This document provides an integrated marketing communications proposal for the luxury perfume brand Penhaligon's. It includes an analysis of the perfume market and Penhaligon's competitors. The proposal centers around acquiring new younger customers while retaining older customers through a campaign emphasizing Penhaligon's elegance with a touch of eccentricity. The 6 month campaign uses various marketing channels including advertising, direct marketing, promotions and public relations. It aims to increase the brand's turnover to £15 million and achieve a return on investment of 2.7.

1.
Integrated
Marketing
Communications
Campaign
Project
University
of
Westminster
2014
–
2015
Helene
Hildebrandt
(W1500584)

2. 2
Table
of
content
I. Executive
summary
II. IMC
Proposal
1. Market
and
industry
parameter
(p.5)
a. Overview
of
the
market
and
market
dynamics
(p.5)
b. PEST
analysis
(p.7)
c. Opportunities
and
threats
(p.8)
2. Competitor
evaluation
(p.10)
a. Crabtree
and
Evelyn
(p.11)
b. Jo
Malone
(p.13)
c. Creed
(p.15)
d. Floris
(p.17)
e. Positioning
map
(p.18)
f. Penhaligon’s
strengths
and
weaknesses
(p.19)
3. Overview
of
the
brand
(p.20)
a. Keller’s
brand
equity
model
(p.22)
4. Clarification
of
the
strategic
marketing
opportunity
to
be
developed
for
the
brand
(p.26)
a. Ansoff
Matrix
(p.26)
5. Quantified
marketing
objectives,
implications
for
the
IMC
and
financial
situation
(p.28)
6. Summary
–
outlining
the
proposal
for
marketing
communications
(p.30)

3. 3
III. IMC
development
1. Objectives
and
scopes
(p.31)
a. Definition
of
the
integrated
marketing
and
analysis
of
the
marketing
mix
tools
(p.31)
b. Objectives
and
strategy
(p.33)
c. Target
audience
definition
(p.34)
2. Communication
and
campaign
strategy
a. Analysis
of
the
marketing
channels
(p.40)
b. Clarification
of
the
marketing
tools
to
be
developed
during
the
campaign
(p.45)
3. IMC
delivery
(p.50)
a. Communication
tools
developed
during
the
campaign
(p.50)
b. Campaign
development
schedule
(p.59)
c. Campaign
Budget
(p.65)
4. Evaluation
outcome
(p.69)
a. Pre-­‐testing
(p.69)
b. Real-­‐time
tracking
(p.69)
c. Post-­‐testing
(p.70)
d. Campaign
outcome
and
ROI
(p.73)
5. Bibliography
(p.74)
6. Appendix
1
(p.90)
7. Appendix
2
(p.91)
8. Budget
(p.93)
9. Timeline
(p.94)

4. 4
I. Executive
summary
Penhaligon’s
is
a
luxury
perfume
house
offering
sophisticated
products
for
beauty
conscious
people
with
high
standards,
and
a
taste
for
elegance
and
eccentricity.
Until
now,
the
label
has
been
doing
various
communications
enhancing
its
traditional
side
(using
visuals
with
elegant
women
wearing
long
dresses
and
men
with
top
hats
and
moustaches,
wearing
three-­‐pieces
suits).
After
a
deep
analysis
of
the
brand
profile
and
its
current
target
audience
we
came
out
with
an
integrated
campaign
centred
on
the
idea
of
distinction
and
eccentricity.
We
have
realized
that
aiming
at
a
larger
target
group
by
adding
a
fresher
and
younger
look
to
the
brand
could
be
a
great
opportunity
to
increase
its
awareness
and
sales.
The
corporate
goal
of
this
integrated
marketing
campaign
is
to
become
a
brand
of
reference
for
exclusive
perfume
houses,
by
acquiring
20.000
customers
aged
24-­‐35
and
retaining
80.000
35-­‐54
years
old
customers.
In
order
to
make
our
campaign
appealing
for
both
publics
we
have
decided
to
use
the
elegant
image
that
the
brand
has
been
promoting
so
far,
adding
it
the
touch
of
eccentricity
that
gives
it
the
original
side.
We
came
up
with
the
tagline
“Penhaligon’s,
elegance,
with
a
touch
of
eccentricity”.
This
communication
lasts
6
months
(From
September
2015
until
January
2016)
and
is
based
on
press
advertising,
direct
marketing,
sales
promotions
and
public
relations.
We
ensured
that
our
marketing
tools
are
fully
integrated
and
promote
the
exclusive
and
eccentric
image
of
Penhaligon’s.
Our
business
objective
is
to
increase
the
company’s
turnover
to
£15
million
(UK)
via
content
engagement
and
trial
incentives.
Our
return
on
investment
is
2.7.

5. 5
II. Integrated
Marketing
Communications
Proposal
1. Market
and
industry
parameters
a. Overview
of
the
market
status
and
dynamics
The
fragrance
industry
is
a
highly
competitive
highly
profitable
market
addressed
by
a
vast
variety
of
brands
with
products
ranging
from
mass-­‐market
to
selective
luxury.
Historically
it
has
been
aiming
at
a
feminine
audience
(in
2010
the
feminine
fragrance
market
was
estimated
at
£739
million
with
a
growth
of
2.4%
year-­‐to-­‐year
in
the
UK
(Mintel,
2010))
but
nowadays
it
is
increasingly
attracting
men
(the
men’s
fragrance
market
value
in
2014
in
the
UK
was
of
£33,58
million
(Statista,
2015).
In
addition
to
generating
high
margins
the
perfume
industry
is
a
very
stable
one:
it
has
been
barely
impacted
by
the
economic
recession
(Mintel,
2012).
Fragrance
sales
value
rose
by
5%
in
2013
in
the
UK
thanks
to
premium
and
mass
products
consumption
still
on
the
rise
(Euromonitor,
2014).
The
niche
sector
in
particular
has
remained
undisturbed
as
luxury
brands
users
seldom
trade-­‐down.
Premium
brands
are
almost
not
being
limited
by
price
considerations
hence
their
enhanced
freedom
to
take
financial
risks
and
protect
their
margins.
Despite
these
benefits,
the
perfume
industry
is
being
faced
with
numerous
challenges:
the
competition
is
intense,
the
sales
cycle
remains
highly
seasonal
(73%
of
women
receive
perfumes
for
Christmas,
63%
for
their
birthday
(Mintel,
2010)),
the
population
is
ageing
and
does
not
use
perfumes
as
frequently
as
it
used
to.
Today,
the
fragrance
industry
needs
to
address
a
highly
demanding
audience
in
order
to
succeed
at
restoring
its
competitiveness.
The
innovative
character
of
a
fragrance
no
longer
suffices
at
attracting
new
customers
(women’s
fragrances
are
the
main
industry
for
new
introductions
with
new
products
accounting
for
close
to
two
thirds
of
all
UK
product
launches
every
year)
while
an
increasing
number
of
people
are
looking
for
quality
and
authenticity
when
buying
perfumes
(Mintel,
2010).
Thus
37%
of
consumers
use
luxury

6. 6
fragrances
and
aftershaves
while
58%
still
agree
they
are
worth
buying
at
a
premium
price
(67%
of
55-­‐64
years
old
(Mintel,
2015)).
For
a
certain
category
of
consumers
the
uniqueness
of
the
brand
is
an
expression
of
luxury:
they
find
pleasure
in
seeking
out
and
finding
an
exquisite
perfume
that
will
make
them
stand
out.
Niche
brands
built
upon
differentiating
-­‐sometimes
authentic
stories
are
also
appealing:
they
help
to
create
a
bond
between
the
brand
and
its
target
audience
through
building-­‐up
an
efficient
word-­‐of-­‐mouth.
That
is
why
classic
brands
such
as
Grossmith
(a
perfume
house
that
used
to
supply
scents
designed
especially
for
Queen
Victoria)
are
being
revived
and
still
attract
new
customers.
In
this
report
we
shall
focus
on
both
feminine
and
masculine
UK
premium
fragrance
markets.
The
histogram
hereunder
presents
the
value
of
the
premium
women's
fragrance
market
in
the
United
Kingdom
(UK)
with
actual
figures
from
2007
up
to
2014,
and
a
forecast
for
2017.
In
2013,
the
UK
women’s
premium
fragrance
estimated
market
value
was
slightly
above
1.02
billion
U.S.
dollars.
(Statista,
2015)

7. 7
b. PEST
analysis
Political
Economic
Social
Technological
-­‐
European
cosmetics
and
hygiene
products-­‐related
regulations
are
quite
strict:
in
order
to
ensure
that
a
product
can
be
used
safely;
list
of
ingredients
as
well
as
product
durability
period
must
be
clearly
displayed
on
the
package.
Other
constraints
apply
as
well.
This
may
slow-­‐down
innovation
and
creativity
pace
as
more
and
more
pre-­‐commercialization
tests
–
more
and
more
upfront
costs,
are
being
required
to
launch
(EC
Europa,
2015)
-­‐
Regulations
and
fiscal
charges
may
discourage
manufacturers
and
eventually
effectively
result
in
price
increases.
-­‐
The
unemployment
rate
results
in
a
decrease
of
the
purchasing
power.
Customers
may
switch
from
premium
goods
to
cheaper
ones,
however
the
luxury
sector
is
relatively
unaffected
by
the
slow
economic
environment
(Mintel,
2015)
-­‐
Traditional
brands
attract
conservative
women
while
young
people
like
to
experiment
with
perfumes
(
Lambert-­‐
Pandraud,
R.
and
Laurent,
G.,2010)
-­‐
Fragrance
sales
are
mostly
seasonal
and
perfumes
are
usually
purchased
as
gifts
(Mintel,
2010)
-­‐
Easy
to
buy
perfumes
online
thanks
to
e-­‐
commerce
-­‐
Popularity
of
social
networking
encourages
companies
to
advertise
on-­‐line
(eg.
Penhaligon’s
or
Jo
Malone
Facebook
pages)
-­‐
New
technologies
allow
for
creating
perfumes
that
never
cause
allergies.

8. 8
c. Opportunities
1. Expending
into
other
countries
2. Addressing
women
aged
25-­‐34
represents
a
growing
opportunity
for
the
fragrance
industry,
but
manufacturers
should
not
ignore
older
consumers
(Webcache,
2015)
3. Introducing
new
formats
such
as
solid
perfume.
They
are
hassle-­‐free
and
convenient.
They
can
take
various
forms
such
as
rings
or
pendants
(Mintel,
2012)
4. Creating
an
organic
line
of
products
and
strongly
communicating
on
sustainable
growth
when
further
expanding
brand-­‐awareness.
5. Capitalizing
on
the
expansion
of
e-­‐commerce
that
facilitates
the
purchase
of
perfumes
on-­‐line
6. Making
use
of
the
development
of
social
networks
to
advertise
on-­‐line.
d. Threats
(Mintel,
2010)
1. Some
3.43
million
(13.1%)
UK
women
do
not
currently
use
fragrance
with
usage
dropping
as
women
grow
older
2. Intense
competition
in
luxury
fragrance
market
strengthens
(Jo
Malone,
Chanel,
Dior)
3. Sales
remain
seasonal
with
75%
of
sales
still
taking
place
over
the
Christmas
period
(Mintel,
2010)
4. Although
young
women
remain
the
main
users
of
fragrances,
some
1.5
million
16-­‐24s
(37%)
admit
they
don’t
always
remember
to
apply
them
–
while
the
average
of
women
who
forget
to
apply
perfumes
regularly
is
only
23%.
5. The
number
of
women
with
no
plans
to
change
the
fragrance
they
wear
is
on
the
rise.
Almost
one
fifth
(18%)
of
women
plan
to
stick
to
the
one
they
already
own
–
quite
a
change
from
2007,
when
only
7%
never
even
considered
changing
their
fragrance.
6. Four
women
under
25
years
old
out
of
ten
forget
to
apply
their
fragrance
7. 13,1%
of
UK
women
do
not
use
any
fragrance
and
usage
even
drops
further
as
women
grow
older

9. 9
8. 1.5
million
16-­‐24
years-­‐old
women
(37%)
forget
to
apply
fragrance.
One
in
five
women
plans
to
keep
with
the
perfume
they
already
have.
9. European
cosmetic
regulations
as
well
as
taxes
may
slow
the
innovation
and
creativity
of
the
brands

10. 10
2. Competitor
evaluation
Penhaligon’s
is
a
British
premium
perfume
house
targeting
rather
affluent
men
and
women
in
their
middle
age.
It
offers
a
variety
of
sophisticated
perfumes
in
a
refined
and
elaborated
packaging
with
prices
ranging
from
£85
to
£150
for
a
100ml
bottle.
The
brand
has
a
long
heritage
and
an
interesting
history,
which
attracts
customers
looking
for
tradition
and
differentiation
when
buying
perfumes.
The
following
brands
are
Penhaligon’s
indirect
competitors:
each
of
them
is
a
British
perfume
house
offering
sophisticated
products.
They
are
expensive
brands,
Creed
being
the
most
luxurious
one
and
Crabtree
and
Evelyn
the
most
accessible
one.
Creed
and
Floris
are
brands
with
a
rich
heritage,
just
like
Penhaligon’s.
Jo
Malone
and
Crabtree
&
Evelyn
are
rather
modern
brands
(founded
at
the
beginning
of
the
20th
Century).

11. 11
a. Crabtree
and
Evelyn
(C&E)
(Crabtree
and
Evelyn,
2015;
Harris,
R.
C&E
case
study,
2015;
NMA,
2015)
Crabtree
&
Evelyn
is
an
international
company
founded
in
1972
and
known
for
its
fragrances
and
toiletries.
It
offers
a
variety
of
body
products
such
as
creams,
perfumes
or
soaps,
gourmet
foods,
gifts
or
even
sleepwear
and
bed
accessories.
The
price
of
their
fragrances
ranges
from
£20
to
£198
for
a
100
ml
bottle.
The
brand
has
started
as
a
small
family
business
and
has
gained
recognition
and
respect
over
the
years.
A
special
attention
is
granted
to
product
packaging
and
customer
experience
in
store.
C&E
positions
itself
as
a
brand
with
a
tradition
targeting
mainly
modern
women
with
an
average
income
that
have
time
to
take
care
for
themselves
and
for
their
image.
After
a
bankruptcy
in
2009
and
the
closing
of
over
30
stores,
C&E
recovered
and
started
to
grow.
Its
current
marketing
strategy
is
based
on
a
five-­‐years
digital
marketing
campaign
aiming
at
attracting
new
audiences.
The
brand
is
looking
to
increase
its
activity
on
social
media,
adapting
itself
to
the
expansion
of
e-­‐commerce.
The
main
strength
of
C&E
is
the
fact
that
it
covers
a
wide
price-­‐range:
there
are
perfumes
priced
at
£20
as
well
as
ones
well
above
£100.
A
wide
distribution
network
(vast
choice
of
stores
in
the
United
States,
Canada,
South
America,
Europe,
Asia,
Australia
and
Africa
–
40
stores
in
all)
is
another
key
element
of
their
sensible
marketing-­‐mix.
However,
it
has
a
less
sophisticated
image
than
Penhaligon’s
and
appears
as
being
more
mainstream.
In
order
to
truly
understand
Penhaligon’s
positioning
we
will
perform
a
SWOT
analysis
for
each
of
our
brand
competitors
–
comparing
their
strengths,
weaknesses,
opportunities
and
threats
to
those
of
Penhaligon’s.

