and guides to ageing have a come about in the past few years;
including ‘The Anti-Ageing Beauty Bible’ by Fairley, J and Stacey, S and Sali Hughes’
‘Pretty Honest’. Many of these ‘beauty bibles’ make suggestions about the best products
and most effective methods for skincare and makeup on an ageing complexion, but none
manage to mention the confliction between the way these brands address the consumer
and the way the consumer wants to be addressed. As Sindy Kaur discusses, “what I can
see is a big backlash against the anti ageing message”, “so many women are anti the
anti ageing message, and what they are saying is they want to look like me, but on a
good day, so the emphasis is more now things like glowing, not younger...what they’re
saying now is that 50 is the new 30, so older women don’t want to be categorised...they
don’t want to be treated differently” (Appendix F.4). This idea is supported by a recent
Mintel report, which discussed how “46% of Baby Boomers (aged 50-68) report feeling
that people of their age group are stereotyped in advertising, compared with 38% on
average” and how perhaps “another strategy is to target older shoppers by including
them together with people of other age groups in the same campaigns, so as to not
make it seem like they are being singled out or stereotyped” (Mitskavets, I. 2015). These
woman are truly living the ‘New Middle Age’, a term coined by WGSN, their recent report
on ‘Boomers’ suggests that “as technology increases the average life expectancy, old
age now starts at 74, with middle age lasting at least nine years longer than current
estimates” (Bell, A. 2015). (See Appendix D.5 for further research).
43

44

THE
LADY THAT
LUNCHES
45

Having identified the new middle-aged consumer, it is vital
that the brand brand better understands the consumer on a
deeper and more personal level. See Appendix N.1 for tables
that highlight the key consumer insights and demonstrate
the process of honing in on a specific consumer through the
exploration of demographics, traits, influences and archetypes.
THE EXPLORER
THE RULER
[Fig 43] Explorer (2016). [Fig 44] Ruler (2016).
46

THE INNOCENT
[Fig 45] Innocent (2016).
In terms of the Jungian archetypes (Lindsay, F. 2015) the
consumers would fall under 3 areas (as illustrat; the Ruler,
the Innocent and the Explorer, with the brand playing the
role of the Creator. Creator brands are described to be
“driven by their desire to produce exceptional and enduring
works, and they are most afraid of mediocrity” (Lindsay,
F. 2 0 1 5 ) ; a s a b r a n d d r i v e n t o p ro v i d e a n e w p l a t f o rm a n d
working to be innovative in terms of the experience provided,
this seems the most appropriate. However, honing in on one
archetype will help the brand to create consumer-appropriate
marketing strategies. The Explorer, whilst an easy consumer
to entice due to their existing love for makeup, is likely to
rejoice more in discovering the brand themselves. Whereas,
the Innocent consumer will need a lot more guidance from
the brand, as well as reassurance from friends, family and
reviews. For these reasons, the Ruler may be the most
obvious consumer group to target; this consumer is the
leader amongst their friends and influencing them to engage
with the brand may be the key to influencing many more
consumers who will follow the Ruler’s lead.
47

48
[Fig 46] Consumer Profile (2016).

“Nearly a third (31%)
of younger Baby
Boomers (aged 51-59)
describe themselves as
being ‘tech-savvy’”
(Davies, P. 2015a)
The Lady that Lunches is the ultimate mum-about-town. She
works part time in a local office, finishing at midday before
heading out for lunch with the mums or into town for a spot
of shopping. She likes the finner things in life and is happy to
spend a little extra on cosmetics, if it means keeping her skin
fresh and youthful. She likes a label and brand’s with a good
reputation; she will always read reviews before purchasing. She
likes to be the first amongst friends to discover something, and
loves offering advice and support to close friends and family.
She is confident and strong, a leader within all her friendship
circles. She often spends evening out for dinner or drinks with
friends; but enjoys spending the weekends entertaining family
and visiting her children. She keeps up with trends and makes
an effort to retain her own unique style, with signature pieces
from big name brands. She often shops in John Lewis, Next or
Mango; but likes to treat herself to nice things from Selfrides
when she can. She loves to cook and bake, spending a lot of
time in the evenings watching cookery shows such as The Great
British Bake-off. She does most of her food shopping at Waitrose
and Sainsbury’s and looks for the best quality ingerients. She
likes to travel and goes abroad 3 or 4 times a year with her
husband. She is averagely tech-savvy; she owns a iPhone and
iPad and uses them both regularly. She is engaged in social
media via Facebook and LinkedIn. She drives a Mini Cooper, but
also uses public transport when she’s in the city.
49

50

THE BIG IDEA
51

KEY INSIGHTS
“[The] vast
majority of
retail revenues
today still
occur in the
offline world”
(Duryee, T. 2014)
“When it comes
to true customer
engagement, the
term ‘phygital’
sums up where
marketing is
going”
(Cooke, J. 2011)
“Customers
want to be
treated as
individuals”
(Woods, A. 2012)
52

“Creatives
are becoming
secondary to
technology”
(Denton, S. 2016)
“Older consumers
have long been the
‘invisible majority’ in
advertising despite
their rapid increase
in an ageing
population”
(Yoon, H and Powell, H.
2011)
“Old age now
starts at 74,
with middle
age lasting
at least nine
years longer
than current
estimates”
(Bell, A. 2015)
53

