Louis Vuitton-India

Here are some of the Images used in the advertisement of Louis Vuitton in india.. the style is representative of the indian culture and gives a sense of adventure running through out the images. Although this is not directly relavant to the British culture needing to be portrayed in the Ted baker brief, it demonstrates the importance of an awareness of the indian culture.  

Whereas Louis Vuitton changed the brand image slightly to cater for the indian market, Chanel used there existing identity, maintaining the french couture look. This suggest the british identity used within Ted Baker will still work, although i believe some awareness of the culture will need to be considered. 

TED BAKER- INDIA

Ted Baker is targeting India as it continues to expand into new markets.

Over the past 12 months Ted Baker has made its debut in Australia, where it has two stores, and opened another two in the US, bringing its US total to nine, and remains on the overseas expansion trail. Another four US shops will open this year.

Ted Baker is expected to open stores in India by 2012 although plans are not yet finalised.

“We can’t do everything at once,” said Ted Baker founder and chief executive Ray Kelvin. “But [we’ll try to open in India] in the next couple of years and we will probably start with a partner.”

Retail Knowledge Bank senior partner Robert Clark said a move into India made sense for Ted Baker. “India is an obvious place to go for many an aspiring global retailer. Ted Baker would go down well. It has the British heritage and a quirky approach to retail that the Indians might identify with,” he said.

The retailer reported that trading conditions in the US in the 52 weeks to January 30 “continued to be difficult” and sales were down 16.3% to $15.9m (£10.5m).

However, Kelvin said: “The economy was struggling and that became our opportunity to get the right locations and that is why we are pushing ahead.”

Last week Ted Baker posted full-year profits up 3.6% to £20.3m while total sales rose 7.2% to £163.6m.

No details were given on current trading but Kelvin said: “We have been encouraged by trading since the start of the year and the positive reaction from our customers to our spring/summer collections. While we believe that 2010 will be a difficult trading year, we remain well placed to deal with the challenges.”

Kelvin acknowledged the impending general election created uncertainty about prospects. He said: “It might be a bit more difficult.”

Over the period retail sales in the UK and European division were up 17.3% to £126.4m. While the UK was ahead of expectations, Ted Baker said European stores had faced “challenging” conditions.

Update: The following rankings are based on consensus done in 2001, and have been correctly pointed out to us by one of our readers D7Y. We will be judicious to provide readers with latest data going forward.}

Any Guesses?

I hear most of you saying it is undoubtedly the financial Capital of India – Mumbai.

But you are wrong, that is not the right answer. I was also quite surprised when I read it, but immediately sense prevailed

Chandigarh is actually the wealthiest City in India

(source)

 

Dont be surprised, that is actually true. Although Mumbai has the largest quantum of money, it is also the most populace city with majority of them living below poverty line. Mumbai may probably have as many beggars compared to rest of India put together (this is just a guess I am making without any factual backing up of information)

Wealth of a city can actually be calculated based on wealth per capita (total wealth divided by total number of people). A more standard term for comparing wealth between countries is PPP (Purchasing Power Parity)

So from that perspective, Chandigarh seems to more average wealth per person than any other city.

I hope that puts to rest the question of why Mumbai is NOT the wealthiest cities.

Here are the Top 10 Wealthiest Cities in India

1. Chandigarh
2. Panaji
3. Delhi
4. Valparai
5. Greater Mumbai
6. Pune
7. Ludhiana
8. Chennai
9. Shimla
10. Jalandhar

Surprisingly, no Bangalore or Hyderabad feature in the list, while it is dominated by “B” cities like Chandigarh, Valparai, Ludhiana, Shimla and Jalandhar.



DELHI

Fashion for me took a shape of its own the day I entered the North Campus of Delhi University. There was a dress code and it spelt ‘attitude’. In the hot, dry summers, a bright Fabindia kurta, blue jeans, a sling jhola, beads around the neck, kohl-laden eyes and silver danglers seemed to say we take ourselves seriously, but we are going to look attractive while we do it. In the bitter winters, high neck sweaters in bright hues, denims, floaters and colourful stoles from Janpath completed the look. It was about creating an identity, even though we were all doing it. It made me realise that I could make a statement with my clothes. And even though there were millions who looked like me in Delhi in those years, to fit in and embrace a trend that was so Delhi made me leave behind my shorts and tee wearing days of school. I had grown up.