12. 12
Strengths
1. International
company
(over
500
stores
worldwide)
2. Different
prices
(perfumes
available
from
£28
to
almost
£200)
Weaknesses
1. Aggressive
customer
contact
(Chiefmarketer,
2011)
2. Using
discounts
as
a
regular
sales
promotion
strategy
makes
the
brand
look
cheap
3. Perceived
as
mainstream
4. Unclear
positioning
–
the
price
gap
between
their
products
is
too
important.
It
seems
to
be
a
premium
brand
at
first
glance
but
some
of
their
merchandise
looks
mainstream
and
seems
to
be
designed
for
the
mass
market
Opportunities
1. The
digital
marketing
strategy
they
have
been
setting-­‐up
lately
may
be
more
efficient
than
their
current
marketing
actions
Threats
1. Sales
promotion
as
a
regular
marketing
tool
may
deteriorate
the
brand
perception
2. Rough
competition
amongst
beauty
products
retailers,
especially
if
C&E
decides
to
expand
their
target
audience
to
a
more
“mass
market”
one

13. 13
b. Jo
Malone
(Fragrantica,
Wikiluxurybrands,
Elcompanies,
Jo
Malone,
2015)
Jo
Malone
is
a
British
luxury
fragrance
brand
famous
for
its
iconic
fragrances
and
luxury
lifestyle
products.
Originally
Jo
Malone
started
the
fragrance
industry
as
a
florist
by
day
and
beautician
at
night.
In
1994,
Jo
Malone
opened
her
first
boutique
in
London
presenting
a
variety
of
fragrances,
skin
care
and
home
scents.
The
flagship
boutique
opened
five
years
later
on
Sloane
Street
in
London.
The
price
of
Jo
Malone’s
fragrances
ranges
from
£82
to
£100
for
a
100
ml
bottle.
The
particularity
of
the
brand
is
the
fact
that
it
offers
co-­‐ed
scents
that
can
be
combined
in
order
to
create
a
personalised
perfume.
A
special
attention
is
also
granted
to
a
premium
packaging,
simple
and
tasteful.
Since
1999
the
company
is
part
of
the
beauty
industry
giant
Estee
Lauder
Inc.
and
is
distributed
in
33
countries
all
over
the
world.
The
last
marketing
campaign
of
the
brand,
for
the
launch
of
the
“Jo
loves”
fragrance
line
(2015),
has
generated
£1
billion
revenue
for
the
UK
branch.
(Burn-­‐Callander,
R.
Jo
Malone
survives
'the
wilderness
years'
to
come
back
fighting,
2015)
The
brand’s
strength
is
the
possibility
to
combine
different
scents
in
order
to
create
one
original
fragrance
–
an
unusual
way
to
engage
with
the
customer.
This
option
makes
the
brand
specific
and
differentiates
it
from
other
perfume
houses
such
as
Penhaligon’s.
Another
advantage
is
the
launch
of
the
“Jo
Loves”
line,
which
ads
new
scents
to
an
already
wide
collection
of
perfumes.
A
weakness
comparing
to
Penhaligon’s
could
be
the
lack
of
a
real
heritage
as
well
as
a
packaging
that
can
be
perceived
as
too
simple.

14. 14
Strengths
1. Possibility
to
create
a
personalised
perfume
2. Business
built
on
customer
feedback
–
first
orders
came
from
word
of
mouth
referrals
(Silverpop,
2014)
3. Clear
premium
positioning
Weaknesses
1. Repetitive
packaging
Opportunities
1. Personalized
collections
2. New
markets

15. 15
c. Creed
(Creed
Boutique,
2015,
Innovation
excellence,
2012)
Creed
is
a
niche
perfume
house
based
in
Paris.
James
Creed
founded
it
in
London
in
1760.
Originally
the
brand
was
supplying
the
English
Court
with
clothing,
scented
gloves
and
fragrances.
The
brand
became
known
for
fragrances
from
the
1960s
and
started
to
be
truly
successful
in
1985,
with
the
creation
of
the
”Green
Irish
Tweed”
fragrance,
known
for
being
used
by
Robert
De
Niro
and
Sylvester
Stallone
amongst
others.
Today
the
brand
is
targeting
men
and
women
attached
to
traditions
and
to
a
classic
lifestyle,
and
with
a
rather
high
income
as
the
price
range
of
their
products
is
very
high
(from
£175
to
£215
for
a
100
ml
bottle).
Creed
perfumes
are
distributed
in
France,
The
United
Kingdom
and
The
United
States.
Similarly
to
other
luxurious
perfume
houses,
its
main
marketing
strategy
is
its
long
heritage
and
a
sumptuous
image
conveyed
through
word
of
mouth.
The
history
of
the
brand
is
obviously
an
advantage
for
the
brand
–
it
is
what
makes
it
unique.
However,
the
products’
prices
being
higher
than
Penhaligon’s
ones,
Creed
can
be
perceived
as
a
very
niche
and
hardly
accessible
brand.
Moreover,
brand
ambassadors
being
high
range
celebrities,
consumers
may
have
difficulty
to
identify
themselves
with
the
brand.

16. 16
Strengths
1. Brand
represented
by
celebrities
(e.g.
Robert
De
Niro)
Weaknesses
1. Too
niche
2. Targets
people
with
a
high
income
and
attached
to
tradition
–
unsuitable
for
young
men
and
women
as
it
gives
an
old-­‐
fashioned
image
Opportunities
1. Launching
a
cheaper
perfume
line
to
renew
the
brand’s
image
Threats
1. Too
expensive
products
might
lead
to
losing
some
customers
to
other
niche
brands
with
lower
prices
but
a
similar
quality
(Eg.
Penhaligon’s)

17. 17
d. Floris
(Floris
London,
2015;
Fragrantica,
2015)
Floris
is
the
oldest
English
retailer
of
toiletries
and
accessories.
It
is
based
in
London
and
was
founded
in
1730
by
Juan
Famenius
Floris
and
his
wife
Elizabeth.
Originally,
the
boutique
offered
grooming
and
shaving
products
as
well
as
perfumes.
The
brand
received
a
Royal
Warrant
in
1820
as
”Smooth
Pointed
Comb
Maker”
to
King
George
IV.
Floris
perfumes
have
been
used
by
Royalty,
historical
characters
and
celebrities,
including
Winston
Churchill,
Florence
Nightengale
or
Marilyn
Monroe.
The
company
offers
four
collections
of
fragrances
(it
has
a
portfolio
of
44
perfumes);
men’s
fragrances,
women’s
fragrances,
the
Classic
collection
and
the
Private
collection,
as
well
as
bath
and
body
care
products
to
accompany
the
fragrances,
candles,
and
home
scents.
Floris’
perfumes
are
priced
at
£75
for
100ml
and
the
products
are
distributed
exclusively
in
the
United
Kingdom.
The
brand
is
famous
for
its
rich
heritage,
as
descendants
of
the
founders
have
been
running
it
until
today.
It
celebrated
its
280th
anniversary
in
2010.
Similarly
to
Creed
and
Penhaligon’s,
Floris’
main
strength
is
its
rich
heritage.
The
fact
that
it
is
the
oldest
perfume
house
in
the
UK
is
clearly
an
asset.
Also,
Floris’
perfumes
being
a
little
cheaper
than
Penhaligon’s
ones,
consumers
might
choose
them
over
another
brand.
But
an
obvious
weakness
would
be
Floris’
limited
distribution:
their
retail
stores
are
in
the
UK
only,
which
forces
people
from
abroad
to
buy
their
products
online.

18. 18
Positioning
map
Strengths
1. Glamorous
image
2. Iconic
brand
3. Accessible
prices
for
a
niche
brand
(less
expensive
than
Penhaligon’s)
Weaknesses
1. Limited
distribution
2. Low
awareness
Opportunities
1. Exclusive
communication
campaign
to
increase
word
of
mouth
and
encourage
trial
Threats
1. Intense
competition
and
lack
of
communication
may
affect
the
brand
and
make
it
loose
customers
to
competitors

19. 19
e. Penhaligon’s:
strengths
• Penhaligon’s
is
a
famous
brand,
symbol
of
British
elegance
• It
has
a
rich
heritage
(150
years
of
history
in
the
UK)
• It
is
known
for
the
good
quality
of
its
products,
which
gives
the
brand
a
positive
image
• It
offers
a
variety
of
products,
from
fragrances
and
candles
to
products
for
the
bath
and
the
body
• Penhaligon’s
demonstrates
that
fragrance
can
be
timeless:
it
is
a
brand
with
tradition
and
a
modern
brand
at
the
same
time:
customers
have
the
opportunity
to
buy
the
same
perfumes
as
the
ones
existing
in
1902.
• The
great
service
delivered
in
store
encourages
customers
to
become
brand
loyal
• The
niche
sector
being
relatively
unaffected
by
the
recession,
Penhaligon’s
does
not
have
to
cut
its
budget
and
has
been
reporting
profits
for
the
last
two
years
f. Penhaligon’s:
weaknesses
• Penhaligon’s
can
sometimes
be
perceived
as
old
fashioned,
due
to
the
packaging
of
the
products
and
the
fact
that
some
of
the
scents
are
the
same
as
in
the
1900s.
• It
can
be
seen
as
too
niche,
because
of
its
limited
distribution
and
high
price
(approximately
£100
for
a
100
ml
fragrance)
• Low
brand-­‐awareness
as
it
is
mainly
based
on
word-­‐of-­‐mouth
and
small
marketing
actions
(no
advertising,
no
promotion)

20. 20
3.
Overview
of
the
brand
(Interview
with
Nicolas
Fouché,
in
charge
of
the
Penhaligon’s
boutique
in
Paris
(rue
Saint-­‐Honoré),
2015;
Balmford,
G.
Q&A:
Sarah
Rotheram-­‐CEO-­‐Penhaligon's
-­‐
Retail
Focus
-­‐
Retail
Interior
Design
and
Visual
Merchandising,
2015;
Ceallaigh,
J.,
London's
top
shops:
Penhaligon's
perfumery,
2011;
Mimifroufrou,
2015;
Penhaligons.com,
2015;
Puig.com,
2015;
Waite,
S.
Odiferess:
The
Scent
of
British
Spirit,
Part
1:
Penhaligon's
and
The
Reinvention
of
Heritage,
2013;
Fragrantica,
2015)
“Our
fragrant
adventure
began
in
the
Victorian
era
of
decadence
and
carries
us
into
the
future
as
we
strive
to
create
original
scents
for
the
discerning
eccentrics
of
today.”
Penhaligons.com
Penhaligon’s
is
one
of
the
most
prestigious
British
perfume
houses.
The
brand
was
founded
in
1870
by
William
Henry
Penhaligon,
Queen
Victoria’s
Court
barber
and
perfumer.
It
is
the
holder
of
two
Royal
Warrants,
symbol
of
excellence
and
quality.
The
first
Penhaligon’s
store
opened
at
Jermyn
Street,
next
to
Turkish
Baths,
and
inspired
the
scent
“Hammam
Bouquet”,
created
in
1872.
The
brand
positions
itself
amongst
luxury
and
premium
brands,
promoting
an
image
of
glamour,
sensuousness,
uniqueness
and
eccentricity.
It
targets
men
and
women
from
a
rather
upper
social
class,
from
18
to
65
years
old,
fashion
conscious
and
slightly
eccentric
yet
attached
to
traditions.
The
brand
was
clearly
masculine
at
first
but
today
more
and
more
women
are
becoming
clients.
Every
profile
is
targeted;
some
buyers
are
collectors,
perfume
passionates,
others
are
attached
to
traditions.
Many
tourists
buy
Penhaligon’s
perfumes
as
well.
Each
of
Penhaligon’s
fragrances
echoes
a
British
story
and
is
special,
constructed
with
fine
and
rare
ingredients
and
with
the
latest
technologies
in
fragrance
chemistry.
Most
perfumes
are
built
around
a
classic
structure
with
head,
heart
and
base
notes.
The
most
iconic
one
is
Blenheim
Bouquet,
created
in
1902
for
the
Duke
of
Marlborough
and
the
best
seller
is
Bluebell,
used
by
Lady
Diana.

21. 21
The
success
of
Penhaligon’s
is
due
to
its
strong
heritage
but
also
its
timeless
image.
Customers
are
curious
about
discovering
a
brand
that
seems
traditional
and
modern
at
the
same
time.
They
are
looking
for
something
that
gives
them
the
feeling
of
uniqueness
and
originality
and
are
attracted
by
the
vintage
side
of
the
label.
Moreover,
they
are
aware
of
the
good
quality
of
the
products,
which
justifies
a
rather
high
price
range
(around
£120
for
a
100
ml
bottle).
The
service
in
store
is
also
mastered:
each
customer
receives
special
attention
from
the
sales
attendant
who
knows
everything
about
the
products
sold
and
is
a
great
advisor.
Another
positive
aspect
of
the
brand
is
the
fact
that
its
awareness
is
based
on
word-­‐of-­‐
mouth
only.
Penhaligon’s
does
not
advertise
through
out-­‐of-­‐home,
TV
or
press
and
does
not
use
any
brand
muse,
which
makes
it
even
more
special
comparing
to
other
perfume
houses.
However,
the
brand
does
some
experiential
marketing
for
the
launch
of
new
fragrances.
For
the
“Tralala”
perfume,
the
boutique
in
Paris
invited
burlesque
dancers
to
make
a
show
on
the
storefront.
Penhaligon’s
last
perfume
“Ostara”
was
advertised
in
London
by
a
person
riding
a
branded
bicycle
filled
with
yellow
and
white
flowers
(colours
of
the
Ostara
perfume).
This
strategy
seems
unusual
but
has
been
working
well
so
far,
and
Penhaligon’s
reports
positive
results
for
the
last
few
years.
Since
January
2015
Penhaligon’s
is
owned
by
Puig,
a
Spanish
fashion
and
fragrance
house,
which
also
has
brands
such
as
the
French
Perfume
House
L’Artisan
Parfumeur,
Paco
Rabane,
Prada,
Valentino,
Comme
Des
Garçons
or
Nina
Ricci.
The
group
sells
its
products
in
over
140
countries
worldwide
and
had
revenues
of
€1,49
billion
in
2013.
Penhaligon’s
perceives
its
acquisition
by
Puig
as
an
opportunity
to
be
boosted
but
hopes
that
it
won’t
loose
its
unique
and
traditional
image.
The
next
step
that
the
brand
wishes
to
take
is
to
expend
to
Asia
(there
is
already
one
boutique
in
Hong
Kong),
to
the
USA
and
to
open
two
other
boutiques
in
France.

22. 22
Keller’s
brand
equity
model
1. Resonance:
Loyalty,
engaged
customers
and
brand
ambassadors.
The
main
purpose
of
the
campaign
is
to
increase
brand
awareness
in
order
to
attract
more
customers
but
also
to
retain
the
current
ones
and
make
them
brand
ambassadors.
2. Judgements:
High
quality,
excellence,
satisfaction
and
perfect
in-­‐store
servicing.
The
purpose
of
the
campaign
is
to
recall
Penhaligon’s
excellent
quality.
The
brand’s
perfumes
are
made
with
the
latest
fragrance
chemistry
technologies,
which
make
the
scents
last
for
a
long
time.
3. Feelings:
uniqueness,
sophistication.
The
integrated
marketing
campaign
would
aim
at
emphasizing
the
glamorous,
sensual
image
of
the
brand.
Its
purpose
would
be
for
a
person
seeing
the
advert
to
be
transported
to
ancient
times,
to
traditional
England.
The
sophisticated
packaging,
spotlighted
on
the
advert,
would
automatically
attract
the
customer.
4. Performance:
stylish,
rather
expensive
but
worth
the
spent.
Penhaligon’s
positions
itself
as
a
luxury
brand,
which
explains
a
rather
high
price
positioning
of
the
products.
We
need
to
recall
that
it
is
worth
the
spent
as
it
is
the
finest
quality
and
also
a
very
special
and
stylish
brand.
5. Imagery:
classic,
vintage.
The
purpose
of
the
brand
image
is
to
create
emotions.
Even
if
the
imagery
of
Penhaligon’s
is
classic
and
vintage,
we
want
to
highlight
the
fact
that
the
customer
does
not
have
to
be
a
fan
of
vintage
brands
to
be
attracted
by
this
one.
However,
the
classic
image
will
definitely
stay
in
the
campaign,
as
we
want
for
the
brand
to
keep
its
identity.
6. Salience:
the
tradition
and
the
heritage.
It
is
the
first
thing
that
comes
to
our
mind
when
we
think
about
Penhaligon’s.
Everything
in
the
store
reminds
us
of
about
the
long
heritage
of
the
company.
This
part
will
also
be
emphasized
during
the

23. 23
campaign,
as
it
is
what
makes
Penhaligon’s
different
from
most
of
the
perfume
houses.
In
order
to
understand
our
brand
in
a
really
clear
way
and
establish
its
positioning
we
will
be
using
the
Profile
4
D
marketing
model.
This
profile
helps
us
understand
the
type
of
customers
that
go
shopping
at
Penhaligon’s,
as
well
as
the
relationship
between
the
brand
and
its
audience.
• The
value
profile
defines
the
value
of
the
customer
for
the
brand,
the
kind
of
relationship
between
both
as
well
as
how
the
customer
perceives
the
label.
Penhaligon’s
is
perceived
as
a
“love
brand”,
which
means
that
its
customers
are
strongly
attached
to
the
brand,
most
of
them
are
brand
loyalists.
• The
Like
profile
is
the
kind
of
hobbies
and
passions
Penhaligon’s
customers
would
have.
Currently,
Penhaligon’s
customers
are
interested
in
fashion
and
culture,
they
read
news
(politics,
economics)
• The
persuasion
profile
is
the
image
that
the
brand
represents
and
that
attracts
customers.
Here,
it
is
the
exclusive
and
original
reflection
given
by
the
company,
as
well
as
the
tradition
mixed
with
eccentricity.
• The
media
profile
is
the
type
of
media
that
would
reach
the
brand’s
current
target
audience.
As
most
of
Penhaligon’s
clients
are
so
far
middle-­‐aged
men
and
women,
from
a
rather
high
social
class
and
with
an
education,
magazines
would
be
the
media
type
that
would
fit
the
best.
Thanks
to
this
model
we
are
able
to
realize
the
kind
of
customers
Penhaligon’s
currently
attracts
as
well
as
to
seize
the
opportunity
of
expending
the
target
audience
for
the
campaign.
The
“brand
identity
Kapferer’s
prism”
is
also
a
useful
marketing
model
–
it
resembles
the
brand
wheel
but
is
a
more
elaborated
way.
It
defines
the
brand’s
products
and
personality,
which
is
useful
for
our
positioning
statement.

