concept development

1. REPORT

WORD COUNT: 4391

Catherine McAleer

(MCA07207870)

[email protected]

3

CONTENTSTable of

Executive Summary 4

Brand Values 5

Aims and Objectives

Visual Identity

Brand Concept 7 - 9

The Consumer 11 - 15

Consumer Profile 16 - 21

The Competitors 23 - 48

Market Positioning 49

PESTLE 50 - 53

SWOT 54

Range Plan 57

Production 58 - 59

Supply Chain 60

Retail positioning 61 - 62

Online Presence 63

Publicity and Marketing 64 - 65

Conclusion 67

4

Catherine McAleer will operate as a limited company,

selling a range of luxury women’s footwear. This

concept development report will look at the various

aspects of establishing an SME design business.

The strongest unique selling point for Catherine

McAleer is the brand’s Irish background and use of

traditional Celtic craftsmanship. The collection will be

inspired by juxtaposition; of tradition and technology,

vintage and modern, masculine and feminine. It will

hold a deep memory of the past, which has been thrust

into the future of new technology.

Research has identified three main consumers; the

Irish, British and Tourist consumer, they vary in age

yet have similar needs. Against strong competition

such as Bally, Lanvin and Rupert Sanderson, Catherine

McAleer intends to become an identifiable brand within

the market, through the use of intricate design details

and strong sculptural features, which will command

attention. The company will sit among these luxury

brands in stores such as Brown Thomas in Ireland and

Selfridges, London. Expansion to other countries will

develop once UK and Irish stockists are established.

A strong online presence will be acquired through a

company website and stores such as net-a-porter.

The collection will consist of a small refined range of

shoes to suit the consumers’ needs. It will include a

combination of flat and low to mid-height heels and

one limited edition high heel, all available in a variety

of sizes and colours. The manufacture and component

supplies will be sourced in Ireland where possible.

ExecutiveSummary

5

Brand Values

~ Refined luxurious products

~ Attention to detail

~ Distinguished

~ Quality

~ Unique limited edition value

~ Amalgamating art, craft and design

~ Promotion of Irish craftsmanship

Aims

~ To create a luxury branded footwear company

under the trading name, Catherine McAleer.

~ To source materials and production within Ireland

where possible.

~ To establish a brand identity that communicates

uniqueness and quality.

objectives

~ To offer an exclusive limited edition footwear

design to customers.

~ To acquire at least five distinguished stockists in

Europe in the first year of trading.

~ To break even after two years of trading.

~ To move to own workshop after five years of trading.

Visual Identity

~ Luxury quality

~ Celtic aesthetic

~ Irish descent

~ Vintage inspiration

~ ‘The design is a way to communicate the emotion

behind the brand and company’s philosophy.’

(www.emotionalbranding.com)

~ (Brand logo can be found in Book 3: Body of Work)

7

BrandConceptTechnological advances of the 21st century have brought increased material benefits and comfort to

Ireland, the price paid, in terms of the country’s cultural heritage, has been high. ‘The indigenous,

the traditional, and the work of the craftsman have been neglected’. (Mc Williams, 2007: 273) Author

and economist David McWilliams suggests that the only way Ireland can get back on its feet, after the

current recession, is by calling back our “Global Tribe,” who have dispersed throughout the world. We

need to be producing our own goods, creating jobs and utilizing the skills of our workforce. ‘We can

reimagine Ireland and reposition ourselves for the 21st century. No other country is doing this or can

do this because no other country has a bigger diaspora, no other nation has fewer enemies, no other

people have a stronger brand and no other tribe is as flexible.’ (Mc Williams, 2007: 273)

As the creator and designer of the Catherine McAleer (CMA) brand is a native of Ireland, there

is a powerful patriotic connection to her country of origin and a commitment to combining the

ancient skills with modern technologies in order to forge a unique collaboration of both elements.

Throughout the brand and in the designs, there will not only be a strong focus on Irish craftsmanship,

such as embroidery, and metal work but also a reflection of the latest technological advances. As the

brand expands it will offer local employment in other area of the business.

A recent report prepared by Indecon International Economic Consultants, Economic Significance and

Potential of the Crafts Sector in Ireland, highlights the fact that the craft sector makes an important

contribution to national and local economic development in Ireland. A summary of the key measures

of direct economic contribution of the Irish craft sector is presented in the table below.

It is evident that there is a significant home and export market for Irish craft. Branding will help drive

the company forward and ensure its future prosperity.

Direct Economic Contribution of the Craft Sector

________________________________________________________________

Estimated Value of Output €498m

Estimated Employment 5,771

Value of Exports €125.5

Value of Irish Market Sales €373.5m

________________________________________________________________

FIG. 1

8

CMA will employ the skills of local crafts people and especially that of design graduates whose talent should

be nurtured. Figure 2 below shows the number of students who are currently studying craft related courses

in Ireland. If there is a lack of jobs in Ireland for these skilled people, they will go to other countries for

employment, whereas jobs should be created in Ireland for those students. The extent of the recent problem

was outlined in the latest Central Statistic Office figures, which shows that Irish emigration is ‘now at its highest

level since the Great Famine, with 111 people leaving the country every day.’ (www.cso.ie)

Catherine McAleer will be in a position to profit from recent craft

promotions in Ireland and also gain investors.