A personalised
beauty platform
that encourages
self confidence
and allows women,
aged 45 to 60,
to rediscover
the process of
experimenting with
makeup.
54

Honing in on women aged 45 to 60, this
platform will provide a unique, phygital retail
experience that informs, advises and allows
ease of accessibility to both the products and
technology available. The primary research
questionnaire indicated that this age group
made the largest contribution to the results,
as 70.6% of the respondents were within this
age range (Appendix F.2), making them the
seemingly obvious consumer group to focus on.
The platform will provide a learning
environment that equally encourages
consumers to enjoy makeup again. For many
women in this consumer basis, their products
no longer serve the way they once did;
harnessing this as an opportunity, rather
than cause for concern or frustration, is key
to re-engaging this consumers love for both
the products and the industry. The brand
will also be aimed at helping consumers gain
an understanding and confidence around
new technologies. It will include phygital
experiences as a fundamental part of it’s
structure and consumer engagement process;
featuring various aspects of interactive
technologies, such as built-in touch-screens
within counters and product displays, and
wireless phone charging so consumers can
easily use their own devices within the
store environment. This shouldn’t be an
unrealistic expectation of the consumer, as
the research questionnaire showed that 88.2%
of respondents owned a smartphone or tablet
(Appendix F.2) and may infact make them feel
more comfortable, using a device they are
used to.
[Fig 48] Fashion Hierarchy (2015).
In terms of positioning, the perceptual map
[pg 37] demonstrated how this brand will fill
a large gap within the overall landscape of
the beauty industry. However, this needs to
be narrowed down to a more precise market
level in order for the brand to develop an
appropriate appearance and tone of voice for
its consumer. This will also identify competitor
brands and those that the stores may stock.
Following Harriet Posner’s ‘Basic Hierarchy of
Fashion’ Model, this beauty service would sit
within the middle market. This level, in terms
of fashion, refers to designer diffusion lines
and affordable luxury; however, these terms
are equally translatable within the beauty
sector.
55

56

acetate
pg 2
57

58

59

MARBLE
[Fig 51] Logo (2016).
60

Marble is a personalised beauty platform focused on providing women aged 45 to
60 a fresh approach to cosmetics. Marble sells all their favourite brands, as well as
brands they are yet to discover. The aim is to provide something new to the older
consumer, that is quickly becoming lost in the whirlwind of technological advances
and tech-savvy, younger consumers. As indicated in the ONS’ Wealth and Assets
survey, “during 2010-12...22% of 55-64s were living in households with total wealth
of £1 million or more, illustrating the more comfortable financial standing of today’s
older consumers, compared with, say, the Millennial generation” (Mitskavets, I.
2015); this goes to show the potential within the baby boomers as an affluent,
consumer group, and as Mintel points out “with Britain’s population ageing rapidly,
this is certainly one demographic that brands and marketers cannot afford to ignore”
(Mitskavets, I. 2015). This consumer group is not is not only wealthy, but also
large, as the Office for National Statistics (ONS) predicts, “by 2019 the over-55s
will comprise 31% of the population in the UK” (Mitskavets, I. 2015); showing great
growth potential for the brand.
As a consumer group with growing buying power, why is this generation left
unhappy and unsatisfied with the way in which the beauty industry currently
approaches them? Marble aims to tackle this head on, working to banish the negative
connotations of ageing and instead highlight the opportunity it provides for women
to fall back in love with makeup. As Lisa Eldridge, a well respected makeup artist,
discusses in her book, “the reasons why-and how-we wear makeup in the twentyfirst
century have changed dramatically…we have literally hundreds of trends and
styles to choose from…a full spectrum of color and a multitude of affordable (and not
so affordable) products” (Eldridge, L. 2015, pg. 6). This is an idea that many have
forgotten, both brands and consumers alike, and with the myriad of choice available
out there, why not have fun with it?
Marble’s personalised service, created across several platforms that include the
app, store and website, is their unique selling point (USP). In fact, a WGSN report
stated that baby boomers desire “interactive and educational shopping experiences”
and “look for one-to-one, personalised customer service” (Hughes, A. 2014); these
are two areas in which Marble can certainly excel. Over time Marble hopes to gain
a large consumer basis of engaged individuals, who repeat purchase and continue
to visit stores as their in-store experiences, personalisation and use of technology
developes. They plan to engaging consumers via a subscription-based sample box, as
well as app and online content; and, as this consumer group proves to be among the
most loyal to brands, Marble will reward customers who demonstrate brand advocacy
via their loyalty scheme; available in both physical and digital forms.
61