And that’s where I think Delhi first scores over Mumbai. I have spent hours staring at college kids across Mumbai in trains, malls and coffee shops. Denims, T-shirts, sneakers, backpacks—it’s as if school’s not over. “Mumbai actually doesn’t have a style per se,” says stylist Shweta Sharma, “It’s so laidback that it almost doesn’t care.”

It’s been six years since I left my dignified Delhi and shifted to manic Mumbai, but even today, when I tell people I am from Delhi, they hem and haw, and then inevitably blurt out, “Yes, you look very Delhi.” And though I take it as a big compliment—since I still like being seen as a Delhiite however maligned the city is—I have often marvelled at the fact that it’s so easy to distinguish a Delhi girl from a Mumbai girl just by looking at the way they wear their denims. Cutoff denim shorts and a comfy tee paired with flip-flops is the way the Mumbai girl would go, and carefully ironed coloured branded denims with a cute-yet-sexy singlet and ballerinas is the Delhi way. Could it be more easy?

+++

Once out of college, I was hooked. Fashion knew my address now. High-street brand Mango had just opened its first branch in Delhi, and I was there every pay day. It was the first time I noticed how a good fit flattered my body, and how elegant tailoring could make heads turn. And if you were low on cash, Sarojini Nagar (the Mecca for anyone looking for export rejects of international brands) and Janpath were always ready to embrace you. It was literally as if the city was trying to make you fashionable. It was also a city that challenged you—you couldn’t just wear anything and everything (no deep necks and no short skirts that would invite uninvited attention on the streets of Delhi), and so you improvised. A scarf here, some cool pants there, and a trendy jacket on top—I was set.

Sukanya Deepak, a 19-year-old fashion student, is pretty fussy about what she wears. And just like me, she knows how to improvise. She also loves Delhi’s obsession with being impeccably turned out all the time. “I wear pants all the time, but I know how to make them look casual and dressy as well. So if I am going to posh Khan Market, I wear a sheer top paired with well-fitting pants. You have to look good when you go to Khan Market. Everyone is so well dressed there.”
Shopping in Mumbai has never been as exciting as looking for finds in Delhi. I have tried to take the Fashion Street route in Mumbai, but have always returned home empty handed, with no finds to steal. And spotting good ethnic wear is close to impossible in Mumbai. Barring a few really well-turned-out fashion bloggers, stylists and fashion magazine staffers, I have got used to looking at the skinny jeans, tee and flip-flop wearing crowd. And so when somebody calls me a ‘Zara clone’ behind my back, I am often tempted to retort, “But where else do you shop in this city?” Thank God for the high street, I say.

Bombay girl and individualistic blogger Anushka Hajela of Bombay Bubblesays, “I hate to say it but Delhi is the better dressed city. Bombay is like Los Angeles, completely laidback, and Delhi is like New York, where people take their brands seriously—it’s only about the Guccis and Fendis. Maybe Mumbaikars just don’t bother because of the heat. In Delhi, it’s all about appearances and there is a lot of pressure to dress up. In Mumbai, we don’t judge you by the car you drive. We care about relationships, not appearances.”

That is the stock complaint against Delhi—its brand consciousness. But who is to say that’s a bad thing? India’s top designers are based there, even as new, experimental, innovative ones keep emerging from the capital like nobody’s business. Designers attribute their settling down in the capital to the easy
access to local karigars in and around the city, as well as the low-cost availability of traditional fabrics in the North. Or, as I said before, it could be because Delhiites start their fascination with fashion young. All the international designer brands now have huge outlets in Delhi’s humongous malls, a phenomenon that cramped Mumbai can never match. Delhiites have the luxury of space, and it assures them luxuries of other kinds.

As I walked around Emporio the last time I was in Delhi, I was shocked by the fashion that surrounded me. It could have just been the way everyone around me had bags that screamed logos—starting from Zara and Forever 21 to the more luxurious Dior and Versace.