‘The Crafts Council of Ireland and Northern Ireland have designated

2011 as the Year of Craft. The year marks the 40th anniversary of the

Crafts Council of Ireland and will be celebrated through a diverse range

of dynamic events and programes to showcase the very best of craft

made on the island.’ (http://www.craftinireland.com/)

The Craft Council of Ireland emphasizes that ‘craft practice has

significant social benefits, for example, enhancing well being and

contributing to social inclusion.’ (http://www.ccoi.ie/)

‘Enterprise Ireland is the government organisation responsible for

the development and growth of Irish enterprises in world markets.

We work in partnership with Irish enterprises to help them start,

grow, innovate and win export sales on global markets. In this way, we

support sustainable economic growth, regional development and secure

employment.’ (http://www.enterprise-ireland.com/en/)

Artistic and

Creative Courses

Total

Art, Craft & Design

Courses related to craft

Craft Courses

Number of Courses

376

225

100

51

Number of students

10,152

6,075

2,700

1,377

Artistic and creative PLC

Courses (% of total)

100%

59.80%

26.60%

13.60%

Total PLC Courses

(% of total)

14.50%

8.70%

3.80%

2.00%

_________________________________________________________________________

Fig. 2

9

Although it is idealistic to believe that creating craft products will be the answer to unemployment and the

off-shoring of jobs, they do perform an underrated function by building and binding communities. Craft

depends on skills being passed from one person to another and becomes a lifestyle, not a job. ‘Very few jobs

can offer the same satisfaction. The tradition lives on in the skill, the craft, the pride, and if it dies we will be

the poorer for it.’ (Hands, 1970, 15mins) Creating local supply chains generates a ‘healthy local economy that

retains money, has a stronger immune system and is less vulnerable to global fluctuations in labour and cur-

rencies.’ (Barton, http://www.independent.co.uk/)

11

Who will purchase CMA shoes and buy into the brand is a key factor for a start up

business and much emphasis has been placed on researching and targeting the right

people. Questionnaires were carried out in areas such as Sloane Square, Knightsbridge

and Notting Hill. Further questionnaires were answered by consumers in Belfast and

Dublin city centre and also at Kilkenny Design Centre.

The Consumer

12

Results show that consumers are most interested in the quality,

comfort and style of the shoes they purchase. A recent Mintel report

also suggests that there has been a ‘significant rise in women investing

in quality clothes, with almost a quarter (23%) buying fewer items

but better quality garments, compared with one in eight in 2010.

Under-35 females and those in the AB socio-economic group, as well

as women with children aged 0-4 are most likely to invest in quality

clothes.’ (Mintel, Women’s Fashion Lifestyles, 2011)

15% of women claimed that the country of manufacture was

important in their decision-making. ‘I like to look and feel good, that

means quality shoes. Italian or British are know to be well made.’

(See Appendix 1) People are aware of where their shoes come

from and know which countries produce quality products. The

questionnaire was adapted for the Irish consumer and when asked

if it was an attractive trait for companies to be Irish-made, almost

100% replied that it was, ‘it has a reputation for being of good

quality and high craftsmanship.’ (See Appendix 1) Garvan de Bruir,

who runs a traditional design and craftsmanship studio in Kildare

replied, ‘yes they are, but handmade products will always be fighting

against the brand recognition factor and the complete merchandising

and marketing machine, as opposed to just a product comparison.

Around the world, the campaign for ‘local sourcing’ has always

been promoted.’ (Appendix 2, page 38) These are positive words

of reassurance for CMA, this means creating a brand alongside the

craftsmanship of the product will be extremely important to the long

term success of the company.

Comfort

Style

Quality

Ethical

Value for money

Brand Ethos

Investment

Country of manufacture

Most Important Factor When Purchasing Women’s Footwear (%)

15%

18%

17%

7%

8%

15%

9%

11%

13

The results from the questionnaire indicate that

the consumer aged 36-40 is the largest spender

on shoes priced £450 - £750.

Figure 3 proves people are interested in

purchasing limited edition shoes and many

would be willing to pay up to £1000 for them.

The results again identify the age group 36-40

as the highest spenders. This information will

contribute to the pricing strategy for the range.

