Enhancing the in-store experience
for female customers of Tommy Hilfiger
Achieving more together
Foreword
The ‘Anton Dreesmann Leerstoel voor Retailmarketing’ Foundation - supported by a group of leading retailers in the Netherlands - has chosen Rabobank as its partner to host and co-organise its annual congress. The partnership started in 2011 and we have prolonged this successful collaboration until at least 2020. We appreciate the opportunity to share our knowledge and views on retail with key players and other stakeholders in the sector.
The January 2017 congress, ‘Retailing Beyond Borders – Working on Transition’ took place in the Duisenberg Auditorium in Utrecht. During this congress the ‘Rabobank Anton Dreesmann Thesis Award´ was granted to Samira Darkaoui for her thesis entitled ‘Enhancing the in-store experience for female customers of Tommy Hilfiger´. Part of this award is the publication of the thesis as a book. The result of which is now in front of you.
Capturing and embedding knowledge is important, both for Rabobank as a knowledge-driven financial organisation and for retailers. We therefore support the initiatives of the Foundation to combine scholarly knowledge with retail practice. The ´Rabobank Anton Dreesmann Thesis Award´ is one of these initiatives.
The thesis of Samira Darkaoui, who graduated from the Delft University of Technology, discusses an actual and interesting case at Tommy Hilfiger, the well-known fashion player. The problem for Tommy Hilfiger is the lack of connection that women have with the brand. In order to address this issue, a systematic approach is followed. A wide number of topics is taken into account including brand identity, store interior and (female) consumer behaviour in order to understand the complete shopping experience. Based on the various studies, several recommendations are made, including: (i) introducing a specific womenswear label to improve brand identity, (ii) changing the store interior; this includes digital elements like the development of a Fashion Inspiration Wall; all changes are aimed at a better and more coherent (omnichannel) shopping experience, (iii) increasing customer loyalty and consumer engagement. An implementation plan was set up in order to turn the recommendations into actions. This approach can serve as an example for other (fashion) retailers to address the challenges in their companies.
I trust that the thesis will energise and inspire you to go out and grab the opportunities in the retail market.
Kind regards,
Jos Voss RaboResearch - Sector Specialist Retail
March 2017
Foreword 3 Master thesis for Tommy Hilfiger Europe B.V. February 2015 - August 2015
GRADUATION PROJECT BY Samira Darkaoui | 400805
BSc Architecture, Urbanism and Building Sciences MSc Design for Interaction Industrial Design Engineering Specialization: Retail Design
SUPERVISORY TEAM Delft University of Technology dr. H.H.C.M. Christiaans | Chair Applied Ergonomics & Design (AED) Industrial Design Engineering
ir. L.M.M. de Wit | Mentor The Architecture of the Interior Architecture and the Built Environment
Tommy Hilfiger Europe B.V. ir. D.J.M van Ingen | Mentor Concept Architect, Store & Concept Design
ing. S.E.P. Lucas | Mentor Director Store & Concept Design
4 Enhancing the in-store experience Acknowledgements
These past six months have been a bumpy ride Of course, I am also thankful for all the women, with the occasional highs and (mostly) stressed who have participated in my research and took out lows. However, when I am writing this, I have the time to put the effort into contributing to almost made it and it would not be without the my project. You ensured that I got constructive help of others. In this section I would like to thank feedback, resulting in a concept that would really the people that helped me come this far. Not only be appealing to the shopping women out there. those who helped me in completing this thesis, but also those who have been there from the start. I would also like to take this opportunity to thank my best friend, who is extremely dear and special First of all, I want to thank my company mentors to me. I want to thank you for your constant and Jannelien van Ingen and Suzanne Lucas for giving continuous support over the years that I have me the opportunity to work within their team known you. You have always been there for me and on my graduation project. They have helped me helped me come out at the other end when I was gain extensive retail knowledge and gave me new getting too stressed. Your presence has kept me insights to work with. Jannelien has been great in from going insane these past few months. helping me structuring my thoughts and letting me think out of the box, whereas Suzanne also Furthermore, I want to thank my parents and helped me with maintaining a holistic view on the other loved ones, who were there for me and have shopping experience. supported me throughout my studies. It is their constant support and belief in me that has helped Next to that, I want to give my gratitude to my two me come this far. university coaches, Henri Christiaans and Leontine de Wit. They were the ones that kept me on my toes and stimulated me to research and execute this graduation project to the best of my abilities. You were the ones to reassure me when I was being too much of a perfectionist yet again.
Also, a special thanks to all the employees of the Tommy Hilfiger HQ office, the Tommy Hilfiger stores in Amsterdam, The Hague and Oostende. They enabled me to perform my customer research and user studies and really gave me the idea that I was part of a team, even if it was only for a couple of days.
Acknowledgements 5 Executive Summary
Tommy Hilfiger is one of the world’s leading not find what she was looking for, e.g. the lifestyle brands. Its style is recognised as classic Womenswear area. They often do not know if American cool with a preppy twist. It delivers the store sells female clothes, because is not premium styling, quality and value to its worldwide made clear. They feel that the focus could be customers. The brand has a wide variety of more on women. collections and products. One of those collections is women’s sportswear (WSW): Womenswear. • The overall female customer knows the brand Tommy Hilfiger, but does not shop at their The problem definition lies in the lack of stores or even online. It does not fit with their connection that women have with the brand. style or it is too expensive. They also have the There is a stronger focus on the men’s division, impression that the brand is more focused on which results in a more prominent location in- men than on women. They are of the opinion store, namely the front. This causes many female that if Tommy Hilfiger wants to attract more customers to think that that specific store does women to their stores, that Womenswear not sell Womenswear. All of this results in a lower should get a much stronger identity. conversion rate for women. Even though there are three types of customers, all To approach this problem, several studies were customers can enter the store with a different mind conducted. They can be roughly subdivided into state: locating, exploring or dreaming. However, three categories: brand identity, interior specific it can be concluded that customers, who enter a and overall shopping experience. Tommy Hilfiger store with a locating mind state, A brand identity study was carried out to see will in most cases always return to the store. This how both employees and customers perceive has to do with the fact, that a large part of the loyal the brand. The brand is known to have a high customers enter the store with a locating mind brand awareness, but the image and identity state. They know beforehand which brand they is not properly conveyed. Employees have an want to visit that day. However, to attract other inconsistent opinion about both the product and customers, the exploring and dreaming mind state target group, whereas customers are rather neutral should be addressed better. or have negative things to say about the brand. To address the exploring and dreaming mind state, Based on the customer journey in The Hague, three a holistic, overall shopping experience should be types of customers could be defined: created. This will make the brand more appealing to women and will ensure them to stay longer in- • The loyal Tommy customer is satisfied with store, which will again result in a higher conversion the brand and its products. In most cases rate. This means that the interaction between they come for the product (and brand) and the customer and the brand should be inspiring, will buy it if they like it. exploring, involving, effortless and intuitive.
• Bouncers are customers who enter the store To achieve this holistic shopping experience, the and leave within 10 seconds. In most cases whole customer journey should be taken into the bouncer left quickly, because she could account.
6 Enhancing the in-store experience Therefore, five steps in the customer journey are Subsequently, with such a holistic vision it is defined to be part of the holistic vision: difficult to see what and when everything can be 01. Entering the store incorporated. Therefore, an implementation plan is 02. Browsing set up to give the company insights into the best 03. Fitting possible approach. The implementation is split into 04. Checkout three phases: 05. Leaving the store 01. Brand identity - Introducing Hilfiger Woman and (re)connecting with both loyal and new Before even implementing a holistic vision in-store, customers. women should first feel connected to the brand. 02. Customer experience - Implementing the Therefore a recommendation has been made to proposals to address the exploring and create an own Womenswear label, named Hilfiger dreaming mind state. Woman. This will be a positive adjustment to the 03. Customer loyalty - Maintaining connection female customer as she will feel a more personal with customers and staying up-to-date. bond with the brand. The customer journey starts with an attractive, interesting shop window and inviting entrance, where other products of Tommy Hilfiger are also shown. Next, the customer will walk towards the women’s area to browse. When they are browsing, it is the ultimate chance to inspire them more and let them explore other options of which they maybe never thought about. Therefore, a focus moment is created to where the customer is drawn, named the Fashion Inspiration Wall. This Wall consists of a fixture with clothing items and large digital screens, behind it showing dynamic content and the latest fashion looks. When the customer grabs an item, a complete outfit will be shown on a model on-screen. She can flip through fashion combinations and pick a look she likes best. After she has collected all the items she wants to try on, a pleasant and comfortable fitting room experience is waiting for her. Having a smart mirror in the fitting room allows her to change the lighting, view suggestions, etc. After she has paid for her items, she can enjoy a drink at the bar, where she can share her latest looks in the Tommy Hilfiger app.
Executive Summary 7 Table of contents
Foreword 3
Acknowledgements 5
Executive Summary 6
Introduction 10
Part I - Analysis 14 01. About Tommy Hilfiger 15 02. Competitors of Tommy Hilfiger 44 03. Customers of Tommy Hilfiger 56 04. Retail context 77 05. Overall conclusions 80
Part II - Ideation & vision 83 06. Design goal 84 07. Idea generation 86 08. Vision & requirements 91
Part III - Final Design 116 09. Concept ‘Fashion Inspiration Wall’ 117 10. First user study 122 11. Adjustments 125 12. Final user study 130 13. Recommendations ‘Fashion Inspiration Wall’ 133
Part IV - implementation 136 14. Applications in store design 137 15. Implementation plan 144
Part V - Reflection 150 16. Project reflection 151
References 155
Glossary 160
Colophon 162
Disclaimer 163
8 Enhancing the in-store experience Table of contents 9 Introduction
10 Enhancing the in-store experience Tommy Hilfiger is one of the world’s leading New sportswear concept explanation lifestyle brands. Its style is recognised as classic American cool with a preppy twist. It delivers As was mentioned above, a new Sportswear premium styling, quality and value to its concept was developed. The main objectives of the worldwide customers. The brand has a wide variety concept were as follows (Tommy Hilfiger, 2014b): of collections as well as a range of products. One • Light, airy and fresh look of those collections is women’s sportswear (WSW): • More femininity in the women’s area Womenswear. • Customer service and retail experience. The brand has built a wide-ranging distribution network in over 90 countries. Currently the brand has more than 1,400 retail stores in North America, Figure 01 on page 12 shows the general store Latin America, Europe and the Asia Pacific area layout of the new SPW concept. The store is (“Company overview,” n.d.). This resulted in global divided into four areas: windows, Menswear, the retail sales of $6.7 million in 2014 (PVH, 2015). Bridge and Womenswear. Having the Bridge as the center element makes it possible to divide the store into different areas with each having its own Problem definition atmosphere (Tommy Hilfiger, 2014a). Although Tommy Hilfiger is a lifestyle family brand, The Bridge is where all service-based options take women do not really have a strong connection place. Customers can try their items on, pay for with the brand. A lack of connection that normally them and enjoy a cup of coffee. They also have draws the female customer in-store and the fact access to the Tommy world due to the presence of that in most cases women do not know that an iPad (Tommy Hilfiger, 2014a). Womenswear is sold as there is a stronger focus on the Men’s division (which is often placed in In Figure 02 on page 12 a few renders of the store front of the store), result in a lower conversion are shown to give an impression as to how the rate for Womenswear. The Tommy Hilfiger stores standard store would look. are currently more masculine than feminine. The company has already been working on responding to this problem by developing a new Sportswear concept and making it more feminine by using lighter colours, lighter fixtures, different materials, etc.
Introduction 11 SPW B/C Zoning General store layout
MENSWEAR BRIDGE WOMENSWEAR fashion collection service desk fashion collection core products coffee core products accessories payment accessories
WINDOWS Tommy.com dressing rooms accessories
Figure 01. General store layout of the new SPW concept (Tommy Hilfiger, 2014f).
Figure 02. Renders of the new SPW concept. From left to right and from top to bottom: the façade, the Bridge, WSW accessories and WSW area (Tommy Hilfiger, 2014f)
12 Enhancing the in-store experience Assignment & design goal The assignment of this graduation project consists of two parts. The first part is about a study into the factors why female customers do not feel connected to the Tommy Hilfiger brand. The second part consists of addressing this problem by coming up with solutions and designs, which will enable female customers to feel more connected to the brand. Therefore, the design goal is to enhance the in-store experience for female customers in order to keep them longer in-store, resulting in a higher conversion rate. The designs should fit within the newly developed vision for Sportswear, so it can be rolled out as a part of the concept.
Report outline This report will start with a thorough analysis of the company, its competitors and context and last, but not least, of its female customers. After the analysis, the report shall delve into the conceptualisation part, where conclusions of the analysis phase are translated into ideas. Here a holistic vision will be presented as well as one concept, which is further developed. To follow up on the conceptualisation phase, an implementation plan will be presented to give recommendations as to how and when the parts of the holistic vision should be implemented. Finally, the report will end with a project reflection, which will give the reader insight into the thesis trajectory and its up and downs.
Introduction 13 Part I
Analysis 01. About Tommy Hilfiger 02. Competitors of Tommy Hilfiger 03. Customers of Tommy Hilfiger 04. Retail context 05. Overall conclusions
14 Enhancing the in-store experience 01. About Tommy Hilfiger
Before delving further into the scope of this thesis, it is vital to go back to the basics. This chapter entails the company’s heritage and identity, and ends with a critical analysis about the brand and elements in retail.
Company This paragraph will give the reader insights into the founding of Tommy Hilfiger and how it has grown from a two-person to a global, corporate company.
History The company is named after its founder, Tommy Hilfiger. At age 17 (1968) he bought 20 pairs of old jeans from the backstreets of New York City. He did this together with his friend Larry Stegerman and sold these old jeans from the trunk of their car. In 1969 they opened their first store, called People’s Place (Rosee, 2011). He wanted to bring “cool big city styles” from New York to his friends in Upstate New York (“Biography,” n.d.). It became rather successful, which resulted in several People’s Place stores on college campuses over New York state (Hilfiger, 2013). Their clients were young people in love with music and fashion. They also dressed famous people, like Bruce Springsteen. Bands Figure 03. Tommy Hilfiger working in people’s place (Hilfiger, 2013) from over the world came to People’s Place, which offered the latest trends (Rosee, 2011). Hilfiger started his own label in 1985: Tommy There were ten People’s Place stores before it was Hilfiger (“Biography,” n.d.). declared bankrupt. It turned out to be the best The elements of his first designs, namely the lesson for Tommy Hilfiger. He got back on his feet relaxed and youthful attitude, are still characteristic and wanted to create his own brand, where he for every design collection that followed. For wanted to do something with preppy clothes. almost 30 years, Tommy Hilfiger brought classic, Subsequently the idea of “preppy with a twist” cool American garments to customers all over followed, which was actually a more colourful, the world. It is the foundation that lies within this more casual and comfortable look (Hilfiger, 2013). global brand (“Biography,” n.d.). Together with the support of Mohan Murjani, who After starting as a menswear label, Tommy Hilfiger wanted to launch a men’s clothing line, Tommy launched its women’s line in 1996 at over 400
Analysis 15 major department stores (“Tommy Hilfiger”, n.d.; portfolio of “iconic lifestyle apparel brands,” but “Tommy Hilfiger Corporation”, 2003). The women’s Calvin Klein and Tommy Hilfiger still represent line was derived from the men’s line, as it was most of the company’s profit with 85% (“Our mostly sportswear: the casual style to wear to Company”, n.d.). An overview of all brands can be work (“Tommy Hilfiger Corporation”, 2003). At that found in Appendix A. moment it made Hilfiger one of the few menswear PVH uses its infrastructures around the world, designers to incorporate a women’s line into the enabling brands to grow in established markets as mix. Over the years it has become clear, that even well as letting them expand into underdeveloped though there is a women’s line (hereinafter referred markets and enter new markets. PVH is about to as Womenswear), the men’s line is still the main harnessing the brand’s identity and producing selling point of Tommy Hilfiger: it was more stable. products, which fit into the brand’s portfolio as well Besides that, customers were complaining that as connecting with its customers by developing Womenswear was becoming too trendy and did deep relationships (“Our Strategy”, n.d.). not fit well into the style of Tommy Hilfiger. After these complaints, Tommy Hilfiger changed the line and went back to the basic preppy, though modern, look (“Tommy Hilfiger,” n.d.).
Profile In 2010 Tommy Hilfiger was acquired by the Philips – Van Heusen Corporation (PVH). PVH is one of the largest global apparel brands, focused on global growth and brand building and at the same time staying true to their own core values, seen in Figure 04 (“Our Company”, n.d.). Over the years PVH has acquired several companies, with the big acquisitions of Calvin Klein in 2003 and Tommy Hilfiger in 2010 among others. These acquisitions have led to a diverse
individuality partnership passion integrity accountability
Figure 04. PVH’s logo and its core values.
16 Enhancing the in-store experience CEO chief executive officer
GLOBAL ORGANIZATIONAL STRUCTURE
CSO CBO CFO COO chief strategy officer chief brand officer chief financial officer chief operating officer
EUROPE CFO COO PRESIDENT BRAND PRESIDENT COUNTRY chief financial officer chief operating officer ANAGEMENT MANAGEMENT
DEPARTMENTS DIVISIONS COUNTRIES
Figure 05. Organisational structure of Tommy Hilfiger (“Our rolling vision 2020+,” 2014c).
Organisational structure As Tommy Hilfiger is a global company, it is useful to take a closer look at its organisational structure. The company has a very corporate culture, where each entity has to respond to a higher official, except for the CEO. The higher officials are responsible for the departments, divisions and countries. Figure 05 shows the set-up of this structure.
The disadvantage of such a large company with a strong hierarchy is that often several entities are involved in the design process, which can result in conflicting opinions. When that arises, often the one positioned higher in the structure, has the final say. This is rather logical, but sometimes it involves opinions that go against the advice of the parties, who are thoroughly involved in the project.
Analysis 17 Figure 06. Tommy Hilfiger’s European headquarters in Amsterdam.
Tommy Hilfiger’s European headquarters is located in Amsterdam, where all functions from finance to footwear and from design to development are covered at all levels (“Head Office,” n.d.). Regarding stores, Amsterdam is responsible for store development in the regions Europe and MEA+1. Next to that, the company has country offices around the world, like in New York, Dusseldorf, Panama City, Tokyo and Moscow. These offices are essential for the business to lead the way in their markets (“Country offices,” n.d.).
1 MEA+ includes Middle East and Africa, Malta, and Greece + (Greece, Romania, Cyprus, Bulgaria)
18 Enhancing the in-store experience Brand Tommy Hilfiger has “become one of the world’s leading designer lifestyle brands” (Tommy Hilfiger, 2014c). It is a premium, though accessible brand. It has positioned itself as a brand, which offers classic “American cool with a preppy twist“ designs (Solari, 2015).
It is stated that 7 out of 10 people know the brand. Subsequently, Tommy Hilfiger’s brand awareness is high in all regions and ranked #10 in Millward Brown’s 2015 BrandZ Top 100 Most Valuable Global Brands study. The brand value increased 29% from its previous year. Millward Brown uses this study to list the “most valuable brands, which appeal more and stay ahead of the curve (Baker, June 02, 2015).”
Tommy Hilfiger has created different labels to target different target groups. Wally Olins has defined three brand constructions, which help to make the brand strategy clear for the organisation as well as the market. Tommy Hilfiger chose a monolithic brand structure to develop their brands. A monolithic brand structure uses one brand name and one visual identity for their market activities. The advantage of such a structure is that every label of the brand contributes to the overall brand awareness (Van Tongeren, 2013). The disadvantage however lies in the same area; if one label gets “into trouble” the whole brand is affected.
