Meet Ben Butling, Fashion Marketing Award Winner at GFW21. A graduate from University of The West of England, Ben’s final major project revolved around the European expansion of Arc’teryx, a Canadian-born, extreme adventure brand. Ben’s vision for the brand impressed the judges with its of-the-moment strategy. Read more about his work below!
How do you feel about winning an award at GFW21?
When finding out I won the Fashion Marketing Award from Graduate Fashion Week, the first thing I felt was utmost gratitude for the recognition of my work. It isn’t obvious sometimes how much hard work goes into not only the proposed piece but also the selection process and presentations. I had invested so much thought into my project, and I was thankful it had been identified by GFW and the wonderful judges that viewed it.
The second, and much more powerful feeling was a strong sense of achievement. I was very proud of the work I had produced and felt it was a testament to all of the building knowledge from my Fashion Communication degree. With such excellent competition, I was overjoyed that my campaign shone through, and my innovative, unique practice led the field.
What is the most valuable thing you have learnt at university?
Now, with time to reflect on points such as this, I can realise that in a more overarching sense than just modules and work, the most valuable thing I learnt at university is to be unapologetically authentic. My best work always came from the projects that sat closest to my own passions. With a lasting affinity to the outdoors and the fashion that is attached to it, I found that by working on what I loved, I was much more dedicated to the delivery of the project.
In addition to this, I also found the university to offer me clarity in my future endeavours. By offering such a variety of projects on the Fashion Communication degree at UWE in Bristol, they allowed me to find my own groove in the vast industry of fashion. I identified my love for problem-solving within my work, and the attraction to omnichannel innovation for retail, as well as the creative strategies that direct fashion campaigns. This directly influenced the clients I approached for work and formed the structure of the confidence I now have to pursue a Masters degree in London.
What was the starting point of inspiration for your final project?
My projects are always deep-rooted in market relevance and aim to be logical, future-facing bodies of work that offer a solution to the fashion industry. This was no different and started with a thoughtful investment of time into what challenges certain brands are/will be facing. To stay true to my own passions, I wanted to delve into outdoor brands, and their growth strategies globally, assessing where there may be a point of opportunity for new market success. I analysed Arc’teryx, a Canadian-born, extreme adventure brand, who operate at the pinnacle of functional outdoor clothing.
With a cemented market presence in the US and the rest of Northern America, but only a select few stores across Europe, I felt there was an opportunity for resilient growth further afield. This was supported by the concrete evidence of rising demand within the rest of the world, as spotlighted by their rising online traffic, surprising runway presence (Off White FW20), exponentially increasing social media coverage and visibility trickling down into smaller fashion communities. In addition to this, the WGSN released a paper surrounding the shift in values for fashion consumers, and it noted with clarity, a move towards products that radiate functionality, longevity and purpose.
Arc’teryx embodies this as a brand, only building a more convincing reason as to why this year was the perfect opportunity for the brand’s growth. The context of the world had led to restrictions of movement and through this, individuals had turned to spend more time outdoors to counterbalance the feelings associated with isolation. Now felt like the perfect time to inject a thought-provoking, inspiring campaign from Arc’teryx, that specifically focused on a location that had a lack of brand presence. With only 1 brick-and-mortar store, I chose to conceptualise and execute a personalised national campaign for the UK, that showcased the brands ability to serve a positive function for a less extreme audience.
What form does your FMP take?
My project took many forms from concept to creation, as required for a 360-degree marketing campaign. The FMP was underpinned by strong imagery, taking note of the new direction I wanted to push the visual dialogue in, without neglecting the existing tone of the brand. All images were shot at Cheddar Gorge, a beautiful outdoor space close to Bristol, and a key location for the rock climbing community in the South West. Retaining authenticity, this image work utilised climbing-orientated styling and Arc’teryx products.
From here these images were further developed in line with my creative strategy and newfound ideas surrounding omnichannel retailing. The campaign was titled ‘The Rolling Hills’, a nod to the UK’s outdoor spaces, and aimed to connect with consumers both physically and digitally. In terms of online outputs, the project formulated into an inspiring online homepage, functional eCommerce, engaging email marketing, and online advertisement. This was done to develop a highly efficient level of communication, capable of entering a competitive UK market. I also captured moving image, in the form of succinct campaign videos for online usage.
In respect of physical outputs of the campaign, and one in which I drew upon my own experience within the retail, was a visual merchandising implementation guideline for the Piccadilly store in London. It was fully inclusive of information, with store KPI’s, POS imagery and a realised window display targeted to the brands existing customer base in the city. It intertwined with the objectives of the campaign, and served as a hypothetical point of reference for the Arc’teryx retail team. This used all of my imagery, captured from the shoot. This was further supported by mocked-up OOH advertisements targeted in high traffic points around the city.