(see page 57)

0

10

20

30

40

50

60

70

80

90

Yes Maybe No

Percentage (%)

Average Amount Spent on Women’s Footwear In Relation To Age

Average Amount Women would Spend on Limited Edition Footwear, In Relation To Age

Percentage of Women Who Would

purchase Limited Edition Footwear

fig. 3

0

1

2

3

4

5

6

7

20-‐25 26-‐30 31-‐35 36-‐40 41-‐45 46-‐50 51-‐55 56-‐60 60+

£0-‐150

£151-‐300

£301-‐450

£451-‐600

£601-‐750

£751-‐900

£901-‐1050

0

1

2

3

4

5

20-‐25 26-‐30 31-‐35 36-‐40 41-‐45 46-‐50 51-‐55 56-‐60 60+

£0-‐150

£151-‐300

£301-‐450

£451-‐600

£601-‐750

£751-‐900

£901-‐1050

14

Questionnaire answers, demonstrates that it varies where people purchase their shoes and clothing. Many

answers did indicate, regardless of earning power that their style was very much vintage inspired and often

purchased from charity shops. Overall the questionnaire indicated that women’s outfits combined high street,

designer and vintage, whereas their accessories and shoes were often purchased from designer stores to

acquire quality and comfort from these items.

After extensive research into CMA’s potential consumers, three types of consumer were identified and

examined. ‘Consumer A’ is the primary customer. Working and living in Ireland, she is aged between 25

and 35. Secondary ‘Consumer B’ is a British woman, aged between 30 and 40. ‘Consumer C’ is the tourist

customer, who is the youngest aged between 20 and 28. The graphs below indicate that Ireland and the UK

have two different demographics; therefore the Irish consumer is slightly younger than the UK consumer.

0 50000 100000 150000 200000

0-‐ 4 years

10-‐14 years

20-‐ 14 years

30-‐34 years

40-‐ 44 years

50-‐ 54 years

60-‐ 64 years

70-‐ 74 years

80-‐ 84 years

90-‐ 94 years

100 years+

Ireland: Female Popula0on

Ireland

0 1000000 2000000 3000000

0-‐ 4 years

10-‐14 years

20-‐ 14 years

30-‐34 years

40-‐ 44 years

50-‐ 54 years

60-‐ 64 years

70-‐ 74 years

80-‐ 84 years

90-‐ 94 years

100 years+

Uk: Female Popula.on

Uk

Ireland and UK Female Population in relation to age

Fig. 4

15

The tourist consumer is becoming more and more important to Ireland and the UK’s economy. The Irish

craft sector has close relationships with the tourism industry, which provides Ireland with an important

source of revenue, evidenced in the chart above. Foreign tourists account for almost 20% of the craft

purchases, which means this is an influential consumer who cannot be ignored.

A survey conducted by Shoparazzi, a member’s only shopping club, revealed that ‘over £3 billion is spent in

the UK each year on fashion by tourists, making shopping tourism a significant contributor to the economy.

As many as 1 million people per annum may be visiting Britain each year just to shop.’

(http://www.fashionunited.co.uk/)

The following consumer profiles give a snapshot into the lives of consumers identified.

Tourist (Foreign)

Tourist (Irish)

Local Shoppers

Analysis of Craft Purchases in Ireland - Craft Consumers by Type

Fig. 5

16

Consumer A

Kristine Kilty

31

Interior designer

£ 76,000 per annum

~ No children

~ High disposable income.

~ Needs to look professional at work

but also show her personal creative

style.

~ Loves visiting vintage markets.

~ Kristine has a great understanding

of design and quality.

~ She loves taking her time and en-

joying the finer things in life.

~ Spends a lot of money on herself,

likes to look and feel good.

~ Works hard for her money and

lives a hectic lifestyle of work, travel

and socializing.

~ Can’t live without her iPhone.

17

Vintage Bag£55 - Market

Vintage Coat£125 - Annies

Vintage Cuff£39 - Market

Hat£320 - Eugina Kim

Lace-up Boots£395 - Marc Jacobs

Nail Polish£21 - Chanel

Candle£36 - The White Company

Bicycle£625 - Pashley

Sunglasses£123 - RayBan

18

Consumer B

Norma Black

37

London

Sales and Marketing Executive

£120,000 per annum

~ Married, no children

~ Fits into the ‘Wealthy Achievers’ category

in the Acorn structure.

~ Divides her time between her homes in

London and Paris.

~ Hires a car, while travelling,.

~ Although Norma has a serious high powered

job she enjoys having an eccentric dress sense.

~ She shops locally and appreciates good quality

products, ranging from the food she eats to

the cloths she wears.

~ She enjoys trips to the theatre and opera.

~ Takes care of her appearance and health.

Feeling young and stylish yet likes to be

comfortable.

19

Fragrance£72 - Jo Malone

Leather Journal£45 - Aspiral

Laptop case£189 - Estime

iPhone£501.99 - Apple

Snakeskin bag£2735 - Bottega Veneta

Ankle Boots£315 - A.P.C.

Trench Coat£2100 - Donna Karan

Snake Ring£180 - Roberto Cavalli

20

Consumer C

Jennivi Jordan

24

China

Freelance Stylist

£26,000 per annum

~ Single

~ Private means, fund her expensive taste.