Gayatri Ahuja, a 23-year-old interior designer, is a pucca Delhi girl. She flaunts her designer labels (she says she likes to experiment with clothes), idolises Anne Hathaway and Audrey Hepburn, won’t leave her home without her Louis Vuitton or Gucci bag, and though she loves flats, will wear heels when the ambience demands it. “All my clothes are custom made,” she says, “I like to be different and ahead of the curve.”

+++

Delhi is India’s only city that could someday match the fashion consciousness of cities like New York, London, Milan or Berlin. Spend some time in Delhi, and you know that globalisation is well and truly upon us. And while fashionistas across the globe gush over the latest Chanel collection and covet that Marc Jacobs bag, why should it be pretentious for Delhiites to flaunt a Gucci?

It is the fashion capital of the country. If not for Delhi, I would have been wearing denim skirts, collared shirts and Moccasins for as long as I lived. And though I am surely not the most fashionable person around, Delhi helped me find a sartorial identity of my own. It made me realise and live what Coco Chanel once said: “I don’t do fashion. I am fashion.

International Brands: India Entry Strategies

May 9th, 2009 by admin

By Devangshu Dutta, Tarang Gautam Saxena

While the Indian consumers have aspired to own international fashion brands, India’s large population base in turn has been an aspirational market for the international companies.

To remote observers, the Indian market may appear to be a virgin territory as far as international apparel and footwear brands are concerned. But India has seen the presence of international brands for almost a century, including mass brands such as Bata and luxury brands such as Louis Vuitton. However, as the colonial government systematically repressed local textile production, the local resistance to foreign products grew as well. Therefore, until the 1980s, the presence of international fashion brands was negligible.

In the early 1990s, as the Indian economy opened up again, a few international fashion brands entered the Indian market. The pioneering companies during this stage were Benetton, Coats Viyella and VF Corporation.

At this time the Indian apparel market was still fragmented, with multiple local and regional labels and very few national brands. Ready-to-wear apparel was prevalent primarily for the menswear segment which was thus a target for many international fashion brands (such as Louis Philippe, Arrow, Allen Solly, Lacoste, Adidas and Nike).

In the midst of this the media industry was also witnessing a high growth which aided the international brands in gaining visibility and establishing brand equity in the Indian market.

The late-1990s marked a significant milestone in the growth of modern retail in India. Higher disposable incomes and the availability of credit significantly enhanced the consumers’ buying power. A growing supply of good-quality retail real estate in the form of shopping centers and large format department stores also allowed companies to create a more complete brand experience through exclusive brand stores and shops-in-shop.

The number of international brands continued to grow each year at a steady pace until the early 2000s, and took off exponentially thereafter. By 2005 the number of international fashion brands present in India was over three times compared to that in the mid 1990s. The last few years (since 2005) have continued the significant growth of international fashion brands, including luxury brands such as LVMH, Aigner, Tommy Hilfiger and Chanel.

The Popular Entry Strategies

Many of the international companies entering India in the late 1980s and 1990s chose licensing as the entry route to India to gain a quick access to the Indian market at a minimal investment.

A few companies such as Levi Strauss set up wholly owned subsidiaries while others such as Adidas and Reebok entered into majority-owned joint ventures. This helped them to gain a greater control over their Indian operations, sourcing and supply chain, and brand.

In the subsequent years import duties for fashion products successively came down making imports a less expensive sourcing option and the realty boom brought investors in retail real estate that were ideal franchisees for the international brands. By 2003, franchising became the preferred launch vehicle for an increasing number of international companies, while only a few chose to enter through licensing.

In 2006 the Government of India reopened retail to foreign investment (allowing up to 51 per cent foreign direct investment in “Single Brand” retail). Using this route, many brands have entered India by setting up majority owned joint ventures, or transitioned their existing franchise arrangements into a joint venture structure.

