My initial idea is to create a mid to high end lighting collection which will include a number of creative and innovative pieces, such as mood lamps or interactive lighting pieces. I intend to focus on domestic customers who are looking to invest in interesting pieces. The first prototype I have developed is a mood lamp. The wooden base and electronic elements are mass produced in order to drive down the price, and the glass lampshade is handmade to give a bespoke quality. This means every piece is one of a kind. I am hoping this will enable me to provide high quality pieces at a more competitive price point. The handcrafted glass dome sits over 3 LED bulbs and casts water like shadows around the surrounding space. This table lamp creates a calming interior setting, based on the soothing effects blue spaces and water have on your mental state. In addition customers can alter the colours of light using remote controlled, colour changing LEDs. This allows the user to curate their interior space depending on their mood.
Figure 1. The first prototype of my mood lamp and initial sketches.
I currently operate as a lone designer maker and intend to expand as the company develops. As I manufacture and assemble all the all products in house I intend to promote the fact the range is made in the UK. I have a keen interest in producing pieces which are long lasting. Product designer Sebastian Cox stated “If we can develop a product that possesses subtle evidence of craft, then I believe it resonates with a customer’s primitive maker urges. As a result the customer will enjoy that thing all the more, and everyone has enjoyed keeping it out of landfill for longer.” This approach to production appeals to me, and is one of the reasons I’m keen to have a bespoke element in my product.
|PEST Factors||Negative Effects On My Business||Positive Effects On My Business|
· The Conservative Government introduced the Living Wage in April 2016, everyone over 25 will now earn a minimum wage of £7.20 per hour.
· The introduction of workplace pensions means every employee over 25 is entitled to a pension. Employees need to match the payments employee’s make.
· EU Legislation ruled the use of incandescent bulbs were to be phased out for low energy light bulbs between 2009 and 2012.
· The EU Referendum in June 2016 means there is a possibility the UK could leave the European Union.
· In the 2016 budget the government announced the first time buyer ISA and help to buy schemes for first time home buyers.
|· When employing a workforce, those over 25 will require this wage causing higher overheads
· Again this contributes to a higher cost of the workforce.
· As the phase out period is over subsidies on energy efficient bulbs have now come to an end so it is possible there we will see a rise in prices.
· Leaving the EU could result in exports to Europe becoming more difficult as moving money and products may become problematic. Leaving the EU may also weaken the pound against Euro
· Some schemes allow buyers to purchase a fully furnished house eliminating the need for renovation. Houses built are very expensive and the scheme hasn’t been successful.
|· A rise in wages should result in people having more money to spend on homeware, as they are more affluent.
· A well looked after work force inspires company loyalty amongst employees.
· Potential customers see energy efficiency as an important factor choosing a lighting piece. Developing piece which use smart lighting is seen as a product attribute.
· Leaving the EU could encourage people to ‘buy British’ as export prices are higher. Also UK businesses may be in a better position to negotiate better deals abroad.
· This will help more people enter the housing market. This should encourage more spending in the interior product market.
· Over the past few years we have seen a rise in outright property ownership, which has surpassed the number of people buying properties with a mortgage.
· Costs of Chinese lighting imports are rising as the growth of the Chinese economy slows down.
· General UK Economy growth has slowed due to the present global and domestic uncertainties.
· The National Office of Statistics shows retail sales volumes dropped 1.3% in March 2016, compared with February 2015. (Allen,2016)
|· As less people move it can cause a slump in housing sales. There is a strong link between the number of people who move house and lighting sales.
· The weakness of the pound and high freight costs could result in prices rising.
· If this continues to fall it could affect sales within my market.
|· More people now own homes which they will decorate or renovate, increasing lighting sales. The homewares industry improves with a buoyant housing market.
· British made bespoke pieces may appear more valuable as people aim to ‘buy British’ as the price of imports rise.
· People make more considered choice when spending. Some people will look for investment pieces when shopping.
· This may only be a temporary fall, and retail sales may rise over the next quarter.
· There are now a growing number of adults in the AB socio-economic group (22.17% of the UK population in 2011 census compared to 13.7% in 2001)
· There have been changes in consumer buying patterns. Statistics show there have been a rise in lighting and homewares markets since 2011.
· A more affluent population may cause a rise in people looking for either designer or high-end lighting rather than mid-range products.
· The more successful the homeware market is the higher the number of competitors there will be and a more competitive market.
· With an increased number of high end consumers in the UK this may result in an increase in numbers of people who will invest in new innovative technology.
· With more people buying homeware it shows there is a strong desire to improve homes. This will lead to more pieces being bought as there is a strong link to decorating and lighting.
· Advances in smart lighting makes energy efficient lighting cheaper than ever before.
|· There may be customer confusion with new technology which can make customers resistant to purchase. There is a need to educate as well as promote products.||· A drive in technological advances will result in cheaper LED components as well as new and innovative products.