~ Parents are typical A1 ‘Wealthy

Achievers.’

~ Jennivi mainly buys designer

clothes and accessories when in Britain as

prices are lower than in China.

~ Loves all things vintage but invests in key

pieces every season from various luxury

designers including Miu Miu and Dior.

~ She is not brand loyal and open to buying into

new designers creations.

~ She loves to read online blogs

~ Keeps up to date with news and events via

her iPad which she takes everywhere.

~ Keen interest in travelling but will always stay

somewhere high end.

21

iPhone Case£52 - Juicy Couture

Fashion Notebook£9.95 - Christian Lacroix

Camera£1269.95 - Canon

iPad£499 - Apple

Scarf£165 - Alexander McQueen

Ballet pumps£225 - Chanel

Oversized Alexa Bag£925 - Mulberry

Lace dress£445 - Anna Sui

23

The following pages look at the top six rivals. By examining their marketing mix, hosting

interviews with sales assistants and conducting individual shop reports, it is clear there is a gap in

the luxury market for hand-crafted, limited edition Irish designs. Additional information regarding

the primary and secondary competitors can be found in Appendix 3.

TheCompetition

24

Bally offers an extensive range of beautifully crafted

shoes. ‘People come to Bally because of their reputation

for excellent quality, craftsmanship and timeless designs.’

(Har Lee, C, Appendix 2, 42) The original range, which

rarely changes, consists of low pumps, ballerina flats

classic boots and brogues – among which are the

companies best sellers.

A secondary collection was launched this season to

celebrate 160 years in business. This line is much more

fashion forward, aimed at a younger customer. Bally is

considered a competitor for Catherine McAleer because

of their craft heritage and strong customer base.

Primary Consumer

Age: 35-65

Nationality: British/European

What they buy: Low pumps, ballet flats, brogues.

Overview: The Bally wearer leads a hectic lifestyle, usually

in full time employment and a full time mother. She

needs something comfortable, stylish, well made and

aesthetically pleasing.

Secondary Consumer

Age: 20-28

Nationality: Chinese/Asian

What they buy: Very high, trend driven platform heels.

Overview: ‘Generally a graduate student with private

means’ (shop assistant: Bally, New Bond Street) She wants

something exquisitely beautiful yet fashionable to match

her designer outfit.

ContesseBallerina

£335

MarcelleMoccasin

£250

DeodaraWedge

£450

MameAnkle Boot

£895

DogesBoot

£695

25

Celebrity Followers

Demi Moore

Kristen Stewart

26

Online Presence

~ E-commerce.

~ Easy to use and purchase products.

~ Mature layout, aimed at older consumer.

~ Plain background.

~ Neutral colours associated with craft.

~ Outline of unique heritage.

~ Time-line of promotional images.

~ Films promoting traditional craft methods.

28

Although originally started as a clothing brand, Lanvin

has expanded its product range into shoes, bags and other

accessories, which have been just as successful. While

Lanvin offers a limited selection of shoes compared

with other competitors, the range is refined and perfectly

selected for the consumer. Every season, ‘the inspiration

is always to create beautiful, intelligent products which

fits the brand.’ (Carson, A, Appendix 2, 40) Lanvin is

a primary competitor for CMA in terms of the design

aesthetics and similar target consumer.

Primary Customer

Age: 35-55

Nationality: Italian/European

What they buy: High pumps, medium height boots, ballet

pumps.

Overview: An extremely modern and stylish mature woman

with a flare for fashion. Tastes are understated with a

touch of luxury.

Secondary Customer

Age: 25-35

Nationality: European

What they buy: 4” high platform heels, mid heel boots for

winter and casual dress.

Overview: Often a regent graduate who is now in full time

employment, tastes are mature, yet their style has a fun

side.

Wedge Pump£850

Patent leather Stiletto

£625

Snakeskin Derby shoe£625

Ankle strap stiletto£605

Leather chunky heel boot

£980

29

Celebrity Followers

Diane Kruger

Kirsten Dunst

30

Online Presence

~ E-commerce.~ Creative and interesting interactive website.~ Extensive company history.~ Design inspiration in the background.~ Sketches by the designers.~ Quotes from designers and directors allow the viewer to feel closer to the brand.

32

Rupert Sanderson mixes traditional Italian craftsmanship

with modern design. The use of luxurious textures and

neutral colours makes his collection instantly recognizable.

‘The skills and “hand,” built up over generations in

[his] factory high in the Italian Apennine hills, ensures

that techniques are nurtured and handed down.’ (www.

rupertsanderson.com/craft)

With similar styles, influences of craft and a comparable

price range. CMAs striking features and intricate design

details will provide serious competition.

Primary Consumer

Age: 35-45


What they buy: 2-4 inch booties, evening shoes, flat pumps.

Overview: This customers job is quite serious, so calls for

footwear that is practical yet stylish, something she will be

taken seriously in. Her fun side comes out at the weekend,

opting to wear leopard print moccasins for casual wear

and high-heeled flirtatious heels for evening.