24. 24
• The
physical
facet
is
what
the
product
does
and
its
physical
external
image.
Penhaligon’s
perfume
bottle
is
made
of
glass
with
a
plastic
cap
decorated
by
a
bow
tie.
The
fragrance
has
a
strong
scent.
The
dominating
colours
within
the
brand
communication
and
the
boutiques
are
blue,
grey,
orange,
gold
and
white.
• The
relationship
is
the
way
the
brand
interacts
with
its
customers,
what
it
brings
to
the
customers.
Here
it
is
the
idea
of
personal
success
and
cultural
distinction.
• The
reflection
is
how
other
people
would
perceive
a
typical
customer
of
this
brand.
Penhaligon’s
typical
client
is
a
well-­‐educated
and
refined
person
with
a
touch
of
eccentricity.
• The
personality
describes
the
identification
with
a
person,
the
human
characteristics
of
the
brand.
In
our
case,
Penhaligon’s
personality
would
be
sophisticated,
elegant,
distinguished,
eccentric
and
self-­‐confident.
• The
culture
is
the
kind
of
values
communicated
through
the
brand,
which
for
our
label
would
be
tradition
and
fantasy.
• The
self-­‐image
is
the
mirror
the
target
groups
of
the
brand
holds
to
itself.
For
Penhaligon’s
it
would
be
being
part
of
the
elite,
looking
like
a
person
looking
for
“high
standards”.

25. 25
These
two
models
are
helpful
for
a
deep
understanding
of
our
brand’s
positioning.
Thus,
Penhaligon’s
are
sophisticated
perfumes
with
a
touch
of
eccentricity
for
men
and
women
from
35
to
55
years
old,
belonging
to
the
ABC1
social
class,
looking
for
a
brand
that
will
make
them
look
elegant
but
feel
unique.
Unlike
its
competitors,
Penhaligon’s
is
a
niche
brand
that
offers
a
variety
of
exclusive
products
in
a
beautiful
packaging.
The
Unique
Selling
Proposition
for
Penhaligon’s
would
be
“exclusive
perfumes
for
people
with
high
standards”.

26. 26
4. Clarification
of
the
strategic
marketing
opportunity
to
be
developed
for
the
brand
Ansoff
Matrix
Existing
products
New
products
Existing
market
Market
penetration
Product
development
New
market
Market
development
Diversification
According
to
the
Ansoff
matrix
above,
Penhaligon’s’
current
marketing
strategy
is
to
develop
their
products,
launching
at
least
one
new
perfume
per
year
–
currently
the
launch
of
the
N°33
fragrance
is
supported
by
an
online
marketing
campaign
addressing
24-­‐35
years
old
men
(with
the
#VeryPenhaligons).
Another
strategy
developed
by
Penhaligon’s
is
to
expand
their
brand
into
other
countries.
Penhaligon’s
already
exists
in
the
UK,
in
the
USA,
in
France,
as
well
as
in
Singapore
and
Hong
Kong.
However,
it
is
planning
to
develop
more
boutiques
in
New
York,
France
and
Japan.
For
our
marketing
campaign
we
want
to
seize
the
opportunity
we
have
identified
previously
which
is
the
fact
that
“women
aged
25-­‐34
represent
a
growing
opportunity
for
the
fragrance
industry,
but
manufacturers
should
not
ignore
older
consumers
(Webcache,
2015)”
as
well
as
the
threat
of
perfume
brands
being
“season-­‐based

27. 27
products”
(sales
growing
during
Christmas).
We
also
want
to
keep
the
“tradition
with
eccentricity”
image
the
brand
has
been
communicating
until
now.
We
recall
that
the
brand’s
“adventure
began
in
the
Victorian
era
of
decadence
and
carries
us
into
the
future
as
we
strive
to
create
original
scents
for
the
discerning
eccentrics
of
today.”
(Penhaligons.com).
We
want
to
combine
these
factors
in
order
to
develop
a
coherent
strategy
that
will
target
men
and
women
24-­‐35
and
45-­‐54
years
old,
ABC1
social
class,
looking
for
an
original
brand
that
will
recall
the
values
they
care
about
along
with
the
touch
of
eccentricity
they
need.
Our
campaign
catchphrase
will
be
“Elegance
with
a
touch
of
eccentricity”
and
the
strategy
will
be
to
retain
our
current
35-­‐54
men
and
women
customers
by
communicating
that
buying
our
perfumes
is
“adding
a
touch
of
fantasy
to
their
classic
outfit”
and
acquire
men
and
women
25-­‐34
years-­‐old
customers
by
ensuring
that
the
touch
of
eccentricity
given
by
a
Penhaligon’s
fragrance
is
what
will
make
them
feel
unique
and
thus
self-­‐confident.

28. 28
5. Quantified
marketing
objectives,
implications
for
the
IMC
and
financial
situation
The
main
purpose
of
our
integrated
marketing
communications
campaign
is
to
become
the
brand
of
reference
when
thinking
of
luxurious
and
elegant
fragrance
labels.
As
Penhaligon’s
is
an
English
luxury
brand
with
heritage
but
its
main
marketing
strategy
so
far
has
been
word-­‐of-­‐mouth,
we
will
be
looking
to
increase
the
awareness
of
the
brand
and
acquire
new
customers.
Thus,
our
business
objective
is
to
increase
the
brand’s
turnover
to
£15
million
in
2016,
as
it
was
around
12
million
in
2013
(last
available
financial
results,
Fame,
2015).
Our
marketing
objective
is
to
increase
trial
via
call
to
action
amongst
the
24-­‐35
years
old
men
and
women
target
group
by
10%
and
to
raise
the
brand
awareness
by
20%
by
the
end
of
2016.
Our
integrated
marketing
communications
objective
is
to
reinforce
the
brand
image
by
acquiring
20.000
new
customers
amongst
the
25-­‐34
years
old
target
group,
and
retaining
80.000
customers
amongst
the
35-­‐54
years
old
target
group.
We
will
aim
at
achieving
these
objectives
through
press
advertising,
social
media
and
content
marketing.
The
experiential
marketing
done
by
the
brand
so
far
has
been
very
limited
and
took
place
in
a
few
boutiques
only.
The
main
thing
that
attracts
customers
currently
is
the
image
of
the
brand
and
the
boutique
interiors,
as
well
as
the
service
provided
in
store.
But
press
advertising
would
increase
word-­‐of-­‐mouth.
We
will
also
be
more
active
on
social
media,
posting
regularly
fashion
trends
of
the
season
that
would
go
with
particular
Penhaligon’s
fragrances.
To
increase
the
interaction
with
the
customers
we
would
create
a
social
media
contest
rewarded
with
Penhaligon’s
products.

29. 29
The
campaign
will
target
24-­‐35
and
35-­‐54
years
old
men
and
women,
ABC1
social
class,
well-­‐educated
and
beauty
conscious.
The
campaign
will
emphasize
the
elegant
image
that
the
brand
has
been
communicating
so
far
but
also
the
touch
of
eccentricity
that
makes
it
so
unique.
Penhaligon’s
does
not
share
financial
results
for
2014
but
we
do
have
some
of
the
previous
fiscal
years
ones.
Thus
we
know
that
the
company’s
turnover
was
£12.624.000
in
December
2013,
which
shows
a
growth
compared
to
2012
when
it
was
£10.514.000
(Fame,
2015).
The
profit
before
tax
was
£1.062.000
in
2013,
which
is
a
significant
progress
comparing
to
the
previous
years.
2010
has
been
a
difficult
year
for
the
company
as
it
has
generated
a
loss
of
£805.000.
The
brand
was
back
on
track
a
few
months
later,
announcing
a
profit
of
£609.000
for
2011
and
£812.000
for
2012.
Because
we
have
seen
how
fast
our
brand
is
able
to
grow
we
aim
at
achieving
a
£15.000
k
turnover
after
our
campaign
(2016).

30. 30
6. Summary
–
outlining
the
proposal
for
marketing
communications
Penhaligon’s
is
a
traditional
brand
offering
luxury
products
at
a
rather
high
price
for
beauty
conscious
people
that
wish
to
feel
different
and
special,
and
do
not
like
mass-­‐
market
perfumes.
Despite
the
fact
that
the
brand
reports
profits,
its
awareness
stays
limited,
as
its
main
strategy
to
attract
customers
is
word-­‐of-­‐mouth
and
a
little
activity
on
social
media
as
well
as
some
limited
marketing
actions
for
the
launch
of
new
fragrances.
The
purpose
of
the
integrated
marketing
communications
campaign
is
to
increase
this
awareness
by
acquiring
20.000
new
customers
and
retaining
80.000
current
ones.
In
order
to
achieve
this
goal
we
will
run
a
six-­‐months
integrated
campaign
based
on
the
brand’s
values
of
elegance
and
eccentricity.
The
campaign
will
be
based
on
press
advertising,
direct
marketing,
sales
promotions
and
public
relations.
We
won’t
be
doing
any
out-­‐of-­‐home
or
television
commercials,
as
we
don’t
want
for
our
brand
to
be
perceived
as
mainstream
but
to
keep
its
unique
niche
image.

31. 31
III. IMC
development
1. Objectives
and
scope
a. Definition
of
the
integrated
marketing
and
analysis
of
the
marketing
mix
tools
The
American
Association
of
Advertising
Agencies
describes
integrated
marketing
communications
as
“
a
concept
of
marketing
communications
planning
that
recognizes
the
added
value
of
a
comprehensive
plan,
that
evaluates
the
strategic
roles
of
a
variety
of
communication
disciplines,
eg.
General
advertising,
direct
response,
sales
promotion
and
PR
–
and
combines
these
disciplines
to
provide
clarity,
consistency
while
maximizing
communication
impact”.
In
other
words,
an
integrated
campaign
looks
for
the
reach
of
a
synergy
by
using
different
marketing
tools
together,
instead
of
making
them
operate
separately
as
it
has
been
traditionally
done.
This
method
is
a
way
of
looking
at
distinct
parts
such
as
advertising,
public
relations,
sales
promotion,
purchasing,
and
employee
communication
as
a
“flow
of
information
from
indistinguishable
sources”
(De
Pelsmacker,
Geuens,
Van
Den
Bergh,
2013).
In
order
to
understand
how
to
combine
marketing
mix
tools
together
to
create
an
impactful
communication
we
first
need
to
have
a
look
at
each
of
these
tools.
The
marketing
mix
is
formed
of
four
different
instruments:
the
product,
the
price,
the
place
and
the
promotion.
Each
of
them
plays
a
specific
and
essential
role
when
determining
a
brand’s
offer.
(BBC.co.uk,
2014)
When
looking
at
the
product,
different
factors
have
to
be
taken
into
account:
its
benefits,
features
and
options,
its
quality
design
and
branding,
the
packaging,
the
services
and
the

32. 32
warranties.
Each
of
these
factors
will
position
the
product.
We
will
be
able
to
determine
if
it
is
a
luxury
product,
a
medium-­‐range
one
or
if
it
has
been
made
for
the
mass
market.
According
to
that,
the
price
will
be
higher
or
lower
and
the
place
where
it
will
be
displayed
will
be
adapted,
as
well
as
the
promotion.
• The
pricing
plays
a
crucial
role
in
the
marketing
mix:
it
can
be
used
as
an
incentive
for
the
consumer.
Discounts
are
often
a
way
to
attract
customers
and
convince
them
to
buy
a
particular
product.
• The
place
where
the
product
is
displayed
will
make
it
look
more
or
less
attractive.
When
defining
the
place
of
the
product
the
brand
needs
to
arrange
all
of
the
channels
and
logistics,
make
the
inventory,
arrange
the
transport
and
the
locations.
• Eventually,
the
promotion
is
the
element
we
are
going
to
be
focusing
on
during
this
integrated
campaign.
Promotion
takes
various
forms:
the
most
popular
one
is
advertising
but
it
can
also
be
public
relations,
sponsorship,
brand
activation,
direct
marketing,
point
of
purchase
promotion,
exhibitions
and
trade
fairs,
personal
selling
or
electronic
communication.
Each
of
them
has
a
specific
purpose
but
they
have
one
common
goal:
attracting
attention
on
the
product
in
order
to
sell
it.
Each
brand
chooses
a
specific
combination
of
the
four
elements
of
the
marketing
mix,
adapted
to
the
image
of
the
brand
and
to
the
audience
targeted.
For
instance,
Haagen-­‐
Dazs
sells
premium
Ice
Cream
at
a
rather
high
price
comparing
to
its
competitors,
as
a
sign
of
high
quality.
The
distribution
is
exclusive
and
the
communication
strategy
of
the
brand
indicates
a
sophisticated
style
associated
with
a
particular
positioning.
(De
Pelsmacker,
Geuens,
Van
Den
Bergh,
2013)
Therefore,
when
planning
an
integrated
marketing
communications
campaign
it
is
essential
to
determine
a
specific
message
proper
to
the
character
of
the
brand.

33. 33
b. Objectives
and
strategy
In
this
campaign
we
are
going
to
choose
particular
integrated
communications
for
the
British
perfume
house,
Penhaligon’s.
It
is
a
luxury
brand
with
wide
tradition
targeting
at
rather
affluent
men
and
women,
willing
to
spend
some
money
for
an
exclusive
fragrance
that
will
make
them
feel
special.
So
far
Penhaligon’s
has
been
doing
various
communications
and
marketing
actions
but
they
were
never
integrated.
Last
year
the
brand
was
the
official
sponsor
of
“Movember”
and
had
created
a
pop-­‐up
barbershop
in
London’s
Covent
Garden
in
order
to
build
awareness
for
men’s
health.
The
action
included
a
moustache
competition
where
fans
where
encouraged
to
submit
before
and
after
Movember,
as
well
as
“work
in
progress”
pictures
of
them
into
Facebook.
The
first
prize
winner
was
rewarded
with
a
year’s
supply
of
Penhaligon’s
perfumes
(Luxurydaily,
2014).
The
brand
has
also
been
in
a
special
partnership
with
the
English
National
Ballet
that
inspired
it
with
creating
the
Iris
Prima
fragrance,
capturing
the
essence
of
the
ballet
(Packaging
of
the
world,
2013).
Another
marketing
action
Penhaligon’s
has
succeeded
with
was
a
press
event,
which
consisted
of
launching
five
taxis,
entirely
branded
and
perfumed
with
the
brand’s
latest
fragrances,
in
Central
London.
The
drivers
were
trained
on
Penhaligon’s
history
and
the
cab’s
passengers
received
a
10%
discount
voucher
on
Penhaligon’s
products,
in
store
and
online.
(Mimifoufrou,
2010)
These
are
three
examples
of
the
marketing
tactics
Penhaligon’s
has
been
using
over
the
years.
Most
of
them
were
successful
but
an
integrated
campaign
has
never
been
done
until
today.
For
this
reason,
it
seemed
that
a
good
way
for
the
brand
to
raise
awareness
and
attract
new
customers
would
be
to
create
an
integrated
marketing
campaign.
In
order
to
prepare
the
strategy
for
our
integrated
campaign
it
is
crucial
to
determine
smart
goals
(specific,
measurable,
achievable,
realistic
and
timely)
and
precise
objectives.