Figure 2 – PEST Analysis
Within the lighting industry I have chosen to focus on the homewares market, specifically concentrating on small companies who create mid to high end pieces. To begin my market analysis \i have written a PEST report (Figure 2) to understand which external factors could potentially affect my business. As the housing market grows, this generates a higher number of people who are likely to invest in homeware as they renovate their homes. With the government pushing for more people to enter housing market it could really help with the growth of my business. The living wage may also result in people having more disposable income. Moreover advances in LED lighting should drive down the cost of production. The main issue I face is the possible exit from the EU which could seriously impact imports and exports, as well as weakening the pound. Currently a number of British designers are seeing European customers postpone their purchases while they await the result of the referendum. Designer Tom Dixon stated “It could mean that people start manufacturing things [in the UK] again, which would be a good thing. Or it might mean that London becomes much more insular and stops being the international platform that it has become…” (Fairs,2016). I intend to produce all my products in the UK in order to support the British craft industry, I also feel this is a marketable quality.
Figure 3 Porter’s 5 Forces (1980) Sourced from Ensor (2008)
Adapting Porters 5 Forces (Figure 3) has allowed me to understand where the power lies within the lighting industry. Larger suppliers control the price of the mass produced elements, whereas larger businesses may pose a threat to me, driving down retail prices. However, I hope the bespoke nature of my piece will stand as a marketable feature and appeal to those seeking a decorative piece. A recent EU commission (European Commission, 2015) explains lighting is one of the most returned product types. Therefore in order to create customer value I will focus on the quality of my collection.
Figure 3 The 6 most notified product categories in 2014 according to EU commission (European Commission, 2015)
This product lifecycle (Figure 5) has been used to understand what customers need at different stages of my products life.
Figure 5 Product Lifecycle, sourced from Ensor (2008)
Once the product reaches maturity I feel I could adopt tactics similar to Anglepoise and Mathmos who promote the ‘1227 desk lamp’ and ‘Lava lamp’ (Figure 6) as classic pieces. In addition Mathmos sell replacement parts for their lava lamps to encourage customers to make repeat purchases and demonstrate their products longevity.
Figure 6 Left Anglepioise 1227, Right Mathmos Lava Lamp
When considering my position in the market I’ve adapted Porter’s generic stratagies (Figure7). As I am unable to mass produce my product I won’t sit in line with cost leaders who sell high volumes of product. Also my product is not a made to mtreasurer designer piece so is unable to sit with the focus companies. The best place for me to concentrate my efforts would be in differenetition. In order to do this I need to ensure my product line has unqiue, innovative features. My cloest competiters are all design led businesses, so it’s vital I invest money back into products will ensure they are pioneering and stylish.
Figure 7 Generic Strategy Diagram
After speaking to a number of potential consumers it’s obvious there is a common opinion cheaper lighting is lower quality, and high end pieces are seen to be built to last. I adapted the Perceptual mapping method (Figure 8) in order to identify a gap in the market. I feel there is room to produce a quality product which can be purchased at a reasonable price (£100-£200). Anglepoise and Mathmos offer similar price points to what I would like to provide, but their pieces don’t have handmade elements. I hope the bespoke element of my piece will allow it to be perceived as a more expensive, higher quality product, while the mass producible base will enable me to offer a lower price point.
Figure 8 Perceptual Mapping, sourced from Ensor (2008)
Sales data found in the Mintel lighting report (Caines, 2010) demonstrates the lighting industry is dominated by budget retailers such as B&Q and IKEA who claim 34% of sales. However 20% of the market is covered by department stores such as John Lewis, which tend to be style led stores with the demographic of customers I would like to target. In addition, lighting specialists such as Ferrious and Urban Suite cover 15% of the market. Customers at these stores are generally prepared to pay more for a piece which offers individuality.
I tracked the net assets (Figure 9) of design led companies who I feel closest match my business model. As they are all small companies their full turnover is not available on Companies House.
Figure 9 Data showing the net assets of competitors for the past 10 years. Information source from Companies House (2016).
This data shows sales remained steady between 2005 and 2010 despite financial crisis. Generally slow sales occur following recession as people are more money conscious, choosing to save rather than spend. As the economy and housing market strengthened following 2010, so did the lighting industry, proving there is a strong link between the two. As there is a house price crash predicted this may have caused the dip for some companies in 2015, although as this data is the net assets it may not reflect their profits accurately. I feel Tom Dixon and Lee Broom are great models for sales, as smaller companies, their net assets grow gradually, starting with an attainable figure of £1000 per year.
Both Tom Dixon and Lee Broom grew once their net assests totalled over £5000-£10,000 per year. This seems a good starting figure which will ensure I can produce a number of products, along with packaging and marketing material. In 2007 Lee Broom branched out from furniture into lighting which saw his sales grow massively. “After coming up with a collection, he [Broom’s business partner] thinks about what pieces might be suitable for production in the thousands (i.e., they have potential to be popular retail items), what should be produced in a limited run of about 10 or 20 pieces, and what is more of a made-to-order design.” (Budds,2016). Having a flexible range like this could be beneficial to my business; I will create a cheaper retail range along with more innovative limited pieces. I could produce my initial product with numerous handcrafted base options. These limited pieces would appeal to a higher end customer.
Figure 10 A graph tracking the sales, and projected sales of smart lighting (LEDs Magazine, 2014)
This graph (Figure 10) shows the huge growth in the Smart lighting market over the past few years and its projected growth. It highlights the importance of creating energy efficient, contemporary products. A number of lighting companies including Holi and Nanoleaf have begun developing lighting pieces which are customisable using Bluetooth technology. Westgarth (2016) speaks in Mintel of furniture and lamps produced by Ikea, which are able to charge phones and other devices. She suggests it is highly likely technology will have a huge impact on designs for the home. I think it will be necessary for me to explore other technologies such as USB charging and solar power as well as other ways light can be used to improve health. It may be beneficial to partner with a relevant technology company. Unlike other mood lamps available on the market (Figure 11), I want to make more decorative pieces, as I feel this is lacking.