62

THE
BRANDING
63

“The right name
is your most
powerful single
tool”
(Schley, B and Nichols, C. 2014. Pg 24)
[Fig 53] Blue Marble (2016).
The brand personality and appearance of Marble is clean, sophisticated and
elegant; a confident brand that doesn’t need to shout in order to be heard,
much like their consumer. Marble approaches their consumer with a friendly,
relatable and understanding tone of voice, that is underlined with wit, humour
and playfulness. The phygital in-store experience provided by Marble is equally
playful, as well as one that encourages, educates and ultimately understands
their consumers needs. It provides a flawless crossover between the physical
and the digital that can appeal to the consumer, whatever their level of
comfort and understanding of technology.
As discussed in ‘Why Johnny can’t brand’, “the right name is your most
powerful single tool” (Schley, B and Nichols, C. 2014. Pg 24). For Marble, the
name has been considered, and the connotations of the word are key to many
brand attributes. The associations of stone marble connote the luxury and
elegance of the brand and it’s service, as well as a key element of the brand’s
design recipe; whilst the association of the game ‘marbles’ is more specific
to the consumer, hinting at the brand’s intended market, as well as connoting
ideas of playfulness.
[Fig 54] Colour Pallette (2016).
64

[Fig 55] Logo (2016).
[Fig 56] Moodboard (2016).
65

66

THE CONSUMER
INSIGHT
67

[Fig 58] Consumer Day-In-The-Life (2016).
68

DAY-IN-THE-LIFE
For data and information, see Appendix G.4
69

70

THE
M A R K E T I N G
TIMELINE
71

THE FIRST YEAR
1ST MONTH
2ND MONTH
3RD MONTH
4TH MONTH
5TH MONTH
6TH MONTH
Social
Media
Launch
Press Release
to Bloggers
and beauty
writers
Website
Launch
Outdoor
Adverts
Pre-Launch
Press Event
App Release
Launch Event
Store Opening
Loyalty
Scheme
72

7TH MONTH
8TH MONTH
9TH MONTH
10TH MONTH
11TH MONTH
12TH MONTH
Outdoor Print
Adverts
Magazine
Print Adverts
Subscription
Boxes
Radio Adverts
Pop Up Store
in New
Location
TV/Traditional
Marketing
73

74

THE FIRST
PHASE
75

Prior to the official launch, Marble will take a ‘snowball effect’ approach to launching the
brand and opening of the first store. This will be created initially through social media
content, specifically on Facebook. Focusing on low budget marketing, it seems appropriate
to start with social media; as a free platform, social media holds great potential for small
businesses and new brands.
“Facebook’s 13-17 age group dropped by 25.3% over the last three years, but it’s over-
55 group grew by 80% in that time” (WGSN. 2015a); this was supported by the primary
research questionnaire, which highlighted that 41% of respondents had a Facebook account
(Appendix F.2). The Facebook campaign will be slowly release clues and ‘sneak peaks’ of
the brand and what it’s all about; Marble will pay to gain an outreach on Facebook within a
[Fig 61] Facebook Mockup (2015).
[Fig 62] Facebook Mockup (2015).
76

FACEBOOK LAUNCH
[Fig 63] Facebook Mockup (2015).
specific location. Below are mock-ups of how this
will look on the Marble facebook page and within
a consumer’s timeline.
This idea will continue as the brands stocked
by Marble are revealed one-by-one, as shown
below; aiming to capture the curious consumer’s
attention but not force-feed any information or
intent at this stage. This slow-release of content
will allow the consumer to gradually become
familiar with the Marble logo and design recipe as
they scroll past the various posts that will feature
on their newsfeed during this initial build up to
the store launch.
77

PRESS RELEASE
Before any other consumer engagement with the brand, Marble will send out samples of
their subscription boxes to relevant press and bloggers. Carefully selected groups will be
sent a ‘Mystery Box’ from Marble; including age-appropriate blogs such as, ‘The Woman’s
Room Blog’ and ‘Henpicked’, as well as publications that the consumer reads, such as The
Guardian, The Independent and The Sunday Time Style supplement . This will generate a
conversation around the mysterious Marble and the associated brands.
[Fig 64] Subscription Box (2016).
78

[Fig 65] The Sunday Time Style
Magazine (2013).
[Fig 67] The Independent (2014).
[Fig 66] The Guardian (2011).
These boxes will later
become available via
monthly subscription, similar
to the likes of Birchbox and
Look Fantastic, featuring
sample selections of various
products, individually
tailored to each consumer.
[Fig 68] Prima Magazine (2006).
79

Pop-up touchscreens will appear in public spaces surrounding the location of
the Marble store. These will play on the idea of the game ‘marbles’, allowing
potential consumers to engage in an interactive, digital experience. This
experience will capture the attention of the consumer during the day, while
waiting at a bus stop, or window shopping; both potential opportunities for
encouraging the consumer to actively participate, as opposed to places where
they may be busy, rushing to work or picking up their kids from school. The
consumer will engage in a game, whilst subconsciously being made aware of
the brand.
The interactive advert release will coincide with the website launch, and the
website link, as well as a QR code will be placed within the outdoor adverts, as
well as on Facebook page to help direct consumers to the Marble site.
[Fig 69] Bus Stop Advert (2014).
In terms of location, the first store needs to be well placed in order to suceed.
For this reason, it may be best to place the store with in an affluent town,
where a large percentage of the population fall into the older demographic.
This placement will also allow it to potentially thrive in an area where it is not
in direct competition with big name department stores. This will benefit the
consumer as well as the brand, as it will introduce a new service within their
area.
80