34. 34
These
objectives
have
already
been
set
up
in
the
first
part
of
the
project
(i.e.
the
proposal),
but
we
are
going
to
remind
them
briefly.
The
main
purpose
of
our
integrated
marketing
communications
campaign
is
to
become
the
brand
of
reference
for
luxury
perfumes
via
content
engagement
and
trial.
As
we
were
saying
previously,
the
last
results
for
the
UK
we
have
access
to
are
from
2013
and
show
a
turnover
of
£12.6
million
and
a
profit
before
tax
of
approximately
£
1
million
(Fame,
2015).
These
results
seem
to
be
positive
for
such
a
niche
brand.
Because
it
seems
that
their
strategy
has
been
paying
off
up
to
this
point,
we
will
not
be
changing
their
positioning
too
much
but
will
help
them
retain
customers
and
acquire
new
ones
by
adding
the
brand
a
fresher
and
younger
look.
The
marketing
actions
they
have
been
doing
so
far
encouraged
word
of
mouth
and
had
a
positive
PR
return.
Because
we
want
Penhaligon’s
to
keep
its
unique
image
we
will
centre
our
campaign
on
the
exclusivity
and
the
eccentricity
of
the
brand.
This
will
add
a
“cool”
touch
to
its
image
but
will
not
push
back
the
older
target
audience.
Our
campaign’s
business
objective
is
thus
to
achieve
a
turnover
of
£15
million
by
the
end
of
2016.
c. Target
audience
definition
Our
marketing
objective
is
to
increase
trial
among
the
24-­‐35
years
old,
men
and
women,
ABC1
social
class,
as
well
as
to
raise
brand
awareness
by
20%
by
the
end
of
2016.
Our
integrated
marketing
communications
objective
is
to
reinforce
the
brand
image
by
acquiring
20.000
new
customers
and
retaining
80.000
of
our
current
clients.
The
strategy
we
are
going
to
use
is
content
engagement
in
order
to
become
a
brand
of
reference
and
trial
incentives
via
call
to
action.
We
will
be
more
active
on
social
media,
posting
regularly
fashion
trends
of
the
season
that
would
go
with
particular
Penhaligon’s
fragrances.
To
increase
the
interaction
with

35. 35
the
customers
we
would
create
a
social
media
contest
rewarded
with
Penhaligon’s
products.
Indeed,
social
media
have
become
very
popular
and
are
a
good
way
to
build
a
brand-­‐customer
relationship
-­‐
11%
of
the
world
population
has
a
Facebook
account
(The
social
skinny,
2012).
Social
media
and
digital
marketing
are
a
good
way
to
reach
out
to
“young”
target
group
(24-­‐35
years
old),
as
they
are
the
generation
that
spends
most
of
their
time
connected
to
the
Internet,
often
with
their
computer
but
usually
with
their
smartphone.
As
previously
stated,
the
goal
of
our
campaign
is
to
acquire
20.000
new
customers
while
retaining
80.000
current
ones.
In
order
to
prepare
for
a
successful
integrated
campaign
several
crucial
steps
have
to
be
taken
into
account.
The
first
and
probably
the
most
important
one
is
to
fully
understand
the
target
audience.
The
second
one
is
to
choose
the
marketing
channels
adapted
to
this
audience
in
order
for
the
campaign
to
be
impactful.
The
third
step
is
to
create
a
clear
and
stable
content
with
an
explicit
message.
We
will
start
here
with
the
first
step
and
determine
carefully
our
target
group.
As
yet,
if
we
have
a
look
at
the
people
that
use
Penhaligon’s
perfumes
we
will
have
a
masculine
audience,
aged
between
40
and
59
years
old,
from
the
ABC1
social
grade.
Their
place
of
living
is
most
probably
London
or
another
large
British
city,
they
will
be
on
the
right
wing
in
politics,
and
they
will
have
a
monthly
spare
of
£1000
pounds
or
more
(YouGov
Profiler,
2015).
This
is
how
a
typical
Penhaligon’s
customer
would
look.
As
we
do
not
want
to
reposition
the
brand
too
much
we
will
do
some
customer
retention
among
35-­‐54
years
old
men
and
women.
In
order
to
make
this
retention
coherent,
we
need
to
determine
how
these
customers
will
look
like
by
choosing
a
‘typical
profile”
from
this
target
group.
• Mary
is
37
years
old
and
belongs
to
the
ABC1
social
class.
She
is
well-­‐educated
and
interested
in
fashion.
She
works
as
a
project
manager
in
a
communication
company.
She
lives
in
South
Kensington
with
her
husband
and
two
children.
She

36. 36
buys
perfumes
at
Penhaligon’s
because
she
wants
to
feel
pretty
and
special
at
any
time
of
the
day.
She
feels
that
Penhaligon’s
gives
her
the
touch
of
elegance
and
distinction
she
needs
with
her
sophisticated
outfit.
She
enjoys
high-­‐end
clothing
and
appreciates
an
occasional
shopping
tour
in
luxury
boutiques.
She
is
not
an
easy
brand
switcher
and
looks
for
a
brand
she
will
fall
in
love
with
and
trust.
• Henry
is
52
years,
belongs
to
the
ABC1
social
class
and
lives
in
Chelsea.
He
is
married
with
children.
He
is
rather
conservative.
He
wants
to
look
good
and
serious
but
trusts
his
wife
with
his
clothes
and
perfumes.
He
chooses
Penhaligon’s
because
he
trusts
the
authenticity
of
the
brand
as
well
as
its
“Britishness”.
He
enjoys
Penhaligon’s
perfumes
because
they
make
him
feel
truly
British
and
add
a
grain
of
eccentricity
to
his
smart
outfit.
He
is
quite
an
easy
brand
switcher
and
listens
to
his
friends
and
family
advices
when
it
comes
to
aesthetics.
These
are
two
typical
profiles
of
the
customers
for
retention.
Now
let’s
establish
the
characteristics
of
the
ones
we
will
acquire.
24
to
35
years
old
people
represent
a
good
opportunity
for
the
fragrance
industry,
as
they
are
the
ones
that
use
perfumes
a
lot.
Thus,
for
the
acquisition,
we
will
target
24-­‐35
years
old
men
and
women,
ABC1
social
class.
• Julia
is
29
years
old
and
belongs
to
the
ABC1
social
class.
She
enjoys
wearing
elegant
outfits
but
she
also
likes
to
dress
eccentric
from
time
to
time.
She
lives
in
Newcastle
and
thinks
of
starting
a
family.
She
likes
Penhaligon’s
because
using
these
perfumes
makes
her
feel
original
and
thus
more
self-­‐confident.
• Anthony
is
24
years
old
and
belongs
to
the
same
social
class
as
Julia.
He
is
a
classic
“hipster”.
He
likes
wearing
clothes
from
unknown
shops
and
listening
to
the
music
on
a
vinyl
record
player.
He
chooses
Penhaligon’s
perfumes
because
he
feels
it
is
a
unique
brand
that
sells
more
than
only
a
bottle
of
fragrance.
He
enjoys
the
authentic
and
eccentric
aspect
of
the
bottle
and
the
originality
of
the
smell.
He

37. 37
is
willing
to
spend
some
money
on
a
perfume
as
long
as
it
has
something
special.
He
lives
in
London
and
works
as
a
fashion
photograph.
In
order
for
us
to
fully
understand
the
consumer
behaviour
and
their
decision
path
we
will
be
using
the
means-­‐end-­‐chain
model.
This
model
makes
a
deep
analysis
of
a
consumer’s
particular
behaviour
such
as
“why
would
a
soccer
mom
drive
an
SUV
instead
of
a
mini-­‐van”
(Rock
research,
2013).
The
chain
has
different
steps.
The
first
one
is
the
attribute
of
the
product,
one
is
concrete,
and
the
other
one
is
abstract.
The
second
step
is
the
consequence,
functional
and
psychosocial.
The
last
one
is
the
value;
instrumental
and
terminal.
• The
concrete
attribute
of
a
bottle
of
Penhaligon’s
perfumes
is
the
fact
that
it
is
made
in
glass
and
round-­‐shaped.
The
cap
is
ball
shaped
and
made
in
plastic,
often
decorated
with
a
bow
tie.
• The
abstract
attribute
is
that
the
fragrance
has
a
strong
and
unique
smell.
• The
functional
benefit
of
the
product
is
that
it
makes
you
smell
good
and
wear
a
unique
fragrance
only
a
few
people
know
about.
• The
psychosocial
benefit
of
using
a
Penhaligon’s
perfume
is
for
the
person
using
it
to
feel
special
and
a
little
bit
eccentric.
• The
instrumental
value
is
avoiding
to
wear
the
same
perfume
as
everyone
else
and
• The
terminal
one
is
simply
to
feel
more
confident
about
him/her
self.
This
model
explains
in
a
clear
way
what
arguments
are
taken
into
account
while
choosing
a
fragrance
and
what
are
the
attributes
the
person
buying
a
particular
brand
is

38. 38
seeking
for.
It
helps
us
understand
the
exact
perception
of
the
consumer
about
the
brand
but
also
how
relevant
the
choice
of
the
product
and
the
brand
can
be.
Eventually,
such
an
analysis
leads
us
to
a
deep
understanding
of
the
consumer
values.
Thanks
to
this
knowledge,
we
can
now
be
able
to
determine
the
level
of
involvement
of
the
consumer
when
choosing
the
product.
If
the
involvement
is
high,
the
product
attributes
are
directly
related
to
the
personal
goals
and
values
of
the
consumer.
If
it
is
a
medium
involvement,
the
attributes
are
marginally
linked
to
personal
values.
After
all,
if
the
involvement
is
low,
the
attributes
of
the
product
are
only
linked
to
the
functional
consequences
of
its
usage.
In
this
case,
because
Penhaligon’s
perfumes
are
specific
and
because
all
of
their
attributes
are
carefully
chosen
in
order
to
make
each
of
them
truly
unique,
it
would
seem
that
a
consumer
choosing
to
buy
them
would
most
probably
be
highly
involved
in
the
purchase
process.
In
the
end,
this
is
to
help
us
understand
the
reasons
that
motivate
the
consumer
for
purchasing
and
breaking
down
the
consumer/product
relationship.
Such
an
understanding
is
crucial
for
the
marketing
implications
of
the
brand
because
it
helps
us
define
the
category
of
the
brand
user.
There
are
four
types
of
brand
users:
• The
brand
loyalists,
which
are
strongly
attached
to
a
particular
brand
and
will
be
reluctant
to
change
• The
routine
brand
buyers,
who
choose
to
buy
regularly
from
a
specific
company
because
it
is
convenient
but
with
low
self-­‐
relevance
• The
information
seekers,
that
analyse
the
brand
and
the
product,
know
about
the
category
but
do
not
have
any
particular
preference
• The
brand
switchers
that
choose
to
buy
a
product
according
to
its
price,
availability
or
special
offer.
(Chackaprani,
1999).
By
doing
retention,
we
are
aiming
at
keeping
our
loyal
customers
and
making
them
become
brand
loyalists
–
as
well
as
brand
ambassadors.

39. 39
For
the
acquisition,
we
are
going
to
look
for
brand
switchers,
which
do
not
have
their
favourite
perfume
brand
yet,
in
order
to
convince
them
to
become
brand
adopters
at
first
and
then
brand
loyalists.
The
whole
purpose
of
our
campaign
is
to
encourage
trial
among
24
to
35
years
old
and
to
convince
our
older
audience
to
choose
Penhaligon’s
definitely.
The
next
step
is
choosing
the
adapted
communication
tools
to
attract
our
target
audience.

40. 40
2. Communication
and
campaign
strategy
In
order
to
establish
an
integrated
marketing
campaign,
it
is
necessary
to
choose
among
different
communication
tools
those,
that
are
going
to
be
the
most
appropriate
when
addressing
the
targeted
audience,
in
order
to
outline
the
positioning
of
the
product
and
the
message
communicated
by
the
campaign.
Successful
brands
use
a
variety
of
promotional
tools
to
position
their
value
proposals
and
products
in
consumers’
minds.
By
using
these
tools,
they
manage
to
connect
consumers’
values’
with
those
communicated
by
the
company.
The
popular
saying
stating,
“a
good
product
sells
itself”
is
only
true
when
an
efficient
marketing
campaign
and
a
clear
positioning
statement
support
this
product.
This
is
how
people
link
brands
to
values,
choosing
the
ones
they
feel
close
to.
Eg.
Benetton
achieved
a
high
visibility
by
showing
advertisements
related
to
diversity.
(Gbadamosi,
Nwakwo,
Bathgate,
2013).
The
ideal
way
to
make
a
campaign
work
is
to
combine
several
communication
tools
that,
when
activated
together,
deliver
a
coherent
message.
a. Analysis
of
the
marketing
channels
Advertising
is
composed
of
impersonal
messages
communicated
to
inform,
persuade
or
remind
consumers
about
products
and
services.
The
company
initiating
the
advertisement
is
in
charge
of
paying
for
it.
There
are
several
types
of
advertising.
The
most
common
ones
are
traditional
advertising
delivered
through
television,
magazines,
newspapers,
posters,
radio,
billboards,
cinema,
vehicles
and
transit
boards.

41. 41
Traditional
advertising
communication
channels
have
the
main
advantage
of
allowing
companies
to
choose
a
specific
method
adapted
to
their
target
group
and
budget.
But
with
the
expansion
of
new
media
advertising
opportunities
are
born,
for
a
lower
cost.
In
point
of
fact,
traditional
advertising
does
not
enable
a
direct
response
and
it
is
much
harder
to
evaluate
its
efficiency.
Indeed,
if
print
and
broadcast
outlets
enable
media
kits
with
audience
demographics,
it
is
actually
really
hard
to
actually
know
who
saw,
read
or
viewed
the
ad,
once
it
is
displayed.
(Ashe-­‐Edmunds,
S.,
2015)
Another
disadvantage
of
traditional
advertising
is
the
fact
that
even
if
print
and
broadcast
outlets
enable
media
kits
with
audience
demographics,
it
is
actually
really
hard
to
actually
know
who
saw,
read
or
viewed
the
ad,
once
it
is
displayed.
(Ashe-­‐
Edmunds,
S.,
2015)
As
we
were
saying
above,
with
the
expansion
of
the
Internet
and
therefore
mobile
and
online
media,
brands
are
now
able
to
use
new
methods
of
communication.
Website
banners,
pop-­‐ups,
viral
videos
on
social
media,
fan
pages
etc.
are
only
some
of
the
infinite
options
a
company
can
chose
from
for
activating
on-­‐
line
advertising.
Furthermore,
thanks
to
geo-­‐localization
and
online
behavioural
information
gathered
while
consumers
surf
on
the
Internet,
brands
are
more
and
more
able
to
deliver
an
efficient
advertisement,
tailored
precisely
for
the
target
market
it
does
address.
Thanks
to
thorough
analysis
of
the
online
behaviour
of
its
audience,
the
company
is
able
to
position
ads
on
such
websites
where
it
meets
its
target
market
with
quasi-­‐certainty.
This
is
a
wholly
new
definition
of
advertising.
(Gbadamosi,
Nwakwo,
Bathgate,
2013).
Nevertheless,
Online
banners
are
available
for
anyone
to
copy,
regardless
the
legal
regulations
and
can
be
easily
used
for
commercial
purposes
that
can
damage
the
brand.
Another
negative
side
of
online
advertising
is
the
fact
that
it
has
become
so
popular
that
people
have
started
to
ignore
or
consider
as
spam.
These
factors
taken
into
consideration,
when
doing
online
advertising
we
must
ensure
that
it
does
not
appear
too
frequently,
that
it
looks
attractive
and
compelling
and
that
it
is
published
on
websites
visited
by
our
target
market.

42. 42
This
analysis
shows
that
54%
of
the
UK
respondents
do
online
research
before
buying
their
product.
(Dauriz,
L.,
Remy,
N.
and
Sandri,
N.,
2014).
As
Penhaligon’s
is
a
luxury
brand
we
need
to
ensure
positive
online
content,
on
their
website,
social
media
and
via
online
banners
–
as
an
important
part
of
our
customers
will
do
online
research
about
our
brand
before
going
into
the
store.
Sales
promotions
are
actions
and
activities
set-­‐up
by
a
particular
brand
to
boost
sales
of
its
product.
There
are
two
types
of
sales
promotions:
trade
and
consumer.
The
trade
sales
promotions
can
be
discounts,
freebies,
commissions
or
any
types
of
incentives
that
are
going
to
convince
a
retailer
or
a
distributor
to
stock
more
and
push
more
of
a
particular
product,
and
thus
increase
sales
volumes.
This
technique
ensures
that
stock-­‐
outs
are
reduced
and
share
of
shelf
space
is
increased,
which
as
a
consequence
makes
the
product
more
visible
and
thus
increases
the
chances
for
a
consumer
to
be
interested
in
purchasing
it.

