CASE STUDYUniqlo /

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CASE STUDY / UNIQLO / FOUND IN TRANSLATION / THERE IS MORE TOUNIQLO’S BRAND STORY THAN COOLCELEBRITY COLLABORATIONS AND CASHMERE CUDDLES. A CLOSE BRUSHWITH BANKRUPTCY DEMONSTRATED THATTHE ONE SIZE FITS ALL BUSINESS MODELTHAT THRIVED IN A RECESSION-STRUCKJAPAN WOULD NEED TAILORING TO FITTHE FICKLE WESTERN RETAIL ENVIRONMENT. OPERATING WITH A FRESH AND FLEXIBLE NEW BRAND IMAGE SUPPORTED BY AWARD-WINNING INTEGRATED MARKETING CAMPAIGNS, THE DEVELOPMENT OF THE UNIQLO COMMUNITY IS NOW A THOROUGHLYMULTI-CULTURAL, MULTI-PLATFORM AFFAIR.I THINK WE’RE TURNING JAPANESE – I REALLY THINK SO… / BY WILL SANSOM /

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It could be a pair of pants. Perhaps it's a cashmeresweater, or maybe even a T-shirt sporting a mean n' moodyManga-inspired design. Whatever it is, chances are thatyou own at least one item of UNIQLO clothing. If not, it'sonly a matter of time until you do.

Officially Japan's leading clothing retail chain, UNIQLOcurrently has 804 stores worldwide, the sales from whichhave encouraged parent company Fast Retailing Co. Ltdto reveal optimistic forecasts for the fiscal year of 2008of ¥585bn (€3.5bn) in net sales. Indeed, in June, FastRetailing reported a five-year record high share price of¥9860 (€59). With this in mind, the chances of thisfinancial target for 2008 being met, are almost as likelyas that pair of pantone-perfect socks winding its wayinto your top drawer by the end of the year…

However, like all the best success stories, the UNIQLOsaga is not without its share of adversity. Initial attemptsto replicate UNIQLO's quintessentially Japanese businessmodel in the western retail environment did not go exactlyto plan and after failed expansion in 2001, the brandwas forced to retreat and regroup. It would seem that adifferent methodology would need to be adopted if whatstarted out as a single unisex clothing store in Hiroshimawas to be successfully rolled out on a global scale.

From tiny warehouses

The UNIQLO brand philosophy has always been aboutcreating a distinctly utilitarian retail experience forconsumers. Normal concerns held by the averageshopper about style, quality and brand are dissolved bya simple assurance that whatever they buy, it will begreat quality, low in cost and will look good withanything and everything they decide to wear it. WhatUNIQLO does therefore, is to provide the basic butpremium ingredients of your wardrobe.

The 'Unique Clothing Warehouse' was opened in 1984by the Yamaguchi-based Ogori Shoji, which, since 1949,had operated a chain of clothing stores called 'Men'sShop OS'. However, the simple difference of stockingunisex clothing was enough to ensure that the successof the new store far eclipsed that of the existing outlets.Ogori Shoji was changed to the somewhat catchier'Fast Retailing' and in turn, its rapidly expanding newchain became UNIQLO. By April 1994, over 100 storeshad been opened across Japan and to meet this newdemand, in 1997 UNIQLO adapted the SPA (SpecialtyStore of Private Label Apparel) model which had provedso successful for US retail giant Gap; instead of sellingproprietary clothing, UNIQLO would now exclusivelyproduce and carry its own garments. The out-sourcingof the manufacturing process to more affordable

factories in China enabled the brand to capitalise on thisbusiness model, providing great value clothing that wassnapped up by the Japanese public in the clutches of arecession.

In 2001, the first overseas UNIQLO outlets were openedin Shanghai and shortly after, four more in London.However, poor execution of this expansion meant thatthe brand was met with indifference by the UK public.Simon Coble, UNIQLO UK, CEO, elaborates: 'We openedwithout a flagship store and expanded our network witha scattergun approach very quickly, before we stabilisedoperations. Opening stores in Romford and Knightsbridgewasn't, in hindsight, the best approach as the brand wasn'tsolidified and we failed to support our outer London storeswith the marketing that they required.' Marino Donati,news editor for fashion publication Drapers, adds: 'In theUK, you've really got to shout about your identity in orderto be heard. On the one hand, retailers such as Zara andTopshop were practising fast fashion with a quickturnover of lines, whilst on the other, retailers like Primarkand Tesco had the budget end of the market cornered.Occupying a space somewhere in the middle, UNIQLOwas something of a lost sheep.'