OUTDOOR ADS
81

[Fig 70] Website Mockup 1 (2016).
[Fig 71] Website Mockup 2 (2016).
82

WEBSITE
[Fig 72] Website Mockup 3 (2016).
83

84

THE SECOND
PHASE
85

“Human behavior flows from three main sources: desire, emotion, and
knowledge” (Maslen, A. 2015. Pg 19). As discussed by Andy Maslen, “you need
to find an emotional connection with the consumer, not the product” (Maslen,
A. 2015. Pg 21); this is fundamental in gaining the trust of your consumer.
This idea of an emotional connection to the consumer is also considered by
Phil Barden who states “consumers are willing to pay £2-£3 for a coffee in
Starbucks, yet they know, objectively, that for the price of two cups they could
buy a whole jar in a supermarket. So they must be buying into something else”
(Barden, P. 2013. Pg xiv). In the case of the Marble launch event, the brand will
gain an emotional connection with the consumer by selling them the idea of the
nostalgia of childhood memories. Emotional branding like this is not uncommon,
many famous brands have used this tactic to engage with consumers; Coca-
Cola, for example, is a brand synonymous with nostalgia, “the red Spencerian
script, the contoured plastic bottles that mimic the style of the old glass ones.
Clearly, this is a brand that isn’t afraid of letting its storied past shine through
into its modern marketing efforts” (Delaney, E. 2014). Marble’s approach to it’s
consumer will be somewhat similar, using nostalgic items to draw the attention
of the older consumer, rather than addressing them directly.
Marble’s launch event will be the most prominent example of emotional
marketing; featuring nostalgia foods, such as prawn cocktails, cheese and
pineapple sticks, black forest gateau and walnut whips. The overall atmosphere
will be upbeat and fun, with an ambient soundtrack of both new and old
songs; this will include flashes of the Beatles and popular hits from the 60’s
onwards. In Music, Emotivist theory states that “music is both a cause and an
effect of sentiment...the direct arousal of emotion...is a clue to its emotional
expressiveness” (Ushedo, B. 2006); indicating that the use of music may be key
to effectively creating a nostalgic and emotive environment.
[Fig 74] Prawn Cocktail (2014). [Fig 75] Abbey Road (2015).
86

LAUNCH EVENTS
[Fig 76] Black Forest Gateau (2014). [Fig 77] Makeup (2015).
As a recent VM Inspiration report from WGSN challenges stores tp, “reference
design eras, music styles, celebrities and iconic moments in history that
resonate as feel-good nostalgia with the older generation” (WGSN. 2015b),
giving an example of the “financial success of films such as The Best Exotic
Marigold Hotel, which grossed $137m with its modern-day angle on the life of
older generations” (WGSN. 2015b). This idea of nostalgic reference is not only
an emotive experience for the consumer but also a current VM trend that can
also be carried through elements of the Marble store.
The Pre-Launch Press Event will be held a week before the official launch.
The event will mimick the actual store launch plans, acting as a preview for
relevant press, bloggers and influencers, of the multi-platform brand and what
it will entail.
87

88

THE THIRD
PHASE
89

The Marble store will feature an array of physical and digital elements and
areas, including consultation pods and interactive counters. It will be sectioned
into several areas for the consumer to work their way through in order to fully
experience the Marble concept.
The consumer will begin at the consultation pod, a private space within
the store that houses individual ‘pods’; each pod will be kitted out with
touchscreen technology and a user-friendly interface that guides the consumer
through a start-up phase. Here they will create an account and answer
questions that will provide Marble with necessary information so that they can
guide the consumer directly to certain products and services. The pods provide
a solution to any insecurities that the consumer may have regarding publically
interacting with technology, and to take away time pressure, this is re-visitable
at any time. For those who feel that the privacy of a pod is not enough can
complete at home from the comfort of your own computer or smartphone via
the Marble website or App; both of which will have been available prior to the
store opening.
A recent VM Inspiration Trend Report from WGSN challenges retailers to “think
about age-related health issues such as failing eyesight and consider that poor
lighting and small ticketing or navigational signage may be deterrents for this
consumer base” (WGSN. 2015b); addressing these issue is fundamental to
creating a positive store environment for the older consumer. One of the ways
Marble will achieve this is via the use of QR codes.
The WGSN report also suggests brands “think about interests they may have
which are usually written off as youth concerns (such as music), and consider
creating coffee shop spaces or bars to encourage them to dwell” (WGSN.
2015b). As mentioned within the launch event, music will be used as one of
the ways they encourage a nostalgic atmosphere; this is something that can
be continued over the store as a whole. Marble will also take on the idea of
creating a space for the consumer to ‘dwell’; this will be taken on in the form
of a beauty bar. The ‘Marble Bar’ will include wireless charging technology,
provided by the company ‘AirCharge’, who install wireless charging points in
all sorts of venues, which benefits both the customer and the brand who can
receive various data and information from these devices. Offering these charge
points, as well as free in-store Wi-Fi via the brand’s app, will make it quick and
easy for customers to not just visit the store, but plug into the store for the
ultimate in interactive shopping experiences.
The store plays a critical part in the consumer journey; in terms of the
consumer loyalty loop, this is where the consumer will buy. Consequently, the
store needs to be approachable, informative and, most of all, persuasive.
90