43. 43
They
are
made
to
create
an
attraction
(pull
strategy)
for
the
product
and
are
often
advertised
to
attract
customer’s
attention.
(Economic
times,
2015).
There
are
various
examples
of
consumers’
schemes
such
as
multiple
purchase
promotions
(“buy
two,
get
one
for
free”),
discount
coupons
(extra
pounds
on
a
particular
product
when
bought),
point
of
sales
items
(displays,
ends
of
gondolas,
set
up
to
catch
consumers’
attention
in
store
and
stimulate
purchase),
premiums
(bonus
items
for
free
or
for
a
low
cost
offered
when
a
purchase
is
made,
free
samples
delivered
in
store
or
at
home),
price
offers
(short
term
reduction
in
price),
prize
promotion
(competitions
or
games),
giveaways
at
events
(merchandizing
products
such
as
pens
or
t-­‐shirts).
Eventually,
sales
promotions
are
short-­‐term
incentives
set
up
in
order
to
achieve
an
immediate
purchase
(stimulate
an
unplanned
purchase
or
upsell).
The
biggest
advantage
of
using
sales
promotion
is
that
they
attract
customers
away
from
competitors
and
the
fact
that
they
encourage
immediate
trial.
However,
they
can
damage
a
brand
if
they
are
excessive
as
customers
will
focus
on
the
discounted
price
and
will
be
reluctant
to
pay
the
regular
one
(Kokemuller,
N.,
2015).
Moreover,
as
our
brand
is
a
luxury
perfume
house
we
do
not
want
for
our
customers
to
perceive
it
as
mainstream
because
of
the
use
of
sales
promotion.
In
our
case,
this
tool
needs
to
be
used
carefully
so
it
does
not
corrupt
the
brand’s
image.
If
we
decide
to
install
POS
material
it
needs
to
look
sophisticated
and
discreet
so
it
does
not
damage
the
brand.
The
same
way,
if
we
decide
to
set
up
discounts
we
have
to
make
them
exceptional
enough
for
the
customers
not
to
get
used
to
the
reduced
prices.
Public
relations
is
“a
planned
and
sustained
effort
to
establish
and
maintain
goodwill
and
mutual
understanding
between
an
organization
and
its
stakeholders”
(Dibb
et
al.,
2012).
This
is
usually
done
through
publicity
and
non-­‐paid
forms
of
communication
such
as
art,
charity,
sporting
events,
press
and
news
releases
or
stunts.
It
is
an
indirect
form
of
communication
where
messages
are
delivered
by
a
third
party:
for
instance,
in
the
case
of
a
news
release,
the
organization
submits
it
to
a
journalist
or
editor
who
decides
what
should
be
included
in
the
article
and
if
it
should
be
published.

44. 44
Even
though
PR
has
the
benefit
of
encouraging
word
of
mouth
and
increasing
the
brand
awareness
it
may
be
damaging
for
the
brand
image.
Indeed,
it
is
not
as
carefully
prepared
and
distributed
as
other
marketing
tools
such
as
advertising
are.
That
is
to
say
that
the
final
message
communicated
may
differ
from
what
was
planned
by
the
marketer
in
the
first
place
(knowthis.com,
2015).
Another
risk
of
using
PR
is
that
the
news
release
or
event
organized
by
the
marketer
gets
“lost”
among
other
information,
usually
more
newsworthy
such
as
politics
or
economical
information.
This
taken
into
consideration,
if
we
decide
to
use
public
relations
we
need
to
ensure
that
the
message
delivered
is
truly
positive
and
newsworthy,
and
that
it
will
produce
positive
share
of
voice
and
share
of
discussion.
Sponsorship
is
advertising
that
aims
at
building-­‐up
a
connection
between
a
company
and
an
organization
or
an
event.
It
is
a
method
of
communication
that
enables
brands
to
show
their
interest
in
various
activities
or
their
support
for
charitable
causes.
Sponsorship
is
a
“major
feature
of
sport
in
the
21st
century”
–
some
competitions
use
their
sponsor’s
name
in
their
title:
eg.
“Heineken
cup”
for
Rugby
or
Barclay’s
Premium
League”
for
football
(BBC,
2014).
Sponsoring
an
event
serves
the
brand
as
it
increases
its
publicity
and
status
and
relates
to
success.
It
is
a
good
way
to
ensure
share
of
voice
and
increase
sales.
However,
sponsoring
an
event
that
is
not
appropriate
for
the
brand
may
damage
its
image
and
thus
the
reputation
(BBC,
2014).
Direct
marketing
is
a
communication
tool
that
uses
a
personal
approach
to
customers
by
sending
mass-­‐mailings
via
post,
emails
or
text
messages
to
customer
groups.
It
is
a
good
way
to
build
a
relationship
with
the
client,
as
the
advertisements
sent
via
direct
marketing
are
adapted
to
their
audience.
It
can
however
have
a
negative
impact
when
the
communication
is
to
recurrent,
because
the
brand
can
annoy
the
customer.
Indeed,

45. 45
consumers
dislike
privacy
intrusion
and
may
consider
direct
communication
as
spam.
(Roberts,
C.,
2015).
b. Clarification
of
the
marketing
tools
to
be
developed
during
the
campaign
After
having
analysed
the
pros
and
cons
of
each
communication
tool
we
will
carefully
choose
the
ones
that
can
easily
cooperate
and
that
are
adapted
to
our
target
audience
and
suitable
for
the
message
we
want
to
deliver.
For
Penhaligon’s
we
are
targeting
at
ABC1
24-­‐35
years
old
as
well
as
ABC1
35-­‐54
years
old.
We
have
decided
to
divide
these
groups
as
each
of
them
has
different
expectations
while
it
is
crucial
to
adapt
the
communication
tool
to
the
target.
• Sales
promotion
We
have
chosen
to
use
sales
promotions,
as
they
are
an
incentive
for
the
customers
in
store.
We
will
display
point
of
sale
material
in
the
boutiques,
with
visuals
related
to
our
campaign.
This
tool
is
effective
for
both
our
target
groups
because
it
aims
at
encouraging
the
immediate
trial
of
the
product.
As
we
were
saying
previously,
we
realize
that
using
sales
promotions
may
seem
unsafe
for
a
brand
as
particular
as
ours.
This
is
why
we
will
make
discounts
very
occasional
and
the
POS
material
will
look
sophisticated
and
discreet,
so
it
does
not
affect
Penhaligon’s
exclusive
image.
We
are
also
going
to
set
up
print
advertising
in
magazines,
in
order
to
increase
brand
recall
of
Penhaligon’s
and
drive
sales.
Our
strategy
will
be
targeted
on
media
addressed
to
our
ABC1
35-­‐54
years
old
audience
in
order
to
ensure
impact
and
relevance.
• Digital
banners
For
the
same
target
audience
we
will
do
online
advertising
through
Internet
banners
on
luxury
and
news
websites.
The
purpose
of
this
communication
is
for
them
to
relate
Penhaligon’s
with
the
luxurious
brand
they
are
used
to
see
advertised
on
these
websites.
These
banners
will
redirect
them
to
Penhaligon’s
website,
where
they
will
be

46. 46
encouraged
to
subscribe
to
the
newsletter
in
order
to
receive
promotions.
We
are
choosing
digital
marketing
because
it
is
less
expensive
than
its
traditional
form
but
more
impactful
than
traditional
advertising.
We
will
ensure
for
our
communications
to
look
premium
and
appear
occasionally,
so
that
the
customer
is
not
annoyed
by
their
presence.
• Newsletter
The
newsletter
will
be
sent
as
direct
mail
to
both
our
target
groups
as
people
from
24
to
55
years-­‐old
spend
a
lot
of
time
reading
their
emails.
This
technique
is
a
good
way
to
send
personal
messages
and
thus
engage
with
the
customer.
We
will
send
these
emails
occasionally
and
only
when
there
is
a
special
event
or
promotion
to
communicate
about.
• Mobile
application
The
last
direct
marketing
technique
we
shall
make
use
of
consists
in
the
creation
of
a
mobile
application
designed
for
our
younger
audience
in
order
to
drive
sales.
Penhaligon’s
is
perceived
as
an
“old
school”
brand
but
it
also
has
this
eccentric
looks
that
we
want
to
use
in
order
to
attract
our
audience.
The
mobile
application
is
an
excellent
way
to
engage
with
the
customer.
In
order
to
encourage
customers
to
download
it,
we
shall
give
a
discount
on
the
products
to
the
first
100
persons
downloading
the
app.
We
know
indeed
that
Penhaligon’s
have
already
been
giving-­‐out
discounts,
when
they
did
the
scented
taxis
communication
action
(Marie
Claire,
2010)
:
five
perfumed
cabs
were
circulating
in
London,
driven
by
experts
that
gave
their
customers
advices
about
fragrances
as
well
as
10%
rebate
coupons
on
Penhaligon’s
products.
This
action
increased
share
of
voice
and
strongly
built-­‐up
brand
awareness.
This
shows
that
a
luxury
brand
such
as
Penhaligon’s
is
able
to
make
use
of
discount
actions,
which
are
more
often
applied
for
the
mass
market,
-­‐yet
without
losing
its
outstanding
image.

47. 47
• Public
relations
Public
relations
will
be
used
in
order
to
increase
awareness
of
Penhaligon’s
perfume
and
the
#beeccentric
campaign.
The
awareness
and
advocacy
will
be
driven
through
the
press
release
as
well
as
exclusive
events.
These
tools
help
us
communicate
the
key-­‐message
of
the
campaign,
that
a
little
eccentricity
combined
with
elegance
is
the
perfect
mix
to
feel
and
look
great.
So
far
Penhaligon’s
has
been
communicating
about
the
new
products
launch,
about
the
exclusivity
of
their
fragrances
and
the
history
behind
the
brand.
As
this
strategy
has
been
working
fine,
we
won’t
be
changing
Penhaligon’s
positioning
but
will
add
a
little
‘young
and
eccentric”
vision
of
the
brand
–in
order
to
change
the
image
to
date
perceived
by
some
people
as
a
little
bit
old
fashioned.
This
message
is
addressed
to
both
of
our
target
groups
but
is
aiming
at
attracting
the
younger
part
of
the
audience
(24
to
35),
maintaining
the
image
that
has
been
working
for
the
older
part
at
the
same
time.
This
way,
the
“eccentric
touch”
relayed
during
the
campaign
will
give
a
younger
image
to
Penhaligon’s,
but
will
not
change
its
elegant,
British
perception
that
had
so
far
convinced
the
35-­‐54
years
old
category.
During
our
whole
campaign
we
will
apply
vertical
integration.
This
strategy
is
being
used
by
a
firm
in
order
to
gain
control
over
its
suppliers
by
making
them
work
together
(producer,
wholesaler
and
retailer)
to
build-­‐up
a
value
chain
and
increase
the
company’s
power
on
the
market,
reduce
transaction
costs
and
secure
distribution
channels.
Penhaligon’s
will
operate
on
different
levels
of
the
distribution
channel
through
forward
integration.
When
a
manufacturer
engages
in
sales
or
after-­‐sales
industries,
it
achieves
higher
margins
and
a
larger
market
share.
For
such
reason
Penhaligon’s
only
sell
their
products
at
their
own
stores
and
not
via
retailers
(such
as
Boots)
or
on
the
Internet,
which
means
the
brand
takes
care
of
all
the
steps
in
the
process
by
itself.

48. 48
After
having
considered
the
message
to
be
communicated
and
the
communication
tools
we
are
going
to
use,
we
need
to
evaluate
and
analyse
the
relationship
between
the
push
and
the
pull
strategies,
which
are
two
different
approaches
to
develop
our
action.
The
“push”
strategy
aims
at
promoting
products
between
the
levels
in
the
distribution
chain.
For
instance,
a
shampoo
brand
is
promoted
by
the
manufacturer
to
the
wholesaler
(the
sales
team
arranges
point
of
sale
material
with
the
wholesales)
and
to
the
retailer
by
the
wholesaler
(who
sets
up
the
point
of
sales
material).
Eventually
the
consumer
sees
the
product
presented
in
store
by
the
retailer.
In
other
terms,
the
push
strategy
is
the
strategy
prepared
by
the
company
to
help
display
the
product
in
store,
make
it
as
visible
as
possible
(thanks
to
the
point
of
sales
material
among
others)
and
thus
attractive
to
the
customer,
encouraging
him
for
an
immediate
purchase.
(Gdabamosi,
A.,
Nwankwo,
S.,
Bathgate,
I.,
2013)
The
“pull”
strategy
technique
occurs
when
the
customer
is
directly
being
addressed
by
a
communication
technique
initiated
by
the
brand
(such
as
advertising,
public
relations,
direct
marketing
etc.).
(Gdabamosi,
A.,
Nwankwo,
S.,
Bathgate,
I.,
2013)
The
combination
of
these
two
strategies
is
called
“profile
strategy”.
(Gdabamosi,
A.,
Nwankwo,
S.,
Bathgate,
I.,
2013)
It
is
a
good
way
to
engage
with
the
customer
and
achieve
sales
objectives.
For
our
campaign
we
are
going
to
use
these
two
strategies
together
but
the
“push”
strategy
will
slightly
differ
as
Penhaligon’s
is
a
luxury
brand
and
the
products
are
only
displayed
in
Penhaligon’s
exclusive
boutiques.
Therefore
there
is
no
wholesaler.
The
product
goes
directly
from
the
manufacturing
plant
to
the
stores.
However,
we
will
be
using
point
of
sales
materials
in
store
in
order
to
attract
attention
and
incentivize
the
end-­‐users.
The
factory
will
deliver
premium
displays
and
boutique
decorations.
It
is
also
crucial
to
communicate
about
the
campaign
to
Penhaligon’s
sales
team
–
the
store
managers,
the
conveyers,
the
sales
people.
We
will
distribute
leaflets
about
the
campaign
plan
to
our
team,
with
the
explanation
of
the
campaign,
the
marketing
tools
chosen
and
the
in
store
decorations
to
be
set
up.

49. 49
The
“push”
strategy
will
be
associated
to
the
“pull”
–
an
advertising,
public
relations
and
direct
mail
campaign
will
be
set
up
in
order
to
guide
the
consumers
through
their
path
to
purchase.
The
brand
will
engage
with
them
via
e-­‐mails
and
Internet
banners,
they
will
be
aware
of
the
campaign
through
public
relations
events
and
news
release,
they
will
see
advertising
in
magazines,
and
once
in
store
they
will
recall
the
campaign
thanks
to
the
displays
and
point
of
sales
material.
Lastly
let’s
have
a
closer
look
at
the
central
organising
idea
of
our
integrated
campaign.
We
have
decided
not
to
truly
reposition
the
brand
but
to
give
it
a
fresher
and
younger
look
through
our
campaign,
insisting
on
its
eccentric
and
original
aspect.
Our
campaign
main
message
is
that
Penhaligon’s
perfumes
add
“a
touch
of
eccentricity
and
distinction
to
each
and
every
outfit”.
This
is
the
reason
for
choosing
such
a
broad
target
audience,
there
is
no
age
for
Penhaligon’s.
So
far,
Penhaligon’s
was
mostly
chosen
by
40+
years
old
customers,
driven
by
the
rather
high
price
and
the
traditional
appearance
of
the
brand.
We
want
to
justify
the
high
price
by
the
exclusivity
and
the
high
quality
of
the
product
sold.

50. 50
3. IMC
delivery
a. Communication
tools
developed
during
the
campaign
In
order
for
the
integrated
marketing
communications
delivery
to
be
clearly
understood
we
need
to
recall
the
main
message
and
the
strategy
we
are
going
to
develop.
Our
long-­‐term
strategy
is
to
become
the
number
1
brand
for
luxury
and
elegant
perfumes
via
content
engagement,
amongst
24
to
54
years
old
ABC1
men
and
women.
Our
immediate
plan
is
to
encourage
trial
and
sales
via
call
to
action.
The
main
idea
we
wish
to
convey
is
that
Penhaligon’s
perfumes
represent
«
Elegance
with
a
touch
of
eccentricity
»
using
the
#be
eccentric,
for
the
campaign
to
be
recognizable
on
social
media.
As
we
have
carefully
divided
our
target
group
into
two
audiences,
we
want
to
address
a
particular
message
to
each
of
them.
For
the
ABC1
24-­‐35
years
old
men
and
women,
we
are
looking
to
emphasize
the
fact
that
using
Penhaligon’s
makes
you
feel
authentic,
original
and
thus
self-­‐confident.
It
makes
you
stand
out
of
the
crowd
with
elegance.
The
message
we
are
addressing
to
the
other
part
of
our
target
audience
is
that
Penhaligon’s
adds
a
touch
of
folly
to
every
outfit,
may
it
be
classic
or
casual.
We
have
classified
our
tactics
according
to
the
POEM
model.
In
order
to
understand
this
categorization
we
need
to
distinguish
between
the
paid,
the
owned
and
the
earned
media
–segmentation.
• The
paid
media
is
the
media
the
company
needs
to
invest
in,
such
as
pay
per
click
display
ads,
retargeting,
paid
influencers,
social
media
ads
etc.
In
one
word
it
is
advertising.