How has it evolved from your initial ideas and what have you learnt along the way?
The project started with a simple idea of wanting to develop a solution for Arc’teryx’s market presence in the UK, but through the initial stages of market research and brand analysis, I uncovered so many interesting topics that had flourished into real interests for me. This project taught me to look much further than simply image and editorial, taking me on a real learning curve when it comes to what a successful campaign must deliver. I think by paying real attention to themes of community, progression of diversity within sport, and brand solutions, my work was so much more effective. In addition, platforms such as the WGSN and their insightful comments on the modern-day consumer provided a basis for my dissertation, and went on to inspire further projects surrounding outdoor brands.
Aside from the research, actually executing the project also taught me so much. The team that worked with me on the day of the shoot were excellent, and it conveyed the importance of collaboration within creating my work. Often I shied away from group work if I felt it would not support my outcome, but after working with creatives of such calibre, I can now see that the right team can bring out the best of each other, and I will be sure to continue this in my future roles. I learnt the pitfalls of creating whilst doing, and I believe that all of the challenges that this project made sure I faced, ultimately made me better as a practitioner in fashion, and someone who feels much more confident in situations of uncertainty.
What are the messages and themes behind your project that you want people to take away? Do explore any topics like diversity, sustainability or politics in your work?
There are a multitude of takeaway points nuanced within the campaign, but the most valuable themes of the project surround the joy of being outdoors, and the importance of inclusion within this environment. There is a stark problem with the outdoor industry and its neglection of individuals who do not fit an outdated mould of the traditional consumer. This is why the campaign focused on a less extreme presentation of the outdoors, and conveyed the brand in a way that highlighted its functionality in moments that are more appropriate for a UK audience than climbing snow-topped mountains.
One of the most important outputs of the campaign, and one that was created with the sole intention of developing access to the outdoors was my community inclusion programme. I set in place a proposition whereby Arc’teryx would run a project that aimed to address the lack of access to sport for marginalised communities in London, and negate the issues for people who experience socio-ecomonic difficulty. Often there are barriers to sports such as climbing, through different abilities, lack of equipment, travel and expenses. This programme aimed to address these, bringing investment of both time and money from the brand.
I outlined a programme that would fund transport, teaching and equipment for climbing, led by Anoushe Husain, a climber and teacher in London. ‘As a paraclimber, she is a role model to anyone facing self-limiting beliefs or barriers, and she uses her own experience to help others unlock their potential.
This programme aimed to create lasting change within communities, and help to build an affinity towards the outdoors for individuals who may not have the capabilities or confidence to otherwise do so. Only with actions such as this, can the identity of the industry be altered, and I believe the main point to take away from my work is that the outdoors should be accessible by all, and brands have a role to actively support this.
What’s an aspect of the fashion industry that you’re passionate about fixing or having a positive impact on?
When thinking about entering the fashion industry, I want to try and have a positive impact on all brands that I work with. Within my chosen endeavours of visual communication and retail strategy, I think I will aim to challenge the status quo, bringing innovation and a counter-cultural perspective to my clients. I want to carry with me a drive to deliver solutions to companies, through future-facing work that delves into digital innovation and unique image. I am excited to see the shifts in retail upon its integration with new technology, and the ever-changing landscape of fashion.
This project and the community-led elements really ignited new thoughts around access to fashion, and where possible, I would like to address these issues within the work that I create. I would like to curate inspiring outputs that have a sense of purpose, rather than being purely aesthetically. My true passions lie in the outdoor industry, but also its integration within the luxury market, and all aspects of fashion that convey a sense of functionality. I think there is a sense of fulfilment when seeing a project of yours tackle issues within the fashion industry, be it socially, economically or environmentally, and I think developing solutions to these is something I am most interested in.
Now that you have finished your degree, what's your plan?
It definitely feels weird to say I'm a graduate, and to have left the degree, but ever since starting my second year of the course, I knew I wanted to take my ideas further, and to a higher level of education. Throughout this year I have also been going through the process of applying for a masters degree, and am delighted to say I will be starting an MA in Global Fashion Retailing at London College of Fashion in September.
I have finally completed my move to London, and am really looking forward to interacting with an international cohort of students, delving into disruptive and unique retail-orientated projects. To balance this education, and something which is a ‘pinch me’ moment, is that I have gained the opportunity to work with the LNCC, a London-based, multi-faceted retail concept store. They are redefining modern retailing in a curated, conscious and considered way like no other.
I will be supporting as a studio assistant, alongside a talented and creative team, in the hope of learning more from the industry in real time. I will be looking for more possibilities to develop my own personal work too, but right now I think I am going to enjoy a well earned break from campaign work, and ready myself for my new and exciting opportunities ahead.