THE STORE
[Fig 79] Store Mockup (2016).
[Fig 80] Clinique Pods (2014). [Fig 81] Loyalty Loop (2015).
91

92

THE FOURTH
PHASE
93

PRINT ADVERTS
The print advertisement for Marble has to consider several current social issues
around ageing and the way in which brand talk to the older consumer. Following
the release of the most recent Star Wars film, a social media debate started
around ageing after actress Carrie Fisher received negative comments about
her appearance. The 59-year-old Star Wars star addressed these comments
by stating “youth and beauty are not accomplishments; they are temporary”
(Libby, C. 2016). Many women feel that older women aren’t well represented
within marketing, especially that by the beauty industry.
As a recent Mintel report discovered, “37% of Baby Boomers feel generally
excluded in advertising...whilst 46% feel that their age group is stereotyped...
this reflects the limited presence consumers in this generation are given in the
majority of campaigns” (Mitskavets, I. 2015). This was also reflected within
the primary research questionnaire, where 29.4% of participants agreed that
women over 45 are poorly represented in beauty advertising (Appendix F.2).
One participant added that when models over 45 are used, they are usually
well-known models or celebrities; whilst some people may view such public
figures as role models or advocates, they may actually be putting some
consumers off due to them not being relatable. As Sindy Kaur discussed “there
is a real backlash against celebrities now...we trusted these celebrities, but
then it’s found that so many of these images are photoshopped, they’ve got
these teams...the nutritionist, the chef, the...trainer, and that’s not what the
average person wants or has, they need a real representative” (Appendix F.4).
Consequently, it seems vital for Marble to take a new, fresh approach to their
print advertisement; carefully selecting a representative model. Placing said
model within the abstract, humourous composition, on the right, will help deter
from the model and bring the attention back to the brand’s playful attitude.
The print advertisements will be released later in the marketing journey; they
will therefore coinside with the release of the loyalty scheme. The copy will
read ‘come and collect your marbles’, hinting comically at the intended age
range whilst also encouraging engagement from the consumer.
94

[Fig 83] Print Ad Mock Up (2016).
95

96

THE FIFTH
PHASE
97

THE FIRST 5 YEARS
1ST YEAR
See
timeline on
pages 76 +
77
2ND YEAR
Pop up stores
in possible new
locations
3RD YEAR
2nd store in a
town
As a recent VM Inspiration report from WGSN challenges stores tp, “reference
design eras, music styles, celebrities and iconic moments in history that
resonate as feel-good nostalgia with the older generation” (WGSN. 2015b),
giving an example of the “financial success of films such as The Best Exotic
Marigold Hotel, which grossed $137m with its modern-day angle on the life of
older generations” (WGSN. 2015b). This idea of nostalgic reference is not only
an emotive experience for the consumer but also a current VM trend that can
also be carried through elements of the Marble store.
98

4TH YEAR
Mainstream
TV and radio
advertising
5TH YEAR
Store within a
shopping centre
99

100

acetate
pg 3
101

102

103

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107

LIST OF
ILLUSTRATIONS
Cover
Black and White Marble (2016). Own Image, see Appendix Q. [Edited in Photoshop].
Coloured Marble (2016). Own Image, see Appendix Q
Inside Cover Image
[Fig 1] Black and White Marble (2016). Own Image, see Appendix Q. [Edited in Photoshop].
Contents Page
[Fig 2] Coloured Marble (2016). Own Image, see Appendix Q.
[Fig 3] Black and White Marble (20160. Own Image, see Appendix Q. [Edited in Photoshop].
Part One Divider
[Fig 4] Black and White Marble with White Circle Outline (2016). Own Image, see Appendix Q. [Edited
in Photoshop].
[Fig 5] Coloured Marble (2016). Own Image, see Appendix Q.
Introduction
[Fig 6] In-store Technology (2014). Image source: https://www.washingtonpost.com/business/capi-
talbusiness/this-holiday-season-high-end-retailers-go-high-tech/2014/11/21/6b87eef2-66a7-11e4-
bb14-4cfea1e742d5_story.html. [Edited in Photoshop].
[Fig 7] Black and White Marble (2016). Own Image, see Appendix Q. [Edited in Photoshop].
The Strength of Online Retail
[Fig 8] Black and White Marble with iPhone Outline (2016). Own Image, see Appendix Q & Image
source: http://demos2.gambit.ph/mockup?preview. [Edited in Photoshop].
[Fig 9] iPhone (2015). Image source: http://www.macworld.co.uk/news/iphone/iphone-6s-releasedate-price-specs-features-uk-rose-gold-contracts-deals-tarrifs-bugs-errors-samsung-tsmc-waterproof-3589633/
[Fig 10] Wearable Tech Show (2016). Image source: http://www.drawandcode.com/wearable-technology-show-2016-video/
[Fig 11] Marco Dal Lago (2016). Image source: http://www.wearabletechnologyshow.net/home
[Fig 12] Click and Collect Ad (2015). Image source: http://pioneeringooh.com/could-click-and-collect-save-the-high-street-by-russell-smither-insight-director-posterscope/
[Fig 13] Amazon Book Store, Seattle (2015). Image source: http://www.destination360.com/amazon/
amazon-bookstore
108