Analysis 19 Monolithic Structure
20 Enhancing the in-store experience Brand portfolio Tommy Hilfiger’s brand portfolio consists of three main labels, which cater to different types of customers. Next to these main labels, the brand also has a few secondary labels, which are part of the main label Tommy Hilfiger. The image on the left page shows how the brand structure is divided. A more elaborate brand pyramid can be found in Appendix B.
Tommy Hilfiger The Tommy Hilfiger collection specifically targets the 25 to 40 year old consumers who search for an innovative interpretation of the classic American style. The label strives to reflect the classic American cool with a twist style as much as possible (“Quintessential American style,” n.d.). The label comprises different collections, which are as follows: • Sportswear (Menswear and Womenswear) • Tailored • Kids • Underwear
On the next page a visual representation of the Tommy Hilfiger label is shown.
Analysis 21 22 Enhancing the in-store experience Hilfiger Denim This label targets the younger customer (18-30), who is more denim oriented. This label is slightly more “fashion forward” than the main Tommy Hilfiger one. It consists of casual sportswear products with premium denim aspects on which the focus lays. The designs have a fresh spirit and modern edge finish and are inspired by the American classics (“Quintessential American style,” n.d.).
Analysis 23 Hilfiger Collection Hilfiger Collection is an accessible luxurious label of Tommy Hilfiger. It targets the 25 to 40 years old customer. This label offers exclusive products, where its colours, models and fabrics are all inspired by the latest catwalk looks.
24 Enhancing the in-store experience Remarks For monolithic brand structures it is often the case, that the brand uses the same visual system for all labels. In Tommy Hilfiger’s case, the name Hilfiger comes back in each collection (e.g. Hilfiger Denim, Hilfiger Collection). However, the font type used for Hilfiger Collection is a different one that does not come back in the visual identity of the brand. Hilfiger Collection is the more luxurious label. So probably by using a different font type, they want the label to stand out more and to give a sophisticated vibe to it. However as this label is part of the overall brand, it should actually have some elements of that visual identity (see Figure 07). The Hilfiger Denim logo is also different with regard to the main brand logo, but the flag is still shown and the same font type is used (sans serif).
This is something, which Tommy Hilfiger should think of if the brand decides to create more labels. All current labels have the same visual identity and it does not fit if one label has another visual identity.
Figure 07. Proposal of a logo for Hilfiger Collection, which would fit better into the visual identity of the overall brand and its labels.
Analysis 25 Critical analysis Brand identity study In this paragraph, the brand will be analysed This study was executed among employees further from a critical view-poInt through the at Tommy Hilfiger’s European Headquarters use of two models: the Kapferer and Platform as well as employees of Tommy Hilfiger retail Development Models. Respectively, each of these stores (the Netherlands). As not every employee models will be explained further in the following would understand the brand identity prism, a sections. questionnaire was set up, where one question covers one facet of the prism. The questionnaire can be found in Appendix C. Brand identity Tommy Hilfiger describes itself as a lifestyle Results brand. Its credo is that it is a brand with character In total 26 employees filled in the brand identity and deeper beliefs and has a connection with prism and questionnaire. These results can be its customers. These are all elements that define found in Appendix D. The next step was to cluster the brand’s identity. Kapferer (2008) states that these results in a way that it could be implemented a brand not only speaks about its product, but is into the brand identity prism (see Appendix E). also the source of the product, the services and the communication between the brand and the customer. As a result, he set up a brand identity prism that consists of six elements: physique, personality, relationship, culture, reflection and self-image (Kapferer, 2008, p. 182). These elements are represented in a hexagonal prism (see Figure 09).
The brand identity prism is a management tool, which helps convey the brand to the people working on the brand. It enables them to understand what the brand stands for and how it is special in its own, unique way. It also allows them to define if a certain action or element fits into the
brand’s territory (Kapferer, 2008, p. 187). Figure 08. Clustering the results of the brand identity study. Considering this, a small brand identity study was set-up to see how employees of Tommy Hilfiger perceive the brand.
26 Enhancing the in-store experience brand rational emotional physique personality
Preppy with a twist Casual classic Conservative TH logo/flag Contemporary Youthful Classic basics Full range American heritage Good price/quality Contemporary Good customer service Easy going Red, blue, white colours High end relationship culture preppy with a modern twist Customer oriented youthful lifestyle American lifestyle Trustworthy Preppy Classic lifestyle classical Casual Fresh Pride Accessible successful Fashion & style conscious american cool Distant smart casual Not fashionable premium reflection self-image
Youthful spirit “I am established.” Style conscious “I am fashion conscious.” Classic “I am style conscious.” Wide range “I am brand conscious.” Middle class “I have a youthful spirit.” Middle aged “I am classic.” “I am casual.” “I am sociable.” “I am confident.” “I am preppy.” consumer
Figure 09. Brand identity prism of Tommy Hilfiger (Kapferer, 2008), based on the views of the employees
Analysis 27 Figure 09 on page 27 shows the results in the Conclusion brand identity prism. As can be seen, there are a Kapferer (2008) states that a good identity prism lot of words in each facet of the prism, which is not must be concise, sharp and interesting. It is an indication of a strong identity prism (Kapferer, recognised by having few and not similar words 2008, p. 187). Next to that, there are also some to each facet. Taking this into account, it can be contradictions in some of the facets: concluded that the brand identity of Tommy • When looking at the facet ‘personality’, Hilfiger is not conveyed properly to its employees. some employees defined it as conservative, Employees do not have a clear and coherent view whereas others view the personality of on the brand, which is rather noteworthy, as they products more contemporary and youthful. have been working a long time with the brand. • The relationship between the brand and customer is defined as trustworthy and As the current view on the brand is inconsistent, a ac-cessible by some employees. However, new brand identity prism is set up (see Figure 10). there were a few comments that mentioned The information presented is based on extensive this relationship as rather distant. The same research of the company and brand, performed applies to those who see it as a fashionable by the author. This should be the intended brand and style conscious relationship. There were identity prism and should be used for further also a few, who find it a relationship, which is reference by the company as it could help the not a fashionable relationship. brand and its employees in their management • There were employees, who describe the trajectory. It will enable employees to better physique of the products as casual classic. understand the brand as well as keeping in mind But then there were a few others that see it as what would fit into the brand’s overall identity. more contemporary.
28 Enhancing the in-store experience brand rational emotional physique personality
American classics Preppy with a twist (apparel and accessories) Classic American Cool Premium styling, quality and value
relationship culture
Social: being part of American East Coast DNA a family Classic American style Distinction Preppy classic american cool
reflection self-image
Customers from 18 to 40 years-old “I stand out because I wear classics (Sportswear focuses on 25-40 and Denim on with a modern twist.” 18-30), wanting to express themselves in a fun, “I feel youthful and relaxed.” cool way “I can express myself in my clothing style.” “I am a part of a lifestyle family.”
consumer
Figure 10. Intended brand identity prism (Kapferer, 2008) of Tommy Hilfiger, based on extensive research of the company and brand.
29 Enhancing the in-store experience Analysis MEN T PRI O RT C E ASS
G SE IN R G V A IC K E C PA
G P IN E L IS R S A D O U N S N I A N V H E C L R E
M
S
N
I B O N I R E T T A R A E
N
O R C
I D T N
S N I
A -
N
U
L
N
G
I
M
M
O C
C
O M
M A M S S E U S E I N N M I T I L I C E V A D N I T I T A O I O C A N S
E X P E L N R A IO IE IT T N G A C I R E D G E T IN
ST S & O AT RE RM LS FO N E AN LO C AT IO N C H
Figure 11. The current state of the different retail elements of Tommy (Van Tongeren, 2013).
30 Enhancing the in-store experience Platform development model Assortment The second part of the critical analysis is done Tommy Hilfiger offers a wide range of products. through the Platform Development Model, Its products can be divided into two categories: developed by Van Tongeren (2013). He states that in-house and licensed products. An overview of its a brand has two sides: a rational – the company product portfolio is shown on the next page. values – and an emotional side – the company’s DNA (Van Tongeren, 2013, p. 46). This model takes The in-house range consists of products from the these two sides into consideration and offers a three main (Tommy Hilfiger, Hilfiger Denim and holistic approach to the brand and its formula (Van Hilfiger Collection) and secondary labels (Kids, Tongeren, 2013, p. 42). It provides insights into Tailored and Underwear) as well as accessories and the different elements that play a role in retail and footwear. therefore in defining the brand’s strengths and weaknesses. The label Tommy Hilfiger is also licensed for the following range of products: The current state of these different retail elements • Fragrances for Tommy Hilfiger is shown in the Platform • Watches Development Model in Figure 11. The outline of • Eyewear the darker blue inner circle forms the ambitions of • Socks the brand (ideal situation). If all retail elements are • Jewellery filled to that outline, it means that every element • Luggage is developed according to the brand’s concept • Golf (only in USA) (Van Tongeren, 2013, p. 55) and will result in a • Home (only in USA) ‘correct’, holistic retail formula. Everything under that outline means that it still needs to be further An elaborate product overview with images can be developed. found in Appendix F.
The current state is defined through extensive research, store visits and interviews with employees. This chapter will only focus on those elements which are in most need of improvement: assortment, price, store, experience, in-store communications, visual merchandising and digital integration. More information can be found in Appendix F.
Analysis 31 PRODUCT sportswear PORTFOLIO
womenswear menswear
hilfiger denim kids tailored hilfiger collection
In-house
accessories footwear underwear
fragrances watches jewellery eyewear
socks luggage home golf Licensed
32 Enhancing the in-store experience Seasons Each year Tommy Hilfiger presents three collections: a Spring/Summer, a Fall/Winter and a Holiday collection. The first two are quite common collections as almost every fashion retailers offer these. The Holiday collection is not so common. Each year Tommy Hilfiger launches the Holiday collection with ready-to-wear items and accessories, which is specially made for the holiday season.
The collections arrive in parts over a period of three months. Each month will have a new theme highlighted and comes with new items for in stores. After three months of the seasonal collection, the store will enter into the three- month period of sale.
Each Fall/Winter and Spring/Summer collection consists naturally of new items. However, there are a few items that return in each collection, hereafter referred to as the basics (see Figure 13). These items sell well and therefore return in each collection, albeit in new colours.
Figure 12. Campaigns for the Fall/Winter 2014, Holiday 2014 and Spring/Summer 2015 collection
Analysis 33 polos v-necks chinos
Figure 13. Tommy Hilfiger basics: polos, V-neck sweaters and chinos
Special collections Next to the usual collections, Tommy Hilfiger has Tommy Hilfiger does not only collaborate with launched other special collections. An example of famous celebrities to launch a special collection, this is the collaboration with well-known celebrity the company also works with others, who will act Zooey Deschanel. Tommy Hilfiger teamed up as a guest editor during that season. The guest with her to launch her first collection, named “To editors will share their style choices, which will be Tommy, From Zooey.” The collection consisted of 16 shown throughout the brand’s online channels as dresses as well as jewellery and bags (Schweitzer, well as in store. They give exclusive styling tips and 2014). A few items from this collection can be can provide the customers with behind-the-scenes found in Figure 15). sneak-peeks of their photo shoots. This summer Tommy Hilfiger collaborated with fashion power couple Olivia Palermo and Johannes Huebl to be the guest editors (Figure 16). For last year’s Fall/ Winter collection, the company asked IT girl Alexa Chung to be the brand’s guest editor.
Entering into collaborations with such famous female celebrities is a really smart move. It helps customers identify more with the brand, because this “famous person” likes it. It is a clever way of marketing, which tries to ensure a stronger relationship with its customers.
Figure 14. Sketches of the ‘To Tommy, From Zooey collection.
34 Enhancing the in-store experience Figure 15. To Tommy, From Zooey collection
Figure 16. Current banner on the Tommy Hilfiger website, with Olivia Palermo & Johannes Huebl as guest editors (nl.tommy.com).
Analysis 35 Remarks of assortment Price As a result of the performed research, some Tommy Hilfiger is perceived as a more luxurious/ conclusions can be drawn about how females high-end brand and that can also be seen in the perceive the brand and its assortment for women: pricing. Depending on which collection you buy, • At the moment women perceive the the prices of Tommy Hilfiger varies between € assortment as more serious and conservative. 20.00 and € 899.00. They see it as an expensive basic brand. They would therefore wear the clothing more The sportswear line, consisting of menswear and in their daily routine, as they find nothing Womenswear, are the two main collections of exciting about it (Tommy Hilfiger, 2014d). the brand. Figure 17 shows a few items of these • However, when participants in a research collections to give an impression of the pricing. were shown other items of the Fall/Winter collection 2014 instead of just the basics, they Hilfiger Denim is the collection with the lowest were quite surprised and excited by them. prices. The average price lies about 20% lower This did confuse them as they were confused than the Sportswear line (Appendix B). This is also by the inconsistency in designs (Tommy the collection, which focuses on a younger target Hilfiger, 2014d). group (18-30).
The results of this research are in line with the The most expensive items are from the Hilfiger research done by the author through interviews Collection line, which is an exclusive collection with female consumers. Consumers have a certain with styles, inspired from the runway show. The image about Tommy Hilfiger’s female clothing average prices are about 30% higher than the assortment: timeless, classic and conservative. Sportswear prices (Appendix B). They find it reliable: if they need a blazer or shirt for their work, they are sure to find it in one of the Special pricing Tommy Hilfiger’s stores. When consumers did see Besides these pricing strategies, the company also other items from the collection, they were quite has two sale periods per year: one for the Fall/ surprised and did not except that the brand would Winter collection and one for the Spring/Summer also sell those kinds of clothes at all. collection. In these periods discounts are up to 50%. This applies to the Tommy Hilfiger stores and not to other resellers as they can have more discount periods in which the Tommy Hilfiger products are on sale.
36 Enhancing the in-store experience Figure 17. Various items of the Sportswear collection and their pricing.
Another pricing strategy lies in the loyalty program of Tommy Hilfiger. Here members can get a 10% discount on their first purchase. They will also receive a voucher offering a 15% discount when it is their birthday, which they can then spend online or in-store (“The Hilfiger Club”, n.d.).
Remarks The issue about “expensive” prices has been raised several times, not only by customers, but also by employees. A large number of customers feel that the prices are high, but are in proportion with the quality and offer. There is however also a part, that feel that the quality-price ratio is not always that good. They feel that the quality of certain garments is rather mediocre compared to the price it has.
Another point of remark is the fact that the pricing of the Sportswear line fits somewhere in the middle of low and high pricing. This means that most consumers with an average or low income will shop at less expensive brands, whereas consumers with a higher than average income will Figure 18. Two handbags, that look quite go to the more expensive and luxurious brands. similar: Michael Kors (top) and Tommy Hilfiger (bottom) (bijenkorf.nl and nl.tommy.com). This can be demonstrated based on the pricing of certain Tommy Hilfiger bags.
Analysis 37 In Figure 18 two handbags of different brands are also more exclusive and luxurious, whereas the B shown: left is a Michael Kors handbag and right is and C stores are built according to a more standard a handbag from Tommy Hilfiger’s Spring/Summer layout. In the regions Europe and MEA+ the B and 2015 collection. As one can see, these bags look C stores account for 80% of the total full price quite similar. However, Michael Kors is known stores, whereas the flagship and anchor stores for this type of handbag and its detailing. So if a merely count for 20%. There are also no stores customer wants to spend this amount of money on containing only Womenswear. It is always sold a bag, they would be more likely go for the Michael together with Menswear (MSW) as that is Tommy Kors one as it is only € 56.00 more expensive. Hilfiger’s largest division. With regard to store design, it occurs often that Menswear is situated in the front of the store. There are a few stores where Store and Experience Womenswear is directly located at the entrance, Tommy Hilfiger’s stores generally contain multiple but it is not common. This is however a decision collections, and are built according to an A+/A made by the countries and not by the concept or B/C rating. A+ stores are flagship stores and team in Amsterdam. So that is something to keep A stores are anchor stores. These are often in mind during this project. exceptional stores with special attention to the On page 39 photos are shown of the current building/its architecture. The difference between Sportswear B store. For a brief comparison, also a flagship and anchor store is the location, space a new anchor (Figure 19) and Sportswear B store and the aim of the store. Flagship stores are large, (Figure 20) is shown. When one compares the located in primary location and is more of an pictures with each other, it can already be stated expansion of the brand’s experience. Whereas that the new Sportswear concept is much airier, an anchor store is located at a premium location, lighter and feminine. It is aiming more towards the has less space and is also about maintaining an experience of the anchor stores. Still, the fact is adequate conversion rate. that many women do not perceive Tommy Hilfiger as a brand for them. So, even if they have updated B/C stores can be considered as “standard stores.” the stores, the brand identity is still ‘weak’, ensuring These are implemented most frequently. The that they will most likely not enter the store. interiors of the flagship and anchor stores are often
38 Enhancing the in-store experience SPORTSWEAR B STORES: THE HAGUE AND ROTTERDAM
Analysis 39 WOMENSWEAR
WOMENSWEAR WOMENSWEAR
Figure 19. Anchor store opened in February 2015 in Paris.
40 Enhancing the in-store experience Figure 20. New Sportswear B store in Oostende.
Overall, the experience is indeed improved in the the racks, which makes it seem very crammed. It is Sportswear B concept, but there are still some understandable that the brand has to think about elements that need improvement. These will be certain capacities, but if customers do not have described below. a clear overview, the capacity of the items really does not matter. As one can see, the anchor store Visual Merchandising is much more spacious. This means that if Tommy The visual merchandising, both in-store and in the Hilfiger would also want to appear more spacious shop window, lacks attraction value. Customers in their B stores, there should be another solution will not be inspired by mannequins if they are for the capacities, e.g. a digital element in-store dressed with a basic white pair of jeans with showing the whole collection. a jacket (see Figure 20). Mannequins are such important in-store elements, but Tommy Hilfiger unfortunately does not get the most out of it. Next to that, there are sometimes a lot of items on
Analysis 41 In-store communications As mentioned before, female customers often do not know if Womenswear is sold in the stores as it is not made clear from the entrance. This is partly due to the lack of clear in-store signage. In Figure 21 the signage of the store in The Hague is shown. As one can see, this is very unclear and almost invisible. The new in-store signage is much more striking and clear. Next to the in-store signage, it should also be made clearer at the entrance that Womenswear is sold there, e.g. more prominent mannequins.
Digital integration Tommy Hilfiger is a brand that is very busy with implementing digital elements. In January 2015 the company launched its digital showroom, where suppliers and other customers can digitally Figure 21. In-store signage. Top: The Hague store. Bottom: Oostende view the collections and place custom-made orders. In-store, Tommy Hilfiger implements digital screens and iPads. Digital screens are used for showing ad campaigns and other brand related content. However, the implementation of iPads in-store is rather poor. For example, take the brand-incorporated iPads in the fitting rooms of an anchor store in Düsseldorf: research showed that the female customer does not use it. Often she thinks it is broken, let alone think of using it to take a picture and send it to her friends. In Oostende there is also an iPad. However, it is placed rather randomly, so customers do not know what to do with it. Implementing digital elements should therefore be thoroughly thought through to realise the best results.
Figure 22. An iPad in the Oostende store.