51. 51
• The
owned
media
groups
web
properties
such
as
the
company’s
website,
the
mobile
site,
the
blog
or
the
social
media
(e.g.
Here
Penhaligon’s
Facebook
fan
page)
• The
earned
media
is
everything
that
the
company
has
generated
itself,
such
as
word
of
mouth,
share
of
voice,
blogger
relations,
influencer
relations
and
public
relations.
Below,
we
have
listed
the
tools
we
are
going
to
use
for
our
integrated
campaign
according
to
that
classification.
Type
Items
PAID
Advertising
Facebook
paid
posts
Magazines
Point
of
sales
promotion
OWNED
Website
Social
Media
Content
Newsletter
Application
Facebook
EARNED
Advocacy
Video
#beeccentric
Social
media
share
News
release
According
to
that
model,
we
aim
at
achieving
some
concrete
results:
• We
want
to
acquire
20.000
24-­‐35
years
old
men
and
women
-­‐new
customers,
via
trial,
encouraged
by
advertising,
social
media
content,
mobile
application
and
contests.
These
tools
are
going
to
help
us
engage
with
our
target
group
and
guide
them
through
their
path
to
purchase,
from
awareness
to
understanding,
to
conviction
and
then
to
action.

52. 52
• We
want
to
retain
80.000
35-­‐54
years-­‐old
men
and
women
customers
via
public
relations
(positive
share
of
voice,
advocacy
with
the
news
release),
advertising
(online
banners,
magazines)
and
direct
marketing
(newsletter).
• We
wish
for
our
#beeccentric
to
be
the
trending
#
in
September
and
October.
We
will
achieve
that
by
posting
regularly
on
our
Facebook
page,
by
launching
the
#beeccentric
contest
to
engage
with
our
audience
and
by
creating
a
video
compiling
all
of
the
“eccentric”
pictures
sent
for
the
contest
that
will
become
viral
and
shared
by
social
media
users.
• Finally,
we
are
looking
to
achieve
a
50%
brand
recall
of
the
campaign
among
our
targeted
audience.
For
both
of
our
target
groups
we
will
be
doing
sales
promotion.
However,
as
Penhaligon’s
is
a
niche
and
luxury
brand
selling
its
products
only
in
the
brand’s
boutiques,
we
will
be
doing
in
store
decoration
with
the
#beeccentric
near
to
the
shelve
stoppers.
The
POS
materials
will
be
showing
men
and
women
dressed
in
an
elegant
way
but
with
a
touch
of
eccentricity
(e.g..
A
remarkable
haircut,
or
an
offbeat
accessory),
and
a
Penhaligon’s
perfume
bottle
on
the
bottom
of
the
picture,
with
the
#beeccentric
and
the
tagline
“Elegance,
with
a
touch
of
eccentricity”.
The
point
of
such
a
promotion
is
to
recall
Penhaligon’s
previous
marketing
campaigns,
the
pictures
of
elegant
gentlemen
with
moustaches
and
top
hats,
but
to
add
a
“cooler”
and
younger
look
to
these
memories.
The
message
we
want
to
communicate
through
these
visuals
is
the
fact
that
our
brand
is
telling
a
real
story
–
the
story
of
elegance
with
a
touch
of
eccentricity.
We
do
realize
that
POS
material
can
easily
destroy
an
exclusive
brand
and
add
it
a
“cheap”
look.
As
we
want
the
decorations
to
look
as
premium
as
possible
we
will
take
care
for
them
to
be
discreet,
elegant
and
sophisticated.

53. 53
We
will
carefully
choose
everything
that
will
be
placed
in
the
boutiques,
in
order
for
it
to
be
noticeable
but
match
with
the
“chic”
image
of
the
brand.
Instead
of
installing
big
displays
in
cardboard
as
it
is
usually
done
for
mass
market
retailers,
we
will
print
different
visuals
in
different
sizes,
with
the
catch
phrase
“Penhaligon’s:
elegance
with
a
touch
of
eccentricity.
#Beeccentric”
and
will
put
them
into
elegant
but
colourful
frames
that
we
will
dispose
around
the
boutique.
Some
of
the
frames
will
have
a
small
note
about
the
contest
during
November,
but
the
rest
of
the
time
they
will
just
recall
the
campaign
to
the
people
passing
by
the
store.
For
the
POS
materials
we
will
use
three
visuals:
• A
woman
in
her
40ties
wearing
a
long
black
sophisticated
dress
with
a
slit
on
one
side,
revealing
an
elegant
but
quite
eccentric
mini-­‐tattoo
on
the
thigh.
The
message
communicated
through
this
visual
is
distinction
with
extravagance,
which
is
exactly
the
impression
we
want
to
give
about
the
brand
through
this
campaign.
Using
the
visual
of
a
40
year
old
woman
will
help
us
retain
our
second
target
group:
the
ABC1
35-­‐54
years
old,
men
and
women.
Women
will
want
to
recognize
themselves
in
her
and
men
will
be
attracted
by
what
she
represents.
• A
young
woman
around
25
years
old
in
a
classic
outfit
(clack
skirt
and
white
shirt)
with
an
offbeat
haircut:
braids
with
butterflies
and
flowers
in
the
hair
(see
appendix
one).
This
visual
is
addressing
precisely
our
24-­‐35
years
old
target
group.
It
shows
how
a
young
person
can
be
graceful
and
original
at
the
same
time.
The
point
is
to
slightly
change
the
old
fashion
image
we
have
identified
as
one
of
the
threats
and
weaknesses
of
the
brand
to
a
“younger”
and
eccentric
image.
• A
man
in
his
thirties
dressed
in
a
really
fancy
way
(elegant
shoes
and
jacket,
classic
shirt,
smart
watch
and
tie)
but
with
original
blue
pants
with
white
dots
on
them.
This
visual
is
addressing
both
of
our
male
target
groups,
the
“cool”
message
communicated
by
the
eccentric
pants
gives
an
energetic
appearance
to
the
visual,
attracting
our
younger
target
group,
but
the
rest
of
the
classic
outfit
prevents
from
the
denaturalization
of
Penhaligon’s
elegant
side.
(Appendix
2)

54. 54
These
visuals
will
be
printed
with
the
catch
phrase
“elegance
with
a
touch
of
eccentricity”
below
the
picture,
near
the
#beeccentric
and
the
brand’s
logo.
We
have
decided
to
use
two
visuals
with
women
compared
to
only
one
“man”
visual
because
we
have
realized
that
Penhaligon’s
communication
so
far
has
been
mostly
addressing
man
(Official
Movember
sponsor
amongst
others),
and
that
their
“average
customer”
is
a
man.
As
they
have
a
variety
of
choices
for
women
fragrances
we
want
to
recall
that
Penhaligon’s
is
not
a
strictly
masculine
label.
These
visuals
will
be
the
ones
used
during
the
whole
campaign
and
will
appear
on
most
of
our
communication
tools.
As
it
has
been
said,
we
do
not
want
to
reposition
the
brand
too
much,
we
are
aiming
at
acquiring
a
number
of
younger
customers,
attracting
them
with
the
idea
of
eccentricity
and
uniqueness
Penhaligon’s
represents.
The
second
communication
tool
we
will
be
using
in
our
campaign
is
the
newsletter,
as
it
is
a
good
approach
to
engage
with
the
customers
personally.
In
order
for
them
to
subscribe
we
will
use
different
incentives
such
as
special
events,
promotions
and
interesting
news
about
the
brand.
We
will
create
a
Penhaligon’s
“club”
for
our
subscribers
to
encourage
loyalty.
However,
we
do
realize
that
our
customers
receive
lots
of
mails
on
a
daily
basis
–
we
care
about
them
and
do
not
want
them
to
get
annoyed
by
Penhaligon’s
news
or
to
consider
it
as
spam
–
for
this
reason
we
will
send
it
no
more
than
four
times
during
the
whole
campaign:
At
the
beginning:
to
announce
the
“Elegance,
with
a
touch
of
eccentricity”
communication
and
the
launch
of
a
mobile
application,
before
the
launch
of
our
social
media
contest,
another
time
to
invite
the
club
members
and
the
press
to
an
exclusive
event
and
eventually
to
send
them
the
pictures
from
the
event
and
the
results
of
the
contest.

55. 55
We
will
send
our
newsletter
to
both
our
customers
and
to
the
press,
to
keep
them
informed
about
the
progression
of
the
campaign
as
well
as
to
ensure
a
positive
share
of
voice
and
stimulate
discussion
(crucial
for
our
brand’s
reputation).
As
we
are
looking
to
engage
with
our
current
customers
and
attract
new
ones,
we
will
be
launching
an
Internet
contest
on
Social
Media.
The
point
is
to
motivate
people
to
take
pictures
of
themselves
with
the
#beeccentric,
alone
or
with
friends,
wearing
something
outstanding
(the
whole
outfit
or
just
a
small
detail
–
as
a
recall
of
the
catchphrase
of
the
campaign:
“Penhaligon’s,
elegance
with
a
touch
of
eccentricity”).
The
picture
will
have
to
be
quite
funny
and
original.
They
will
be
sent
on
social
media
and
at
the
end
of
the
month
we
will
compile
them
into
one
video
that
will
be
posted
on
social
media
aiming
at
becoming
viral.
This
video
will
also
be
displayed
during
our
exclusive
PR
events
and
the
guests
will
elect
the
most
“fantastic”
picture,
that
will
receive
a
set
of
Penhaligon’s
products
and
a
trip
for
two
people
to
attend
the
Venice
Carnival
(flight
from
London
to
Venice,
one
night
in
a
hotel
for
two
people),
as
it
is
consistant
with
the
eccentricity
theme
of
the
campaign.
As
we
want
our
campaign
to
be
noticeable
we
will
ensure
a
good
PR
recall
via
the
creation
of
two
exclusive
“Penhaligon’s”
events.
The
first
event
will
be
a
press
gathering
around
the
“elegance
with
a
touch
of
eccentricity”
theme.
It
will
take
place
at
the
beginning
of
December,
so
that
when
the
news
release
comes
out,
people
would
think
of
Penhaligon’s
for
their
Christmas
gifts.
The
point
of
this
event
will
be
to
create
share
of
voice,
positive
connotation
and
encourage
people
to
exchange
and
meet
around
the
Penhaligon’s
“be
eccentric”
campaign
theme.
Penhaligon’s
products
are
going
to
be
displayed
in
the
room
and
a
photo
booth
with
the
#beeccentric
will
be
available.
This
event
will
be
exclusive
and
only
press
and
Penhaligon’s
important
stakeholders
will
be
able
to
attend.
A
news
release
about
the
event
and
the
campaign
will
be
published
on
Penhaligon’s
website.
The
second
event
will
be
organized
for
“Penhaligon’s
club
members”
i.e.
the
customers
that
have
subscribed
to
the
newsletter,
as
well
as
for
the
bloggers.
It
will
be
similar
to

56. 56
the
press
event
but
will
take
the
form
of
a
cocktail
party.
The
topic
of
the
evening
will
be
“elegance
with
a
touch
of
eccentricity”
–
the
point
will
be
to
encourage
people
to
dress
in
an
elegant
way
but
add
a
touch
of
eccentricity
or
folly.
The
video
with
the
compiled
pictures
from
the
contest
will
be
broadcast
and
the
guests
will
elect
the
best
one
in
order
for
it
to
be
rewarded
by
a
two-­‐people
trip
for
the
Venise
Carnival
in
Italy
and
a
set
of
Penhaligon’s
products.
A
professional
photograph
will
be
invited
to
the
party
so
that
the
pictures
of
the
event
can
appear
with
the
news
release,
on
the
website
and
social
media.
This
will
also
be
the
occasion
to
discover
and
try
the
range
of
the
Penhaligon’s
products
(displayed
alongside
the
lobby).
Furthermore,
we
will
be
launching
a
mobile
application
that
will
allow
consumers
to
purchase
Penhaligon’s
fragrances
and
products
online
and
exchange
their
opinion
about
them
in
order
to
encourage
other
people’s
trial.
The
first
100
persons
that
will
download
the
application
will
receive
a
20%
discount
voucher
on
Penhaligon’s
products
via
e-­‐mail.
As
we
realize
that
launching
a
mobile
application
may
seem
really
mainstream,
we
will
insist
on
the
exclusive
image
of
the
brand
by
doing
a
truly
elegant
branding
and
choosing
the
best
creation
for
it
to
have
a
unique
sophisticated
look.
The
point
of
launching
such
an
application
is
to
make
the
brand
accessible
to
our
younger
target
audience,
which
is
known
as
being
connected
all
the
time.
This
audience
does
not
always
have
time
to
drop
by
the
store
and
does
not
always
have
their
computer
at
hand.
However
these
customers
do
check
their
mobile
phones
very
often,
and
making
the
purchase
of
Penhaligon’s
products
easy
and
convenient
could
be
a
great
way
to
encourage
trial
among
the
24-­‐35
years
old
group.
Consequently,
they
will
not
only
access
all
of
Penhaligon’s
products
effortlessly
but
will
also
be
able
to
grade
and
leave
and
opinion
about
their
purchase.
The
post-­‐sales
service
will
ensure
the
posts
are
not
offensive
and
will
keep
the
positive
ones
–
this
will
allow
new
customers
to
see
other’s
opinion
and
favourites.
Every
week
the
perfume
with
the
best
grades
will
appear
as
the
“week’s
favourite”
on
top
of
the
other’s.

57. 57
Once
the
perfume
is
purchased
via
the
mobile
application,
it
will
be
shipped
to
the
home
of
the
buyer
in
an
exclusive
packaging.
The
box
will
have
a
truly
premium
appearance:
it
will
be
tied
with
a
satin
ribbon.
Once
opened,
the
bottle
of
perfume
will
be
immobilized
inside
and
a
Penhaligon’s
business
card
will
appear
with
the
logo
of
the
brand
on
one
side
and
the
name
and
family
name
of
the
buyer
on
the
other
(eg.
“For
Lisa
Newmann,
with
love,
Penhaligon’s”),
printed
in
a
“hand
written”
style.
Attention
paid
to
such
details
is
meant
to
create
a
“Wow
effect”
and
convince
user
to
keep
the
box,
–
which
will
ensure
build-­‐up
brand
recognition
at
customer’s
(and
thus
brand
recall),
while
encourage
purchase
renewal
at
the
same
time.
As
Penhaligon’s
products
are
being
priced
rather
high,
we
want
to
provide
the
customer
with
the
best
service
and
experience
both
in
store
and
at
home.
For
our
35-­‐54
ABC1
men
and
women
target
audience
we
shall
launch
Internet
banners
on
news
websites.
It
has
been
recognized
that
“luxury
brands
advertising
on-­‐line
have
a
three
times
higher
click-­‐through
rate”
than
average
ones.
The
Luxury
Benchmarks
report
0,37
%
click-­‐through
rate
on
a
luxury
polite
banner
ad
(image
rich
but
no
slowing-­‐down
effect
on
the
website),
against
0,13
on
average
(The
Drum,
2014).
However,
the
fact
is
that
most
people
seeing
advertisement
while
reading
news
or
surfing
on
the
web
get
annoyed.
They
either
close
the
ad
or
do
not
pay
attention
therefore
we
plan
for
our
ads
to
be
animated
and
as
creative
as
possible.
The
goal
is
to
keep
them
exclusive
and
fancy-­‐looking
as
“consumers
may
not
click
on
a
banner
ad
if
it
does
not
look
right”
(Luxurydaily,
2012)
One
of
the
most
important
factors
is
to
have
presence
on
the
right
kinds
of
sites
(Luxurydaily,
2012).
This
is
why
we
have
specifically
selected
news
websites:
• The
Financial
Times
website,
as
it
is
targeting
the
24-­‐34
years-­‐old
group
which
is
a
part
of
our
audience
(Financial
Times,
2014)
• Sky
News,
as
it
is
mainly
targeting
25-­‐39
years-­‐old
men,
ABC1
social
class
(YouGov
profiler,
2015)
• Grazia
Online,
targeting
25-­‐39
years-­‐old
women,
ABC1
(YouGov,
2015)