[Fig 14] Amazon Book Store (2015). Image source: http://www.keyword-suggestions.com/
YW1hem9uIG9ubGluZSByZXRhaWwgc3RvcmU/
The Relevance of In-store Experiences
[Fig 15] Black and White Marble with Touchscreen Outline (2016). Own Image, see Appendix Q & Image
source: http://www.shutterstock.com/pic-321407546/stock-vector-touch-screen-tablet-outlinevector-icon-simple-flat-pictogram-on-pink-background.html.
[Edited in Photoshop].
[Fig 16] Deathtoknocko (2001). Own photograph from the ‘Electronic Superhighway’ Exhibition in
Whitechapel, London (see Appendix G:7). Artist: Albert Oehlen. Photo taken: 2nd April 2016.
[Fig 17] Black and White Marble (2016). Own Image, see Appendix Q. [Edited in Photoshop].
[Fig 18] Internet Dream (1994). Own photograph from the ‘Electronic Superhighway’ Exhibition in
Whitechapel, London (see Appendix G:7). Artist: Nam June Paik. Photo taken: 2nd April 2016. [Edited
in Photoshop].
[Fig 19] Substrat 34 I (2007). Own photograph from the ‘Electronic Superhighway’ Exhibition in Whitechapel,
London (see Appendix G:7). Artist: Stan VanDerBeek. Photo taken: 2nd April 2016.
[Fig 20] Poemfield No. 1 (1967). Own photograph from the ‘Electronic Superhighway’ Exhibition in
Whitechapel, London (see Appendix G:7). Artist: Thomas Ruff. Photo taken: 2nd April 2016.
[Fig 21] Loading (2007). Own photograph from the ‘Electronic Superhighway’ Exhibition in Whitechapel,
London (see Appendix G:7). Artist: Aristarkh Chernyshev. Photo taken: 2nd April 2016.
[Edited in Photoshop].
[Fig 22] Internet Cache Self Portrait (2015). Own photograph from the ‘Electronic Superhighway’ Exhibition
in Whitechapel, London (see Appendix G:7). Artist: Evan Roth. Photo taken: 2nd April 2016.
[Fig 23] Louis Vuitton, Series 3 Exhibition (2015). Image Source: http://www.vogue.co.uk/
news/2015/09/21/louis-vuitton-series-3-exhibition-preview---london.
[Fig 24] Louis Vuitton, Series 3 Exhibition (2015). Image Source: https://i-d.vice.com/en_us/article/
louis-vuitton-launches-series-three-exhibition-in-london.
[Fig 25] Topshop x Inition (2014). Image source: http://interlaced.co/project/fashion-explores-its-future-through-innovative-immersive-virtual-reality-initiatives/
The Rise of Hyper-Personalisation
[Fig 26] Black and White Marble with Envelope Outline (2016). Own Image, see Appendix Q & Image
source: http://www.freepik.com/free-icon/envelope-rectangular-outline-variant_737867.htm. [Edited
in Photoshop].
[Fig 27] Facebook (2015). Image source: http://yourwebsitefirst.com/what-facebook-has-plannedfor-the-next-three-years/.
[Fig 28] Graze Box (2014). Image source: http://www.girlmeetsdress.com/blog/partner/graze-tryyour-first-box-completely-free/.
109

[Fig 29] Birchbox (2015). Image source: http://www.reallyree.com/2015/08/birchbox-selfridges-build-your-own-birchbox.html.
New and Emerging tech
[Fig 30] Black and White Marble with Smartwatch Outline (2016). Own Image, see Appendix Q &
Image source: https://www.iconfinder.com/icons/459953/apple_apps_device_iwatch_smart_smartwatch_watch_icon.
[Edited in Photoshop].
[Fig 31] Movement (2016). Own photograph from The Trend Boutique’s AW 17-18 Trend Briefing (see
Appendix H.7) Photo taken: 24th February 2016.
[Fig 32] NYX Store (2015). Image source: http://www.ellecor.com/?portfolio=nyx-interactive-in-store-experience.
The Invisible consumer
[Fig 33] Black and White Marble with Faded Female Outline (2016). Own Image, see Appendix Q &
Image source: https://thrivelifeskills.wordpress.com [Edited in Photoshop].
[Fig 34] Innovation Curve (2016). Created in Photoshop.
[Fig 35] Clinique Great Skin Lab (2015). Image source: http://www.marieclaire.co.uk/news/beauty/547675/clinique-great-skin-lab.html.
[Fig 36] Clinique Great Skin Lab (2015). Image source: http://manface.uk/worlds-first-independentpop-up-clinique-boutique-clinique-great-skin-lab/
ml
[Fig 37] Perceptual Map (2016). Created in Photoshop.
The New Middle Age
[Fig 38] Black and White Marble with Text (2016). Own Image, see Appendix Q. [Edited in Photoshop].
[Fig 39] Beauty Bible (2011). Image source: http://thewomensroom.typepad.com/the_womens_room/
page/6/.
[Fig 40] Pretty Honest (2016). Image source: http://www.surangi-style.com/2016/04/20/pretty-honest-sali-hughes/.
[Fig 41] The Invisible Woman (2015). Image source: http://www.allenandunwin.co.nz/browse/books/
general-books/self-help-practical/The-Invisible-Woman-Helen-Walmsley-Johnson-9781848318441.
The Lady that Lunches
[Fig 42] Black and White Marble with Female Outline (2016). Own Image, see Appendix Q & Image
source: https://thrivelifeskills.wordpress.com [Edited in Photoshop].
[Fig 43] Explorer (2016). Image source: http://www.sparkol.com/engage/the-12-brand-archetypesall-successful-businesses-are-built-on/.
[Edited in Photoshop].
[Fig 44] Ruler (2016). Image source: http://www.sparkol.com/engage/the-12-brand-archetypes-allsuccessful-businesses-are-built-on/.
[Edited in Photoshop].
[Fig 45] Innocent (2016). Image source: http://www.sparkol.com/engage/the-12-brand-archetypesall-successful-businesses-are-built-on/.
[Edited in Photoshop].
[Fig 46] Consumer Profile (2016). Own image, see Appendix Q, and Illustration. [Edited in Photoshop
& Illustrator].
110