42 Enhancing the in-store experience Conclusion Over the years Tommy Hilfiger has grown into one Tommy Hilfiger is a high-end brand, which can on of the most leading lifestyle brands. It finds be seen in its pricing. However, the pricing is too it heritage in the classic cool American lifestyle. high for those with an average or lower income The brand offers a wide range of products, from and those who can afford the products, will most apparel to shoes and accessories and is licensed likely choose to buy from other brands as they find for a variety of products, e.g. watches, fragrances. it more luxurious or have the idea that they spend The brand has three main labels: Tommy Hilfiger, too much with regard to the quality of the product. Hilfiger Denim and Hilfiger Collection. Next to that, the store and its overall experience Even though the brand has high brand awareness, can use some improvements. Flagship and anchor the brand identity is not properly conveyed to stores receive more attention, which is quite people, especially employees. Employees of the logical. However, the coverage of their target brand do not have a coherent view on the brand group will more likely be found in their more and have inconsistent opinions about both standard stores, because of the location. For these the products and target group. It is therefore standard stores attention should also be paid to important to re-establish the brand identity of the experience, visual merchandising and digital Tommy Hilfiger and convey this in the proper way integration. It should be a coherent experience to its employees as they have to work with the that is not only developed in the more important brand day in and day out. stores. The standard stores should receive the same treatment even if it is to a lesser extent. The analysis has shown that Tommy Hilfiger is in need of improvements in various retail In order to improve these elements, it is vital to elements. Even though the brand offers a variety look at what other retailers, especially the brand’s of products, the assortment is not that appealing competitors, are doing. This will be addressed in to all customers. That is of course quite logical as the next chapter. not everyone has the same taste. However, in the case of Tommy Hilfiger and especially in the case of female customers, there is a certain impression about the assortment, which prevents the brand from reaching the maximum coverage of its target group.
Analysis 43 02. Competitors of Tommy Hilfiger
after having analysed the company internally, it is also important to look at external factors. as this thesis focuses on the sportswear line, only competitors of the main Tommy Hilfiger label will be discussed. this chapter will give an overview of the company’s main competitors. subsequently, a more elaborate analysis about its direct competitors is shown.
Overview of main competitors Tommy Hilfiger describes itself as a global classic The selection of these competitors can be divided lifestyle brand and offers a ‘complete’ assortment into three groups: with apparel, footwear and accessories. It is a high- • The first selection of competitors is based end brand and tries to distinguish itself by trying on the heritage of the brand. Tommy Hilfiger to be a cool American brand with preppy items, is a combination of a classic/sporty brand; which have a twist. therefore it is interesting to look at other fashion brands that have a classic and/or Taking into account the ‘full assortment’ of Tommy sporty feel to it (classic, sporty). Hilfiger, an overview of Tommy Hilfiger’s main • As Tommy Hilfiger is a high-end global brand, competitors is shown in Figure 23 on page 45. The it is also important to look at those global visuals on pages 46 and 47 give an impression of brands who position themselves as high-end how their stores look. A complete visual overview and luxurious (chic, luxurious). of all main competitors can be found in Appendix • The last selection is based on brands, which G. have a more individualistic character, but are still in the Tommy Hilfiger’s field of competition (individualistic).
44 Enhancing the in-store experience IC CLASS CHIC
Y RT O SP
S U IO UR LUX
IN D IVI D UALIST IC
Figure 23. Direct and indirect competitors of Tommy Hilfiger placed in a matrix
Analysis 45 MARC O’POLO PAUL SMITH HUGO BOSS
CLUB MONACO
MCGREGOR
RALPH LAUREN GAASTRA
46 Enhancing the in-store experience THE KOOPLES J. CREW BURBERRY
EMPORIO ARMANI
LACOSTE
MAJE
SANDRO
Analysis 47 Direct competitors As seen in Figure 23, Tommy Hilfiger’s direct can dress for the life they want and for whom they competitors are Ralph Lauren, McGregor and Marc want to be (Hall, 2010; “About us,” n.d.). O’Polo. These brands fall in the overlapping area of the chosen sporty and classic. Each of these Labels competitors will be described in depth below. Ralph Lauren has several labels of which two are specifically focused on women: Collection and Ralph Lauren Lauren. Ralph Lauren Collection is the glamorous The origins of the brand Ralph Lauren go back to label, offering the female customer luxurious items. founder Ralph Lifshitz (later named Ralph Lauren). Lauren Ralph Lauren is the label for a woman Forty years ago he started selling ties under the on a budget, offering the customer elegant, but label ‘Polo,’ which were his own designs (Hall, timeless and modern items. 2010). A year later shirts and suits were added to the label. In 1971 it was time to add a women’s line When looking at the labels, Polo Ralph Lauren to the mix (“Lauren, Ralph,” 2010). forms direct competition to Tommy Hilfiger’s Sportswear. Just like the latter, Polo Ralph Lauren The brand has now grown into a global lifestyle offers a men’s and a women’s collection. However, brand, redefining American style. Ralph Lauren has Polo communicates much more clearly that the this vision to provide quality products, and create a label also targets female customers as it includes world, which people are invited to join so they ‘for women’ in its label, see Figure 24.
Figure 24. Banners on the website of the two specifically female Ralph Lauren labels: Collection and Lauren, and of the label Polo Ralph Lauren (ralphlauren.fr).
48 Enhancing the in-store experience Store and experience As can be seen on the next page, the interior of Ralph Lauren stores is rather classical, though with a luxurious air. It tries to give the female customer a homely feel, so she will feel at ease while browsing through the collection. The classic and luxurious elements are applied all the way from the carpets to the presenters of the shoes and the frames around the paintings. It conveys a constant, overall store and brand experience. That is something, which is not always done optimally by Tommy Hilfiger.
Advertising Ralph Lauren understands really well how to sell its own products. In the advertisements, as seen in Figure 25, classic garments are displayed in a fashionable, though classical look. The shirts the models are wearing are not necessarily feminine, but the way they are combined with other items and accessories makes them feminine anyway. This also has to do with the fact that the hair of models is loose and wavy, conveying a casual and free spirited attitude. Dressing and combining such casual items together with the look of the model is something what Tommy Hilfiger can learn from.
Figure 25. Four advertisement looks of the Spring/Summer 2015 Polo Ralph Lauren collection (ralphlauren.fr)
Analysis 49 MERCHANDISING
STAIRCASE ACCESSORIES
FITTING ROOM
50 Enhancing the in-store experience SEATING AREA
ACCESSORIES MERCHANDISING
Analysis 51 Marc O’Polo Marc O’Polo was founded in 1967 by the Swedes Store and experience Rolf Lind and Göte Huss and American Jerry The store does a good job of conveying the brand O’Sheets. The brand has its origins in Sweden, image. Marc O’Polo is a combination of urban but was soon launched in Germany too (“The casual and classic items. This is also reflected history of Marc O’Polo,” n.d.). Their clothing was in its interior, which is rather tight, but still has to offer young people uncomplicated, effortless those classic elements as well as a nod to their fashion, which was made of natural materials such preference for natural materials. A good example is as cotton, silk or linen. The first garment was a their accessories area, which is really tight, but has patchwork shirt, made of Indian cotton, which was several props and urban, ‘natural’ chairs to make highly popular with the hippie movement. Not it more in line with the brand image. The colours too long after that, the brand launched full-scale of the fixtures and walls fit with the brand colours. menswear and Womenswear lines (“Die väter des These however tend to have a more masculine feel casual looks: Marc O’Polo,” n.d.). to them. Nowadays Marc O’Polo has turned itself into a brand that represents an “urban, casual lifestyle at a refined standard” (“Corporate Philosophy,” n.d.). Advertising As in the early days, the preference is for using The ad campaigns of Marc O’Polo are rather sober. natural materials. They are aligned with the brand’s interior: simple and clean. However, for advertisements this can quickly become boring. Just like Tommy Hilfiger, Labels Marc O’Polo also works with guest editors. For Marc O’Polo is the overall brand for both men example, this Spring/Summer collection Uma and women. The brand does not communicate in Thurman has picked her favourites (Figure 26). their labelling that the brand also has a women’s Nevertheless, the promotion and advertisements collection. It is just the same as with Tommy of her are quite plain and boring so to speak. These Hilfiger and McGregor. kind of collaborations should be promoted more as it will really help attract customers.
Figure 26. Uma Thurman for Marc O’Polo’s Spring/Summer 2015 collection (http://nl.marc-o-polo.com).
52 Enhancing the in-store experience McGregor McGregor was founded in 1921 by the Scot David What McGregor has done well, is the fact that Doniger. It started out as a sportswear brand the brand has stand-alone Womenswear stores, for men, but after the takeover in 1993 by the especially because the women’s collection does McGregor Fashion Group, it grew into a full-scale not have its own label. Having stand-alone collection. As the men’s labels were going well, a Womenswear stores will make it clearer to the Womenswear line was launched in the 90s. customers that the brand is also focusing on McGregor is now known as a sportswear brand, women even if the target group consists, for a which combines sporty American characteristics large part, of men. with European influences (“McGregor,” n.d.).
Advertising Labels The ad campaigns of McGregor are not that McGregor’s main label for women is Womenswear striking. The brand does however try to make their (Women’s Sportswear). Just as Tommy Hilfiger, advertisements appealing to female customers by the brand uses the same logo for its Womenswear giving a casual, ‘fashionable’ feel to it. As Figure label. There is no distinction between the men’s 27 shows, the outfits are still classic and casual, and women’s label. The label offers contemporary but less accessorised unlike the models in the preppy clothing with a fashionable twist, which is Ralph Lauren campaigns. These advertisements almost the same description Tommy Hilfiger gives are going the right way, but are unfortunately not itself. highlighted in-store. These two elements could be aligned more closely.
Store and experience McGregor’s stores use a lot of materials that Tommy Hilfiger also use, herringbone floor, dark wooden tables and walnut shelves. It tries to convey that classical look. However, the brand’s image is contemporary preppy clothing and this interior tends to be a bit corny. The mannequins are also not that inspiring, as it does not show ‘exciting looks.’
Figure 27. Two advertisement looks of the Spring/Summer 2015 McGregor womenswear collection (mc-gregorfashion.com)
Analysis 53 SHOP WINDOW
MERCHANDISING
ACCESSORIES
CASH DESK
54 Enhancing the in-store experience Conclusion As was stated in the previous chapter, Tommy Ralph Lauren has a constant and consistent overall Hilfiger still needs improvements in certain areas. in-store experience that meets the brand image This chapter provided useful insights into what the they want to convey. This is therefore a good brand can learn from its direct competitors. example to look at as it is also a classic brand, but its interior also has that luxurious feel to it. Tommy First of all, it is crucial to better communicate that Hilfiger tries to implement this luxurious feel too Tommy Hilfiger also sells women’s clothing. Most (especially in the flagship and anchor stores). This people are aware of this fact, but this is not always can also be implemented in the standard stores. made clear in-store. Perhaps it is an idea to create These should be more aligned with the ‘luxurious’ or adjust the current label in order to let people concept. At the end, it is still an overall experience. know that there is a female sportswear collection. Last, but not least, the way of advertising. Ad With regard to the stores, it is useful and powerful campaigns are such powerful tools for reaching a to have stand-alone women’s stores, as this will larger target group. Ralph Lauren does it very well. create a larger customer base. Female customers The brand shows looks with classic items and still will feel more connected to the brand if the store ensures that it looks fashionable and not corny or only focuses on her. Next to that, it also adds extra conservative. The usage of accessories together dimensions to the women’s label as it becomes with the overall look (e.g. hair, make up) can really more self-contained. make a difference in how the outfit will come across. It makes it more feminine and therefore more appealing to female customers.
Joe Mansueto “Once you create a loyal customer base, it’s tough for a competitor to take that away.”
Analysis 55 03. Customers of Tommy Hilfiger
It is said by Michael LeBoeuf that the best business strategy of all is a satisfied customer. the customer is actually the one who drives the brand in a way. this chapter will give insights into the existing research of Tommy Hilfiger’s customers and will subsequently move on to the performed customer studies.
Existing research Womenswear research & vision Before doing our own research, it was important to As was mentioned before, Tommy Hilfiger is aware look at existing research.. This chapter contains the of the fact that the brand is not as appealing to research that has been carried out about (Tommy women as it is to men. This observation led to a Hilfiger) female customers, either by marketing or Womenswear research, analysing why women do by literature. not shop more often with the brand. As a result of this research, a new vision was developed which should increase the sales and loyalty with female customers (Tommy Hilfiger, 2014d).
56 Enhancing the in-store experience Customer research part I - Interior Focused
After the performed analysis and desk research, Results the next step was to involve customers in the In total 34 female customers filled in the project. The customer research is split into two questionnaire. Full results can be found in parts. This chapter will present the results of the Appendix I. This sub-chapter will only deal with the first performed customer research, which focused main findings, which were used to move on to next on the interior of stores. part of the research.
Online survey I – female shopping Important aspects during shopping behaviour As can be seen in Figure 28, female consumers find To gain insight into what female consumers the price, product assortment and quality of the find important when shopping in-store, an product most important when they are shopping. online survey was conducted. To reach as many Only 2 out of the 34 consumers find the interior respondents as possible, the survey was sent out important. They find service/staff and the overall to different Dutch and Belgium forums. The target experience much more important. group of the survey were female consumers of age 25 and over.
MOST IMPORTANT ASPECTS Set-up during shopping in-store The questions consisted of two main parts. The complete questionnaire can be found in Appendix PRICE 30 H. PRODUCT ASSORTMENT 27 PRODUCT QUALITY 01. Questions about their shopping behaviour: 27 • both offline and online SERVICE/STAFF 14
• Most important aspects during STORE EXPERIENCE 10 shopping in-store BRAND LOYALTY 3
02. Tommy Hilfiger related questions: brand INTERIOR 2 awareness OTHER 2 • Store visits Figure 28. Most important aspects while shopping in-store • Purchases according to the respondents of the survey. • Comparison with other brands.
Analysis 57 Brand image and awareness The brand awareness among the respondents was 82%. Figure 29 shows a word cloud in which one can see what the most recurring words were, while describing the brand. The most used word was 62% expensive, followed by conservative, snobbish and purchased something in-store boring. The overall attitude towards the brand of the respondents was rather negative.
Of the 82% participants who know the brand, almost half had visited a Tommy Hilfiger store. Not know the brand all of the participants that visited the store ended 82% up buying something. The conversion rate among them was 62%.
sophisticated old quality
beautiful fashioned snobbish brand sporty
more expensive
red-white flag reputation smooth timeless
for boring elegant conservative nice men classic decent not trendy
Figure 29. Word cloud showing the most recurring words that came up while describing the brand.
58 Enhancing the in-store experience Comparison with other brands Customer research The Hague The respondents were also asked to compare The next step was to execute a qualitative study Tommy Hilfiger to the brands where they usually with customers of a current Tommy Hilfiger shop. However, the less positive points were Sportswear B store. This study focused on three present to a slightly larger extent. specific female target groups. Each group having a • They said that the items are of good quality different research goal behind it: and it is actually the store you go to when 01. Loyal customers you need a decent, almost conservative look. To gain insight into how they perceive the It is because as a customer you know what to brand and how they experience its stores. expect as part of the assortment always stays 02. Bouncers the same To understand why customers leave the • The brand is however quite expensive and Tommy Hilfiger stores prematurely and define it is not the brand that comes to mind when what elements causes them to do so. you want to update your wardrobe with more 03. Overall female customers modern and fresh garments. They think it is To gain insight into where they shop and a rather blunt brand with a lot of the same what they find important to stay in store. styles and nothing really trendy. Next to that, the quality is also not always as should be Set-up expected. The research was executed in The Hague Sportswear B store as well as in one of the shopping streets of The Hague: the Hoogstraat. Tommy Hilfiger is located here, together with a few of its main competitors, e.g. McGregor, Marc O’Polo. Therefore, this was a highly preferred location to perform the customer research.
The customer research was spread across four days. The complete manual can be found in Appendix J: 01. The first day focused on observing the customers in-store to get an overall impression of how they shop. 02. The second day consisted of in-depth interviews with loyal customers about the brand and more specifically, about the interior of the store. 03. On the third day, the focus was on the bouncers to discover why they came in and why they left shortly after. In-depth interviews were held to gain insight into what can be improved to get them to stay longer in-store. 04. The fourth day consisted of in-depth interviews with consumers in the shopping street, asking them about their ideal store and how Tommy Hilfiger fits into that goal.
Analysis 59 Next to the in-depth interviews, Tommy Hilfiger customers were asked to fill in an evaluation form of the brand on the first and second day (see Appendix K). This evaluation form consisted of three questions, which were based on the facets of the brand identity prism: • How do you perceive Tommy Hilfiger as a brand? • What is the personality of the Tommy Hilfiger products? • How do you view the Tommy Hilfiger customer?
Results This customer research resulted in in-depth interviews with 36 female customers and 29 completed brand evaluation forms. This sub- chapter will present the main findings. The full version of the results can be found in Appendix L.
Brand evaluation form To help Tommy Hilfiger customers fill in the form more easily, each question had around 8 scales. Figure 30. Each scale was set up with two opposite terms. Womenswear area of the Tommy Hilfiger Sportswear B store in The Hague. In psychology this type of scaling is referred to as the Osgood semantic differential scale. It helps measure the meaning of things and objects (University of California, n.d.).
Figure 31, Figure 32 and Figure 33 show the average results of the three questions on the brand evaluation form. Scale number 1 and 7 stands for the opposite terms, whereas 4 is neutral.
What immediately stands out is the fact that the brand, its products and customers are rated rather neutral. There are only a few strong outliers, but overall the customers do not feel that the brand is conveying a strong identity. They are satisfied with it overall, but in terms of ratings they do not perceive it as powerful or salient.
60 Enhancing the in-store experience BRAND perception PERSONALITY of products
1 2 3 4 5 6 7 1 2 3 4 5 6 7
AFFORDABLE EXPENSIVE PREPPY EXPERIMENTAL
CASUAL FORMAL CONTEMPORARY OLD FASHIONED
UNIQUE STANDARD INNOVATIVE TRADITIONAL
TRADITIONAL REVOLUTIONARY BASIC FUN
BRAND=LIFESTYLE BRAND=NAME CLASSICAL FASHION
TRENDY CLASSICAL AUTHENTIC UNORIGINAL
RESTRICTED ACCESSIBLE MASCULINE FEMININE
CONSISTENT CONTRADICTING CHIC CASUAL
FOLLOWER LEADER 1 2 3 4 5 6 7
1 2 3 4 5 6 7
Figure 31. Average results of the brand perception as part of the Figure 32. Average results of the personality of products as part brand evaluation form. of the brand evaluation form.
Each question had some interesting results, which 02. Personality of products (Figure 32): are worth mentioning. • the customers found the products slightly preppy. It has to be mentioned 01. Brand perception (Figure 31): that they perceive preppy negatively as • The customers see the brand as highly in Dutch it was translated as “kakkerig”, accessible. which has a slightly more negative ring • On whether the brand is a lifestyle or to it. more a label attached to its clothing, • The customers rated the products the customers rated it neutral. This is as neutral, with regard to innovation rather striking, as Tommy Hilfiger always and tradition, which is quite odd. wants to present itself as a lifestyle Tommy Hilfiger’s products are much brand. more traditional and is not innovative • Female customers found that the brand at all. The same applies to the scales is an equal combination of trendy and classical vs. fashion and chic vs. casual. classic. This is notable as the brand is Customers rate it neutral, but it would more classic, rather than a trendy brand. be expected to have the outcome slide more towards classical and casual respectively.
Analysis 61 PERCEPTION of Tommy Hilfiger’s customers
1 2 3 4 5 6 7
TRENDSETTER TREND FOLLOWER
YOUNG OLD
STYLISH BASIC
SHOWY MODEST
FORMAL SPORTY
CONFIDENT INSECURE
WITHDRAWN SOCIAL
PROGRESSIVE CONSERVATIVE
1 2 3 4 5 6 7
Figure 33. Average results of the perception of Tommy Hilfiger’s customers as part of the brand evaluation form.