58. 58
• Paid
banners
on
Facebook
as
this
social
network
accounts
for
the
biggest
number
of
users
–
1.49
monthly
active
users
(Statista,
2015)
among
both
of
our
target
groups
The
Internet
banner
will
have
a
really
sophisticated
appearance
and
will
be
interactive:
it
will
look
like
a
gift
tied-­‐up
with
a
ribbon,
with
the
Penhaligon’s
logo
on
the
present
packaging
and
the
catchphrase
“discover
a
world
of
elegance
and
eccentricity”.
Once
the
computer
mouse
hovers
the
banner,
the
gift
unwraps
itself
and
a
set
of
Penhaligon’s
perfume
bottles
shows
up
with
the
slogan:
“Elegance
with
a
touch
of
eccentricity”.
In
order
for
the
banner
to
look
attractive
and
be
visible
we
will
be
doing
three
types
of
format:
300x600
half-­‐page
ads,
500x480
pop-­‐ups
and
720x300
pop-­‐under
ads
only.
To
make
our
campaign
truly
integrated
and
reach
positive
share
of
voice
we
will
also
be
advertising
in
magazines,
so
that
people
that
do
not
read
news
online
are
made
aware
of
our
campaign.
The
advertisement
in
magazines
will
be
addressing
our
35-­‐54
years
old
men
and
women
target
group.
We
will
post
ads
in
Vogue,
Harper’s
Bazaar
and
GQ.
• 86%
of
Vogue’s
readership
is
female.
They
are
16
to
54
years
old
women
(that
covers
both
of
our
target
groups),
with
higher
education.
They
are
usually
business-­‐owners,
managers
or
white
collars
(49%),
they
travel
2-­‐3
times
per
year
(61%)
and
81%
claim
they’re
getting
latest
news
about
fashion
and
beauty
from
Vogue
(Condenast).
This
audience
group
widely
overlaps
with
the
one
that
buys
products
at
Penhaligon’s,
hence
our
choice.
• Harper’s
Bazaar
core
target
group
is
25-­‐49
years-­‐old
ABC
women,
which
is
exactly
the
audience
we
are
targeting
with
our
campaign.
The
content
is
the
same
as
that
of
Vogue’s:
fashion
and
beauty
(Bauer
Media
group,
2015).
• GQ
target
group
is
ABC1
men,
25-­‐39
years-­‐old,
working
either
in
media
and
publishing
or
in
business
with
a
monthly
spare
of
£1000
or
more,
which
fits
exactly
the
audience
we
want
to
reach
through
our
campaign.
(YouGov,
2015)

59. 59
b. Campaign
development
schedule
Our
campaign
is
scheduled
to
start
in
September
2016,
as
the
end
of
the
summer
matches
the
time
at
which
our
audience
is
back
at
work.
The
idea
behind
launching
a
campaign
at
that
time
of
the
year
is
that,
even
though
the
summer
holiday
is
over,
buying
a
Penhaligon’s
perfume
makes
you
feel
better
to
start
the
year
on
track
–
it
is
a
unique
brand
that
makes
you
feel
special
–
while
adding-­‐up
the
small
touch
of
eccentricity
you
need!
September
is
also
a
peak-­‐shopping
season
as
customers
get
prepared
for
the
active
year
to
start.
They
shop
for
clothes,
which
is
consistent
with
Penhaligon’s
offer.
The
communication
campaign
should
influence
their
purchasing
pattern
that
may
be
directed
towards
exclusive
perfumes.
Our
campaign
will
follow
a
pulsing
schedule
in
order
to
create
awareness
and
attract
attention.
This
model
combines
continuity
–
which
is
when
advertisement
“runs
at
regular
and
fixed
intervals”
(Management
study
guide,
2015)
and
it
is
a
good
way
to
remind
customers
of
the
brand
constantly
-­‐as
is
usually
done
for
seasonal
products
(that
applies
here,
as
perfumes
are
mostly
bought
during
the
festive
season
and
at
the
beginning
of
the
year
(Mintel,
2013)).
We
shall
spread
concentrated
communication
in
irregular
periods.
This
way,
advertising
is
focused
on
the
best
purchasing
cycle
period.
The
campaign
appears
as
truly
integrated
as
almost
every
communication
tool
is
set
up
at
the
same
time
when
it
starts,
and
then
is
recalled
every
two
or
three
weeks.
August
is
the
month
when
we
will
be
preparing
and
pre-­‐testing
every
tool
before
setting
it
up
for
September.
We
shall
take
care
of
planning,
elaborating
and
developing
the
mobile
application
during
the
first
two
weeks
of
the
month.
As
previously
mentioned,
we
want
the
app
to
facilitate
and
encourage
trial
as
well
as
incentivize
the
customers
to
engage
with
the
brand
and
among
themselves,
by
providing
their
feed-­‐back.
We
want
to
prevent
the
app
from
being

60. 60
perceived
as
just
another
mainstream
channel
for
a
company
to
build-­‐up
presence
on
its
customer’s
phone.
For
this
reason
we
will
carefully
design
every
detail
that
will
appear
on
the
interface.
From
August
15th
to
31st
we
will
be
testing
our
application,
making
sure
everything
works
and
is
adapted
to
different
operating
systems
(Apple,
Android,
Google,
Windows
phone).
The
first
days
of
August
will
be
the
time
when
POS
material
projects
will
be
discussed,
as
well
as
the
photographs
for
the
visuals
and
the
creative
part.
We
will
then
organize
a
photo
session
with
models
accessorized
according
to
our
previous
description
(two
women
visuals,
one
man),
always
dressed
in
an
elegant
way
but
with
an
eccentric
accessory
or
detail.
Once
the
photographs
are
made
we
shall
appoint
a
creative
agency
to
make
the
modifications
and
prepare
high
quality
visuals
that
will
be
used
for
our
POS
materials
as
well
as
in
magazines.
The
third
and
fourth
week
of
August
we
will
be
printing
the
POS
materials
and
sending
out
the
ads
to
the
magazines
in
order
for
everything
to
be
ready
before
the
beginning
of
September.
Then
comes
the
time
when
we
launch
the
campaign
and
display
the
POS
in
Penhaligon’s
boutiques.
August
is
also
the
time
when
we
write
and
edit
the
newsletter,
which
we
will
send
four
times
in
a
row
during
the
campaign,
to
the
press,
to
bloggers
and
to
Penhaligon’s
“club”
members
(customers
having
subscribed
to
the
newsletter).
We
will
take
care
for
the
four
e-­‐mails
to
be
written
and
prepared
in
advance
so
we
can
send
everything
on
time.
We
will
prepare
Internet
banners
during
the
first
two
weeks
of
August
and
will
test
them
during
the
last
days
of
the
month.
We
will
take
extra-­‐care
about
every
detail
for
the
banners
so
that
we
make
sure
they
are
not
perceived
as
cheap
and
do
not
denaturalize
the
brand
–just
as
we
did
for
the
mobile
ap.
We
want
to
ensure
a
click-­‐
through
rate
of
2%,
as
a
click
through
rate
for
luxury
banners
can
go
up
to
2,55%
(E
Marketer,
2014).

61. 61
We
will
launch
our
integrated
marketing
communication
on
the
1st
of
September,
having
prepared
and
pre-­‐evaluated
each
tool
over
the
course
of
August.
• Mobile
application
The
mobile
application
will
be
launched
on
September
1st
(it
will
last
during
the
whole
campaign
and
thereafter),
supported
by
the
newsletter
and
the
POS
material
that
will
display
a
QR
code
to
download
the
mobile
app.
The
point
of
placing
a
QR
code
on
the
POS
material
is
for
the
customers
to
be
directly
incentivized
to
download
the
application
–
this
has
two
benefits:
ensuring
Penhaligon’s
logo
presence
on
their
phone
interface
(recall
of
the
brand
and
of
the
campaign)
and
encouraging
customers
who
did
not
purchase
in
store
to
order
the
product
via
the
app
and
have
it
delivered
at
home
(or
to
buy
another
Penhaligon’s
product
via
the
app
after
having
bought
one
in
store).
• POS
material
The
POS
materials
will
be
set
at
the
same
time
as
the
application
(beginning
of
September)
in
some
of
the
Penhaligon’s
British
boutiques
(London,
Newcastle,
Liverpool,
Manchester,
Cambridge
–
main
cities
where
Penhaligon’s
products
are
available).
They
will
be
placed
near
the
products
in
colourful
frames
of
different
shapes
and
sizes.
They
will
show
the
visuals
described
above,
the
slogan
“Penhaligon’s,
elegance
with
a
touch
of
eccentricity”,
as
well
as
the
#beeccentric
and
the
QR
code
sending
to
the
mobile
application.
The
decorations
will
be
displayed
during
the
entire
campaign
(from
the
1st
week
of
September
until
the
last
week
of
January).
However,
they
will
have
a
note
about
the
Internet
contest
during
the
last
two
weeks
of
October
and
the
first
two
ones
of
November.
• Newsletter
We
will
be
sending
a
newsletter
to
both
of
our
target
groups,
the
press
and
the
bloggers
in
order
to
announce
the
launch
of
the
“elegance,
with
a
touch
of
eccentricity”
campaign
with
the
#Beeccentric,
in
order
for
the
brand
to
engage
with
its
audience.
The
newsletter
will
be
sent
during
the
first
week
of
September
to
the
customers
that
have

62. 62
subscribed
for
it
(“Penhaligon’s
club
members”),
either
via
the
website,
the
mobile
application
or
in
store.
We
will
not
be
buying
a
list
as
it
is
quite
expensive
and
we
want
to
concentrate
our
budget
on
other
tactics.
The
newsletter
will
be
sent
on
Tuesdays
and
Thursdays
afternoon
(between
1
pm
and
3
pm),
as
these
are
the
two
most
popular
days
to
send
email
newsletters
according
to
MailChimp
(Wordstream,
2014).
During
the
fourth
week
of
October
we
will
announce
the
launch
of
the
Internet
contest
via
e-­‐mail,
encouraging
customers
to
take
part
in
the
game
and
informing
the
press
about
it.
Three
weeks
later
(last
week
of
November),
we
will
send
a
newsletter
inviting
the
press,
the
bloggers
and
the
subscribers
for
an
exclusive
Christmas
event
around
the
“small
touch
of
eccentricity”
theme
–
one
e-­‐mail
and
event
for
the
press,
another
one
for
bloggers
and
subscribers).
• “Elegance
with
a
touch
of
eccentricity”
events
These
PR
events
will
provide
occasions
to
gather
around
the
campaign
and
discuss
about
Penhaligon’s
renewed
image.
The
press
event
will
occur
in
the
first
week
of
December,
and
the
other
one,
organized
for
bloggers
and
customers
will
take
place
in
the
second
week
of
December.
The
point
of
doing
these
celebrations
at
the
beginning
of
December
is
for
the
customers
to
think
of
Penhaligon’s
while
preparing
their
Christmas
gifts,
as
perfumes
are
seasonal
products.
Both
of
the
events
will
be
prepared
three
weeks
in
advance
(finding
the
place,
setting-­‐up
the
products
and
the
gifts,
organizing
the
whole
celebration).
• Online
banners
We
will
be
launching
Internet
banners
on
the
1st
of
September
and
will
keep
them
till
the
15th
on
the
Financial
Times
Website,
Grazia
Online,
Sky
News
and
Facebook
(paid
posts),
as
these
are
the
websites
targeting
the
audience
we
want
to
reach
through
our

63. 63
campaign.
These
banners
will
be
announcing
the
campaign
and
encourage
people
surfing
on
the
Internet
to
click
and
be
redirected
to
the
Penhaligon’s
website.
We
will
set
up
Online
banners
about
the
Social
media
contest
over
the
first
three
weeks
of
October
as
the
contest
starts
on
the
last
week
of
the
month.
(We
will
keep
information
about
the
contest
on
the
POS
material,
on
the
website
and
on
Facebook).
The
last
Internet
banners
will
appear
during
the
first
two
weeks
of
December
–
they
will
be
adapted
to
Christmas
and
will
encourage
people
to
think
of
our
brand
when
buying
their
gifts.
• #Be
eccentric
contest
The
contest
will
start
on
the
first
week
of
November
and
will
last
until
the
whole
month.
It
will
be
supported
by
the
online
adds
and
the
newsletter,
as
well
as
by
the
POS
material
and
Penhaligon’s
own
media.
Participants
will
be
encouraged
to
send
their
pictures
on
Facebook
in
order
for
the
best
one
to
win
a
set
of
the
brand’s
products
along
with
two
tickets
for
the
Venice
Carnival.
Once
the
contest
is
completed,
a
video
of
all
the
pictures
will
be
compiled
and
shown
during
the
special
Christmas
event
organized
for
bloggers
and
“club
members”.
The
video
will
be
displayed
and
guests
will
vote
for
the
best
picture
that
will
be
rewarded
(the
video
will
be
created
during
the
first
week
of
December
and
the
event
will
take
place
in
the
following
week).
• Owned
media
posts
As
we
realize
an
important
part
of
our
target
audience
spends
a
lot
of
time
on
Internet
(shopping
among
others),
we
wish
to
communicate
through
Facebook,
Instagram
and
our
website
about
the
campaign
during
its
whole
duration.
However,
as
owned
media
is
a
good
way
to
engage
with
the
customers
we
will
adapt
our
posts
to
other
communication
tools
set-­‐up
during
the
communication
project.
We
will
start
on
September
1st
with
a
global
communication
about
our
campaign;
posting
the
same
visuals
we
have
for
the
POS
materials
along
with
the
catchphrase
“Elegance
with
a
touch
of
eccentricity”.
We
will
start
to
communicate
about
our
social

64. 64
media
contest
in
the
third
week
of
September
and
will
keep
this
communication
until
the
end
of
the
contest
(last
week
of
November).
We
will
then
do
one
week
of
Christmas
advertising
(first
week
of
December)
followed
by
two
weeks
of
posts
about
the
contest
video.
In
the
first
week
of
January
we
will
publish
the
results
of
the
contest
and
will
conclude
our
integrated
campaign
by
three
weeks
of
daily
communication
on
Facebook
and
weekly
on
Instagram
and
website.
• Advertising
in
magazines
As
previously
stated,
we
shall
advertise
our
“Be
eccentric”
campaign
in
several
monthly-­‐
issued
magazines
(Vogue,
Harper’s
Bazaar,
GQ)
targeting
at
our
audience
so
that
our
campaign
is
truly
integrated
and
we
can
achieve
our
marketing
objectives.
For
the
advertising
in
magazines
we
will
be
using
a
flighting
schedule
–
we
will
advertise
in
September
as
it
is
the
beginning
of
the
year
and
a
period
when
people
go
shopping
the
most,
and
in
December,
as
perfumes
are
season-­‐based
products,
to
encourage
consumers
to
think
of
Penhaligon’s
for
their
Christmas
gifts.
• Press
release
The
press
release
will
be
posted
on
Penhaligon’s
website
(and
a
link
to
the
document
will
appear
on
their
Facebook
page)
in
the
third
week
of
December
(will
be
written
and
edited
in
the
second
week
of
December
after
the
Christmas
press
event
is
over).
We
will
be
publishing
the
press
release
in
order
to
produce
positive
share
of
voice
and
share
of
discussion
and
to
ensure
a
good
recall
of
our
campaign.
• Evaluation
The
two
last
weeks
of
January
will
be
the
time
when
we
will
be
post-­‐evaluating
the
campaign.
We
will
verify
the
ad
awareness
-­‐making
sure
that
our
target
audiences
have
been
reached,
the
brand
recognition,
the
product
linkage
(if
the
customers
have
understood
the
benefits
of
Penhaligon’s
products),
the
message
take-­‐out
(if
the
message
was
clearly
understood
by
the
consumers)
and
the
whole
campaign
outcome
on
Company’s
results.