The Big Idea
[Fig 47] Black and White Marble with Lightbulb Outline (2016). Own Image, see Appendix Q. [Edited
in Photoshop].
[Fig 48] Fashion Hierarchy (2015). Scanned from: Posner, H (2015). Marketing Fashion: Strategy,
Branding and Promotion. London: Laurence King Publishing Ltd.
Part Two Divider
[Fig 49] Black and White Marble with White Circle Outline (2016). Own Image, see Appendix Q. [Edited
in Photoshop].
[Fig 50] Coloured Marble (2016). Own Image, see Appendix Q.
Marble
[Fig 51] Logo (2016). Black and White Marble with Text (2016). Own Image, see Appendix Q. [Edited
in Photoshop].
The Branding
[Fig 52] Black and White Marble with Text (2016). Own Image, see Appendix Q. [Edited in Photoshop].
[Fig 53] Blue Marble (2016). Own Image, see Appendix Q. [Edited in Photoshop].
[Fig 54] Colour Pallette (2016). Created in Photoshop.
[Fig 55] Logo (2016). Own Image, see Appendix Q. [Edited in Photoshop].
[Fig 56] Moodboard (2016). Created in Photoshop, Includes own image, see Appendix Q. [Edited in
Photoshop].
The Consumer Insight
[Fig 57] Black and White Marble with Lightbulb Outline (2016). Own Image, see Appendix Q. [Edited
in Photoshop].
[Fig 58] Consumer Day-In-The-Life (2016). Created in Photoshop.
The Timeline
[Fig 59] Black and White Marble with Clock Outline (2016). Own Image, see Appendix Q & Image
source: https://pptcrafter.wordpress.com/2013/04/25/drawing-in-powerpoint-clock-icons/. [Edited in
Photoshop].
The First Phase
[Fig 60] Black and White Marble with Text (2016). Own Image, see Appendix Q. [Edited in Photoshop].
[Fig 61] Facebook Mockup (2015). Image source: http://www.sociotrope.com/2015/01/facebook-down.html.
[Edited in Photoshop]. Using own Image, see Appendix Q.
[Fig 62] Facebook Mockup (2015). Image source: http://www.sociotrope.com/2015/01/facebook-down.html.
[Edited in Photoshop]. Using own Image, see Appendix Q.
[Fig 63] Facebook Mockup (2015). Image source: http://www.sociotrope.com/2015/01/facebook-down.html.
[Edited in Photoshop]. Includes own Image, see Appendix Q.
[Fig 64] Subscription Box (2016). Image source: http://www.wbc.co.uk/70mm-kraft-cupcake-box.
[Edited in Photoshop]. Includes own Image, see Appendix Q.
111