03. Perception of Tommy Hilfiger’s customers As mentioned above, all the results are rather (Figure 33): neutral. In the case of the perception of the • the female customers perceive the Tommy Hilfiger customer, the neutral results are customer of Tommy Hilfiger as highly easily explainable. When answering that question, confident and very sociable. participants were looking at themselves as the • It is notable that the customers think customer. Therefore, they would be less likely that the Tommy Hilfiger customer is a to pick the term with a more negative tone, e.g. combination of formal and sporty. This basic vs. stylish, old vs. young, conservative vs. is because of the fact that a large part progressive. of the collection comprises of casual, sporty wear and not formal wear. • One would except that when it comes to describing the customer as progressive or conservative, 9 out of 10 times they would choose the latter. However, the average result was again neutral. The participants clearly think that the customer is both.
62 Enhancing the in-store experience Customers and customer journey As mentioned above, the in-depth interviews were focused on three customer groups. An overall conclusion of the findings per group will be discussed below.
Loyal customer The loyal Tommy customer is satisfied with the brand and its products. They have no specific comments and the interior is therefore not so important for them. In most cases they come for the product (and brand) and will buy it if they like it. When asked about points of improvement interior-wise, they could not name many comments. They like it the way it is and do not see how it could be even better. Many of the loyal customers also came to that specific Tommy Hilfiger store because of the present staff. They had a “personal” connection with them and enjoyed Figure 34. Female mannequin on the table at having a chat with them. the entrance of The Hague store
The bouncer The bouncers were the one customer group that was hard to reach. These left the store so quickly, which made it hard asking them to participate. However, a small group was willing to share their opinions.
In most cases the bouncer left quickly, because she Bouncer, 62 could not find what she was looking for, e.g. the “The womenswear area does not Womenswear area. Some female customers did not really have a strong identity. It even know this store sold female clothes, because may be more prominent that it is it was not clear to them. The female mannequin on also focused on women.” the table (see Figure 34) and the ones in the shop window were not striking enough in order for the bouncers to notice it.
This type of customer was more critical than the loyal customer, which is quite understandable as they entered with certain expectations, which ultimately were not met. They felt that the store could focus more on women, especially with regard to in-store signage and making it clear that Womenswear is sold there.
Analysis 63 The overall female customer Overall customer, 25 This is the customer who knows the brand Tommy “I feel that Tommy Hilfiger is not Hilfiger, but does not shop at their stores or even what it used to be, it is not up-to- online. It does not fit with their style or it is too expensive. Some of them also felt that Tommy date anymore.” Hilfiger was not innovative and not contemporary anymore. They also got the impression that the brand is more focused on men than on women. They are of the opinion that if Tommy Hilfiger wants to attract more women to their stores, that Womenswear should get a much stronger identity. The brand should promote it more and try to make it more appealing to other female customers to actually visit a store and explore the rest of the collection.
Conclusion customer research The Hague Based on the observations and the in-depth interviews, three customer journeys of Tommy Hilfiger have been set up. These three customer journeys are visualised on the next page. A common customer journey consists of three phases: pre-purchase, purchase and post-purchase. In this thesis, the focus will be merely on the purchase phase of the customer journey.
Figure 35. From left to right: the loyal customer, As one can see, the overall female customer is the bouncer and the overall female customer. the one that has the least participation in the customer journey of Tommy Hilfiger. In most cases, these customers walk by the shop window, with or without looking at it and continue on their shopping journey, not entering the store. The bouncer has also very little participation as she only enters the store, looks for something and then quickly leaves the store as she did not find what she was looking for. The loyal customer has the most participation in the customer journey. Depending on their state of mind as well as with whom they are shopping, they can complete all the steps of the purchase phase. However, the loyal customer will almost always enter the store, interact with the staff, have a look and leave the store. The other steps can vary from time to time.
64 Enhancing the in-store experience Analysis 65 Mind states As was previously discussed, depending on what state of mind the consumer is in; the customer journey will vary every time. That is why Fitch (2012) came up with three universal mind states, under which shoppers are categorised (Figure 36).
The first one is a locating mind state. In this mind state the customer is looking for a specific brand, product and/or service. These are consumers who already know what they are looking for and are often replenishing their stock. The second mind state is of an explorer. This is a shopper, who has a category-specific purchase in mind, but is still open to suggestions. She Figure 36. Three universal mindstates: locating, wants to be both inspired and informed. The key exploring and dreaming mindstate. component in this mind state is being able to touch, feel and try out different products. The third and last one is the dreaming mind state. A dreamer is actively looking for new inspiration and ideas. They do not know what they want or need and are therefore continuously skipping between different brands to find fulfilment of their desires (Fitch, 2012). Many stores have been designed around the locating mind state, enabling the customer to quickly find what they need as easily as possible. However, it can be much more than that. These mind states are not ‘fixed’: a customer can change from mind states within one store, e.g. someone can come in as a locator, but ends up leaving the store as an explorer.
Looking back at the three different customer journeys of Tommy Hilfiger, the theory of the mind states can also be easily applied to it. All three types of customers can be in a locating, exploring or dreaming mind state. It is therefore much more interesting to approach the customer journey from these mind states as it will give more insightful results on both the current and potential customers of Tommy Hilfiger.
66 Enhancing the in-store experience Conclusion customer research Customer research part II - part I shopping experience The results of this research did not meet the This paragraph will address the second part of the hoped-for outcome. The overall goal was to gain customer research, which is focused on the overall insight into how the interior could be improved shopping experience. in order to attract more women to the store. However, most of the comments about the interior Online survey II – female shopping of Tommy Hilfiger stores were positive. Customers behaviour liked the interior of the stores and even if they did As was established in the last chapter, it is not like it, they still thought it fits into the brand interesting to look at what the needs and wants are image. of the three shopper mind states as they fit into the customer journey of Tommy Hilfiger. For example, Therefore the focus of the customer research a bouncer, but also a loyal customer could be a had to be redirected, namely towards the overall locator when entering the store. The question then shopping experience. By doing so, a more holistic is, what makes the one ‘locator’ stay in-store and view is created on the current situation. the other to leave the store prematurely.
The goal of this online survey is to gain insight into what makes locators, explorers and dreamers enter, stay and return to a store and what makes them leave prematurely. This will help in defining what elements of the shopping experience can be improved to ensure customers stay longer and eventually return to the store.
Analysis 67 ENTER STAY IN-STORE RETURN
Does one have a specif ic
BRAND, yes leave PRODUCT or SERVICE
no in mind?
doesn’t enter leave
Figure 37. Visual overview of how the second online survey was set-up.
Set-up This survey consisted of two parts, one targeted • The third part is about finding out what to the locators and the other to the explorers and elements both groups find important for dreamers. The survey was set-up as follows (Figure staying in-store, leaving it prematurely and 37 shows a visual overview of the set-up): making them a recurring customer. • The last part is about whether they know • The first part is to determine whether the Tommy Hilfiger and if they have ever respondent is a locator or an explorer/ purchased something. dreamer by asking if they have a certain brand, product or service in mind before To receive as many responses as possible, the going shopping. survey was sent out to females across Europe. The • This next part only applies to the explorers/ complete questionnaire can be found in Appendix dreamers. This is about gaining insight into M. what elements will ensure whether the customer enters or does not enter a store. (Locators will always enter a store, as they already know what they want and/or need).
68 Enhancing the in-store experience TOP 5 REASONS to go into a store
ACTUAL PRODUCT 83%
INTERESTING OFFERS 65%
SHOPPING WINDOW 57%
PRICE OF PRODUCT 57%
BRAND ITSELF 48%
Results Figure 38. Top 5 reasons to go into a store for the explorers and dreamers. In total 65 female consumers filled in the survey. Complete results can be found in Appendix N. In this part the main findings will be presented.
Of the 65 respondents, 65% is a locator when they go out shopping.
Taking into consideration the next steps in the project, it was most interesting to look at the combined results (explorers/dreamers and locators) of the elements that make the respondents enter and stay in a store and not leave it prematurely, because these three moments link directly to attracting more female customers as well as keeping them (longer) in-store.
Top 5 reasons for entering a store This part of the questionnaire only applied to explorers and dreamers, as they are customers, Figure 39. 65% of the respondents were locaters, whereas 35% was an explorer/dreamer. who do not necessarily have to go into a certain store. Figure 38 shows the top 5 reasons for them to go into a store.
Analysis 69 TOP 5 REASONS to stay in a store
FINDING WHAT YOU ARE LOOKING FOR 91% ACTUAL PRODUCT 83%
PRICE 65%
INTERESTING OFFERS 51%
BEING INSPIRED 46%
Figure 40. Top 5 reasons to stay in a store for all mind states.
Top 5 reasons for staying in a store Top 5 reasons for leaving a store prematurely Figure 40 gives an overview of the top 5 reasons Figure 41 shows the top 5 reasons that make the for staying in a store. The first four reasons respondents leave a store prematurely. These 5 are quite expected, as that is a matter of style reasons are almost equally important to them. preference and budget so of course those would prevail over other elements. But what is interesting This outcome will form a part of the customer is that being inspired also plays a role in staying research in Oostende, where customers will be in-store. asked about these elements. The chosen elements that will be the main focus in Oostende are shown in Figure 42.
70 Enhancing the in-store experience TOP 5 REASONS to leave a store prematurely
NOT FINDING WHAT YOU’RE LOOKING FOR 72% MESSY LAYOUT 71%
ATTITUDE OF STAFF 69% CROWDINESS OF THE STORE 68% LONG QUEUES 68%
Figure 41. Top 5 reasons leave a store prematurely for all mind states.
FINDING WHAT YOU ACTUAL ORGANIZED BEING INSPIRED ATTITUDE & HELP- ARE LOOKING FOR PRODUCT LAYOUT FULNESS STAFF FINDING WHAT YOU ACTUAL ORGANIZED BEING INSPIRED ATTITUDE & HELP- ARE LOOKING FOR PRODUCT LAYOUT FULNESS STAFF
SHOP WINDOW INTERESTING OFFERS FITTING ROOMS INTERIOR DESIGN MUSIC & ENTRANCE
SHOP WINDOW INTERESTING OFFERS FITTING ROOMSFigure 42. INTERIORElements that DESIGN will be the main focusMUSIC of the customer & ENTRANCE research in Oostende.
Analysis 71 Customer research Oostende The first store with the new Sportswear concept opened in Oostende, Belgium. As determined in the last sub-section, the focus will be on various elements, which are considered important when entering and staying in a store. The elements are shown in Figure 42. The goal is to see what the customer’s current impression on these elements is and in what way it can be improved.
Set-up The research was spread out across two days to divide the total amount of elements. The in-depth interviews started off with a general question of what grade they would give the new store, followed by questions about the elements. The customers were asked what their current opinion is and how they think it can be improved. The complete manual can be found in Appendix O. BEFORE BEFORE
AFTER AFTER
Figure 43. Before and after photos of the Sportswear store in Oostende - top: old concept, bottom: new concept
72 Enhancing the in-store experience Results In total 29 in-depth interviews were held. The complete results can be found in Appendix P. Only the key findings will be presented below.
Average grade Participant, 27 Participants gave the new store an average grade “It is a nice store. It has class.” of 8.4.
Remarks Overall, the customers were really positive over the store and the various elements they were asked about. However, a few of the elements did receive some comments.
Finding what you’re looking for The main comment about this element was that Tommy Hilfiger could focus more on women at the entrance, as there were only male mannequins. This would help customers realise that women’s clothing is also sold there.
Shop window & entrance • It seemed that, in particular, the locaters do not pay attention to the shop window. They walk by and enter the store without really looking at it. • The shop window can do better in terms of attracting the women in-store.
Being inspired This was the element that received the most comments: • The overall opinion is that Tommy Hilfiger 8.4 can improve their methods of inspiration. Customers would like to be more inspired. • Women would like the mannequins to be more prominent as well as having more sets. They appreciate combinations the most. • It is the staff and the mannequins that inspire them while shopping. Figure 44. Customers gave the new Sportswear store an average grade of 8.4
Analysis 73 Staff The customers were very positive about the staff and their helpfulness. However, they would appreciate it if the staff could advise on other products more and maybe also inform them about the new collection.
Actual product • Not every customer was satisfied with the actual product (clothing) as they mentioned that the value for money is not always up to standard. • There were a few customers who would like to have more sizes as they had a larger size.
Interesting offers The customers were of the opinion that there could be more interesting offers. Perhaps this can be combined with the Hilfiger Club loyalty program. Customers would appreciate if it were possible to collect points after every purchase as it increases customer loyalty.
74 Enhancing the in-store experience Conclusion This chapter has shown that there are three The elements that need to change can be divided universal mind states, which can be applied to the into three categories as shown in Figure 45. customer journey of Tommy Hilfiger. According to the customers these improvements would enhance the in-store experience: It can be concluded that customers, who enter a • If one looks back at the comments that Tommy Hilfiger store with a locating mind state, were made, it can be concluded that a few will in most cases always return to the store and/or elements are all linked to being inspired. The the brand. This has to do with the fact that a large improvements for the shop window, fitting number of the loyal customers enter the store rooms and staff can be found in the area of with a locating mind state. They know beforehand inspiring the customer more. which brand they want to visit that day. However, • The second category consists of interesting it is still possible to change from mind state while offers and the link to Tommy Hilfiger’s loyalty shopping in-store, which is what you want as a program. These two things should be more company. If the customer changes from a locating aligned. to an exploring or dreaming mind state, the • The last category is about the product as this chance of purchase is higher. As these customers is the main element that customers want to are already satisfied, the brand should look at what be good; otherwise they will not even visit elements will trigger them to ‘activate’ the other the store. It is not only about the product mind states. The latter can also help in attracting itself, but also about how it is displayed, etc. other female customers to the store, who would not normally think of going in.
Analysis 75 LOYALTY PROGRAM
Figure 45. The three categories that are in need of improvements to enhance the in-store experience.
76 Enhancing the in-store experience 04. Retail context
To make the analysis complete, it is also important to look at the context of retail. The world of retail is changing rapidly and it is therefore vital to keep up with the changes. This chapter will give insights into the developments and trends, which can be considered useful for the remainder of this project and for Tommy Hilfiger.
Trends and Developments
Digitisation Experiential retailing 2.0 The world is becoming more and more digital by The meaning of the physical store is something the day. Who would have thought ten years ago that is constantly being redefined. Especially with that one could do almost everything with a simple the growth of online sales, brands are forced to click on the screen of his/her mobile phone? It is ask themselves what the role of the store is. One actually not the technology that is the innovation, thing is clear: a store can no longer be a place to but it is what the technology enables customers only buy products. Stern and Verweij (2013) state to do with it. Technology provides customers with that stores are “social gathering places”, places more information, more choice and more access to have fun and relax and gain knowledge and (Stern & Verweij, 2013). information. Thus, stores have the advantage of delivering experiences, which a website cannot.
Omni-channel Omni-channel is something that is developing Best basics rapidly. It is about enabling the customer to The world around is being transformed and dis- shop wherever, whenever and however they rupted. Change will be the only constant in our want. Online elements are being adjusted to be lives. Therefore consumers want to enjoy basic implemented in-store and vice versa. In the future, stuff in their lives on a superior level. Consumers customers will expect more from retailers to offer are offered a lot of options. Besides that, people the best of both the offline and online world. It have less to spend. Therefore the choices they should be “more seamless, more integrated and are making are thought through. They take their more effective than ever.” (Stern & Verweij, 2013). time to review and pick the best (Bloom, 2014). Consumers are not afraid to pay, but they do expect the best quality.
Analysis 77 An example of this trend is the Japanese brand Uniqlo. They offer a pure cashmere and pure silk collection with basic garment pieces for affordable prices (Heshof, 2014), see Figure 46.
Figure 46. Screenshot of the website of Uniqlo, where they offer a cashmere collection for affordable prices
78 Enhancing the in-store experience Humanisation Conclusion Customers are seeking for a human and more If one looks at what other retailers are doing now, personal touch in their daily lives. Bloom (2014) it can be concluded that they are all going in the mentions four touches as upcoming trends: direction of digital meets offline. With the growth • Soft touch: the consumer’s need for well- of online shopping, it is indeed important to look being and spirituality; at how the best of both worlds can be joined • Social touch: consumers are in need of together to create an omni-channel experience. socialisation and togetherness; • Societal touch: doing good for your fellow Besides digitisation, it is also really important to man; treat the customer as an individual. The offer of • Personal touch: the need to have a products is so high nowadays, that customers are personalised and customised experience. looking for that one retailer that thinks about him/ They do not only want to be treated as an her as a person and not a target group. Customers individual, but also want more tailor-made want to feel involved, they want to feel that they products and services. are part of something bigger.
In the next chapter an overall conclusion of the analysis phase will be given, whereupon the conceptualization phase can begin.
Analysis 79 05. Overall conclusions
Now that all the analyses are complete, it is vital to filter the main findings, which will be taken on in the next phase. This chapter will present the overall conclusions and forms the basis of the next chapter, in which the focus will be on idea generation and creating a vision.
Who? The goal is to make Tommy Hilfiger more appealing to female customers. In the previous chapters three mind states were defined: locat- ing, exploring and dreaming. Stores are already evolved around the locating mind state, but if the others are also addressed, the store can achieve so much more. Tommy Hilfiger should therefore focus on the Figure 47. The focus should be on the dreaming and exploring dreaming and exploring mind state. It is all about mind states as this will make the store much more appealing to all getting the customer in-store and enticing them to customers. stay longer by giving them the possibility to dream and explore. This will eventually result in a higher conversion rate. What? It must be mentioned that even though the focus As a result of all the previous research and cus- is not on the locating mind state, it should not be tomer interviews, it is believed that three elements forgotten. As discussed in the previous chapter, should be improved to achieve the stated goal. most customers with a locating mind state were The biggest opportunities lie within the elements loyal customers, meaning they are already satisfied product, inspiration in-store and loyalty program, and coming into the store. The locating mind state see Figure 48. What is important to note, is that should therefore be catered for accordingly, in these three elements should not be addressed as order to maintain customer satisfaction. individual entities.
80 Enhancing the in-store experience PRODUCT
INSPIRATION LOYALTY IN-STORE PROGRAM
Figure 48. The biggest opportunities lie within these three elements: product, inspiration in-store and loyalty program.
Analysis 81 They affect each other and in order to provide the female customer with a holistic shopping experience, the elements of that shopping experience should also be treated as a whole entity.
How? To design interesting and innovative solutions, it is vital to address these elements from different dimensions. These dimensions are interior design, staff, digital integration and the consumer. Tackling the elements as a whole entity, together with these dimensions, will result in a more holistic vision that enables the customer to truly experience the brand to its maximum capability.
Even though the elements are addressed from different dimensions, the solution will still be part of the in-store concept. The online channel has been and will again be looked at, but the focus will definitely be on the offline channels.
This conclusion is the basis of the next chapter, where this will be researched further, eventually resulting in a holistic vision for Tommy Hilfiger’s Womenswear.
82 Enhancing the in-store experience Part II
Ideation & vision 06. Design goal 07. Idea generation 08. Vision & requirements
Ideation & vision 83 06. Design goal
After an extensive analysis and having defined the direction in which the design is going, it is good to have a look at the design goal and make it more concrete. This chapter will present the design goal together with interaction qualities, which will serve as a strong foundation going into the idea generation phase.
