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.