[Fig 65] The Sunday Time Style Magazine (2013). Image source: http://www.eyeshadowlipstick.com/
wp-content/uploads/2013/06/Karlie-Kloss-by-Miguel-Reveriego-for-The-Sunday-Times-Style-Magazine-May-2013.jpg.
[Fig 66] The Guardian (2011). Image source: https://cynicaljournalist.wordpress.com/2011/02/09/
front-pages-reviewed-at-midnight-wednesday-9-february-2011/.
[Fig 67] The Independent (2014). Image source: https://upload.wikimedia.org/wikipedia/en/f/f6/
The_Independent_front_page.jpg.
[Fig 68] Prima Magazine (2006). Image source: http://www.markglenn.com/images/news/2006/2006-
04-02-Prima-Magazine-Cover.jpg.
[Fig 69] Bus Stop Advert (2014). Image source: http://rwdmag.com/worst-fears-come-true-with-interactive-bus-stop-ad/.
[Edited in Photoshop]. Includes own photograph.
[Fig 70] Website Mockup 1 (2016). Created in Photoshop. Uses own image, see Appendix Q.
[Fig 71] Website Mockup 2 (2016). Created in Photoshop. Uses own image, see Appendix Q.
[Fig 72] Website Mockup 3 (2016). Created in Photoshop. Uses own image, see Appendix Q.
The Second Phase
[Fig 73] Black and White Marble with Text (2016). Own Image, see Appendix Q. [Edited in Photoshop].
[Fig 74] Prawn Cocktail (2014). Image source:http://www.jamieoliver.com/recipes/seafood-recipes/
seafood-cocktail/.
[Fig 75] Abbey Road (2015). Image source: http://www.radiotimes.com/news/2015-09-19/doctorwho-does-the-beatles--but-does-this-picture-prove-clara-oswald-will-die.
[Fig 76] Black Forest Gateau (2014). Image source: http://www.recipeshubs.com/black-forest-gateaux/20931.
[Fig 77] Makeup (2015). Image source: http://excoupuk.com/blog/makeup-revolution-london-haul/.
The Third Phase
[Fig 78] Black and White Marble with Text (2016). Own Image, see Appendix Q. [Edited in Photoshop].
[Fig 79] Store Mockup (2016). Created on Roomstyler.
[Fig 80] Clinique Pods (2014). Image source: http://www.timeout.com/london/shopping/cliniquegreat-skin-lab.
[Fig 81] Loyalty Loop (2015). Image source: https://www.haikudeck.com/how-to-plan-a-campaign-business-presentation-DTyZu3eL7g.
The Fourth Phase
[Fig 82] Black and White Marble with Text (2016). Own Image, see Appendix Q. [Edited in Photoshop].
[Fig 83] Print Ad Mock Up (2016). Own Photograph, see Sketchbook & Own Image, see Appendix Q.
[Edited in Photoshop].
The Fifth Phase
[Fig 84] Black and White Marble with Text (2016). Own Image, see Appendix Q. [Edited in Photo-
112

shop].
Part Three Divider
[Fig 85] Black and White Marble with White Circle Outline (2016). Own Image, see Appendix Q. [Edited
in Photoshop].
[Fig 86] Coloured Marble (2016). Own Image, see Appendix Q.
Part Four Divider
[Fig 87] Black and White Marble with White Circle Outline (2016). Own Image, see Appendix Q. [Edited
in Photoshop].
[Fig 88] Coloured Marble (2016). Own Image, see Appendix Q.
113

114

acetate
pg 4
115

116

117

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BOOKS
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Age. United Kingdom: Wiley.
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Hughes, S (2014). Pretty Honest. London: Fourth Estate. p89-127.
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USA: Kogan Page Limited.
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Ltd.
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India.
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skin. St Ives: Vermillion.
Walmsley-Johnson, H (2015). The Invisible Woman: Taking on the Vintage Years. London: Icon Books.
130

TELEVISION
PROGRAMS, FILMS
AND DOCUMENTARIES
Advanced Style, 2014. [Documentary]. Lina Plioplyte. Released: May 9, 2014.
Advanced Style: Men, 2015. [Documentary]. Lina Plioplyte and Nowness.
Fabulous Fashionistas, 2013. [Documentary]. Sue Bourne. United Kingdom: Channel 4. Released: Tue
17 Sep 2013.
Iris, 2014. [Documentary]. Albert Maysles. Released: 9 Oct 2014.
The True Cost. [Documentary]. Andrew Morgan. Released: May 29, 2015.
Te rm s a n d C o n d i t i o n s M a y A p p l y. [ D o c u m e n t a r y ] . C u l l e n H o b a c k . Re l e a s e d : J u l y 1 2 , 2 0 1 3 .
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EVENTS AND EXHIBITIONS
ADMT Advertising Exhibition (2016). [Exhibition: Tokyo] Attended: 4th February 2016.
Alexander McQueen: Savage Beauty (2015). [Exhibition: London] Attended: 3rd May 2015.
Electronic Superhighway (2016). [Exhibition: London] Attended: 2nd April 2016.
Friends of Henpicked (2016). [Event: Nottingham] Attended: 25th February 2016.
Good Food Show (2015). [Event: Birmingham] Attended: 12th June 2015.
LS:N Global Trend Briefing (2015). [Event: Nottingham] Attended: 21st October 2015.
Mad About the Boy (2016). [Exhibition: London] Attended: 2nd April 2016.
Nott Tuesday (2016). [Event: Nottingham] Attended: 16th February 2016.
Pure Tradeshow (2015). [Event: London] Attended: 3rd August 2015.
Raw Print (2016). [Event: Nottingham] Attended: 2nd March 2016.
The Clothes Show (2015). [Event: Birmingham] Attended: 4th, 7th & 8th December 2015.
The Trend Boutique: A/W 17-18 Trend Presentation (2016). [Event: Nottingham] Attended: 24th
February 2016.
The Wearable Tech Show 2016 (2016). [Event: London]. Attended: 15th March 2016.
132

WEBSITES
Apple UK. http://www.apple.co.uk
Beauty Bay. https://www.beautybay.com
Birchbox. https://www.birchbox.co.uk
Feel Unique. http://feelunique.com
GlossyBox. http://www.glossybox.com
Google Cardboard. https://www.google.com/get/cardboard/get-cardboard/
Happy Goggles. http://www.happygoggles.se/en/
HoloLens. https://www.microsoft.com/microsoft-hololens/en-us/development-edition
Look Fantastic. http://lookfantastic.com/
Which Beauty Box UK. http://whichbeautyboxuk.com
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