The Entry Structure for Some International Brands

Entry Strategy	Time Period
	1980s or Earlier	1990s	Post-1999
Licensed	Louis Philippe, United Colors of Benetton and 012, Wrangler	Allen Solly, Arrow, Jockey, Lacoste, Lee, Nike, Van Heusen, Vanity Fair	Puma
Wholly Owned Subsidiary	Bata, Pepe Jeans	Levi’s®	Hanes, Triumph
Joint Venture (Majority)		Adidas, Reebok	Diesel, Nautica, Sixty Group
Franchise or Distribution			Aldo, Burberry, Canali, Versace, Debenhams, Esprit, Gucci, Guess, Hugo Boss, Mango, Marks & Spencer, Mothercare, Tommy Hilfiger
Joint Venture (incl. Minority Stake)			Celio, Etam, Giordano

Source: “Global Fashion Brands: Tryst with India” (A Report by Third Eyesight) © Third Eyesight, 2009
Note: The above table shows the structure used during entry, and not the structure that exists currently.

The seasons have been very favourable to the global luxury brands to embark on Indian markets, which has been on the high tide. The first signal of opportunity was raised by the CII-AT Kearney report which predicted that the booming Indian luxury market was growing at 20 per cent a year and would become $14.7 billion by 2015, from $5.8 billion now.
It was followed by the government decision to allow 100 per cent FDI in single-brand retail. Though it had only a lukewarm reception initially, a host of luxury international brands have suddenly woken up. Fashion media reports suggest that they are gearing up to venture into India.
With the number of high net worth individuals increasing and aspiration levels of the young consumer rising, the potential is big. And Indian brands and fashion conscious consumers, who could buy their favorite brands only on their trips abroad, are all perked up.
Considering other big names like Zara, Canali and Louis Vuitton are already in India others such as Tiffany & Co, Christian Louboutin, Abercrombie, Arcadia, Hennes and Mauritz, Prada and GAP are planning to launch their stores in the country.
Other global retailers such as Swedish furniture major Ikea, the UK’s Arcadia group and American coffee brand Starbucks are reported to be firming up their India plans.
India has three million affluent households, defined as those with more than $100,000, or more than 50 lakh, of investable surplus, according to a global affluence study by research firm TNS. Though Indian consumer is looking forward to the luxury brand line-up, the question is, whether these brands are really ready for the Indian market.
According to experts, for foreign brands to succeed in this market, they must first understand Indian taste and create merchandise suitable for Indian audiences instead of stocking old stocks at higher prices.

Interview With Ray Kelvin CBE, Founder and CEO, Ted Baker

EDITORS’ NOTE

Ray Kelvin founded the Ted Baker brand in 1988, when he opened up a men’s shirt specialty shop in Glasgow. Kelvin relied on word of mouth and early viral marketing initiatives alongside the creation of a rich personality to anchor the brand.

COMPANY BRIEF

U.K. designer label Ted Baker (www.tedbaker-london.com) is a British lifestyle brand known for applying innovative and unique twists to all of its products. Following the opening of the first store in 1988, stores quickly opened in Manchester, Cambridge, and Nottingham. Initially, Ted Baker exclusively offered men’s limited edition shirts. Six years later, a store in Covent Garden opened and Kelvin bought the company outright from part-owners Goldberg and Sons. Additional stores in Soho in London, Nottingham, and Leeds opened in 1994. In 1995, Ted Baker launched Ted Baker Woman. Ted Baker has since become a global brand, which produces men’s, women’s, and children’s clothing. The company also produces fragrances, eyewear, footwear, watches, and accessories. The Ted Baker collections are also sold by other retailers. Ted Baker has launched new collections in partnership with Debenhams, including Baker by Ted Baker and B by Ted Baker. Ted Baker has stores, outlets ,and concessions across Europe, the U.S., Australasia, Asia, and the Middle East, and has expanded its presence in these territories through its wholesale and export business, which now covers Australia, New Zealand, the U.S., Canada, Norway, Greece, Spain, Portugal, Andorra, Finland, the Netherlands, and Belgium, as well as the U.K.

When you look back to 1988 and the creation of the brand, what did you see in the market that made you feel there was an opportunity?

I started the business and called it Ted Baker because I thought, from day one, that it would be a failure, and I didn’t want to be “Ray Kelvin the bankrupt.” So it was a good name to hide behind.