Figure 11 Left Holi Lamp, Right Samsung mood lamp
Figure 12 A graph showing consumer spend on homewares and projected sales (Westgarth, 2015: Online)
The Mintel homeware report (Westgarth, 2015) also shows customer spend on homewares is set to continue rising by 3% a year until 2020. This means customers are now spending more on interior products and possibly looking to modernise their home with technology. John Lewis’ 2015 retail report (John Lewis, 2015) states that sales made via mobile devices rose by 68% over the past 12 months, with many customers using numerous online channels before making their final purchase. Customers who purchase furniture on average visit online channels 7 times prior to purchase. This shows the importance of having product information easily accessible both online and in store.
|Anglepoise||An iconic British brand, the lamp is a classic design created in 1933. This product is seen as quintessentially British. They produce energy efficient task lamps for both commercial and domestic uses. As a reputable company they have a long standing reputation and are seen as a trusted, quality brand. They have quite a small range all based on their iconic design.||The brand has a number of collaborations with other reputable designers such as Paul Smith, enabling them to appeal to a contemporary market. They display at a number of design trade shows such as 100% Design. They have a few thousand followers across Facebook, Twitter, Instagram and Pinterest and update regularly (weekly). They have press coverage in magazines such as Living Etc, Wallpaper*, Harper’s Bazaar, Elle Decoration, House & Garden and national newspapers.||These products are mid-range. Their table lamps are price priced between £100-£250.||Anglepoise products are sold both online on their website and through reputable retailers such as John Lewis, Heals and HAUS. (Large department/style stores)||This brand has been trading for over 80 years. Their net assets have increased 337% over the past 10 years.|
|Mathmos||A classic British brand, the Lava lamp design has been in circulation since 1963. Again this brand has a long standing and is seen as a trustworthy and reputable. They also have a collection of mood and table lamps to appeal to a modern audience. They have a very limited range, all made in the UK.||This brand shows at a number of Tradeshows including Homeshow, Aria and Design Junction. They have a large following on Facebook (12,000) and a few hundred followers on Twitter, Instagram and Pinterest and update weekly. They have press coverage in national newspapers such as The Times and The Telegraph, as well as magazines such as Time out, Also online zines such as Despoke and Apartment Therapy.||These products are slightly cheaper than Anglepoise, but still mid-range. Most lamps are priced between £50-£100||Mathmos sell their products both online on their website and through large retailers such as Selfridges and Heals.||Mathmos have been trading for 50 years. Net assets have remained relatively steady throughout the past 10 years, dipping post-recession. Overall sales have fallen -9% in 10 years.|
|Sharon Marston||Sharon Marston creates large scale, bespoke, situational lighting pieces. The studio has international acclaim. Their products are mostly created using fibre optics and hand blown glass. All pieces are one off and handmade in the UK||These pieces have been featured in a number of high end design magazines and business publications. They have Facebook and Pinterest accounts, but have very few followers and rarely post.||This range is very high end, tailor made. Each piece is made to order and unique to its setting.||Every piece is made to order, made specifically for a space. Mostly these pieces are sold to commercial properties and hotels, but some residential. These are sold purely via sales pitches.||Net assets rose steadily from 2005 until 2013 and then fell, for the last 2 years.|
|Tom Kirk Lighitng||Tom Kirk Lighting is a luxury lighting firm marketed towards both domestic and commercial customers.||This brand is promoted by the Craft Council and displays products at a number of tradeshows such as 100% Design, Sothebys, Maison et Objet. They only have a Twitter account with a few hundred followers which they update regularly. They feature in a number of publications such as Wallpaper*, Interior Design Today, GQ, Living Etc, Elle Decoration, as well as national newspapers such as The Guardian and The Observer.||Very high end range with pieces starting at £500 for a pendant light.||They sell only B2B and their website only has technical specifications. They can be purchased though a number of selected lighting specialists such as Shoreditch Lighting and Darklight Design.||This company only became Limited in 2007 and since then has grown massively with net assets of £121,000 annually.|
|Tom Dixon||Tom Dixon studio is a high end British product design brand with an established lighting range. They focus on materiality and innovation. They don’t limit their range to solely lighting and also have an interior product range for further customer transactions.