Secondary Consumer

Age: 25-35


What they buy: High fashion shoes.

Overview: Always on trend and want to buy into a seasonal

piece but something which is understated and can carry

her from season to season without looking out of date.

Hanover Leather boot£600

AsiagoSuede platform heels

£620

Cecil blitzSuede peep toe shoes

£435

Devonhair calf loafers

£625

HarperSuede pumps£505

33

Celebrity Followers

Kylie Minogue

Cheryl Cole

34

Online Presence

~ E-commerce

~ Simple website design: modern and sleek

~ Easy navigation

~ Celebrity wearers acknowledged

~ Background of company craft

~ Designer Biography

~ Press pages

~ Linked Blog

36

There are a wide variety of shoes at Fendi, which appeal

to a range of customers of all ages and from all around

the world. ‘Currently, Fendi has over 160 boutiques in

some 25 countries around the world.’ (www.fendi.com)

It is clear that competition from this highly branded

company will be intense. Competition between consumers

to get hold of their latest shoe designs is even fierce as

some lines sell out quickly. Style wise, there are similarities

to CMA, such as the vintage feel to the high fashion

designs and a much more sexy vibe to the classic ‘F’ line.

Primary Customer

Age: 38 - 45

Nationality: Arabian/Asian

What they buy: Heavily branded items, driving shoes and

evening platform heels 4”+

Overview: A lady with a lavish lifestyle. She has a need to

have heavily branded items to show off her wealth.

Secondary Customer

Age: 20 - 30


What they buy: mid heel, fashion forward quirky shoes.

Overview: A younger generation Fendi follower who has to

have the seasons must have trends. Quirky and unique she

stands out in a crowd and never goes unnoticed.

Monogrammed ballet shoe

£305

Leather peep toe

£599

Cameleon£704

Ankle boot£789

Leather Boot£669

37

Celebrity Followers

Kelly Rowland

Eva Longoria

38

Online Presence

~ No e-commerce

~ Unique colour scheme sets Fendi apart from

competitors

~ A wealth of information included

~ Links to other websites in association

~ Focused on news, events and other projects

~ Uses ‘Flash’ which is slow to use but the

viewer time to reflect and anticipate.

40

‘The king of party glamour’ says Net-a-porter. A designer

who’s style and inspiration remains constant throughout

the years, and is synonymous with glam, rock, and animal

prints. ‘He has also launched a nightclub, a fitting business

venture for the man who designs clothes club girls love

to wear..’ (www.nymag.com/fashion) This emphasises he

is successfully selling a lifestyle. His shoes complement

the clothing design perfectly and make any outfit look

glamorous.

Roberto Cavalli and CMA are similar in that their

customer is more mature but still oozes sexiness and

sophistication, displaying this through her choice of

footwear and clothing.

Primary Consumer

Age: 35-65

Nationality: Italian/ European

What they buy: High heeled boots, evening shoes, high and

flat sandals.

Overview: A flamboyant dresser, oozing sexiness and

personality she cares not for what people think of her.

Secondary Consumer

Age: 20-35


What they buy: High heeled sandals, boots and pumps

Overview: Confident, care-free and focused on living a

glamorous lifestyle.

Patent Leather sandals£415

Ballet Flats£270

Paillette shoes

£504

Patent leather cage sandals£455

Leather thigh boots£845

roberto cavalli

41

CELEBRITY FOLLOWERS

Halle Berry

Taylor Swift

42

Online Presence

~ E-commerce

~ Black red and gold layout

~ Not easily navigated around

~ No website map

~ Red carpet glamour pictures

~ Links to other ventures, including clubs

and alcoholic drinks

~ Promotes a glamorous lifestyle

44

Bottega Veneta proves a prominent competitor, focused

on craftsmanship and luxury products and their loyal

customer base. ‘Renowned for its signature intricate

woven leather, Italian fashion house Bottega Veneta’s

timeless style has earned it a loyal and discerning following

since its launch in 1966.’ (www.net-a-porter.com)

The products feel how they look – comfortable, easy

to wear, soft to the touch. CMA will follow these same

qualities but offer a more trend and fashion forward range

of footwear.

Primary Consumer

Age: 30-45

Nationality: Arab/Asian

What they buy: High heels

Overview: Attracted to the comfort and craftsmanship of

the products. The consumer wishes to be comfortable and

feel free to move around.

Secondary Consumer

Age: 16-30


What they buy: Flat and mid-heels.

Overview: A successful woman, living a luxurious lifestyle

who needs something which can carry her from work life

to home life.

Expresso Calf Suede Shoe£445

Antique Velvet Wedge Sandal£490

Nero Lace Vernice Ankle Boot£580

Chene Python Sandal£670

Silk Bejewelled Ballerina£425

BOTTEGA VENETA

45

Celebrity Followers

Gemma Arterton

GWYNETH PALTROW

46

Online Presence

~ E-commerce

~ Extensive range of products available to pur

chase online

~ Easy navigation

~ Neutral colours

~ Sombre appearance

~ Lacks excitement and personality

48

Nina Divito was a successful Irish footwear

designer, but due to illness is no longer trading.