Now that it is a global success, I’m still happy to be in the background, because I’m a big believer in team performance and the brand is not about an individual.

We design for our customers, not for prestige. So it’s about delivering what our customers want. When I started, I wanted to create a product that was twice the product at half the price. I tried to design and create product that we sell or deliver in a way that is far-reaching – the design doesn’t have to be for the luxury few. So my challenge was to create a beautiful piece of design that doesn’t have to be expensive and is acceptable by all.

Even to this day, a lot of people within the industry wonder how good it can be because it’s not being sold at a ridiculous luxury price. But that is how we design and it is the whole model of the business.

Many equate quality with price. How do you create the type of quality you do but keep the price within a reasonable range?

It’s not just about the product – as a business, we’re just proud to be in a world-class organization and to still be here. There is a love and passion that runs through the veins of everybody in this business that makes it unique. We love to give service and care.

One of the reasons why other brands make things very expensive is so they don’t have to sell a lot – it’s a margin, a model. We don’t make enormous margins, but we get the volume. So it’s the volume we drive that gives us the net reward we need to achieve as a publicly quoted company. If we raise the prices, then we’re the same as everybody else and we will sell less.

We like to sell a lot, but we don’t have to sell a lot of any one particular item because we are continually producing new ones. We design like luxury designers but we produce like the mainstream ones.

How broad do you plan for brand extensions to go?

Very broad. I don’t like to follow trends in terms of what other people do; I’m motivated by product, design, and great service.

Culturally, when you have a founder/owner of the business and a team that have been there from the early days, you have a chance to create something special. If you’re a corporate player just looking for your next payout, it’s a different thing.

The world has become homogenous and, unfortunately, we’re surprised by great service today. In America, I used to be thrilled by the service; today, you don’t get that anywhere in the world.

Is it challenging to retain people and how have you kept the culture intact through all the growth?

Retaining people has not been a challenge because we’re very real. The challenge for us is bringing people from outside in because we’re no ordinary designer label. They find it odd that people have been here for so long and struggle with how to get on in that environment. They sometimes bring some bad habits with them, but we don’t do everything well and we’re not arrogant in the way we do things.

I have retained the same directors I had from day one. There were only three of us in the office then. We’re all growing together and they’re all still young.

We recently gave 60 people a little wisdom tooth and a holiday because they had been with us over 10 years even though they were only in their 30s. There was one kid who was 15 when he joined us – he’s now 35.

You know why? Because we care.

If you think back to the early days, could you imagine this would have become what it has?

I’m still running a little shop. The danger is thinking that way.

It’s a much bigger business than what the figures show in the accounts – close to 500 million pounds a year when looking at the grossed up retail value of all the products. But I don’t want to think about that because money is a byproduct of doing a good job. It’s about loving and caring for people, and the product and the customers.

Do you have the ability to ever turn the business off?

Yes. If you have a balance, you’re more invigorated, and if you’re interested in and motivated by product and by people, then you have to stand back from it and do other things.

Do you know how many business calls I get a week? Three. The phone never rings. Because if the business is well organized and delegated, set up, and instructed, I don’t get involved. My conversations are with people internally. It’s not about the one person – it’s about driving the organization and the team. The people understand that as well because they’re running the business and they know better than I do about running it.

QUINTESSENTIALLY UNIQUE

Interview: Ray Kelvin, Founder of Ted Baker London

INTERVIEWS

on 12.17.10

By MATTHEW CLAUDEL

In England, Ted Baker has become what Ralph Lauren is in the United States: more than just a purveyor of the finest quality shirts – rather, an icon of its nation. (Disambiguation: there is no Ted Baker. Or rather, Mr Baker is “the ultimate Englishman in New York” – at once stylish, worldly and roguish) The brand is known for refinement and distinction, but that’s cut down by a cheeky sense of Brit humor (think John Cleese wearing a rakish suit). They’ve just opened a new Manhattan store in the meatpacking district, bringing a taste of anglo-style to the Empire City. Gear Patrol sat down with Ted Baker founder and CEO Ray Kelvin, the self-proclaimed “closest man to Ted.” Irreverent and entertaining, he told us about the brand, how it started, and where it’s going.