|Their products feature in a number of creative/design publications. They have very large social media followings (70,000+) on Facebook, Twitter, Instagram and Pinterest, updated almost daily. They visit premium trade shows such as Milan Design Week and Dutch Design Week. They also feature in online publications such as Dezeen, Design Boom and Dexigner as well as appearing in publications such as Wallpaper*, The Financial Times and The Guardian||This range of products is very high end. These designer pieces start at £100 for small pieces. Most of the lighting range costs several hundred.||This range is sold online, in a number of Tom Dixon stores, and a Harrods concession. They are stocked in a number of high end interior stores such as Heals and Ferrious. They also sell directly to architects and dealers.||This company has grown massively over the past 10 years. In 2005 their net assets reached £1000 but last year they generated £160,000. They received investment from a Swedish investment company and a British investment firm.|
|Lee Broom||Lee Broom is also a high end Interior company with a successful lighting range. The majority of the range is made up of lighting pieces. They produce a number of mass produced pieces and a number limited pieces.||This company exhibits their products at a number of high end tradeshows such as Milan design week and Dutch Design week. The company Facebook page has over 5000 followers. Twitter and Instagram are promoted as a personal account and have over 10,000 followers. This helps give the brand a face and shows Lee Broom is still the heart of the company. They also feature in publications such as Vogue, Wallpaper*, Living Etc, Design Weekly, The Guardian as well as online magazines such as Dezeen and DesignBoom||These products are high end, with premium product starting from £150 for small items. Most lighting pieces are over £200||Both lighting and interior products are sold on the company website and a London store. They are also sold in a number of high end stores and lighting specialists such as Liberty, Harrods, Nest, Ferrious and The Conran Shop. A number of lines are exclusive to the Lee Broom site, driving traffic directly to them, lowering overheads and increasing profit||Sales have grown steadily over 10 years, rapidly increasing over the past 3 years. Sales are now 600% higher than they were 10 years ago.|
|Holi Lamp||The Holi smart lamps uses Bluetooth technology to connect to users smartphones. Combined with coloured light, this mood light can be synced to music, charged to fit your mood or used as an alarm. This company have a mood lamp and a sleep companion bulb in their range. An alarm clock is soon to be released.
|These products have been featured in a number of design and technology publications such as the TechHive, iLounge, Economic Times etc, They have a few thousand followers on both Facbook and Twitter along with a YouTube channel with promotional videos demonstrating their product.||This is a mid-range product costing between £69-£200||This range can only be purchased from the companies online store||This company has been active since 2012, but as a French company no sales info available.|
|Me (Proposed idea)||A lighting firm with a mid-range range of table lights and lamp shades with the intention of expanding into other areas of lighting (floor and ceiling lamps) and the interiors market within the next 3 years.||Visit trade shows such as 100% Design, Milan Design week and DDW. Send press releases to stylish magazines such as Frame, Wallerpaper* and Elle Decoration. Establish and grow Social Media accounts via regular posting and customer interaction. Post regularly across Facebook, Twitter, Instagram and Pinterest. A YouTube channel will allow me to demonstrate the attributes and user interaction element of my product.||Mid range price (£100-£200) but with a real focus on high quality designer feel. This will be done by promoting the company as a designer brand, and emphasise the handmade elements.||Sell online to reduce overheads and increase profit. Approach a number of lighting specialists and style based department stores.||Looking to follow similar sales as Lee Broom or Tom Dixon.|
Figure 13 The Marketing Mix, looking at competitors retail tactics
Most of my competitors either use direct distribution or sell through selected distribution. In a similar way I would like to sell products online but gain market coverage in selected design led stores. I would initially begin with firms local to me, on a sales of return basis to assess how well this worked. This would allow me to remain in control of my prices and adjust them to suit my market. By adapting the marketing mix (Figure 13) I can see small companies rely heavily on a strong and active social media presence to enforce and their brand awareness. All companies have a stylish persona with consistent imagery and all companies have a variety of product. I feel when expanding my range as well as table lamps I should investigate floor and ceiling lighting. I think exhibiting at design shows and appearing in relevant publications will also show potential customers I am an industry expert.
When looking at the visual language adopted by my competitors, most have a simple 2 colour logo, with uncomplicated text (Figure 14). The ‘less is more’ appearance allows them to appear stylish and sophisticated. In addition promoting the company using my name sits in line with the high end designers I have investigated. I will refrain from signifying lighting in my brand name as I feel this would limit me to the lighting industry.
Figure 14 The logos of alternative lighitng companies (Clockwise Holi, Tom Dixon, Sharon Marston LTD, Tom Kirk Lighting, Anglepoise, Mathmos.
Similarly the pacaking designs are simple but stylish (Figure 15). I want to refrain from using wasted packaging with a simple fold down box, which is easily recyclable. Again like my product I want this to remain British made. This should allow customers to easily dispose of waste in a convenient way. I want my product to sit in line with competitors in stores so they look as valuable while offering a lower price point.
Figure 15 The packaging of other lighting companies (wise Mathmos, Anglepoise, Tom Dixon, Lee Broom, Holi.)
|John Lewis||The John Lewis Partnership’s reputation is founded on the uniqueness of our ownership structure and our commercial success. Our purpose is ‘the happiness of all our members, through their worthwhile, satisfying employment in a successful business’, with success measured on our ability to sustain and enhance our position both as an outstanding retailer and as a thriving example of employee ownership. With this in mind, our strategy is based on three interdependent objectives Partners, customers and profit.|
|Tom Dixon||With a commitment to innovation and a mission to revive the British furniture industry, the brand is inspired by the nation’s unique heritage and produces extraordinary objects for everyday use.|
|Anglepoise||Characterised by a pioneering perfect balance mechanism developed in the 1930’s and an engaging kinetic form, iconic, quintessentially British brand, Anglepoise® produces an incomparable series of practical, energy-efficient task lamps.|
|Mathmos||Brilliant lights from the inventors of the lava lamp.|
Figure 16 A table outlining my competitors mission statements
When assessing competitors mission statements (Figure 16) all make reference to design innovation, apart from John Lewis whos commitment is to their customers, shareholders and employees. Customer satisfaction should be a top priority, along with creating beautiful product. I also feel specifying I produce in the UK is also vital.