Although not seen as a competitor, her work

and business still remain an inspiration

and much guidance can be taken from the

company’s successful history. The brand was

positioned in the luxury market appealing

to middle aged and younger women, similar

to that of CMA. Divito’s 2010 collection is

still sold in Brown Thomas in Ireland and

sits among competitors such as Lanvin and

Nicholas Kirkwood. She used her artistic

impressions of shoes to illustrate and promote

her designs, gaining much press, her work was

well recognized. Having strong links with

Ireland will help promote and foster the CMA

brand and in the future aims to be as successful

as Nina Divito.

It is apparent that CMA is entering an extremely crowded market place, but the brand holds a rare

unique selling point, which will set it apart from the competition. There are no other Irish footwear

design companies in the luxury market. Consumers are aware that Irish craftsmanship is of an impeccable

standard and offering a footwear range, which combines this with quality, style and comfort will fulfil a

gap in the market.

Many of the brand’s competitors are companies that started as clothing brands and footwear was

introduced to complement this. CMA can offer the consumer an intimate selection of shoes designed to

be versatile and stylish. The brand will not follow trends religiously but adapt and develop them to create

new trends which suit the consumer needs.

DivitoNina

49

Age -60

Hig

h P

ric

e

Lo

w P

ric

e

Consevative Fashion Design Lead

Heritage/Craftsmanship brands: Price and Style

Luxury Brands: Price and consumer age

MarketPositioning

Hig

h P

ric

e

lo

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ric

e

Age 20+

50

Marco

Enviroment

It is extremely important for a new business

to look at the wider ecosystem and examine

the Macro environment through the use of

Pestle Analysis. The findings can help the

company not only identify opportunities but

create contingency plans and in turn aid the

strategic business plan.

Political

In a climate of economic instability, it will be

extremely difficult for any company to get a

loan passed, but there is hope for Catherine

McAleer. The Irish Government is committed

to the further development of Ireland as

a global innovation hub. ‘Innovation Fund

Ireland has been created to increase the

availability of risk capital for early-stage

and high-growth companies. The provision

of ‘smart capital’ to support companies, is

crucial to the growth of Ireland’s economy.’

(Enterprizeireland.com) The Report of the

Innovation Taskforce outlines a vision for

‘sustainable economic renewal, by building

on the strengths of the enterprise economy

and utilizing the innovation or “ideas”

component of this economy present in the

knowledge, skills and creativity of people. It

outlines the need to support enterprises and

to encourage an education system, which

fosters independent thinking, creativity and

innovation.’ The government clearly sees

the potential in this sector and in 2010, €125

million was provided to Enterprise Ireland by

the government, giving CMA an important

opportunity to obtain investors in the

company.

51

Economical

The present economic climate will affect

CMA in a number of ways. The Euro is in

turmoil and there is much uncertainty in the

current market. CMA’s target consumers

have a high income bracket and are generally

unaffected by the situation. A report focusing

on Footwear Retailing (Mintel, (2010) points

out the ‘lingering economic hangover’, which

has wavered customers spending patterns in

the UK but an opposing report identifies the

changing customer attitudes to luxury goods.

‘While the economy has had an impact on

luxury sales, it is also apparent that many

consumers still have an affinity for luxury

goods and thus are seeking them out in large

numbers.’ (Mintel, Customer Attitudes to

Luxury Goods, 2011)

Consumer Attitudes Toward Luxury Goods - March 2011 - Recent Luxury Purchases

Recent luxury purchases, by gender, November-December 2010

All Male Female

Electronics 36 49 25

Jewelry and watches 31 31 31

Clothing (other than outerwear) 31 29 33

Footwear 25 23 26

Beauty products (i.e., skin care/cosmetics/fragrances, etc.) 25 11 37

Handbags/purses 24 9 35

Home appliances 11 11 11

Outerwear 9 9 9

Furniture 7 8 7

Art 6 9 4

Tools 4 8 1

High-end home gym equipment 2 4 1

Other 4 5 4

Source: Mintel

Research undertaken and published on Mintel

shows the purchase percentage of high-end

luxury footwear products which are still very

much in demand. The details in figure 6 show

that customers are still buying, and spending

money on luxury footwear and that there is a

potential market for CMA.

CMA aims to approach a number of

organizations, such as Enterprise Ireland

and Craft Council of Ireland, each existing

specifically to aid economic growth. The

Craft Council of Ireland released a strategic

plan in 2011 states ‘it is ultimately about

driving overall economic growth, creating

employment and contributing to the ongoing

development of our county at a national and

international level.’