Gear Patrol: When did you originally become involved in menswear?

Ray Kelvin: I learned the art of retailing at an early age working in my grandfather’s shop where I learnt everything from stock taking to how to sell.

GP: How did Ted Baker begin?

RK: I started the Ted Baker brand as a shirt specialist in Glasgow back in 1988 where I opened my first store.

GP: We’re intrigued by your organic approach to advertising – Ted Baker has grown through word of-mouth rather than aggressive advertising. Was it a conscious decision? Obviously it’s been an effective model… or was Ted Baker just a perfect storm?

RK: I started the business by trying to find alternative ways of building awareness. At Ted we always like to do things differently including creative window displays which create a talking point, guerilla tactics and by having our own language and culture. I felt that not advertising was the right thing to do when I started out and I have stuck to that preferring to grow the business through considered expansion of the collections and stores.

GP: Tell us about your early decision to offer dry cleaning of all the shirts you sold.

RK: My original plan was to deliver outstanding quality, uniqueness, innovation and attention-to detail both in terms of the clothes and the customer service. Offering a free laundry service was a way to provide an engaging shopping experience and to connect with our customers in a personal way. We may no longer offer the dry cleaning but we bring an element of quirk and attention to detail in everything that we do.

GP: You’ve mentioned a “Ted Baker lifestyle” and the “fun, cheeky attitude.” If you could describe the Ted Baker aesthetic, what would it be?

RK: I try very hard to bring personality out in everything that I do. I don’t want to be ordinary or like anybody else. From subtle embroidered details in the clothing to amusing notes on the packaging, everything that bears the Ted Baker name always offers absolute quality and that little bit more. It all comes down to a belief in making fashion, and life in general, fun.

GP: Are there certain places or people or things that you go to for inspiration?

RK: I get inspiration from a variety of sources and from my travels. I enjoy fabrics and textures and interior design; in fact I enjoy all areas of design, that’s what motivates and inspires me.

GP: Tell us about the new Manhattan store in the Meatpacking District. How will it be different from other Ted Baker locations?

RK: Each Ted store is individually designed to complement its immediate surroundings so each store is unique. The meatpacking store is less traditional shop fit and more art installation. Exposed brickwork and reclaimed flooring, as well as a washed out color scheme lets the Autumn Winter 2010 collection take centre stage.

Building upon the minimalist design inspiration and considering the area’s rich history, the store is filled with bespoke, leather-upholstered wooden crates, all of which contain just a few home comforts for ‘Ted’ – the ultimate Englishman in New York. Packed carefully by Ted’s butler and transported to Manhattan, each crate relates to different aspects of Ted’s life: from gardening tools to his finest bone china.

GP: Something most people don’t know is that one of the Ted Baker stores was entirely built and dismantled on set for the James Bond film Casino Royale, How did that come about?

RK: We were approached by the film production company and agreed to design and build a fully merchandised Ted Baker store on the film set in Prague. The entire project was carried out in only three days and the store appeared in a scene which was set at Miami airport.