Figure 17 A chart showing the percent of homeowners in the UK, adapted from data sourced from GOC.UK (2016)
The customer base I am looking to target are most likely to be homeowners with money to renovate as Caines (2010) explains there is a very definite link between lighting sales and trends in the housing market. Data sourced from Gov.uk (2016) provides insight into the average age of homeowners (Figure 17). From this I would assume my main target market is 35 and above, this age range is more affluent as they are more likely to be mortgage free. As people below 35 typically live in rented accommodation they are less likely to redecorate. Although I feel the largest area of homeowners are ages 65+, John Lewis stated in 2013 that only 28% of its customers are 55+ and over, the majority of their customers are under 65 (Bearne, 2013). Therefore, I feel targeting those aged 35 – 64 will be most appropriate.
|% of population (NRS 2015)|
|A||· Higher managerial, administrative and professional
· Usually earning £38,000+, mostly in the 35-44 age range
|B||· Intermediate managerial, administrative and professional
· Usually Earning £29,000+, mostly in the 35-44 age range
|C1||· Supervisory, clerical and junior managerial, administrative and professional
· Usually earning £20,000+, mostly in the 16-24 age range
|C2||· Skilled manual workers
· Usually earning £18,000+, mostly in the 34-44 age range
|D||· Semi-skilled and unskilled manual workers
· Usually earning £15,000+, mostly in 16-24 age range
|E||· State pensioners, casual and lowest grade workers, unemployed with state benefits only||9%|
Figure 18 A table showing Social Grades of the population, sourced from The National Readership Survey (2015)
By adapting the customer spending cycle (Figure 19) I can see the journey customers make before finalising a purchase decision. I feel it’s crucial to offer information in various forms prior to purchase so customers can understand all the product attributes from aesthetics to health. This should come in the form of in-store brochures, technical specification on my website and demonstration videos. Post purchase I will enable customers to sign up online for a warranty giving them ongoing satisfaction, while allowing me to send out discounts for future purchases or to promote new products. I also feel customer care information must be available via several channels such as social media, email and phone to allow customers to get in touch in their preferred manner.Statistics taken from the National Readership Survey (2015) again show me the highest earners in the UK are usually aged between 35 and 44 (Figure 18). I would be aiming to sell to those in socio-economic group A-C1. I feel it is important to target the younger end of this this spectrum as they’re most likely to invest in technology.
Figure 19 An adaptation of the customer spending cycle
Finally the promotional mix (Figure 20) has been adapted to explore the marketing activities I can use to grow brand awareness. Dodgson (2016) explains how digital marketing has shifted brand focus from structural to cultural. Brands have become cultural hubs which offer their consumers more, allowing them to actively engage through trade fairs and events, creating immersive cultural events.
Figure 20 An adaptation on the Promotional Mix
A SWOT analysis (Figure 21) has been used in order to highlight my key findings and features which will form the basis of my strategic descion making process.
|· Using market orientation to improve and develop the product.
· A unique product with is bespoke and handmade element, crafted in house.
· High quality product.
· Product attributes such as the interactive capabilities and mood light properties.
· Low overheads, cheap to enter the market.
· Innovative product, without many competitors for stylish mood lamps in the market.
· British Made.
· Able to retail globally from my web store.
· Able to make a number of changes to the product to make it a more high end piece or a lower cost item.
· Able to offer excellent customer service and customer support post purchase via social media, email and phone.
· Potential to expand business into replacement parts.
· Product attributes and branding to assist in promoting a high value item.
· Large customer base.
|· Lack the funding of big brands, with no large financial reserves.
· Lack the funding to invest in new innovations until sales rise.
· No brand awareness yet in the market, a lot of promotion needed.
· Currently at the mercy of suppliers who could drive prices up.
· In need of a larger product range.
· Not as practical as other products on the market.
· Only elements of the product can be mass produced so the price can’t be driven down.
· Lack the reputation of larger, more established companies.
· Don’t have access to a large team of people; number roles will have to be outsourced.
· Unable to expand until profits rise.
|· The LED and smart lighting industries are expanding, opens the possibility for new products.
· Room to diversify the business and expand into other products e.g. interior products and furniture.
· A growing lighting and homewares market.
· Product is more style led than a number of other mood lamps on the market.
· Room to expand into lighting and technological innovations such as phone charging and solar power.
· A growing housing market and help to buy schemes mean there are more potential customers.
· Larger proportion of the population now in higher socio-economic groups.
|· Large companies may create lighting ranges.
· Possible price wars with competitors or retailers trying to drive the price down.
· UK exit from the EU could be an issue for imports and exports
· Not priced as low as mass produced products.
· Cheaper companies such as Ikea and B&Q dominate the market.
· Numerous competitors out there.
· No large start up fund to invest in technology.
· Varying costs of parts purchased from abroad.
· Fast increases in technology could be hard to keep up with.
Figure 21 SWOT analysis, sourced from Ferrell, OC (2012)
|Harriet Whittaker Designs has a commitment to manufacturing bespoke, high quality interior products. We will create competitively priced, British made, innovative pieces which customers can cherish for a lifetime.
Figure 22 My proposed mission statement
Figure 23 My proposed logo and packaging
SMART Objectives :
|Short Term||· Raise £10,000 through crowd funding or business grants by October 2016.
· By December 2016 build a website and set up an online commerce store to begin trading. Aim for 500 visitors per month from the UK in the first year.
|Medium Term||· After the first 6 months of trading expand the range to 5 mood lamps, launch in October 2017.