Fig. 6

Recent Luxury purchases, by gender

52

Social and Cultural

Consumers are becoming more aware of

where their products are coming from and

how they have been manufactured. The

‘heritage’ trend, has evolved not only in

fashion design but also in other industries.

CMA holds a strong brand ethos of

maintaining Ireland’s traditional crafts. The

estimated 1377 students studying craft

related courses is Ireland (illustrated in figure

2, page 8) will be competing for a limited

amount of jobs. This will supply a suitably

qualified workforce to recruit from. Although

CMA will be a small Sole Trader, one of the

company’s long-term aims is to create jobs

and promote Irish craft.

Tecnological

The technological advances of the last

decade have had a huge impact on footwear

production, from initial research through to

product delivery.

~ Use of online research resources gives

the designer access to invaluable market

information. Many small companies such

as CMA do not have time and financial

resources to spend on extensive primary

research.

~ Use of CAD throughout the design

process, is time saving. Design templates can

be created and reproduced quickly.

~ 3D rapid prototyping technology

has become widely available. This will

enable CMA to push design and creativity

boundaries, and create products which cannot

be produced using traditional methods.

~ New transportable technology such as the

iPad, give consumers 24 hours a day online

accessibility.

~ Marketing methods have become

cheaper for businesses, as the use of Twitter,

Facebook and online blogs have become a

global phenomenon. A network of people

can be created which companies can reach

within seconds. ‘Apps’ are becoming more

and more recognizable to companies as an

important part of promotion.

53

Legal

As a sole trader, Catherine McAleer has the

responsibility to ensure all business practices

are legal. One of the main laws which must

be abided by when selling footwear is the

‘Sale of Goods Act 1979.’ It outlines that all

goods must be as described, or of satisfactory

quality and fit for purpose. Quality assurance

checks will be made at random on CMA

shoes by management at the factory.

Recently, the Consumer Product Safety

Improvement Act of 2008 was brought in.

The legalization reduces the amount of lead

allowed in surface coatings. Although an

American law, it is important to be recognised

by CMA for future growth and expansion

into the US market.

Environmental

Concerns for the environment have been a

long-standing issue for design companies.

It is extremely difficult to be 100%

environmentally friendly but being aware

of the issue does help businesses become

more conscious of their carbon footprint. As

CMA is a small company, products will not

be mass produced and many elements of the

shoes will be hand made so therefore sales

projection must be well considered so there

is little waste of materials. This should help

lessen affects environmentally and financially.

All CMA products and components will

be sourced locally and so in turn will not

have the same carbon omission affect as

companies who import products from

countries further afield.

54

Micro

Strengths Weaknesses

~ Strong brand identity

~ The collection accommodates for a variety of

customers offering a wide range of prices.

~ Versatile and wearable

~ Product quality and longevity

~ British fashion industry are open to new

designers.

~ A lot of help and support offered by the Craft

Council of Ireland

~ People are more inclined to spend on

foot wear which is long lasting, not trend lead

and classical pieces.

~ Owner has experience working for

luxury companies.

~ No other luxury Irish footwear design

companies.

~ Crowded luxury market space

~ Little room for small start up companies

~ Hard to get established

~ There are no leather tanneries in Ireland

so they must be sourced from elsewhere

~ Due to the recession, many people may

be put off spending money on material

items such as shoes.

~ Start up costs are high and an investor is

needed.

Opportunity Threats

~ Opportunity to promote Irish heritage,

showing the skills and craftsmanship of

companies in Ireland.

~ Opportunities to receive press from craft

promotion happening around Ireland which

will create hype around CMA

~ Cheap marketing tools available such as

Facebook, Twitter and blogs: good for start

up companies with limited budget.

~ To create a diffusion line with lower prices,

which will open up the brand to new markets.

~ The Irish government are planning to inject

money into Ireland’s Craft sector to help

promote economic growth.

~ The current economic climate does

not lend itself well to luxury spending

~ Exchange rates are fluxuating and the

euro is weak.

~ Not all materials will be Irish made

and may damage the companies concept.

~ A lot of strong competitors in the

markets with more money to spend

on marketing their brands.

~ There have been nine notable

closures of HE Craft courses in the

last few years – craft is quickly dying out.

~ Core craft skills are dying out quickly.

Environment

57

RangePlan

The first collection launched by CMA will consist of a small, refined range of shoes and boots with a variety

of styles to encourage the consumer to buy more than one pair. The price range varies with the amount of

craftsmanship included, for example; goldwork is expensive and time consuming to produce and this will

reflect in the retail price.

Competitor and consumer research highlights the need for stylish comfortable boots. The factory which

will be producing the shoes, Tutty’s, specialize in othotics and a cushioned insock will be developed to be

built into each design. Also included in the range is a limited edition pair of ankle boots. These will show

of various craft forms such as goldwork embroidery and metal work. The last was chosen because of its

extreme, eye-catching height, this boot will be the ‘showpiece’ of the collection.