Brand Archetypes

There are many different ways to look at and define a company’s brand. My personal favorite is covered in the book The Hero and The Outlaw, written by Margaret Mark and Carol S. Pearson, Ph.D. This hefty tome outlines a system for identifying brands by comparing them to archetypal personalities.
So what’s an archetype? Well, it’s a universally understood symbol or pattern of behavior that’s used in myths and storytelling across different cultures. It’s sort of like a stereotype or a generic personality. For example if I talk about a hero, it doesn’t matter if I’m thinking about Harry Potter and you’re thinking about Luke Skywalker, because we’re both thinking about the same archetypal qualities like bravery, action and expertise. In the 20th century, Carl Jung (his work inspired the Myers-Briggs personality test) wrote extensively about how we can use archetypes to illuminate personality and literature. Since brands have personalities, it makes sense that we would be able to categorize them by archetype.
Here’s a list of the 12 master archetypes from The Hero and The Outlaw with real life examples from Studiobanks’ own portfolio.
The Innocent
Think: Coca Cola, McDonald’s, Ben & Jerry’s
Core Desire: To experience paradise
Goal: To be happy
Real Life Studiobanks Example: We celebrated Blynk Organic's healthy lifestyle with a website design that fits the Innocent archetype, oozing goodness and wholesomeness.
The Explorer
Think: Starbucks, Rockport, Jeep
Core Desire: To define one's self by exploring the world with freedom
Goal: To experience a better, more authentic, more fulfilling life
Real Life Studiobanks Example: Only in Old Town, a website dedicated to supporting the growth of the historic downtown area of Rock Hill, SC, is a call to action to fellow explorers, encouraging them to experience new places.
The Sage
Think: Barnes & Noble, PBS, CNN
Core Desire: To discover the truth
Goal: To use intelligence and analysis to understand the world
Real Life Studiobanks Example: The Sage is a fitting archetype for the Charlotte Nature Museum's website, with a focus on capturing the fun of learning in a hands-on, creative environment.
The Hero
Think: Marines, Nike, FedEx
Core Desire: To prove one’s worth through courageous and difficult action
Goal: To exert mastery in a way that improves the world
Real Life Studiobanks Example: The website of Hendrick Motorsports embodies the Hero archetype with a brand identity that celebrates their need (and ability) to win.
The Outlaw
Think: Harley-Davidson, Diesel, Apple
Core Desire: To seek revenge or start a revolution
Goal: To destroy what is not working (for the Outlaw or the society)
Real Life Studiobanks Example: As one of NASCAR's top drivers, Greg Bifflehas a reputation to live up to. His site is unconventionally sleek and helps him flaunt his rebel persona.
The Magician
Think: Chanel No. 5, Polaroid, Oil of Olay
Core Desire: To have knowledge of the fundamental laws of how the world or universe works
Goal: To make dreams come true
Real Life Studiobanks Example: With a contemporary animation style and tranquil music, the website for Charlotte’s premier upscale salon and spa, Varji & Varji echoes the salon’s ability to create magical moments and transformational experiences.
The Regular Guy/Girl
Think: Purdue, Wendy’s, IKEA
Core Desire: To form a connection with others
Goal: To belong, fit in
Real Life Studiobanks Example: Dilworth Billiards' website fosters a sense of belonging in a comfortable, laid-back atmosphere where people can relax and be themselves.
The Lover
Think: Guess Jeans, Godiva, Jaguar
Core Desire: To attain intimacy and experience sensual pleasure
Goal: To be in a relationship with the people, work, experiences and surroundings that one loves
Real Life Studiobanks Example: Specializing in luxurious massages in a relaxing environment, Urbana's website is a serene and intimate reflection of their elegant brand culture.
The Jester
Think: Pepsi, Hampton Inn, Fanta
Core Desire: To live in the moment with full enjoyment
Goal: To have a great time and lighten up the world
Real Life Studiobanks Example: Bojangles’ website speaks to their loyal, wacky and passionate fans with an infectious, irreverent attitude.
The Caregiver
Think: Marriott, Johnson’s Baby Shampoo, GE
Core Desire: To protect people from harm
Goal: To help others
Real Life Studiobanks Example: In partnership with BooneOakley, we tapped into our inner Caregiver to create JapanSaver.com, a site designed to sustain awareness and encourage donations to the earthquake and tsunami victims.
The Creator
Think: Lego, Movado, Crayola
Core Desire: To create something of enduring value
Goal: To give form to a vision
Real Life Studiobanks Example: Reaching Quiet's website is a reflection of the firm's forward-thinking products and innovative designs.
The Ruler
Think: Microsoft, Mercedes, American Express
Core Desire: To control
Goal: To create a prosperous and successful family, company or community
Real Life Studiobanks Example: Edgeview Partners' website exudes brand characteristics similar to that of the Ruler, including leadership and responsibility

D&AD TedBaker

The purpose of this brief is take get a foreign audience interacting with TedBaker across three media with the target audience being 25-35year old men and women. A sense of british humour and their unique identity is important to portray to the audience of my choice.

Initially it is important to get a sense of the brands identity.. as this will inform my creative process allowing me to highlight the British uniqueness to a foreign audience.

ed baker posses an easily identifiable brand, considerations such as the weather in the country need to be considered as this obviously directly effect the items of clothing as well as the style of clothing worn which will directly effect the brand image in the country. 