65. 65
c. Budget
After
having
scheduled
our
campaign
we
need
to
define
its
budget
according
to
the
marketing
tools
chosen.
• The
mobile
application’s
cost
differs
depending
on
the
type
of
application
chosen.
A
basic
table
functionality
will
be
the
cheaper
version,
while
custom
utilities
apps
will
be
much
more
expensive.
As
we
were
saying
that
we
want
for
our
customers
to
put
grades
on
our
fragrances,
along
with
opinions
exchanged
via
a
forum
and
be
able
to
purchase
our
products
via
the
application,
we
need
to
take
some
extra
costs
into
consideration.
(Carter,
T.,
2011).
Consequently
the
creation
of
the
application
would
cost
around
£14.000,
the
in-­‐
app
purchasing
would
cost
about
£2800,
the
SDKs
(tracking
the
application
results
with
Google
analytics,
chartboost
etc.)
costs
£200.
The
mobile
application
total
cost
is
£17.000
• The
POS
material
we
will
create
and
print
is
A3
and
A4
size
hard-­‐posters
with
our
visuals
and
wooden
painted
frames
to
put
the
posters
inside.
! One
210gsm
glossy
A4
hard-­‐poster
costs
£4
(touchcorp.com/pointofsale)
! The
same
item
in
an
A3
format
costs
£6
per
unit
! One
A3
frame
costs
£10
! One
A4
frame
£8
! We
are
going
to
set
up
the
POS
materials
in
the
14
Penhaligon’s
boutiques
(London,
Cambridge,
Chester,
Edinburg)
! We
have
three
visuals
and
place
each
of
them
twice
in
the
boutiques
(three
visuals
in
an
A4
format,
three
visuals
in
an
A3
format)
! The
transport
will
cost
£500
in
total
The
complete
cost
for
the
in-­‐store
decorations
is
£2.852

66. 66
• To
calculate
our
newsletter
budget
we
need
to
take
into
account
(mynewsletterbuilder.com/pricing)
! 100.000
emails
sent
to
the
“Penhaligon’s
club
members”
and
the
press
x
4
(we
will
be
sending
emails
four
times
during
our
campaign)
=
£175
x
4
=
£700
! £1.000
of
technical
costs
(text
+
visual
-­‐
we
want
our
emails
to
look
exclusive
and
different
from
the
regular
newsletter
our
customers
receive
from
other
brands
–
thus,
we
will
be
hiring
a
creative
agency
for
the
emails
to
have
the
premium
look)
! 1175
x
4
=
£4.700
The
total
cost
for
the
newsletter
is
£4.700
• The
Internet
banners
(moj-­‐posao.net
–
price
list
for
banner
advertising)
! 300x600
“half
page
ad”
=
£15
for
1000
views
! 600x600
“floating
big”
=
£40
for
1000
views
! 970
x
250
“billboard
banner”
=
£35
for
1000
views
! We
will
display
our
banner
ads
during
7
weeks
on
four
different
websites
! We
want
to
achieve
1.000.000
views
per
website
! 15.000
+
40.000
+
35.000
=
£90.000
The
total
cost
for
Internet
banners
is
£90.000
• The
Online
contest
will
run
on
Facebook
during
one
month.
This
type
of
communication
requires
buying
ad
space.
! The
price
for
30
days
is
£20.000
(cnet.com)
if
we
want
the
contest
to
be
visible
! The
winner
will
win
£300
of
Penhaligon’s
products
as
well
as
trip
to
the
Venice
Carnival
(one
night
in
a
premium
hotel
and
two
two-­‐way
tickets)
valued
at
£3000
! The
video
montage
made
by
a
creative
agency
compiling
all
of
the
pictures
will
cost
us
£300

67. 67
The
total
cost
of
the
online
contest
including
the
prize
and
the
video
is
£23.600
• The
owned
media
posts
are
priced
at
£2000
(Facebook,
Instagram,
Penhaligon’s
website)
• Each
of
the
PR
events
will
cost
£30.000
-­‐
this
includes
the
place,
the
food
and
drinks,
the
Penhaligon’s
decoration,
the
photograph
as
well
as
the
video
projector
for
the
contest
montage
to
be
shown.
The
total
cost
for
the
PR
event
is
£60.000
• The
press
release
is
valued
at
£200
• We
will
advertise
in
3
magazines:
Vogue,
Harper’s
Bazaar
and
GQ
during
two
months
(September
and
December)
! Vogue:
1
page
in
colour
costs
£100.000
x
2
=
£200.000
(Condé
Nast)
! Harper’s
bazaar:
1
page
in
colour
costs
£90.000
x
2
=
£180.000
(Harper’s
Bazaar)
! GQ:
1
page
in
colour
costs
£105.000
x
2
=£210.000
(Condé
Nast)
The
total
cost
for
the
print
advertising
is
£590.000
• The
evaluation
of
the
campaign
will
be
valued
at
£500
approximately
• The
leaflets
for
the
Penhaligon’s
sales
force
team
will
be
printed
in
2.000
copies
(store
managers,
sales
attendants
etc.).
The
cost
of
one
leaflet
is
£2.
The
total
cost
for
the
leaflets
is
£4.000
•
The
20%
discount
code
will
cost
us
£20.000

68. 68
Balance
sheet:
" Direct
marketing:
• Mobile
application:
£17.000
• Newsletter:
£4.700
• Online
contest:
£23.600
" Sales
promotions
• POS
material
£2.852
• Discount:
£20.000
• Leaflets:
£4.000
" Public
relations
• PR
events:
£100.000
• Press
release:
£200
" Advertising
• Print
advertising:
£590.000
• Online
banners:
£90.000
• Owned
media:
£2.000
" Evaluation:
£500
The
total
cost
of
our
“Elegance,
with
a
touch
of
eccentricity”
campaign
is
£836.852

69. 69
4. Evaluation
Outcome
The
evaluation
process
is
crucial
when
determining
the
efficiency
of
our
campaign.
It
is
divided
into
three
phases:
• Pre-­‐testing,
when
the
message
communicated
and
the
creative
ideas
are
evaluated
in
order
to
verify
that
each
tool
has
been
used
correctly
• Testing
during
the
whole
length
of
our
campaign
to
see
if
the
objectives
set
up
at
the
beginning
are
being
achieved
• Post-­‐testing
the
overall
campaign
once
it
is
done
to
determine
if
it
was
successful.
a. Pre-­‐testing
Our
campaign
will
be
using
print
advertising
on
magazines
as
well
as
online
banners.
In
order
to
ensure
that
these
tools
are
addressing
the
correct
audience
and
that
they
generate
a
positive
response,
we
will
be
doing
two
different
focus
groups
according
to
our
target
audiences
(the
first
one
for
the
24
to
35
years
old
group
and
the
second
one
for
the
35-­‐54
years
old
group).
These
focus
groups
are
going
to
help
us
find
out:
" How
was
the
message
communicated
on
line
and
in
magazines
perceived?
Was
it
impactful
and
relevant?
Was
it
catchy?
Was
it
memorable?
" Did
the
creative
ideas
tie
in
with
Penhaligon’s
premium
image?
" How
well
was
the
advertisement
recalled?
" Was
it
enough
enticement
to
lead
to
purchase?
b. Overall
campaign
tracking
Tracking
the
campaign
simultaneously
with
its
development
is
useful
to
collect
and
analyse
real
time
insights
on
how
the
communication
is
perceived
and
if
it
will
be
meeting
our
objectives.
Theses
issues
will
be
evaluated
through
the
YouGov
Brand
Index
tool
that
gives
us
insights
about
the
buzz
of
the
campaign,
customer
satisfaction,
share
of

70. 70
voice
and
share
of
discussion
(which
is
really
important
for
a
brand
as
niche
as
ours),
brand
and
product
awareness
etc.
Following
these
insights
is
helpful
to
adapt
our
campaign
to
the
impression
it
has
given.
If
the
insights
coming
out
from
the
evaluation
are
positive
it
is
most
likely
that
the
brand
is
going
to
reach
is
objectives.
However,
if
the
campaign
is
hardly
recognizable
and
the
brand
awareness
stagnates,
we
can
make
use
of
our
evaluation
to
adapt
the
campaign
in
order
to
make
it
more
efficient
and
ensure
that
it
is
enough
impactful
to
be
recalled
and
generate
a
positive
response.
c. Post-­‐testing
This
phase
is
the
most
important
one
because
it
helps
us
determine
the
overall
outcome
of
the
communication
and
establish
its
efficiency.
We
will
be
using
several
evaluation
tools
adapted
to
our
communication
channels.
• Newsletter
For
the
newsletter
we
will
start
with
Mail
Chimp
to
segment
our
target
market,
send
the
mails
and
verify
the
responses.
We
will
evaluate
the
responses
and
conversion
rates
of
new
customers
to
the
email
scheme.
We
want
to
establish
if
contacting
Penhaligon’s
customers
through
email
newsletters
was
efficient
and
to
see
if
our
digital
tools
(online
banners,
owned
and
paid
posts)
brought
the
conversion
rates
we
were
expecting.
We
will
also
use
Google
Analytics
to
check
the
efficiency
of
the
email
newsletter
–
what
customer
type
opens
the
email,
which
parts
are
the
most
attractive,
how
can
we
upgrade
the
emails
to
make
them
more
convincing
and
attractive.
• Advertising
To
evaluate
our
digital
advertising
(online
banners)
we
will
use
Google
Analytics
–
useful
to
determine
the
number
of
ad
impressions,
online
purchases
etc.

71. 71
To
ensure
our
print
advertising
efficiency
we
will
be
using
Starch
readership
service.
This
service
provides
personal
interviews
with
readers
of
particular
newspapers
and
measures
the
ad
noticeability
as
well
as
its
ability
to
communicate
brand
association.
• Social
media
Facebook
Analytics
will
be
used
to
monitor
the
social
media
performance.
We
will
also
use
Google
Alerts
to
see
the
campaign’s
recall
online,
what
are
people’s
opinions
and
how
many
times
the
#beeccentric
or
“Penhaligon’s”
was
mentioned
online.
To
evaluate
the
efficiency
of
our
social
media
contest
we
will
be
using
Facebook
analytics
–
so
that
we
know
how
many
people
clicked
on
the
announcement
to
take
part
in
the
game.
This
evaluation
is
based
on
the
following
Key
Performance
Indicators:
# Exposure:
-­‐ Number
of
#beeccentric
mentions
-­‐ Number
of
impressions
(click
through
rate)
-­‐ Reach
among
target
group
# Engagement:
-­‐ Number
of
likes
on
Facebook
-­‐ Number
of
shares
-­‐ Number
of
views
-­‐ Number
of
social
media
contest
participants
# Preference:
-­‐ Shares
-­‐ Opinion
about
the
brand
and
the
campaign
# Impact:
-­‐ Number
of
fans
gained
through
the
campaign
-­‐ Sales
increase
-­‐ Number
of
customers
acquired
throughout
the
campaign
-­‐ Frequency
of
purchase
# Advocacy:
-­‐ Number
of
mentions
(campaign
buzz)
-­‐ Number
of
brand
advocates

72. 72
• Direct
marketing
To
evaluate
the
efficiency
of
our
mobile
application,
if
it
is
downloaded
and
used
by
our
target
audience
we
will
be
using
“App
insights”.
• Public
relations
To
evaluate
public
relations
efficiency
we
will
be
using
the
Cision
Software
which
will
help
us
determine
the
share
of
voice
and
share
of
discussion
encouraged
through
our
campaign.
We
will
evaluate
the
effectiveness
of
our
PR
channels
according
to
these
Key
Performance
Indicators:
OUTPUT
#
of
Christmas
events
#
of
“Penhaligon’s
club
members”
participating
in
the
event
#
of
bloggers
and
press
participating
in
the
event
#
of
Penhaligon’s
products
bought
during
the
event
OUTTAKE
#
of
press
release
published
#
of
blog
articles
published
#
of
social
media
contest
video
shares
#
of
social
media
contest
video
likes
#
of
#
or
mentions
of
the
“Elegance,
with
a
touch
of
eccentricity
campaign”
or
Penhaligon’s
#
of
Instagram
posts
/
likes
/
mentions
Were
key
messages
developed
through
the
campaign
successfully
delivered
and
u
nderstood
by
the
target
group
?
OUTCOME
Did
we
increase
our
sales
and
turnover?
Did
we
achieve
the
ROI
we
were
aiming
at?
Did
we
manage
to
renew
the
brand
the
way
we
wanted
to?
Did
we
achieve
to
increase
brand
awareness?

73. 73
d. Campaign
outcome
and
ROI
According
to
NST
perfume
a
100
ml
perfume
bottle’s
scent
will
last
between
147
and
294
days.
This
means
that
we
buy
between
one
and
two
bottles
of
perfume
a
year
(so
we
buy
the
same
amount).
If
we
add
to
that
that
we
may
buy
one
more
bottle
as
gift
or
for
personal
supply
we
can
count
that
during
our
6
months
campaign,
the
frequency
of
purchase
is
1
(180/180).
Even
though
our
products
are
bought
occasionally
due
to
their
long
lasting
status,
the
rather
high
price
of
Penhaligon’s
perfumes
may
help
us
achieve
our
objectives.
Indeed,
the
average
price
of
a
100
ml
bottle
is
£90.
If
we
succeed
at
acquiring
20.000
new
customers
from
which
10.000
will
buy
a
perfume
bottle
at
£90
(the
other
ones
may
purchase
other
less
expensive
Penhaligon’s
products)
and
suppose
that
from
the
80.000
we
wish
to
retain,
15.000
buys
a
Penhaligon’s
perfume,
our
brand
can
expect
to
gain
£2.250.000
(90
x
.25.000)
Therefore,
the
campaign
return
on
investment
is:
ROI
=
Expected
revenues
/
campaign
costs
=
2.250.000
/
836.852
=
2.7
Through
this
campaign
Penhaligon’s
has
shown
that
a
traditional
brand
may
as
well
be
attractive
to
young
modern
people.
Therefore,
enlarging
our
target
audience
was
the
opportunity
to
develop,
in
order
for
our
brand
to
increase
its
sales
by
delivering
a
message
about
elegance
and
eccentricity.
The
Return
on
Investment
from
our
campaign
is
2.7

74. 74
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90. 90
Appendix
n.
1
:
Creative
concept

91. 91
Appendix
n.2
:
Creative
concept

92. 92
Appendix
n.3:
Budget
Cost%per%
item
Number%of%
items
TOTAL
Cost%per%
item
Number%of%
items
TOTAL
14000 1 14000 20000 1 20000
2800 1 2800 3300 1 3300
200 1 200 300 1 300
17000 23600
2000 1 2000
4 84%(28x%3) 336 2000
6 84 504
8 84 672 50000 2 100000
10 84 840 200 1 200
500 1 500 100200
2852
175 4 700 100000 2 200000
1000 4 4000 90000 2 180000
4700 105000 2 210000
590000
15 1000 15000 2 2000 4000
40 1000 40000 4000
35 1000 35000 500 1 500
90000 500
20000 1 20000
20000
Glossy%A3%hardFposter
A4%frame
Owned%media%posts
Public%relations
Event
POS%materials
ToolTool
Glossy%A4%hardFposter
Online%contest
Contest
Technical%costs%(text%+%
visual)
Online%banners%(for%1000%
views)
Newsletter
Sending%100.000%emails Vogue
Prize%(gifts%and%a%trip%to%
Venice)
Video
A3%frame
Mobile%application
Design%and%creation
InFapp%purchasing%option
SDKs%(tracking%the%app%
results)%
20%%%discount
Transport
TOTAL%:%£836.852
Harper's%Bazaar
GQ
Leaflets
Evaluation970x250%billboard%banner
300x600%half%page%ad
600x600%floating%big
Press%release
Print%advertising

93. 93
W1W2W3W4W1W2W3W4W1W2W3W4W1W2W3W4W1W2W3W4W1W2W3W4
Mobile,
application
Launch,of,the,
mobile,
application
POS,material
Installing,the,
POS,materials,in,
the,main,
Penhaligon's,
boutiques,in,the,
UK
Newsletter
Nesletter,sent,to,
the,press,,the,
bloggers,and,
Penhaligon's,
"club,members",
(customers,
having,
subscribed,to,
the,newsletter),
about,the,launch,
of,the,campaign,J,
Thursay,and,
Tuesday
Newsletter,
about,the,social,
media,contest
Newsletter,sent,
to,the,press,and,
the,"club,
members",about,
the,Christmas,
event,J,Thursday,
and,Tuesday
Newsletter,with,
the,pictures,
from,the,event,
and,results,of,
the,contest
Internet,Banners
#beeccentric,
contest
Preparing,the,
social,media,
contest
Launch,of,the,
Social,Media,
contest
Creating,the,
video,with,the,
pictures,from,
the,contest
Results,from,the,
contest
Own,media,
posts,(FB,,
Instagram,,
Website)
Daily,Christmas,
communication
Results,from,the,
contest
Press,eventEvent
#Beeccentric,
event,for,
bloggers,and,
"club,members"
Event
News,release
Writing,and,
editing
Publication,on,
the,website,of,
the,news,release,
about,the,press,
event,,the,
campaign,and,
Christmas,sales
Advertising,in,
magazines
PostJevaluation,
of,the,campaign
Preparing,the,event,(finding,the,place,,preparing,the,displays,,preparing,the,launch,of,the,video)
Video,running,on,Social,Media,and,websiteDaily,communication
Preparing,the,event,(finding,the,place,,preparing,the,displays,and,the,products,as,well,as,the,gifts,for,the,press)
Social,media,contest
PostJevaluating,the,campaign
Preparing,the,advertisingSending,the,ad,to,the,magazinesAdvertising,in,Vogue,,Haper's,Bazaar,,GQAdvertising,in,Vogue,,Haper's,Bazaar,,GQ
POS,material,in,the,boutiquesPOS,material,in,the,boutiques
Internet,banners,with,the,social,media,contestChristmas,Internet,banners
Communication,about,the,
"Elegance,with,a,touch,of,
eccentricity",campaign
Communication,about,the,contest,,#beeccentric,and,daily,publications,on,Facebook
TOOLS
Mobile,application,running,during,the,whole,campaign,and,after
Launch,of,the,Internet,Banners
Preparing,Internet,banners,
"Elegance,with,a,touch,of,
eccentricity"
Preparing,the,mobile,applicationPreJtesting,the,mobile,application
Creation,of,the,communication,,
visuals
Printing,the,visuals,and,choosing,
the,frames
Writing,the,newsletterEditing,the,newsletter
Testing,the,Internet,Banners
POS,material,with,the,social,media,contest,in,the,boutiques
JanuaryAugustSeptemberOctoberNovemberDecember