Last Ref. Heel height Sizing Description Colour Ways Retail Price

Ref. 927 0” 36-41 ~ Ballet flat

~ Moccasin

3

3

£305

£295

Ref. 415 1.5” 36-41 ~ Brogue

~ Bootie

~ Tall boot

2

3

2

£425

£550

£695

Ref. 1215 4” 36-41 ~ Court shoe

~ Bootie

~ Knee high boot

2

2

2

£395

£705

£905

Ref. 1278 5” 36-41 ~ Ankle boot 2 £1050

58

Production

Item Supplier

Last Springline Ltd. Pondwood Close Moulton Park Industrial Estate Northampton NN3 6RT

Leather A & A Crack & Sons 16 Pennard Close Brackmills Industrial Estate Northampton NN4 7BE

Metalwork J. L Ornamental87, Old Ballynahinch Rd, Lisburn, County Antrim BT27 6TH

Woodwork McCalls Woodworking Ltd. Rathvilly, Co. Carlow, Ireland

Embroidery Marie Woods53 Edendoit RoadPomeroy,Co. Tyrone,BT70 2RG

Rapid Prototyping Laser Prototypes Europe Ltd.Unit 2a Balmoral LinkBelfast,BT12 6QB

Packaging The Benson-Box Co. Ireland LimitedCardboard Box ManufacturerKillaloe Co. Clare

All other footwear making supplies. Tutty’s Hand-Made Shoes, Riverhouse Millbrook, Naas, Co. Kildare, Ireland

59

Design brief Inspirational research

Material and hardware sourcing

via TradeShows

Trend Research

Merchandising plan of action

Initial designs

Designs sent to factory

Product Development

Prototypes produced and

critiques

Samples developed and

amended

Lookbooks and linesheets created

Final designs confirmed

Sales appointments and Trade Shows

Press release and PR samples

released

Stock sent straight to stockists

Orders processed and sent to factory

Sold to consumers

60

The initial samples for Catherine McAleer will be made in London using suppliers in Ireland

were possible. Other materials will be sourced locally in London. Sample heels will be cast

using the lost wax casting process, whereas for production they will be manufactured using 3D

rapid prototyping.

All the components for production will be shipped to and manufactured at Tutty’s Hand-Made

Shoes. Tutty’s is located in Kildare, Ireland. The town itself is at the hub of the craft industry

in Ireland, fostering its growth and commercial strength. There are many skilled craftspeople in

the area and CMA can avail of their services so supplies are sourced locally.

Tutty’s, was unable to provide the cost of making CMA footwear, an estimated cost for

materials and production for a high heel ankle boot below is calculated at 1/3 of the total retail

price of each shoe. An estimated wholesale price was worked out by adding 20% to the cost

price.

SupplyChain

Embroidery

Metalwork

Leather

Factory

Stockists

Customer

Via

Co

mp

an

y W

eb

sit

e

Packaging

Cost of Materials

£85

Shipping £3

Factory Costs £100

Total + V.A.T £225.60

Retail Profit

£705£479.40

Wholesale Profit

£270.72£45.12

All approximate costings are suject to V.A.T.

61

After examining the product placement of the main competitors, and consumer feedback on their

shopping habits, the ideal stockists for the CMA brand can be observed below. They have been

specifically chosen due to their exceptional standards and world-renowned status. The CMA brand

can gain recognition through carful product placement, many of the brands competitors are located

here and consumers already shop in these stores. Individual store analysis can be found in Appendix

5. The products will initially be stocked in Ireland and Britain and as the business develops these

will spread further afield to countries such as Paris, New York and Dubai. These would be obtained

by showing the collection at various trade shows such as Pure London, Micam and Premier Classe.

(details of which can be found in Appendix 6)

RetailPositioning

BROWN THOMAS

SELFRIDGES

63

PresenceOnline

Catherine McAleer plans to have a strong online presence. As a start up company there are limited

financial means to have a physical shop, so therefore CMA products will be available to purchase via the

brand website. Sales via the website will be the most profitable (see page 60) and much emphasis will be

placed on creating an e-shop with easy navigation which is convenient for customers.

It is important for CMA to be sold on other websites such as net-a-porter.com. This will capture another

audience and increase consumer awareness, which could potentially direct them to the company website

will hold the full collection.

64

Publicity andMarketing

65

Florence Welch Diane Kruger

Rosin Murphy Dita Von Teese

67

There will always be a place in the world for high quality luxury products. The creation of refined,

elegant products will require a degree of effort and ingenuity. A strong unique selling point

coupled with master craftsmanship, will pave the way for inventiveness and enterprise. Research

identifying a strong customer base will help to not only establish a market but also promote and

showcase the best of Irish craftsmanship and technological knowhow in this field and in turn foster

growth in the Irish economy. Skill and expertise alone will not drive the product forward; design

flair and on trend innovation are important to differentiate the brand from competitors and help

create products that are both unique and exceptional.

CONCLUSION

concept development

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