Previous advertisements have seen the use of strong colour schemes something that will need to be replicated to demonstrate a sense of reality to my solutions. 

Sense of humour is important to the TedBaker identity. something that integral to the identity i create. 

Shop interior is something that often connotes a sense of quirkiness.. clutter and a random selection of items.   

Further advertisements..sense of national identity.  

Simple tea stains connotes Britishiness indirectly to the a foreign consumer. 

The retailer achieved this performance despite tricky trading conditions, and it follows a period of sustained success, through domestic and international sales generated through retail outlets, wholesaling and licensing.

The backbone to Ted Baker’s success is a singular focus on product, but the core tenets of its business can impart a number of lessons.

Relentless focus

Ted Baker’s famously eccentric chief executive Ray Kelvin likes to call himself “the closest man to Ted”, effectively posing as the brand’s alter ego – or real-world incarnation. As much a presence on the design floor as in the boardroom, Kelvin resolutely applies the mantra “Would Ted do it that way?  to every business decision – driving the company’s focus on product and design .

Obsession with product

Since its first store opened in 1988, Ted Baker has continuously emphasised the importance of design and product, and its commitment to quality and attention to detail. Positioning itself as “no ordinary designer label”, the company has carefully developed its brand’s distinct and quirky style. When asked about the reason for its continuing success, Ray Kelvin commented last year:  “Better product, better design. It’s that simple.”

Leveraging a British identity

Playing on its British heritage, Ted Baker makes the most of ‘brand Britain’, especially in its stores abroad. The retailer’s new flagship store in Tokyo, for instance, provides shoppers with an immersive experience based on the British capital and includes a booth fashioned like the back of a Black Cab.

Obsession with the brand

For all its quirks and eccentricities, Ted Baker – the brand and the Ray Kelvin alter ego – take the business of retail very seriously. As Kelvin once put it: “We are claustrophobic about the brand. We break the mould, taking the lead because we are very, very serious about what we do, as much as we joke about, you mustn’t be fooled.”

Never be boring

Store design is one of the most distinct differentiators of the Ted Baker brand, breaking up monotony of identikit fashion chains with customised, individualised shops. Its new Bluewater store, opened last year, was styled as the fictional Kent village of Tedbury, complete with a country pub, apothecary, a butcher and cake shop.

Customer experience

Going hand-in-hand with the customised store, is Ted Baker’s obsession with its customer’s experience. The retailer recently introduced in-store wifi, launched a click-and-collect service and is looking to roll out touch-screen devices in every store. Interactive installations are also integral to its store designs, enhancing their quirky décor and Ted Baker spirit of retail entertainment.

Company culture

Kelvin’s management style is both nurturing and challenging of both staff and suppliers. He often expresses the regret that he can’t know all of his team, but is equally prepared to challenge staff and their ideas.

Unique marketing mix

Ted Baker’s approach to marketing the brand has remained the same from day one – driven primarily by word-of- mouth and out of the ordinary campaigns. With marketing stunts having included the giveaway of a can of chocolate bunny hotpot for Easter or special World Cup football cards - Roy of the Rovers style - in 2006, Ted Baker prides itself on having built an international designer label without a traditional advertising campaign.

International opportunity

Ted Baker began wholesale trade in the US in 1996, its first franchise store opened in Europe a year later, and international expansion has contributed to the retailer’s success ever since. Over the past year, it opened additional concessions in the US, Spain and Ireland and its first store in Tokyo, Japan, while launching concessions in the Netherlands and South Korea. International expansion is set to present the greatest long-term growth potential for the retailer.

Online presence

The company launched a transactional website in 1999 – effectively making Ted Baker one of the first drivers of the online bandwagon in the fashion sector. With regular updates to the site over the decade, a UK website relaunch in 2009 and a dedicated US website launch in 2010, the online channel has become an integral part of the retailer’s strategy. Even though Ted Baker does not disclose its online sales, it is estimated that online turnover could be of the order of £10m – approaching 10% of sales.