Design goal The design goal is to make Tommy Hilfiger more As discussed above, the store and the eventual appealing as a brand to female customers in order design should address all three mind states with to get them to stay longer in-store, which will a specific focus on the exploring and dreaming result in a higher conversion rate. states. It is therefore important to define strong As stated in the previous chapter, the design will and powerful interaction qualities as these have a specifically focus on the exploring and dreaming direct effect on the extent to which the mind states mind states. By addressing these mind states are addressed. in-store, customers will be more likely to stay longer and look at other products in-store, which Figure 49 on page 85 shows the five interaction is obviously what the company wants. The locating qualities: inspiring, exploring, intuitive, involving mind state should also be taken into consideration, and effortless. These will function as the base of as customers with a locating mind state should the eventual design, which will, in turn, result also remain satisfied. in addressing the three mind states for optimal impact. At this point the design is not defined yet as it still can be anything. It will however be part of the The design should be inspiring, because this store concept, which means that the focus is more will ensure that female customers will stay on the offline channel than the online channel. The longer in-store and also explore other options latter will be taken into account, but will not be (exploring). Customers should be able to use it heavily present in the design. without a manual (intuitive): it should be natural and understandable to use. It should also not take Interaction qualities much effort to use it, as customers want to enjoy As a result of the research, it was rather important their shopping journey and feel at ease while to start the design phase by establishing shopping (effortless). And lastly, customers should interaction qualities. These interaction qualities feel involved while interacting with the design. help move the concept and design further as it They should feel that they are a part of the brand says something about the interaction between the and service and that they also have a say. It should customer and the design. be a two-way street (involving).
84 Enhancing the in-store experience THE STORE AND FINAL DESIGN SHOULD BE ...
INSPIRING EXPLORING INVOLVING INTUITIVE EFFORTLESS
Figure 49. The store and final design should be inspiring, exploring, involving, intuitive and effortless to address the three customer mind states to the fullest.
Ideation & vision 85 07. Idea generation
Now that the design goal and interaction qualities have been defined, the next step is the to generate ideas. This chapter will give an overview of the current retail solutions that can function as inspiration moving forward. And finally, the initial developed ideas will be presented.
Retail solutions Before actually starting with developing ideas, it To let people explore other colours than the is useful to look at other fashion retailers and to usual white, black and grey shirts, they built an see what kind of innovative solutions they have interactive window display, which acts as a virtual used to attract more customers. The chosen retail stylist: the Colourmatic. solutions are based on the fact that they have at Using the laws of colour science, the virtual least one interaction quality in common with what window rates the customer’s outfit with a score is defined in the last chapter. out of 100, e.g. to what extent the colours are compatible with each other. It then gives you advice about the ‘weakest link’ and provides you Shop window with a better option, which you of course can find in-store (Green, 2014). To quote the director of AS AS Colourmatic Colour, Stephen Richardson: “When it comes to AS Colour is a clothing retailer from New Zealand. making style decisions, many shoppers struggle to know exactly what they are looking for. The Colourmatic acts as your own personal fashion critic, identifying where you need help and providing solutions.” (Green, 2014)
Kate Spade Saturday Kate Spade made a statement when she opened digitally enhanced shop window, where the customer can order their products direct from the Figure 50. The AS Colourmatic is a interactive window display ‘wall.’ She shows that the future of offline stores can that gives customer insight into their style decisions and offer better be fun, flashy and does not require a lot of space solutions (Colormatic, n.d.). (Figure 51).
86 Enhancing the in-store experience Female customers get a preview of the new collection, which is showcased in the window. There is also a large digital touch screen where the customer can browse for size and colour, and can place an order, which will be delivered for free within the hour. This only applies to orders in Manhattan (Indvik, 2013).
Mannequins
Beacon technologies in mannequins The company, Iconeme, has launched Visual Merchandising Beacon-enabled mannequins. Customers can install an Iconeme app. When they are within a 50-metre range of the mannequin, they can receive notifications about additional information. Alongside this, the customer has access to detailed photos, descriptions and price details as well as information about where the products are to be found in-store. They can even access a link, where they are referred to the website of the retailer to purchase the selected Figure 51. Kate Spade Saturday innovative item (Sillitoe, 2014). window shopping: no store needed, everything is done online (mashable.com).
Figure 52. VMBeacon-mannequins enables customers to access detailed information about the items on the mannequin (wired.co.uk).
Ideation & vision 87 Store design Teamlab interactive hanger TeamLab has invented an interactive hanger system: the teamLabHanger. When a customer grabs a hanger from the rack, the system linked to this hanger will detect this movement. Subsequently, a photo or video will pop up on a nearby screen, showing a model wearing that selected item (Figure 53). The hanger has a switch and a unique ID. So when a customer grabs a hanger from the rack, the switch will turn on and Figure 53. TeamLabHanger system: when taking the unique ID is signalled to a PC in the back, a hanger from the rack, a screen will show an image or video with a model wearing the item that the which shows the linked content to that ID on the customer grabbed (team-lab.net). screen (Retail Innovation, n.d.).
Rebecca Minkoff flagship store Rebecca Minkoff launched a new concept where online meets offline in an efficient and fun way. The stores have oversized screens, where the customers can browse through merchandise and request certain items, which will then be sent to the fitting room (Figure 54). When the fitting room is ready for her, the customer will receive a text stating that she can try on her things. The fitting room also has a touch screen, which will enable Figure 54. Rebecca Minkoff innovative the customer to request another size or ask for flagshop store, where customers can browse on a large screen and add items to their fitting room advice (Holmes, 2014). (altaviawatch.com).
88 Enhancing the in-store experience Ideation process After having looked at what other retailers have to offer in terms of attracting more customers, the next step was to generate ideas.
Defining in-store features At the end of the analysis part, it was concluded that the biggest opportunities lay in the improvement of three elements: inspiration in-store, product and loyalty program. These elements should not be treated separately, but should be addressed as a whole package, viewed from different dimensions (interior design, staff, digital integration and consumer). However, this is still quite broad. Therefore, the first step is to become more concrete and to translate this conclusion into something physical. It has already been established that the design will be part of the store concept. Thus, a list of current and potential store features is set up. Current store features are, for example, the shop window, the entrance, fitting rooms, etc. Potential store features could be an interactive shopping window or mannequins with iBeacons. The whole list can be found in Appendix Q.
These store features were then placed in the diagram of the three elements, taking the four dimensions into consideration. These diagrams can be found in Appendix R. Figure 55 shows the area of the diagrams in which all three elements come together. This is exactly the area where the design should fit in as it covers all elements, which have to be improved. Therefore, the store features in this area are selected to keep working with. This is presented in Figure 56 on page 90. As one can see, these store features can contribute to letting customers explore and dream more, which will eventually lead to the achievement of the design goal.
Figure 55. Overlapping area in the diagram, where the design should fit in as it covers all elements simultaneously.
Ideation & vision 89 INTERACTIVE MIRRORS
DIGITAL SCREEN SERVICE DESK FITTING ROOMS WITH CONTENT
EXPLORE MORE TH APP DREAM MORE
(INTERACTIVE) MANNEQUINS SHOPPING WINDOW DIGITAL LOOK BOOK
ENTRANCE
Figure 56. Store features that cover all three elements and contribute to letting customers explore and dream more.
Having defined the in-store features was just When generating these initial ideas, something the first step towards idea generation. First, seemed to be missing. The solutions were quite interesting combinations had to be thought of individualistic, whereas the purpose was to before actually coming up with ideas. An example approach it with a holistic view. It was time to take of an interesting combination is the integration a step back and look at the results of the first phase of the digital look book with an interactive mirror, again. All initial ideas can be found in Appendix T. which will show a holographic representation of After that, the realisation struck that most in-store the model when the customer clicks on the item features of Figure 56 are involved with the steps of on screen. All possible interesting combinations the purchase phase of a customer journey. That is can be found in Appendix S. These combinations the moment that the holistic view was created. The led to a few initial ideas, which are shown on the next chapter will build on this. previous page.
90 Enhancing the in-store experience 08. Vision & requirements
In this chapter the holistic vision on how to make Tommy Hilfiger more appealing to women will be presented. The vision will include guidelines with requirements and will subsequently present a proposal of the ideal set up. A short overview of all guidelines and proposals can be found in appendix U.
Letting customers explore and dream is something Taking all this into account, the holistic vision that starts and ends outside the store. The part covers the following five moments of the customer in between is also known as the purchase phase journey (Figure 57): of the customer journey. As mentioned in the 01. Entering the store previous chapter, the holistic vision will cover most 02. Browsing steps of this phase. However, it will also address a 03. Fitting bit of the pre and post purchase phase. 04. Checkout 05. Leaving the store
ENTERING BROWSING FITTING
Figure 57. Parts of the customer journey on which improvements and suggestions will be LEAVING CHECK-OUT given, resulting in a holistic, coherent vision
Ideation & vision 91 Womenswear label – Hilfiger Woman Before delving into each shopping moment, it • The graphic design should fit into the existing is necessary to look back at the identity of WSW graphic and colour language. within Tommy Hilfiger stores. In the customer • This new label should be implemented in research, many female customers mentioned that the different platforms, e.g. in-store signage, Tommy Hilfiger is a brand that focuses mainly on packaging, online channels. men. Both bouncers and overall female customer mentioned that the brand should focus more on women if they want to appeal to more female Proposal customers; especially if they offer more products Taking these guidelines into consideration, a than the usual basics, which is known of Tommy proposal was created: introducing Hilfiger Woman, Hilfiger. see Figure 58. The development of the label can be found in Appendix V. As a result of this collected information, the proposal is to have an own label for the Having a new identity label means incorporating Womenswear collection. This would be a positive this label to the fullest possible. In the ideal case, adjustment for the female customers. Not only for there should be stand-alone Womenswear stores. the loyal customers, but specifically for the new This will really strengthen the new women’s customers. Women will be more likely to identify identity and it will allow more female customers to themselves with Tommy Hilfiger as it gives a more get acquainted with the brand. personal connection. To understand the label and its customers more, a brand identity prism was filled in for Hilfiger Woman (Figure 59). The information in this prism is based on the Womenswear vision study, done by Tommy Hilfiger’s marketing teams as well as on the WOMAN performed customer research. Figure 58. New Womenswear label for Tommy Hilfiger: Hilfiger On the page 94 a collage is shown, which gives an Woman. overall impression about the Hilfiger woman and her lifestyle. Guidelines As the new label is still part of the Tommy Hilfiger brand, it should meet a few requirements in order to work well: • Tommy Hilfiger uses a monolithic structure to develop its brands. It is therefore important that the Womenswear label should still be perceived as part of the Tommy Hilfiger brand. • It should be linked to Tommy Hilfiger by name.
92 Enhancing the in-store experience brand rational emotional physique personality
Modern, new classics Stylish (apparel and accessories) Playful fashion edge
relationship culture
Social American East Coast style Self expression WOMAN casual chic & effortless
reflection self-image
Fashion aware women in their early 30’s who “I am a self made woman.” know what they want. Next to working, social “I am classic in a modern way.” informal moments is when they want to express “I want to stand out by wearing effortless, themselves fashionably. chic styled clothing.”
consumer
Figure 59. Brand identity prism (Kapferer, 2008) filled in for the Womenswear label: Hilfiger Woman.
Ideation & vision 93 94 Enhancing the in-store experience Entering the store The moment of entering a store consists of two Proposal parts, namely the shop window and the actual With these main design guidelines taken into entrance. Both parts are essential to luring the consideration, the following proposals are given as customers into the store and ensuring that they rec-ommendations: will stay. • One window should be completely focused on women. This should be the shop window to attract more female customers. In this Shop window window one female mannequin should The shop window is the element, which attracts be placed, wearing a fashionable outfit. customers to the store. As previously noted, the These should be items that inspire people performed customer research shows that the and will lead them to think that Tommy loyal customer in most cases does not even pay Hilfiger offers more than the usual basics. attention to the shop window. Many customers left Besides the mannequin, there should be a the store prematurely, because they thought that large digital screen that shows interesting the stores did not sell female merchandise. One of content, e.g. the digital look book, runway. the reasons for that is that the female mannequins This shop window should remain closed do not stand out in the shop windows. so that the complete focus will go to the clothes on the mannequin and the screen (Figure 60). To further implement digitisation, Guidelines the mannequins in the shop window have As a result of these issues and remarks, guidelines iBeacons. Customers can scan the outfit on for the shop window are set up: the new Tommy Hilfiger app and receive • The shop window should emphasise the fact information about the items, e.g. price, that Womenswear is also sold in that specific location, see Figure 61 and Figure 62. It is store. also possible to receive a notification, when • The fashionable items of Tommy Hilfiger walking past the scanned item in-store. should be highlighted. Many female Adding incentives, like a loyalty discount, if customers are not aware of these items, so the customer scans the outfit, will also entice emphasizing them in the shop window will customers to explore more in-store. already make the brand more appealing to • The other shop window should remain a them. “classic window.” This window should display • Although the focus is more on women the male and female mannequins and be than before, it does not mean that the male completely in Tommy style as it is now. This customers should be neglected. The latter are way, Tommy Hilfiger is still recognisable for the largest customer base of Tommy Hilfiger everyone and male customers will not get and they should not get the impression that the idea that Tommy Hilfiger has become a the store is too focused on women. women’s brand.
Ideation & vision 95 Figure 60. Visualisation of how the shop window would look like.
Over view of items
Irma Skirt Geneva Top
SCAN YOUR ITEMS Vondra Blazer Dominique Bag
Figure 61. Customers can scan the outfit on mannequins with the Tommy Hilfiger app and will receive an overview of the items on the mannequin.
96 Enhancing the in-store experience Figure 62. After scanning the items, customer can retrieve specified information about an item.
Ideation & vision 97 Entrance Proposal The experience of entering the store is crucial for The entrance is a great way to show off other keeping customers in the store. As mentioned products and how well they fit with the clothes. previously, one of the biggest reasons female To keep a clear overview, only two mannequins customers leave the store prematurely is because should be placed in the entrance area: a male and they often did not know that women’s clothing female. As there are only two mannequins, the was being sold there. This is apparently not made focus will be more on the accessories and clothes. very clear in the store too. (Figure 64).
Next to the presentation, light will play an Guidelines important role in catching the attention of the • The in-store signage should be of the new customer. With a smart light system, different Womenswear identity (Hilfiger Woman) and products can get more focus by having a spotlight should be clear when entering the store, just shine on them. By adding facial recognition as in Figure 63. The signage should also not software to the mannequins as well as having be too distracting for the customers that illuminated mannequins, innovative possibilities know the store layout. will arise. • Make use of adjacencies at the beginning of the store, which will lead the customer For example, a female enters the store. The to the women’s area. It is also a clever way mannequin (software) scans the facial features and of showing other products that the brand will register a female entering the store. At that has to offer. Putting the products together moment, a spotlight will shine on a specific item in a smart way will provoke the customer to on the female mannequin, e.g. the handbag. The explore more, which leads to more selling same mannequin will also emit light so that the (Christiaans, Van Casteren & Baars, 2010). attention immediately goes to that mannequin • If the men’s area is placed in front of the and the highlighted item, see Figure 65. This store, the adjacencies in combination with will stimulate the female customers to explore mannequins should still fit in the men’s area. items further. The same can be applied when a This is especially important for the male male customer enters the store. When both enter customers, as they would not want to be sur- simultaneously, both mannequins will highlight rounded by only female mannequins whilst an item. shopping.
Figure 63. New Sportswear Women signage in Oostende. The signage of the new Womenswear label should also be this striking.
98 Enhancing the in-store experience Figure 64. Two mannequins (with adjacencies) are placed at the entrance: a male and female.
Figure 65. When a female enters the store, the mannequin wil emit light. There will also be a spotlight on a random item on that same mannequin, e.g. the shoes in this case.
Ideation & vision 99 Another important part of the entrance consists of customers being ‘logged in’ when they enter the store through the placement of beacons. With the use of this technology, the store can provide a higher level of service as they can track the customer’s movements and have access to their personal information (Figure 66). This way the staff can provide the loyal customer with a more tailored shopping experience. Examples are greeting the customer by her first name, having her measurements and preferences ready, etc. This is only used with loyalty members, who are asked for their permission before becoming a loyalty member. So when they download the Tommy Hilfiger app, they are allowing the staff to access their personal (shopping) information.
Laren has Ms. OFILE PR entered the store VIEW
Figure 66. The staff receives a notification on their iPad when a loyalty member enters a store. The staff can then view her personal information.
100 Enhancing the in-store experience Browsing When a store gets the customer to come in and • Customers should have the option to use stay, the first goal has been reached. The next their mobile phone to be inspired (e.g. see goal is to let the customer stay longer by enabling fashion combinations), but the focus should them to explore and dream more. When they are be on inspiring them in-store. browsing is the ultimate chance to inspire them • Staff are also considered as being a source more and let them explore other options of which of inspiration. Thus, let them wear more they maybe never thought about. inspirational combinations during working hours.
Guidelines As inspiring customers can be done in various Proposal ways, a few guidelines are set up to guide the The women’s area is exactly where you as a brand design in certain directions: want to address the exploring and dreaming mind • Focus on inspiring the customer by providing state more. Therefore, a focus moment should be her with (visualisations of) various fashion created to where the customer is drawn. The focus combinations. Not just the basic ones, but moment consists of big screens, showing the latest also combinations, which customers would fashion looks, and an interactive hanger system in not easily think of. If possible, the customer front of it. When the customer grabs an item, the should be able to see outfit combinations screens will show a fashion combination with that of any item she likes. This should be made item on a model. This concept is developed further possible through the use of mannequins, and will be explained in chapter 9. (interactive) mirrors and the Tommy Hilfiger app. Each seasonal collection is presented in-store • Do not use mannequins with holographic through different themes. The overall theme images to show fashion combinations. changes three times a season. In the store area Customers still come to the store to this results in different ‘corners’ with each having experience the clothing as they can touch its own style. It is important to showcase all the and feel the garments, which is not possible different styles. The mannequins should therefore online. Therefore, holographic presentations be changed on a regular base, so that each style will not convey the same feeling as it will not can be displayed accordingly. Figure 67 shows look ‘real.’ conceptual images of how the focus moment and • Give the customers the opportunity to see mannequins will fit in the store area. how a certain garment will look before they try it on, as it may be a fit that does not suit The mannequins in the shopping area also have them well. iBeacons, so that customers can scan and view additional information about the items on the mannequins (Figure 61), e.g. if her size is in stock.
Ideation & vision 101 Figure 67. Visualisation of how the focus moment and the mannequins will fit in the storea area.
102 Enhancing the in-store experience Fitting Staff are still really important and that is also a Paco Underhill states that 71% of customers, reason why the use of mobile phone should not who walk into a fitting room, become buyers be incorporated too much. As mentioned before, (Associated Press, 2015). This means that the staff have access to the personal information of fitting room is a crucial element in the consumer loyalty members. So if she is in need of some help, decision-making process and should therefore the staff member has immediate access to her be paid attention to. Many companies are already information. It is also important to note that the working on changing the fitting room experience staff should not impose themselves on customers, by improving the lighting and adding new as they do not prefer that. The staff should be technologies. Subsequently, Tommy Hilfiger should around though and stand by for when a customer not fall behind. needs help.
Guidelines & proposal The fitting room should be designed in such a way, that it offers the customer a nice fitting experience, tailored to her wants and needs. She should feel comfortable when she is trying on clothing items.
The following functions should be integrated in the fitting room: • When walking into the fitting room, the clothing items are scanned through RFID technology (which is placed in the clothing tags). Subsequently, the items will appear on the mirror. This information can be used to provide the customer with suggestions or other item related actions, e.g. request another size (see Figure 69). As in the entrance, iBeacons in the fitting room allow Figure 68. Four button options on the fitting room mirror, from loyalty members to be scanned, so they have top to bottom: adjust lighting, request staff, make 360o video, send to check out. access to their personal information, e.g. size, • The overall lighting in the fitting room should be flattering so that the customer will immediately feel at ease. A lot of colours and fabrics will look different in other light settings. The customer therefore has the possibility to change the light settings. She can choose between various occasions, e.g. office, daylight, dinner party (Figure 70). This way the customer can perceive the colours and fabrics much better as she can view them in different lighting.