· Release 2 limited edition variants of the existing product line within the first year of trading, launch December 2016.
· Within the first 12 months of trading aim to earn enough revenue to cover initial costs and turn over a small profit (£15,000 total).
· Ensure profits rise 12% in following years, in line with my competitors average growth.
|Long Term||· By 2019 expand into other areas of interior product. Begin with a 5-10 piece range of small household, decorative items.
|Medium Term||· Build a mailing list of 1000 by 2017, collecting emails of existing and potential customers
· Increase web traffic 10% per annum.
· Visit one UK tradeshow within the first year to spread brand awareness, collect 500 email address for the mailing list.
· Raise brand awareness amongst consumers aged 35-44 by creating a social media following of 1000 fans per network by 2017.
· Within the first year approach Manchester based stores design stores to retail my product. Aim to retail in at least one store by 2017 on a sale or return basis, increase sales by 5%
· Within the first three years approach larger national design led companies and aim to retail in at least one chain by 2019, increase sales by 10%
|Long Term||· Visit one European tradeshows per year from 2019 or when trade moves to Europe.
· Within the first five years approach a European design led company and aim to retail in at least store on a sale or return basis by 2021, increase sales by 10%.
Figure 24 My proposed SMART Objectives
- Raise money through crowdfunding sites such as kick starter, with the pre-sale of my product. Also apply for new business start-up grands and funding through creative bodies such as the craft council.
- Consult with a web developer to create a simple ecommerce site.
- Complete the prototype of first lamp piece, and then begin to design 5 more pieces which are mood lighting and include additional features such as interactivity.
- Explore a number of alternative materials and production methods to create 2-3 limited edition pieces. These should bear similarity to the core range, but include luxury elements.
- During the first 3 years invest all profit into developing new products, focusing on innovation and design.
- Contact a number of technology or innovation companies who would be prepared to collaborate on a project.
- Further expand the company by branching out into interior product such as vases, mirrors, lampshade etc. Ensure the collection has an overarching theme.
- Establish social media platforms; focus on Facebook, Pinterest, Instagram and twitter. Post several times a week.
- Distribute marketing material bi-weekly via mailing list and blog.
- With the release of every new product or collection send out a press release to relevant publications.
- Create relevant marketing material for each product. Include imagery, information brochure and video.
I have adapted Ansoff’s Matrix (Figure 25) in order to determine how achieve the sales set in my objectives.
|Existing Products||New Products|
|Existing Market||Market Penetration
Low risk, but potential for this strategy is limited. This is something I will only focus on if/when the sales dwindle on a product.
· Advertising campaigns in relevant publications.
· Reduce prices if possible. Try to negotiate on trade prices.
· Assertive social media and online marketing activity, run competitions and giveaways.
· Money off next purchase.
Medium risk, I will use this tactic to expand my business. This will be my key tactic in growing my company.
· Expand into various forms of interior product.
· Expand into other forms of lighting such as floor lamps and wall lights.
· Addition of limited addition product
· Explore other lighting technology or further usage of LEDs
|New Market||Market Development
Medium risk, this tactic will be used to expand my marketplace.
· Approach different retailers throughout the UK, both independent and large style led companies
· Branch out to new geographical areas, first focus on affluent areas and assess sales. Start in Europe before going further afield.
High risk and difficult to achieve. Generally I will avoid this tactic.
· Become an innovation or technology led specialist rather than design led company.
· Branch out of the homewares and interior market into cooperate or retail lighting.
Figure 25 Ansoff (1975) Product Market Matrix, sourced from Ensor (2008)
|Product||· My products will be design and innovation led, always ensuring pieces are made to the highest quality. Every piece should be long lasting and include bespoke elements which will add value and a uniqueness to the piece. The range will only use low cost, energy efficient bulbs.
· The lighting range will have an overarching theme and will include additional attributes such as interactivity and mood enhancing properties. Products will come with a year long warranty. Replacement parts will be available through the retail website.
· I will produce a product range of 5 standard lighting piece, and 2-3 limited edition high end pieces. This range will later expand into interior product at a later date.
· High end and simplistic design will be adopted for my branding.
|Place||· My range will be sold online on my webstore and well as small, independent design stores who are well established in the market. Wholesale will begin on a sale or return basis until a thriving sales relationship is established. These locations will allow customers to experience the product prior to purchase.
· My online store will be a simple, easy to navigate retail website with clean and consistent imagery. I will use a uniform colour and font throughout with minimal colours in order to remain stylish. This site must include contact details, email sign up, blog, social media links and easy to identify product categories.
· All products will display high quality imagery (showing the light both off and on), full technical specification, price (including delivery) and demonstration video. The website will also outline the research behind the soothing benefits of the product.
|Price||· My initial product will be priced at £150, however with an increase in sales I would hope to reduce this to £100 per unit. I would hope this will be priced competitively within department and design stores.
· Further products will be priced in line with this using a good value based pricing strategy, this will take into account the cost of production as well as the value and quality of the product.
|Promotion||· I will create press releases for the release of every new product or collection. These will be sent to relevant publications such as Frame, Icon, Wallpaper* and Elle Decoration. In addition I will issue them to online publications such as Deezen, Design Milk and Design Boom.
· Build an online following via social media through daily posts on Facebook, Twitter, Instagram and Pinterest. Sponsored posts may be used on prominent networks to further boost sales.