Ideation & vision 103 Welcome mrs. Laren. These are your items:
Figure 69. When the customer walks into the fitting room, her items will be scanned through RFID technology and will subsequently appear on the mirror.
104 Enhancing the in-store experience • If the item is not the correct size or colour, • Finally, if the customer is happy with her the customer has the option to select the items, she can click the ‘check-out’ button, right size/colour, whereupon a staff member whereupon a staff member will come and will bring the right item to the fitting room. collect them. While the customer is finishing By pressing the staff button on the mirror, up in the fitting room, the staff member takes the customer can request a staff member, the items to the checkout. e.g. for advice. If the customer is a loyalty member, her previous interactions with staff will be preserved. This way, she can choose her preferred staff member, if he/she is available at the moment. This enhances the daylight daylight relationship between customer and staff and office party office party will therefore also enhance her relationship with the brand. dinner date dinner date • The fitting room contains a camera, which captures a 360o view of the customer (Figure 71). Customers often want to see how an item looks from behind. Rear view mirrors in the fitting room do not offer a complete view, due to their measurements. Using the camera will allow the customer to see herself from every angle by manually rotating the video. It is also possible to send and share the video with friends. • The decision to buy is often made in the fitting room. So, this is the ideal place to give the customers suggestions as it could lead to more sales. When the customer is trying on an item, suggestions will appear on the mirror. These suggestions can be items in the same range, items that match well with what she is currently trying on (see Figure 72). If she likes an item, she can select her size and a staff member will deliver it shortly afterwards. • It can be that a desired size or item is not on stock at that moment, which is rather unfortunate. The customer can order this item online in the fitting room, which would be delivered the next day at a provided address.
Figure 70. The customer can change the light settings in the fitting room. Above visualisation show how the light ingis changed to the occasion ‘dinner party.’
Ideation & vision 105 Figure 71. The fitting room has a camera to make 360o videos. Figure 72. When trying items on, suggestions, e.g. matching items, will appear on the mirror
Checkout The proposal for the checkout is divided into three receiving your paid items and the final interaction groups: payment, packaging and bar. with the staff member. Tierney (2004) states that changes in the retail checkout will have profound consequences for employment in stores. For many Payment retailers this will indeed be the case, but for higher Michael Chui, partner at the McKinsey Global end brands staff should still play an important Institute, stated: “when checkout is working role, especially given the increase of online sales. really well, it will feel like stealing. You grab a pair Customers visit the store to touch and feel items, of shoes and you just walk out.” (Tierney, 2004) but they also have a preference for receiving It cannot be denied that the way of paying for advice from the staff, which cannot be replicated items is changing rapidly nowadays. Efficiency exactly for online channels. Therefore there is important, but it is not always only about should be a balance between convenience and efficiency. It is also about the experience of involvement of the staff.
106 Enhancing the in-store experience Proposal As payment is considered, the store should offer been proposed, packaging is a great way to create mobile payment and AfterPay. brand awareness and let the female customer Mobile payment can be done via the customer’s feel more connected to the new label. For the phone, tablet or smart watch. Using NFC, the packaging, three proposals are made. The decision device can be placed upon a spot on the service to pick which one would suit best, lies in the hands desk, specifically designed for mobile payment. of the company. Within a few seconds the payment is done (see Figure 73). To increase the relationship with loyalty members, Guidelines AfterPay is an excellent option. If they do not want • Each item should be wrapped with Tommy to pay at that time, they can pay for their items Hilfiger blotting paper before they are put in at another date, e.g. via iDeal at home. When the the shopping bag. Wrapping the items neatly customer purchases items several times a month, is a must. she can also choose to pay it before the end of • The packaging for female customers should the following month, where she will receive an be distinguishable from other packaging. It invoice for all her monthly purchases. H&M already should at least have the new Hilfiger Woman offers this as an option for online purchases logo placed somewhere. (“Betaalopties”, n.d.). However implementing this • If possible, use another colour for this in stores would be a great outcome as well as it packaging, e.g. white. will convey a sense of trust between customer and • Use the Tommy Hilfiger ribbon to close the retailer. shopping bag as this gives the idea of a luxurious package (Figure 74).
Packaging After the payment is executed, the next step is packing the purchased items for the customer. The packaging is an essential element in conveying the brand identity. Since a new Womenswear label has
Ideation & vision 107 Payment
NFC
Figure 73. The customer can pay with her mobile via mobile payment or choose the option AfterPay.
108 Enhancing the in-store experience • Packaging can play a role in preserving the brand connection for as long as possible. By adding something to the packaging, e.g. a perfume sample in the bag, the customer will still be reminded of her store visit when she returns home. Therefore the bottom of the bag should contain a quote, e.g. Don’t be a stranger, See you soon, We miss you already. • So when the customer is unpacking her items at home, she will feel a sense of connection, as if she were addressed personally through that bag. See Figure 75.
Figure 74. Pattern of ribbon, which is used to close the shopping bag.
Don’t be a stranger..
Figure 75. Bottom of the bag with a short sentence, which will enable the customer to feel connected to the brand even when she has already left the store
Ideation & vision 109 Proposals 01. Separate bags for both genders. This option The women’s version is a white matt paper is probably the most expensive as there are bag with the new Hilfiger Woman logo in two versions of each shopping bag format. the middle. Both bags are finished off with a Both bags are made of thick paper. The men’s ribbon, which is tied into a bow (see Figure version is a navy blue bag with the corporate 76). logo placed in the middle, near the bottom.
WOMAN
Figure 76. First proposal of the packaging, where there are two versions: men’s (left) and women’s (right)
02. Same bag for both genders. The second to distinguish the men’s from the women’s proposal is the most simple solution. The packaging, the women’s version will have a shopping bag is the same for both genders: tag with the Womenswear Logo between the matt white with the corporate logo placed bow. The men’s version will have no tag, just a in the middle, near the bottom. However ribbon that is tied differently (Figure 77).
W O M A N
Figure 77. Second proposal of the packaging with the same shopping bag: men’s (left) and women’s (right)
110 Enhancing the in-store experience 03. Foldable bag for both genders. In the third proposal the shopping bag is again the same for both genders. However, because the packaging can be folded into a slightly different form, it makes it possible to distinguish the men’s from the women’s version. The paper bag will be matt white and the sides of the bag will be covered with the Tommy Hilfiger stripes (same pattern as the ribbon in Figure 74). The men’s version is thereby complete. There is a hidden foldable flap inside of the bag, which can be taken out in order to complete the women’s version. The flap is folded so that it will close the opening of the bag (Figure 78). To finish it off, the same tag as in the second proposal is tied between the bow. Figure 79 shows the end Figure 78. The flap can be taken out in order to complete the result of both versions. women’s version (third proposal).
W O M A N
Figure 79. Third proposal of the packaging: men’s (left) and women’s (right).
Ideation & vision 111 Bar After the customer has paid and received her items, she is offered a drink at the bar. Customers Messages can relax after an afternoon of shopping at the People’s Place spot within the Bridge. They can enjoy a coffee or a cup of tea, while interacting with other customers for example. More information about the bar will be given in the next paragraph.
Leaving the store
Aftersales One may think that after the customer leaves the store, her journey has ended. On the contrary, providing aftersales services once the customer leaves the store affects the customer’s satisfaction and the relationship between her and the retailer (Rigopoulou, Chaniotakis, Lymperopoulus, Siomkos, 2008). It is therefore beneficial for both parties to maintain that connection after the purchase. Messages
SARA Sales advisor This aftersales service should be simple and it should not annoy the customer. Therefore the best Hello mrs. Laren. Were you satisfied with our service today? way to approach the customer is via the Tommy Hilfiger app. After leaving the store, the customer Sara has sent you a like! receives a notification on her mobile phone with a message from the staff member, who helped her. The customer recognises the staff member and receives simple questions, e.g. Were you satisfied with our service today? See Figure 80.
Figure 80. Right: After-sales service through the Tommy Hilfiger app: staff member sends a message about customer satisfaction on which the customer can reply.
112 Enhancing the in-store experience Sharing Scenarios Besides providing a good aftersales service, it is 01. Whilst the wife is busy browsing and trying also important to let the customer show and share on clothes, having a bar is a great solution her purchased items with the rest of the world. The for the husband. The bar would make the app will have a separate section, where customers waiting time much more bearable for him. can upload their outfits, view and like other Underhill mentions that one should “think of members who have done the same (Figure 81). To it as a male crèche.” (Grant, 2013) promote this sharing, it is vital that incentives are added, e.g. a voucher of €50.00 for the customer Considering this scenario, there are a few who wins ‘look of the week.’ Having these kinds of wishes regarding the placement of the bar: prizes will definitely trigger the customer to share • as the wife often wants advice from her their purchased items with others. husband, it would be beneficial to place the bar near the fitting rooms as the Bar wife can just call for him if she needs It seems like the new trend, offering food and him. drinks as a part of the experience in-store. More • It should not be too close to the fitting and more retailers are offering customers the room, especially when there is no fitting option to have a drink while being in the store room lobby. Other females can feel to shop. Its aim is to get the customers to stick uncomfortable if they want to leave the around for longer (Grant, 2013). Therefore, adding fitting room and there are other men a bar into this vision seems quite logical. Before sitting there. explaining how the bar should look, it is important to look at the different scenarios in which the bar 02. When the customer has finished shopping, plays a part. she perhaps wants to take a moment to rest. This is where the bar comes in: she can relax, whilst enjoying a drink.
Regarding the placement of the bar, it does The Tommy Look not really matter as the customer has already finished shopping. However, it would be beneficial for the company if the bar were in a place where the female customer still has a view of the women’s area.
Figure 81. Sharing each others purchased items and looks in the Tommy Hilfiger app.
Ideation & vision 113 Bar ideas Taking the two scenarios into consideration, two proposals are set up. These two proposals differ in both placement and design. It should be noted that the bar is actually only for the customers, who come into the store. If it would be promoted as a bar, which is accessible to everyone, the store would be too crowded: especially in B/C stores where it would not work as these are often rather small stores. Crowdedness was also one of the top Figure 82. The husband can enjoy a drink while 5 reasons for leaving the store prematurely (Figure waiting on his wife, who is still shopping. 41). So maintaining that ‘exclusivity’ is crucial for the customers of the intended target group. 01.Bar trolley
There are several scenarios where it is not possible to have a complete bar. For example, when the store is rather lacking in space or when the store is divided over two floors. Having two full bars would not be ideal. In cases like this, the ultimate solution is to have a mini bar that can be moved easily to wherever the retailer wants. Figure 84 shows an example of how a certain moveable bar could look. It can be as simple as a trolley, finished with for example brass to have that Figure 83. After done shopping, she can relax luxurious look. Place some bottles and glasses on it and have a drink at the bar and it is ready to go. The most logical spot to place it, is in the seating area where customers can sit down to enjoy their drink.
02.Complete bar A complete bar would be the ideal set-up if the store has enough space. The bar should be placed in the Bridge as this is the area in the new Sportswear concept where service, payment and fitting come together. It is the ideal spot for a bar. The bar can be an extension of the service desk, so that it will still feel like a holistic and coherent design.
114 Enhancing the in-store experience Conclusion When executed correctly, all mentioned proposals should make Tommy Hilfiger more appealing to the female customer. These improvements should ensure that customers stay longer in-store as the exploring and dreaming mind states are constantly being addressed. All elements also fit well in the in newly developed marketing vision for Womenswear (see chapter 3, paragraph Existing research). Above proposals can be seen as an extension of this marketing vision as they mentioned that the in-store experience should become a story, which draws the female customer into the store. The store itself should then offer inspiring mannequins and full looks. As can be seen in the above proposals, this has been executed to its fullest possibilities.
The given proposals are all ideal situations, thus, the company has to look to what extent they are able to execute the improvements. In chapter 17 an implementation plan will be presented, which will give insight into what elements should be implemented first.
Now that the holistic vision has been presented, Figure 84. Trolley bar: easily to move and can be placed almost anywhere (burlapandlaceblog.com). the next chapter will go more into detail. There the developed concept (Fashion Inspiration Wall) will be explained and further researched.
Ideation & vision 115 Part III
Final design 09. Concept ‘fashion inspiration wall ‘ 10. First user study 11. Adjustments 12. Final user study 13. Recommendations ‘fashion inspiration wall ‘
116 Enhancing the in-store experience 09. Concept ‘Fashion Inspiration Wall’
As already introduced in the holistic vision, a focus moment in the browsing phase should help the female customer explore and dream more by inspiring them. In this chapter this concept will be described further.
Ideation As was discussed in the holistic vision, the main which she maybe did not even think of looking goal during the browsing part of the customer at. These two moments have led to the concept, journey is to enable women to explore and dream named Fashion Inspiration Wall. more.
In chapter 7 it was already mentioned that the initial ideas were not really working, as they were more isolated ideas. The concept should be approached from a holistic view. Because after coming up with a holistic vision, it was much easier to design a concept as there were already some ‘guidelines’ set.
Thinking of the female customer and what she does exactly while browsing in-store, is what triggered the idea development of this concept. No matter what mind state she is in, the customer Figure 85. Initial ideas of the Fashion Inspiration Wall. will most likely go through the store. When she sees something she likes, she will pick it up to have Description a closer look. It is exactly this moment that the The concept is the focus moment of the store. brand should grab her attention and inspire her, This is the element that female customers already so she will, for example, try it on or look at other see when entering the store, playing into the items. circulation of the store: it triggers the customer to Another opportunity presents itself when the walk to the women’s area. The element consists customer is walking into or through the women’s of two separate parts, which are combined to one area. That is a moment to show her fashion items, element.
Final design 117 Scenario The first part belongs to the store furniture (fix- When the female customer enters the store, she ture), which is named the Open Wall System Bay will already have noticed the Fashion Inspiration (OPWS) (see Figure 86). This is one of the new Wall (Figure 87). The digital screens show some fixtures for the Sportswear concept. This fixture dynamic content. This can be scenery, mood is really flexible as parts can be easily moved and colours or just a quote that floats over the mirrors. added, i.e. adding an extra shelf, removing the It can enhance the theme of the clothes, that are cube (solid low) on the floor. Besides, as it is already currently hanging in-store or it can show soothing an existing fixture, it can be easily produced. This colours, letting the customer feel relaxed. will save money, because there is no need to create a new fixture. Both the digital content and the garments trigger The second part is the panel behind the fixture, the customer to come closer. When approaching which consists of digital screens with dynamic the Fashion Inspiration Wall, the screens will digital content. The panels are finished with a gradually change the content. It will then show the satin brass edge, which fits nicely into the new digital look book images, updating the customer Sportswear store concept. with the latest fashion looks (Figure 88). The customer will already get more information than she normally does and it will especially help trigger the dreaming mind state.
Subsequently the customer sees a blouse she likes and grabs it off the rack. Taking the hanger off the rack activates an RFID signal, whereupon a model with that blouse and a complete outfit is shown on one of the outer mirrors (Figure 89 on page 120). The model is also wearing items from other styles in-store. That way it also stimulates the customer to look at the other ‘corners’ with different styles, because maybe there will also be something she likes.
Figure 86. Open Wall System 1-bay: a new piece of the store furniture (fixture).
118 Enhancing the in-store experience Figure 87. The digital screens show mood content when there is no one nearby
Figure 88. When approaching the Fashion Inspiration Wall, the digital screens will gradually fade in the digital look book images.
Final design 119 Figure 89. When a customer grabs an item off the rack, one of the outer screens will show a model with that item and a complete fashion combination.
Figure 90. If another customer grabs another item off the rack, the other outer mirror will show a complete outfit of the item she just picked out.
120 Enhancing the in-store experience Conclusion As mentioned in the holistic vision of the The Fashion Inspiration Wall is an extension of the ‘browsing’ part, the recommendation is to not design goal to enable customers to explore and incorporate the mobile phone too much. There dream more. should be a distinction between people in a locating mind state and people in an exploring The dynamic images are features of the concept mind state. People in a locating mind state would that address mainly the dreaming mind state of be more likely to use their mobile phone to scan the customer. It will allow her to think beyond the garments and receive more information about the usual clothing choices. Apart from that, them. They are not really looking to be inspired. the exploring mind state is also addressed This function should therefore not be promoted well by offering the customer various fashion heavily, but made clear in the Tommy Hilfiger app. combinations. Therefore whoever wishes to use it, has the option to do so. With regard to the interaction qualities, all those are indeed incorporated. Inspiring and exploring It could happen that when a customer is holding go without saying, but the other three are also well a certain item, another customer appears and addressed. picks up another item. The customer should not The customer feels involved when she grabs an be afraid that ‘her model’ would disappear as item off the rack and a model appears because of another model is shown on the other outer screen her interaction with the element. She will get the (Figure 90). That model can in turn inspire the first feeling that she matters and the store caters to her customer. It should be noted that if there were needs. to be a third customer, one of the models would Lastly, it is also intuitive and effortless as she not disappear until one of the first two customers does not need to perform extra steps. It is already puts the hanger back. This has to be done as it natural to grab an item off the rack. She gets to be otherwise would cause a lot of flickering on busy inspired without putting a lot effort in it. days.
Final design 121 10. First user study
As discussed before, one element of the holistic vision is chosen to develop it further as a concept. The chosen element is the Fashion Inspiration Wall. To see how females would experience this concept, a small user study was conducted.
Goal The goal of this first user study is to see if the 02. Short interview. After the explanation, a short concept is evoking the prior mentioned interaction interview was held. These were questions qualities: inspiring, exploring, involving, intuitive about her first impression, whether the and effortless. Next to that, the aim is to receive concept would trigger her to explore other constructive feedback, which will be used to drive items and if she would like to have additional the development of the concept moving forward. functions.
Set-up 03. Evaluation form. Using a scale from 1 to 5, the The user study was conducted with 10 female user was asked to rate the concept on the five participants, of various ages. The set-up of the user interaction qualities. This form can be found test consisted of three parts (see Appendix W for in Appendix X. the complete manual): 01. Explanation of the concept. The concept was Results explained through a 3D visualisation. This Figure 91 shows the results of the evaluation allowed the participant to view the concept form. As this graph shows, the concept was rated from different angles. The participant was quite well. The lowest average rate was a 4.0/5.0 asked to see herself as a customer, entering a for the interaction quality ‘intuitive.’ Even though Tommy Hilfiger store. Through this presumed it was rated well, participants still had a few valid state of mind, she was guided through the concerns and comments about the concept. concept and its various functions.
122 Enhancing the in-store experience Positive comments Four participants had some additional notes about • All participants liked the concept and a few interactions: thought it was a great idea. The concept gives • Two participants mentioned that the concept the customer a good idea as to how the item is not as effortless as it seems, if the customer would look and with what she can combine has to search for specific items across the it. One participant mentioned that a lot of store. One participant mentioned that this is Tommy clothes do not look nice on a hanger, dependent on the age of the customer. so seeing it on screen could change the • One participant mentioned that it may take customer’s mind. “It is nice to see it on screen, time to understand the concept and thus especially if you do not want to try it on.” help would be needed (not very intuitive). • Two participants mentioned explicitly that • Another comment was that it may not be that the concept really draws the attention. involving to everyone as there are may be • All participants stated that the concept would customers who do not want to try it out. trigger them to explore more items as it gives • One participant mentioned that the concept better insights to complete a look. Someone is indeed explorative, but has its limitations. noticed that she would be triggered if there was a staff member nearby to ask where certain items are.
Female participant “It is nice to see it on screen, especially if you do not want to try it on.”
5 4,5 4 4,1 4,0 4,1 4,1 3
2
1
0 INSPIRING EFFORTLESS INTUITIVE INVOLVING EXPLORATIVE
Figure 91. Results of the evaluation form of the first user study. Participants could grade the concept from 1 to 5 on the five interaction qualities
Final design 123 Remarks Suggestions for additional services • Three participants mentioned that the • There should be more sets/combinations as background could be a bit distracting, of well as different styles per item. which two meant the digital look book. • Turn the digital screen into a touch screen: • The concept would incur high costs. to flip through the digital look book, change • It was also mentioned by two participants, sets, to see an interactive floor plan, etc. that the full size images could end up being a bit scary. • One participant mentioned that customers These remarks and suggestions will lead to some could feel embarrassed; because other adjustments of the Fashion Inspiration Wall. These customers could see what items they were will be described and further explained in the next holding. chapter. • There was also one remark from a participant, who said that she got the feeling that the garments were not as equal as the rest of the collection. The concept gave the impression that these items seemed very important. It was not per se a bad thing. • There was also a comment about body size. The models are rather thin, so she wondered how people would feel when they are a bigger size.
Female participant “The attention goes to the ads and not the garments. If it’s full-screen it’s too busy. The garments should be the main point.”
124 Enhancing the in-store experience 11. Adjustments
As a result of the first user study, adjustments have been made to the fashion inspiration wall. This part will describe these adjustments further in detail.
Fashion combinations Instead of showing only one combination per The displayed models on the digital screens are item, each garment piece should have three to wearing outfits with items from different themes. five combinations set in the computer. These This was done in order to let customers explore fashion combinations should be in different styles, other themes and styles as well. However, it is e.g. casual, night out, formal (Figure 88). Using a not so effortless if the customer has to walk to counter will prevent combinations popping up the other side of the store to grab a pair of pants, right behind each other. The counter goes up to which suit, for example, the blouse. Staff will stand five and each number is assigned to a certain look, by, but no-one wants to constantly ask where she so when someone grabs the hanger for the first can find a specific item. time, fashion combination number one will be shown. After the hanger has been picked up for the fifth time, the counter resets itself and starts counting from one again.
Figure 92. Fashion combinations in various styles. The five combinations per item should differ in style.
Final design 125 Figure 93. Clothing shown on the models on-screen are put next to the Fashion Inspiration Wall to keep it as effortless as possible. Therefore customers do not have search for the items anymore.
Digital look book Therefore, the garments that are hanging besides The way of displaying the digital look book has to the Fashion Inspiration Wall will be the only items change. Participants mentioned that the full screen shown in the fashion combinations on-screen. It images were rather distracting. The clothes should limits the combinations somewhat, but this way still get the most attention: the digital look book is the customer has a good overview and knows merely a means to inspire customers and provide where to find her items, which is very important them with the latest fashion looks. for her (clear overview). To make the most out of the combinations, the clothing pieces should be The digital look book images should not take up as diverse as possible, e.g. a dress, a blouse, pair of the whole surface. Thus, the images should pop shorts. This will ensure several combinations and up at a certain place and fade in and out gradually, will also inspire the customers to think outside of whereupon the next image will show and so on. the box. This way it will still grab the customer’s attention, but it will not be the main attention point. Plus, adjusting the opacity level will also ensure a less striking image (Figure 94).
126 Enhancing the in-store experience Figure 94. The digital look book images will appear separately on random spots. Fading the images in and out ensures that the attention will not constantly be on the digital screen and its content.
Final design 127 Touch screens The concept consists of digital screens, but cannot be used by the customers. It is therefore beneficial to turn them into touch screens, so additional functions can be added to enhance the customer’s shopping experience.
The two outer screens, where the models are shown, will be transformed into interactive touchscreens. These can be used to provide the customer with additional information about the item they just grabbed.
The customer can swipe to the right to view this additional information (Figure 95). For example, the customer grabbed a pair of shorts. When she sweeps to the right, she sees the colour options and size availability of that item (Figure 96). She can select her preferred colour choice and size as well (if in stock), and send it to the fitting room. By doing so, customers are made aware of other clothing options that are not always hanging in-store.
Figure 95. The updated outer mirrors, which have turned into a touch screen. Customers can swipe over the screen to view more information about the grabbed item.
128 Enhancing the in-store experience Figure 96. Other colours of an item can be viewed on the touch screen and can be send to the fitting room.
Final design 129 12. Final user study
The remarks of the first user study resulted in a few adjustments of the concept. It was therefore interesting to test the improved concept with female customers of Tommy Hilfiger. This chapter will elaborate on the results of the final user study.
Goal The goal of this final user study is to see how the In both user studies the qualities ‘intuitive’ and customers will respond to the concept in-store and ‘effortless’ were graded lowest in comparison to see whether it will indeed trigger the exploring with the rest. This is not very surprising, as the and dreaming mind states. customers would have to get used to such a different way of in-store shopping. All results can be found in Appendix AA. Set-up The user study was conducted at the Tommy Hilfiger anchor store, located in Amsterdam. In Positive comments total twelve female customers participated in the • All participants were positive about the study. concept. They really liked it and thought it was a good way of suggesting ideas for To compare the results of both studies, it was fashion combinations. Customers do not decided to keep the set-up of this user study always feel like trying the items on, so this is a similar to the first one (see Chapter 10, Paragraph good alternative for seeing combinations. ‘Set-up’). This will result in a more accurate • One participant mentioned that often items comparison. The full manual can be found in do not have hanger appeal and look really Appendix Z. different on a model. Therefore, she likes to see it on a model/mannequin. • The concept offers a dynamic atmosphere Results and subsequently draws the customer to it. It The graph in Figure 97 shows the results of the is very inviting and if one sees that it reacts to evaluation form of the final user study. The concept her, she would want to know more. was rated very well with a lowest grade of 4.4/5, which were for the effortless and intuitive qualities. Petra If one compares Figure 91 from the first user study “It is very dangerous for your wallet.” with Figure 97, it can be concluded that after the adjustments of the concept, it was rated higher on all five qualities.
130 Enhancing the in-store experience Final user study
5 4,8 4,8 4,8 4 4,4 4,4
3
2
1
0 INSPIRING EFFORTLESS INTUITIVE INVOLVING EXPLORATIVE
Figure 97. Other colours of an item can be viewed on the touch screen and can be send to the • Two participants thought the concept was fitting room. the bridge between online and offline shopping. It is new and customers are ready for it. • One participant mentioned that the concept is not overwhelming and one would get used to it quickly. • All participants thought that the idea would trigger customers to explore other items, as it is much easier. Three participants did state that they know what they want and make fashion combinations themselves. Thus, they would not need something like this idea to inspire them.
Remarks • One participant wondered how the customer would feel if she is a size 40 and the model is Nelly a size 36. “It is very inviting. At Vanilia they • There were some questions about the have a screen, but then I think feasibility, e.g. is it practical? One participant “Do I have to ask to use it?” stated that it could be complicated and maybe take up a lot of space. • It was also stated that maybe because of this concept, staff would not be needed anymore.
Final design 131 Suggestions for additional services • Customers mentioned that they wanted the • One participant mentioned that the models possibility to change the combinations, for could have different appearances so that all example into another style. customers could identify themselves better • One participant mentioned that she would with the model. like the option to click on the other items on- screen to see where they are located, e.g. click Even though the overall result of the final user on the shoes and seeing the text “located at study was very positive, there are still some accessories wall.” additional points, which could be improved. The • Two participants mentioned that it also next chapter will build on this by presenting the would help them if the model on-screen final recommendations. would be dynamic, e.g. turning around, loosening up a button. • There were also two participants who would like to have the possibility to change the model’s height and size, so that they would have a better idea of how it would look like on them.
Ilse “It would be nice if you could change the combinations yourself. To make it very chic for example.”
132 Enhancing the in-store experience 13. Recommendations ‘Fashion Inspiration Wall’
This chapter entails the recommendations of the concept, based on the performed user studies. It will give the company a good insight into how this concept can be further improved to achieve the best possible experience.
Dynamic models Fashion combinations Participants mentioned that they would prefer to It was mentioned several times in both studies that see a dynamic model to a static image. If the model the possibility to change the styles on the models ‘moves around’, the customer can view the outfit would be an improvement. Customers would from different angles. prefer it if they can see other styles that would maybe fit more with their own style. Therefore, the static images should be changed into something dynamic. One could think of a In the latest adjustments, the amount of fashion five to ten second short video, where the model combinations per items went up to five. However, appears and moves from one side to the other, for the final recommendations, the suggestion is whereupon she will turn around and remain as a to reduce it to three outfits of three fixed styles: static image. everyday casual, work attire and night out. This will give the customer sufficient inspiration for several Keeping it as short as possible is necessary as it occasions. would be too distracting for other customers as well. The aim is purely to give the customer a 360o In addition, customers should be able to flip impression of the outfit. through these different styles. So, after the customer grabbed an item off the rack and a model appears, she can then swipe to the left to see the other styles. Even if the customer does not like a certain fashion combination, this option will still give her more possibilities to think about.
Final design 133 Appearance models In both user studies there were some comments in this, a recommendation will still be given as to about the appearance of the models on-screen. how this can be implemented with regard to the All models, displayed in the Tommy Hilfiger concept. advertisements and on the website, are rather slim. It is not the common body shape of every An Australian website, named Sizeable, has re- customer who walks into a Tommy Hilfiger store. sponded to this issue by introducing five body types with a total of ten models. Each model This is an issue in the fashion and beauty world is presented with a name, measurements and that has been going on for quite a while now. clothing they are wearing (Figure 98). Customers Therefore this is something that should actually can then select the model (and body type) that come from within the brand’s management. If this best matches their own and view the clothes on is something in which Tommy Hilfiger is interested, that model (Kokshanian, 2014). then it should be promoted and subsequently promoted across all channels. As is it not known at the moment if the brand would be interested
Figure 98. One of Sizeable’s model with her measurements, so that customers can view which model matches best with her own body type (sizeable.com.au).
134 Enhancing the in-store experience Conclusion Tommy Hilfiger could introduce, for example The proposed recommendations for the Fashion three models with three different body shapes: Inspiration Wall have emerged from the reactions curvy, tall and the ‘standard’ (current model body of current Tommy Hilfiger customers. These shape). Giving the models a name will make it recommendations should therefore be taken into more personal. Loyalty members can then select consideration as it would improve the concept and the model, which best fits their own body shape, subsequently enhance the shopping experience. whereupon this information will be saved for Some recommendations can be changed in the future reference. Customers will then receive concept directly, costs and (current) technical tailored suggestions of what items would fit her feasibility aside, but other recommendations best. cannot be implemented until later on, e.g. appearance of models. With regard to the Fashion Inspiration Wall, the customer would then be able to select ‘their First, further research has to be done. With regard personal model’ when the fashion combination is to the Fashion Inspiration Wall, research into the shown. This is one way of providing the customer technical features has a priority. It is not only about with a more realistic image of the clothing and the digital elements, but also about the fixtures how they will fit on them. and their technical details regarding construction. It has to be defined to what extent the concept can be developed and whether compromises should be made.
Next to that, sufficient time should be invested in making the dynamic videos and images of the models, which will appear on screen. The models should wear inspirational and surprising fashion combinations, which will also need to be better examined. In order to maintain the cost-time balance, these videos and images can also be incorporated into the website. Many retailers are already using short videos online to show the customer clothing items from different angles. This would therefore also be an improvement for the website.
The next part will go deeper into the implementation of the Fashion Inspiration Wall and other elements from the holistic vision.
Final design 135 Part IV
Implementation 14. Applications in store design 15. Implementation plan
136 Enhancing the in-store experience 14. Applications in store design
With a holistic vision and a developed concept now presented, the next step is to see how it fits into the store design. This chapter will show the implementation of these elements in the standard layout of a sportswear store. Next to that, the various applications of the Fashion Inspiration Wall will be presented.
Store layouts This section will show how the proposed elements • The male and female mannequins can of the vision as well as the Fashion Inspiration Wall be placed in the middle of the entrance. will fit into the layout of a Sportswear store. The Important to note is that the mannequins general layout is shown in Figure 01 on page 12. should not block the way, so a spacious Two versions of the standard layout will be distance between the door and the discussed: one where Menswear (MSW) is placed mannequins should be given. in front and Womenswear in the back of the store. • When entering the store, the Hilfiger Woman The second version is the other way around with signage should immediately be visible and Womenswear in the front. clear. Ideally it should be placed on the factory windows in the Bridge, see Figure 99.
Layout I - Womenswear in the back Figure 100 on page 138 shows a floor plan with the various elements that were described in the holistic vision. Recommendations and remarks with regard to the placement will be discussed per element below.
Entrance and shop window Figure 99. Ideal placement of the Hilfiger Woman signage in • One shop window should be closed and the Bridge. be completely focused on women. Hilfiger Woman should be placed in this window. The ideal set-up is to have a digital screen there, which shows interesting content. If this is not possible due to budgetary reasons, a light box should be installed instead. The image should be an exciting and inspiring ad of a woman or group of women.
Implementation 137 MSW BRIDGE WSW
Shop window and entrance Fitting rooms
Browsing Checkout
Placement of Fashion Inspiration Wall
Figure 100. Placement of elements (of the holistic vision) in the general layout of a Sportswear store Browsing with WSW placed in the back. • As was described in the holistic vision, the Womenswear area should offer an inspiring environment. Mannequins should wear exciting fashion combinations and should change regularly. Placement of the mannequins is dependent on the placement of the rest of the store fixtures. • The Fashion Inspiration Wall has to be centred in the area, so that there are sight lines to the entrance. If customers walk past the store, they should be able to see it as it will catch their attention.
138 Enhancing the in-store experience Fitting rooms Shop window, entrance and browsing • The fitting rooms can be left in their current • In this layout it does matter which of the two location. shop window will be focused on women. This is dependent on where the Fashion Inspiration Wall will be placed. The classic Checkout window should always be placed at the same • Mobile payment should be made possible at side as the Fashion Inspiration Wall. This has the service desk in the Bridge. A small area to do with the fact, that if a customer walks can be created to let the customer pay, while by and looks through the window, she will the staff member is wrapping the purchased immediately see it. If the shop window were items. to be closed on that side, everyone who • The bar should be an extension of the service walks in the opposite direction will miss the desk. Dependent on the measurements concept (sight lines). of the total Bridge area, the bar should be • As Womenswear is placed in front, the focus adjusted accordingly. At the moment there of the female mannequin can be diminished is a large service desk standing in the area. slightly. This is especially good for male However, the service desk can become customers, who will already be less at ease much smaller as mobile payment will be coming into the store, as they have to walk implemented. through Womenswear first.
Layout II - Womenswear in the front In the second layout Womenswear is placed in front of the store. Figure 101 on page 140 shows the placement of the elements in this layout. Overall, the recommendations are similar to those mentioned above. However, there are still some remarks, which should be mentioned.
Implementation 139 WSW BRIDGE MSW
Shop window and entrance Fitting rooms
Browsing Checkout
Placement of Fashion Inspiration Wall
Figure 101. Placement of elements (of the holistic vision) in the general layout of a Sportswear store with WSW placed in the front.
140 Enhancing the in-store experience Applications of Fashion Inspiration Wall The digital screens of the Fashion Inspiration Wall from the Fashion Inspiration Wall. The proposal is have been developed by the means of a grid. This therefore to implement an Open Wall System 2-Bay was necessary, as its flexibility would allow retailers with extra large screens behind it. This will surely to choose which option would fit best in their make an impact on the customer, as it will be a store. The grid, its dimensions and flexibility are prominent focus moment. further described in Appendix BB. This set-up of the Fashion Inspiration Wall would As has been described in the analysis phase, be rare, as it can only be used in flagship stores, Tommy Hilfiger runs several types of stores. As due to cost and space-related reasons. each store is different, it is useful to provide the company with some standard set-ups of the Fashion Inspiration Wall. The types of stores are Anchor stores divided into three categories: flagship, anchor and Anchor stores are also large stores in premium B/C stores. locations. These stores are less extravagant than flagship stores, but still more attention is paid On the next page an overview with these to them than the B/C stores. Next to delivering categories and the set-ups of the Fashion an experience, these stores also focus on the Inspiration Wall are shown. A short description will conversion rate, which in the case of the flagship follow below. stores is not the primary goal per se. Anchor stores are smaller than flagship stores.
Flagship stores Therefore, the implementation of the Fashion Flagship stores are the most extravagant stores of Inspiration Wall in the anchor stores should be as the three. These are often large stores in primary the set-up presented in this thesis: an Open Wall locations and are an expansion on the brand System 1-Bay with two outer screens on which experience. The atmosphere in such stores is models will appear. relaxing and inspiring. It is really about the brand experience. This will also give a prominent impression and fits right into the experience of an anchor store. It will As these stores often go ‘over the top’, they are also help with increasing the conversion rate. perfect for getting the absolute maximum benefit
Implementation 141
If possible
FLAGSAHIP ANCHOR
B/C STORES
STORES experience Enhancing the in-store STORES 142 B/C stores The B/C stores are the standard stores, which are most often implemented. These stores are built according to a standard layout. Therefore, they do not have a lot of space. Also, often there is not a large budget for these stores.
Hence, the optimal solution is to only have the middle screens behind the Open Wall System. In that case, dynamic mood content as well as some digital look book images can be shown. It will already enhance the in-store experience for the female customer, as she will be drawn to the ambience. If it happens to be a larger store than the standard layout, then the proposal would be to implement the Fashion Inspiration Wall with one outer screen. At least then the female customers will get to view one model and swipe through the various fashion combinations.
Now that the application of the elements of the holistic vision and the Fashion Inspiration Wall has been discussed, the next step is to set up an implementation plan. This will be presented in the next chapter.
Implementation 143 15. Implementation plan With the theory, vision and concept, the groundwork has been laid to make Tommy Hilfiger more appealing to female customers. This chapter will present an implementation plan of how and when all elements should be incorporated into the company’s strategy and store design.
Before delving into the implementation plan, Next to that, an important part of the additional there are some additional comments about the research consists of checking if some proposals performed research and developed concept. are already possible with regard to the suggested technology. Specialists in this field of work should First, as the holistic vision and developed concept have a critical look to see to what extent the would be rolled out across Europe, more research elements can be implemented in the upcoming should be done into the countries’ markets as well years. as into cultural factors. This also applies to the Time should also be invested in investigating the performed customer research. Even though the technical details of the Fashion Inspiration Wall performed customer research in The Hague and and how this would be implemented in the store Oostende has provided many useful insights, the construction. reach was still rather limited. Customer research should be done on a broader and international Above mentioned research and the additional level to be able to fully finalise the details of the research, stated in Chapter 13, should be carried holistic vision. out before the actual implementation starts, which is now suggested for late 2016.