· I will visit trade shows to build credibility alongside competitors. I will aim to show at Design Junction, 100% Design, London Design Festival, Manchester Design festival and international shows such as Milan Design Week and Dutch Design Week..
· Create a bi-weekly blog post and mail out outlining new products, collection and up-coming events. This can be sent out to a mailing list which will be built collecting email addresses post-purchase, using an online signup sheet or at promotional events.
· When customers register for a warranty online, outline where the ways in which they can receive customer care (email, phone and social media). Also provide them with 10% off their next purchase to encourage repeat business.
|Physical Evidence||· All stores will be provided with a display model of each product, branded POS to increase brand awareness and product brochures
· Product brochures will include technical specification, imagery, website and social media addresses and contact details. They will be used to highlight attributes of the product.
|Process||· I will approach relevant companies to assist in the development of technology; my focus will lie in smart lighting, LED technology, dual functionality.
· As the company grows I will try and bring as many processes in house as possible to gain power from the suppliers allowing me to have more control over my prices. The higher the number of items I produce, the lower my production costs should be.
|People||· Offer customer care via social media, email or phone for customer convenience, as this should be minimal at first I should be able to manage this myself. I intend to make it as easy as possible for customers to speak to someone, so they know they are the priority.
· As the company grows look to employ those with knowledge of technology to further develop the product using cutting edge lighting technologies or other technology which could be adapted for use in interiors e.g. solar power phone charging.
Figure 26 An adaptation of the Marketing Mix
This Gantt chart (Figure 27) outlines the timeline for the implementation of my tactics.
In order to close the loop in my marketing plan I will follow these steps:
Figure 28 A graph showing my weekly, monthly, annual and ongoing assessment criteria
- Chesney (2003) Competitive Information in Small Businesses. New York Springer.
- Ensor, J; Drummond, G; Ashford, R. (2008) Strategic Marketing Planning and Control. Third Edition. Oxford: Elsevier.
- Ferell, OC; Hartline, D. (2012) Marketing Strategy. Sixth Edition. Mason, USA: South Western Educational Publishing.
- Anderson, E (2013) How I Beat The Odds: Cressida Granger of lava lamp pioneer Mathmos. Management Today [Online] [Date accessed 02/02/16] http://www.managementtoday.co.uk/news/1217039/
- Allen, K (2016) UK retail sales drop as shoppers cut back on food and clothes. The Guardian [Online] [Date Accessed 02/05/16] https://www.theguardian.com/business/2016/apr/21/uk-retail-sales-drop-shoppers-cut-back-food-clothes-ons
- Bearne, S (2013) John Lewis unveils in-depth insight into its customers’ shopping habits. Retail Week [Online] [Date accessed 16/05/16] http://www.retail-week.com/sectors/general-merchandise/john-lewis-unveils-in-depth-insight-into-its-customers-shopping-habits/5054445.fullarticle
- Budds, D. (2016) How A Former Child Actor Became One Of Britain’s Top Design Exports. Fast Company [Online][Date accessed 01/02/16] http://www.fastcodesign.com/3059251/making-it/how-a-former-child-actor-became-one-of-britains-greatest-design-exports
- Caines, R. (2010) Lighting – UK – October 2010. Mintel [Online][Date accessed 28/03/16] http://academic.mintel.com.ezproxy.mmu.ac.uk/display/479937/
- Companies House (2016) [Online] [Date Accessed 20/04/16] https://beta.companieshouse.gov.uk/
- Dodgson, R. (2016) How brands are shifting to become “cultural hubs”. The Industry London [Online] [Date Accessed 04/05/16] http://www.theindustrylondon.com/55293-2/
- European Commission (2015) Keeping consumers safe: nearly 2500 dangerous products withdrawn from the EU market in 2014 [Online] [Date accessed 06/04/16] http://europa.eu/rapid/press-release_IP-15-4627_en.htm
- Fairs, M (2016) Brexit vote could damage London’s design status says Tom Dixon. Dezeen [Online] [Date Accessed 04/05/16] http://www.dezeen.com/2016/04/13/brexit-vote-could-damage-londons-design-status-says-tom-dixon/
- UK (2016) Owner occupiers, recent first time buyers and second homes [Online] [Date accessed 20/04/16] https://www.gov.uk/government/statistical-data-sets/owner-occupiers-recent-first-time-buyers-and-second-homes
- John Lewis (2015)The John Lewis Retail Report 2015, How we shop, live & look. [Online] [Date accessed 12/05/16] John Lewis http://johnlewis.scene7.com/is/content/JohnLewis/jl_retail_report_2015_151015pdf
- National Readership Survey (2015) Social Grade [Online] [Date accessed 20/04/16] http://www.nrs.co.uk/nrs-print/lifestyle-and-classification-data/social-grade/
- Westgarth, J. (2015) Homewares – UK – January 2015. Mintel [Online] [Date Accessed 28/03/16] http://academic.mintel.com.ezproxy.mmu.ac.uk/display/715701/
- Westgarth, J. (2016) Consumer Trends, Attitudes and Spending Habits on the Home – UK – March 2016. Mintel [Online] [Date Accessed 28/03/16] http://academic.mintel.com.ezproxy.mmu.ac.uk/display/747982/?highlight
- Wright, M (2014) Research projects five years of growth for packaged LEDs and SSL. LEDs Magazine [Online] [Date Accessed 06/04/16) http://www.ledsmagazine.com/articles/print/volume-11/issue-4/features/markets/research-projects-five-years-of-growth-for-packaged-leds-and-ssl.html
Tables & Figures
Figure 1: Photograph and sketch of my prototyped design. [Photograph and Drawing]
Figure 2: An adaptation of the PEST report.