144 Enhancing the in-store experience 2016-2017 brand IDENTITY
+ INTRODUCE NEW IDENTITY
+ ( RE)CONNECT WITH LOYAL AND NEW CUSTOMERS 2017 - Future customer EXPERIENCE
+ IMPLEMENT RECOMMENDATIONS
+ IMPLEMENT CONCEPT
2018 - Future customer LOYALTY
+ MAINTAIN CUSTOMER RELATIONSHIP
+ BUILD ON CUSTOMER EXPERIENCE
+ OPEN STANDALONE WOMENS STORES
Implementation 145 Implementation plan The roadmap for implementation is presented on Before the actual launch, there are a few ways to page 145. As one can see, the implementation plan advertise and promote the brand. Some proposals is split into three phases: brand identity, customer are as follows: experience and customer loyalty. Each phase will • Start with strong advertisements that be further explained below. will catch the customer’s eye and is still recognisable as a part of Tommy Hilfiger. Onto these, advertisement phrases, like Brand identity ‘Coming soon’, ‘Just for you’, etc., can be As the name already indicates, this phase is about placed to already intrigue the female introducing the new Womenswear label: Hilfiger customer (Figure 103). Very important to Woman. By doing so, the brand will be able to note is that these ad campaigns should be attract the new customer to connect with them fun, stylish and ‘youthful’ and not stiff and and establish a new relationship. This is also a great conservative as this is the perfect moment way of reconnecting with the current, loyal female to change the consumer’s image of Tommy customers. They will have a stronger and more Hilfiger’s Womenswear. personal relationship with the brand than before. • Next to advertising outside (magazines, billboards, etc.) and in-store, it should also The aim is to promote the new identity heavily, so be promoted online via social media, e.g. on that consumers will be made aware of it. It will be the website, Instagram (Figure 103). These different as currently not much attention is paid are the channels used by the intended target to the women’s line. A smart and effective way of group of the label; so it is wise to also use introducing the label will be by launching a limited advertise on these. It is also smart to already edition line, which is made in collaboration with launch own pages on social media. So that someone famous and recognisable by the brand. fans can be updated with the latest news in For now, an example is Karlie Kloss. She is already the meantime. an inspiration source in the new Womenswear • When female customers purchase something vision, so she or someone like her would be perfect in-store or online, they will receive a small to attach to the brand. Customers will then more gift as a promotional tool. For example, an likely be attracted as this is someone they ‘know.’ organza pouch with a sample of the Hilfiger Woman perfume with a gift tag attached to it, saying ‘see you soon.’ This will enable the customer to be in direct contact with the brand, even when she arrives back at home.
146 Enhancing the in-store experience Of course, after the label and the limited edition line has launched, it would still require much advertising in order to maximise the reach to the customers (see Figure 102). The recommendation is to implement the above in the following two years, starting in late 2016 and continuing in 2017.
Customer experience The second phase will start during the first phase. This phase is focused on enhancing the ef fortless customer experience. The goal is to inspire female customers in-store and to address the exploring CHIC and dreaming mind states. All proposals should therefore be implemented accordingly.
Tommy Hilfiger can already start with the simple improvements, such as changing the shop window, in-corporating the iBeacons enabled mannequins, increasing the online awareness of the label, adjusting the packaging and signage, etc.
After these small improvements, the Fashion Inspiration Wall can be implemented. As this concept would include high costs at the start, it should first be realised in the flagship and anchor stores. It will fit perfectly in the luxurious world of these stores. The advantage is that the company can also see what the effect of it would be and Karlie K. BY adjust the concept if necessary. If all is well, then it can be rolled out to the B/C stores according to the WOMAN set-up, proposed in the previous chapter.
Figure 102. The limited edition collection will be launched together with the label. Advertising should be continued even after the launch (adapted from classy-blog.com).
Implementation 147 COMING SOON
WOMAN
Figure 103. Example of the advertising campaign, promoting the launch of Hilfiger Woman (adapted from whyzzed.com)
148 Enhancing the in-store experience Customer loyalty When most improvements are implemented, the recommendation is to start the third phase around mid 2018. This phase will focus on maintaining the relationship with the customers of the brand. Therefore, the company should continue to build on the overall customer experience and enhance the provided services.
Next to that, the brand should also keep up with the trends and developments, especially with regard to the omni-channel future that is awaiting the customers.
Now that the label has launched and most improvements have been implemented accordingly, it is recommended to open standalone Hilfiger Woman stores. This will enhance the relationship between the label and the female customer and will surely have an impact on the conversion rate.
Jeff Bezos “A brand for a company is like a reputation for a person. You earn reputation by trying to do hard things well.”
Implementation 149 Part V
Reflection 16. Project reflection
150 Enhancing the in-store experience 16. Project reflection
After six months of analysing, conceptualising and a lot of stress, this thesis project has come to an end. After such an intense journey, it is good to look back. This chapter will give a reflection about the completed process.
Choice of method Before going into detail about the completed The first phase started with a broad analysis, process, these paragraphs will explain briefly the because it was vital to look at the whole retail methodology used during this project and why. context to see what elements caused the lack of connection between the brand and the customer. This project has been set-up with a design thinking So in the end, all these different elements were process. Important to note is that with design combined to come up with innovative solutions. thinking the final design is not the main goal, but The conceptualisation phase revolved around it is merely a tool to reach new and innovative applying these combinations to create a holistic solutions. Design thinking stands for a holistic vision. The holistic vision ensured that every approach where the context is analysed and the element was taken into consideration. This results end user forms the central point (Van Tongeren, in a much stronger end solution, which will convey 2013). This was indeed the case with this project. A the brand image better to the customer. holistic vision was presented, in which the female The last phase was about deciding to what extent customer was the intersection where everything these elements should be implemented. came together. This approach enabled me to start with a really The set-up of the approach was divided into broad base and become more and more concrete three phases: analysis, conceptualisation and during the project. This way a large part of the implementation. context is taken into consideration to come up with a vision and solutions, which offer the customer a holistic shopping experience.
Reflection 151 Process On the facing page a visual representation of my Right after the analysis presentation it went process is shown. As one can see, it has been a slightly into reverse. During the analysis phase I bumpy ride. This paragraph will go deeper into this had a lot of results, so I was very glad when I finally process, especially the highs/lows. came to a concretised point. However, during the first presentation it became clear, that my As every design process goes, mine was not out of ‘conclusion’ was still not concrete enough. After a the ordinary: each process has its good and bad little while I could start designing, but the initial moments, especially when it concerns your thesis. ideas were not really that convincing. They were quite individualistic and at that point I was a bit The first phase started out quite well. In the confused. However, after taking a step back, I could months prior to the start of the project, I already take two steps forward, because it showed me that collected sufficient information about the female I should approach my conclusions with a holistic customers of Tommy Hilfiger. After a few weeks the view and subsequently present a holistic vision. first (small) low was reached. I performed a brand Everything became much clearer and also fitted identity study using the brand identity prism of more into the design goal. Kapferer (2008) and sent it out to several Tommy Hilfiger employees. However, from approximately The second phase ended a bit disappointingly for 25 employees, I only received two back. That was me at the time. I received my green light, but I did not going well, but fortunately most employees of have to postpone my graduation date until August. Tommy Hilfiger HQ did fill it in. The biggest low in At the time it felt like a failure, but soon I realised phase one started after the customer research in that it was actually a good thing. I had more time The Hague. At that point I was very focused on the to finalise everything. However, nothing is ever as interior, but the results of the customer research it seems, as after a few weeks my hard disk crashed. were overall quite positive. So it did not give me It was not really worth feeling bad about it as it as many insights as I expected beforehand. After a already happened, but I did lose some work, which mid-presentation for the Concept team of Tommy was quite frustrating. Unfortunately after this Hilfiger, the decision was made to focus on the accident, I had some kind of ‘writer’s block.’ It was whole shopping experience. From there, the really hard to start writing again and when I did, process went up again. everything seemed wrong immediately. But as the deadline approached, it was time to pick myself back up and perform that last sprint to the finish.
152 Enhancing the in-store experience PROCESS DEVELOPMENT
Hard disk crash Customer research The Hague
Concept ideation
PHASE I PHASE II PHASE III
Reflection 153 Looking back there were a few things that I would have done differently. These are briefly explained below: • The most important thing I should have done, was keeping up the report. In the first phases I was very busy with analysing, concretising and designing that I left out the actual writing. If this was done accordingly, it could have saved a lot of time. • I would have been more concrete during my research phase, especially during the interviews and online surveys. Sometimes questions were added without thinking of the purpose. Being more concrete would have led to more effective results in some cases. • Planning wise I would have stuck to my schedule, as it was quite precise. It is however smart to add extra days in your planning, so that one has a bit more breathing space if something were to happen, e.g. a hard disk crash. • Last but not least, one that I will always remember: never forget to make frequent back-ups of your documents!
Overall, it can be concluded that the second phase was the most efficient phase. There were not a lot of lows, whereas the third and final phase was quite a struggle. But in the end, even though my perfectionist self will never be satisfied, I can truly say that I am proud of what is laying in front of you. I made it and that is what ultimately matters.
Confucius “When it is obvious that the goals cannot be reached, don’t adjust the goals, adjust the action steps.”
154 Enhancing the in-store experience References
References 155 Associated Press. (2015). Upscale stores try ‘smart’ H&M. (n.d.). Betaalopties. Retrieved May 19, 2015, mirrors to help customers shop. Retrieved May 17, from http://www.hm.com/nl/customer-service/ 2015 from http://nypost.com/2015/05/11/upscale- pay-ments stores-try-smart-mirrors-to-help-customers-shop/ Kapferer, J.N. (2008). The New Strategic Brand Baker, A. (June 02, 2015). [Tommy Hilfiger Again Management: Creating and Sustaining Brand Included in Top 100 Most Valuable Global Brands]. Equity Long Term (4 ed.). London: Kogan Page
Bloom. (2014). Top Consumer Trends 2015 - Trend Holmes, E. (2014). Designer Rebecca Minkoff’s New Report from Bloom. Stores have Touch Screens for an Online Shopping Experience. Retrieved May 29, 2015, from http:// Christiaans, H., Casteren, Q. Van, Baars, T. (2010). www.wsj.com/articles/designer-re-becca-minkoffs- The retail design toolkit. [PDF document] new-stores-have-touch-screens-for-an-online- shopping-experience-1415748733 Elle. (n.d.) Die väter des casual looks: Marc O’Polo. Retrieved July 26, 2015, from http://www.elle.de/ Hilfiger, T. (2013). Going Bankrupt At Age 25 marc-o-polo-74901.html Changed Tommy Hilfiger’s Life -- For The Better. Retrieved June 04, 2015, from http://www.forbes. Encyclopedia. (2003). Tommy Hilfiger Corporation. com/sites/monteburke/2013/09/05/going-bank- International Directory of Company Histories. rupt-at-age-25-changed-tommy-hilfigers-life-for- Retrieved June 09, 2015 from http://www. the-better/ encyclope-dia.com/doc/1G2-2845700099.html Indvik, L. (2013). Up Close With Kate Spade Sat- FITCH. (2012). Understanding the new customer urday’s Digital Window Shops. Retrieved July 29, journey. [PDF document] 2015, from http://mashable.com/2013/06/22/kate- spade-saturday-window-shops/ Grant, K.B. (2013). Shop under the influence at clothing store bars. Retrieved June 09, 2015, from Kokshanian, R. (2014). This Site’s Virtual Models http://www.cnbc.com/id/101250473 Help You Buy with Confidence — No Matter Your Hip (or Bra) Size. Retrieved July 28, 2015, from Green, R. (2014). AS Colour unveils innovative http://www.instyle.com/news/sites-virtual-models- ‘Colourmatic’ digital colour critic to make shop- help-you-buy-confidence-no-matter-your-hip-or- ping easier via FCB NZ. http://www.campaignbrief. bra-size com/2014/04/as-colour-unveils-innovative-c.html Hall, M. (2010). The Story of the Ralph Lauren Marc O’Polo. (n.d.). The History of Marc O’Polo. Brand: It’s About Dreams. Retrieved July 26, 2015, Retrieved July 26, 2015, from http://company. from http://www.huffingtonpost.com/mary-hall/ marc-o-polo.com/en/Company/The-History-of- the-story-of-the-ralph-la_b_679580.html Marc-O%27Polo
Heshof, P. (2014). Consumententrends 2015. Marc O’Polo. (n.d.). Corporate Philosophy. Re- Retrieved June 02, 2015, from http://www.mar- trieved July 26, 2015, from http://company.marc-o- ketingtribune.nl/online/nieuws/2014/10/consu- polo.com/en/Company/Corporate-Philosophy menten-trends- 2015/index.xml
156 Enhancing the in-store experience McGregor Fashion Group B.V. (n.d.). McGregor. Sillitoe, B. (2014). House of Fraser, Hawes & Cur-tis, Retrieved July 26, 2015, from http://www. Bentalls trial beacon-enabled mannequins. http:// mcgrego-rfashiongroup.com/brands/mcgregor/ www.essentialretail.com/news/in-store/arti- cle/53e9e4690190d-house-of-fraser-hawes-cur-tis- Net Promoter. (n.d.). The Net Promotor Score and bentalls-trial-beacon-enabled-mannequins System. Retrieved July 26, 2015, from http://www. netpromoter.com/why-net-promoter/know Solari, S. (2015). Tommy Hilfiger – the proven PVH. (n.d.). Our Company. Retrieved June 09, 2015, lifestyle brand. Retrieved June 10, 2015, from from https://www.pvh.com/company.aspx http://marketrealist.com/2015/02/tommy-hilfiger- proven-lifestyle-brand/ PVH. (n.d.) Our Strategy. Retrieved June 09, 2015, from https://www.pvh.com/company_strategy. Stern, E. & Verweij, L. (2013). Retail Innovations 9: aspx The pace of change accelerates. Barcelona: Ebeltoft PVH. (2015). We are PVH: Annual report 2014. [PDF Group. Document] Superbrands. (n.d.). Tommy Hilfiger. Retrieved June Retail Innovation. (n.d.). Japanese retailer Parco 04, 2015, from http://uae.superbrandsmena.com/ shows product video when a hanger is removed pdf/pdffile1404819985.pdf from display. Retrieved April 07, 2015, from http:// retail-innovation.com/japanese-retailer-parco- The Fashion Model directory. (n.d.). Tommy Hilfiger. shows-product-video-when-a-hanger-is-removed- Retrieved June 05, 2015, from http://www.fashion- from-display/ modeldirectory.com/brands/tommy-hilfiger/ The Hilfiger Club. (n.d.). Member benefits. Re- Rigopoulou, I.D., Chaniotakis, I.E., Lymperopou-lus, trieved February 16, 2015, from http://www.thehil- C., & Siomkos, G.I. (2008). After-sales service quality figerclub.com/?page=benefits as an entecedent of customer satisfaction: the case of electronic appliances. Managing Service Quality, Tierney, J. (2004). The Future of Retail Checkout: No 18(5). Checkout at All? Retrieved May 22, 2015, from http://www.theatlantic.com/business/ar- Ralph Lauren. (n.d.). About us. Retrieved July 26, chive/2014/05/whats-ahead-with-the-retail- 2015, from http://global.ralphlauren.com/en-us/ checkout-experience/362017/ about/Pages/default.aspx?ab=footer_about Rosee, S. de. (2011). Flashback: Tommy Hilfiger Tommy Hilfiger. (n.d.). Biography. Retrieved remember his first shops. Retrieved June 04, February 02, 2015, from http://global.tommy.com/ 2015, from http://fashion.telegraph.co.uk/article/ int/en/about/biography/14 TMG8913801/Flashback-Tommy-Hilfiger-remem- bers-his-first-shops.html Tommy Hilfiger. (n.d.). Company overview. Re- trieved February 02, 2015, from http://global. Schweitzer, K. (2014). Zooey Deschanel’s First- tom-my.com/int/en/about/overview/15 Ever Clothing Line Has Arrived! Retrieved July 25, 2015, from http://www.popsugar.com/fash-ion/ Tommy Hilfiger. (2014d). Creating a powerful vi- Zooey-Deschanel-Tommy-Hilfiger-Collec-tion- sion for women. [PDF document] 33772805#photo-33772805
References 157 Tommy Hilfiger. (n.d.). Country offices. Retrieved University of California. (n.d.). Semantic differential. February 02, 2015, from http://global.tommy.com/ Retrieved July 28, 2015 from int/en/careers/country-offices/14 http://psychology.ucdavis.edu/faculty_sites/ sommerb/sommerdemo/scaling/semdiff.htm Tommy Hilfiger. (2014a). Design Guidelines Sportswear. [PDF document] Vintage Fashion Guild. (2010). Lauren, Ralph. Retrieved July 26, 2015, from http://vintagefash- Tommy Hilfiger. (n.d.). Headoffice. Retrieved ionguild.org/label-resource/lauren-ralph/# February 01, 2015, from http://global.tommy.com/ int/en/careers/head-office/14
Tommy Hilfiger. (2014c). Our rolling vision 2020+. [PDF document]
Tommy Hilfiger. (n.d.). Quintessential American style. Retrieved February 09, 2015, from http://global.tommy.com/int/en/about/ brands/tommy/15
Tommy Hilfiger. (2014f). Sportswear Concept Stores – Brand overview october 2014 [PDF doc- ument].
Tommy Hilfiger. (2014b). Store Concept & Design – New Store Formats. [PDF document]
Tommy Hilfiger. (n.d.). The Hilfiger Club. Retrieved February 09, 2015, from http://nl.tommy.com/sto- ry/TheHilfigerClub_Landing,nl_NL,pg.html
Tommy Hilfiger. (2015). Unlocking the Consumer’s Voice – Jan 15. [PDF document]
Tommy Hilfiger. (2014e). Women’s brand book. [PDF document]
Van Tongeren, M. (2013). Eén op één, de essentie van retail branding en design. Amsterdam: BIS Publishers.
158 Enhancing the in-store experience References 159 Glossary
160 Enhancing the in-store experience In this chapter an overview of abbreviations and terms are described to provide the reader with a clearer understanding when reading the thesis.
Bridge The centre area in the new Sportswear concept. It Divides the store into two areas, Menswear and Womenswear. In the Bridge all service-based options take place.
B/C stores “Standard” stores of Tommy Hilfiger, the most common variety.
Fixture Store furniture element. All store furniture is referred to as fixtures in this report.
HQ Headquarters of Tommy Hilfiger, located in Amsterdam.
MSW Men’s Sportswear (Menswear): men’s collection of the Sportswear line.
OPWS Open Wall System: a fixture of the new Sportswear concept, which can be seen in Figure 86 on page 118.
SIS Shop-in-Shop.
SPW Sportswear: Tommy Hilfiger’s core line, consisting of different collections.
TH Tommy Hilfiger.
WSW Women’s Sportswear (Womenswear): women’s collection of the Sportswear line.
Glossary 161 Colophon
Author Samira Darkaoui
BSc Architecture, Urbanism and Building Sciences MSc Design for Interaction Industrial Design Engineering Specialization: Retail Design
Supervisory team Art direction and production Delft University of Technology Gerben van Eijk (Q&A) dr. H.H.C.M. Christiaans | Chair Applied Ergonomics & Design (AED) Industrial Design Engineering Contact details Rabobank ir. L.M.M. de Wit | Mentor RaboResearch The Architecture of the Interior E-mail: [email protected] Architecture and the Built Environment Client Coverage Tommy Hilfiger Europe B.V. E-mail: [email protected] ir. D.J.M van Ingen | Mentor Concept Architect, Store & Concept Design Websites www.rabobank.nl/retail ing. S.E.P. Lucas | Mentor www.rabobank.nl/antondreesmann Director Store & Concept Design March 2017
162 Enhancing the in-store experience Disclaimer
This document is a publication of Rabobank. The view presented in this publication has been based on data from sources we consider to be reliable. These data have been carefully incorporated into our analyses. Rabobank accepts however no liability whatsoever should the data, opinions or estimates presented in this publication contain any errors. The information concerned is of a general nature and is subject to change.
No rights may be derived from the information provided. Past results provide no guarantee for the future. Rabobank and all other providers of information contained in this publication and on the websites to which it makes reference accept no liability whatsoever for the content of the publication or for information provided on or via the websites.
The use of this publication in whole or in part is permitted only if accompanied by an acknowledgement of the source. The user of the information is responsible for any use of the information. The user is obliged to adhere to changes made by the Rabobank regarding the information’s use. Dutch law applies.
© 2017 - Coöperatieve Centrale Raiffeisen-Boerenleenbank B,A., the Netherlands
Disclaimer 163 www.rabobank.nl/antondreesmann