Figure 3: An adaptation of Porter’s 5 Forces (1980) Sourced from Ensor, J; Drummond, G; Ashford, R. (2008) Strategic Marketing Planning and Control. Third Edition. Oxford: Elsevier
Figure 4: A table showing the most frequently notified product categories in 2014 according to EU commission. European Commission (2015) Keeping consumers safe: nearly 2500 dangerous products withdrawn from the EU market in 2014 [Online] [Date accessed 06/04/16] http://europa.eu/rapid/press-release_IP-15-4627_en.htm
Figure 5: An adaptation of the Product Lifecycle, sourced from Ensor, J; Drummond, G; Ashford, R. (2008) Strategic Marketing Planning and Control. Third Edition. Oxford: Elsevier.
Figure 6: The 1227 lamp by Anglepoise. At: https://www.anglepoise.com/product/original-1227-desk-lamp (Accessed on 16/05/16)
The Lava Lamp by Mathmos. At: http://www.mathmos.com/mathmos-astro-lava-lamp-the-original-1227-0.html#red-pink-red (Accessed on 16/05/16)
Figure 7: An adaptation of the Generic Strategy Diagram, Porter (1960) sourced from
Figure 8: An adaptation of Perceptual Mapping, sourced from Ensor, J; Drummond, G; Ashford, R. (2008) Strategic Marketing Planning and Control. Third Edition. Oxford: Elsevier.
Figure 9: Data showing the net assets of my competitors for the past 10 years. Information source from Companies House (2016) [Online] [Date Accessed 20/04/16] https://beta.companieshouse.gov.uk/
Figure 10: A graph tracking the sales, and projected sales of smart lighting. At: http://www.ledsmagazine.com/articles/print/volume-11/issue-4/features/markets/research-projects-five-years-of-growth-for-packaged-leds-and-ssl.html (Accessed 06/04/16)
Figure 11: Holi Lamp. At: http://www.macworld.co.uk/review/ios-mac-accessories/holi-smart-lamp-for-ipad-iphone-review-3511970/ (Accessed 18/05/16)
Samsung mood lamp. At: http://www.amazon.com/Samsung-LED-Sign-Mood-Lamp/dp/B00DCC1R3W (Accessed 18/05/16)
Figure 12: A graph showing consumer spend on homewares and projected sales At: http://academic.mintel.com.ezproxy.mmu.ac.uk/display/715701/ (Accessed 25/03/16)
Figure 13: An adaptation of The Marketing Mix, looking at competitors retail tactics.
Figure 14: The logos of alternative lighting companies
Holi logo. At: https://www.holimotion.com/SmartLamp (Accessed 11/05/16)
Tom Dixon logo. At: http://www.tomdixon.net/ (Accessed 11/05/16)
Sharon Marston logo. At: http://www.sharonmarston.com/ (Accessed 11/05/16)
Tom Kirk Lighting logo. At: http://www.tomkirk.com/ (Accessed 11/05/16)
Anglepoise logo. At: https://www.anglepoise.com/ (Accessed 11/05/16)
Mathmos logo. At: http://www.mathmos.com/ (Accessed 11/05/16)
Figure 15: The packaging of other lighting companies
Anglepoise. At: http://www.studiosmall.com/archive/anglepoise/
Lee Broom. At: https://www.google.co.uk/search?q=mathmos+logo&biw=1366&bih=643&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjwtMCL267MAhVBJsAKHcS7B2QQ_AUIBigB#tbm=isch&q=lighting+packaging&imgrc=HRxyaYqo8F0UgM%3A
Figure 16: A table outlining my competitors mission statements
Figure 17: A chart showing the percent of homeowners in the UK, adapted from data sourced from GOV.UK (2016) Owner occupiers, recent first time buyers and second homes [Online] [Date accessed 20/04/16] https://www.gov.uk/government/statistical-data-sets/owner-occupiers-recent-first-time-buyers-and-second-homes
Figure 18: A table showing Social Grades of the population, sourced from National Readership Survey (2015) Social Grade [Online] [Date accessed 20/04/16] http://www.nrs.co.uk/nrs-print/lifestyle-and-classification-data/social-grade/
Figure 19: An adaptation of the customer spending cycle
Figure 20: An adaptation on the Promotional Mix
Figure 21: SWOT analysis, sourced from Ferell, OC; Hartline, D. (2012) Marketing Strategy. Sixth Edition. Mason, USA: South Western Educational Publishing.
Figure 22: My proposed mission statement
Figure 23: My proposed logo and branding [Drawing]
Figure 24: My proposed SMART Objectives
Figure 25: Ansoff (1975) Product Market Matrix, sourced from Ensor, J; Drummond, G; Ashford, R. (2008) Strategic Marketing Planning and Control. Third Edition. Oxford: Elsevier.
Figure 26: An adaptation of the Marketing Mix
Figure 27: Gantt Chart outlining my marketing activities.
Figure 28: A graph showing my weekly, monthly, annual and ongoing assessment criteria