However, what doesn't kill a brand only makes it stronger,and over the following three years concerted efforts weremade to revive and repair the struggling business. InJapan, the solution was born out of a realisation that thestandalone SPA business model referred only toproduction and sales. Accordingly, UNIQLO embarkedupon a far more collaborative approach to its brandingand advertising; rather than enlisting any one agency,key figures from different creative disciplines wererecruited to collaborate on, and rejuvenate every aspectof the brand. Kashiwa Sato – executive creative director,Samurai, Tokyo, oversaw the process as well as takingcare of graphic work such as the redesigned logo whichwould be used on store facades, marketing materials andthe products themselves. Markus Kiersztan – creativedirector, MP Creative, NY handled in-store visuals andcommunication strategies, whilst digital supremo YugoNakamura of tha* ltd. Tokyo used his quirky Flash geniusto revamp UNIQLO's online presence and enhance thedigital element of the ensuing campaigns.

In keeping with this new approach, changes werebeing subtlety implemented and experimented withinthe remaining UK stores – Simon Coble expands: 'Werealised that we had a loyal following in the UK and therewas a definite bubbling interest in the right demographics– so we had to be careful to keep the niche element andattraction to the brand that appealed to this audience,whilst at the same time retaining our "bread and butter"

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customers in the suburban stores.' UNIQLO, it wouldseem, was once again ready for a stab at globalisation– combining what it had learnt from the UK with the freshand most importantly, considered new brand identity.

From Tokyo to NYC

In November 2006, UNIQLO opened its global flagshipstore in the SoHo fashion district of Manhattan. Prior tothe opening, several shipping containers were hoisted –via crane and flat bed truck – into selected locationsaround New York. Powered by an external generator,these temporary outlets contained neatly folded stacksof clothing and gave a glimpse of the kind of utilitarianperfection preached by the brand. However, once thestore itself opened, it would become apparent that thissense of utility had been perfectly blended with a fresh,cosmopolitan feel – every bit in keeping with its high-profile location. Designed by renowned architectMasamichi Katayama of Wonderwall, Tokyo, the 36,000square foot space epitomises a carefully constructedjuxtaposition between the brand's Japanese heritageand a contemporary, culturally inclusive retail experience.Scott Kraenzlein, account executive with MP Creative,emphasises the challenge encountered when striking abalance with the new store: 'UNIQLO has always beenmore about a service than a fashion brand; however,your average Manhattan shopper is not only extremelystyle conscious, but also has higher expectations ofwhat a retail experience should encompass. Above all,simplicity is key and the clothes are given the space tospeak for themselves, allowing customers to becomeacquainted with the brand at their own pace.'

One device used to introduce the UNIQLO philosophyto New Yorkers, was the UNIQLO Paper, conceived byMP Creative. Distributed in-store and available online viaa Flash-enabled application, the free magazine featuresinterviews with designers, local celebrities and artists,illustrating the cultural relevance of the brand. 'Wewanted to create a magazine that was more than thestandard look-books you get at other stores,' explainsMarcus Kiersztan, 'We wanted to align the brand withthe art and design industry.'

A large in-store gallery was used to exhibit a range ofover 100 limited-edition, exclusive T-shirt designs fromover 40 artists including Yayoi Kusama, Tezuka and

Godzilla. This space was then used from Spring 2007to house products featuring in the first installment of theUT Campaign. Yet another example of a distinctlyJapanese retail device being tailored for a global market,the project rode on the back of the phenomenal successof the exclusive UT Store in Harajuku, Tokyo. This shop,devised by Kashiwa Sato, sells limited-edition T-shirtspackaged in plastic tubes on open shelves, providing asuper-efficient self-service system that is more Japaneseconvenience store than fussy fashion retailer. Thecampaign was supported by print, poster and in-storeadvertising, featuring portraits by renowned fashionsnapper Terry Richardson. In spring 2008, the projectlaunched again on a global scale, this time with Brit MattIrwin shooting 300 street-cast models in Tokyo, NewYork and London.

The success of the new formula in NYC proved thatUNIQLO was finally striking the right balance for thewestern retail environment. Kensuke Suwa, UNIQLOglobal marketing director, comments on the expansion:'Each new territory spells new challenges as we movetowards becoming a truly global brand – be they internalor external factors. However, after the lessons we learntback in 2001, we now approach each new markettentatively and look to gain a solid understanding prior tolarge scale-commitment.'

London calling

Clearly, whatever had originally been lost in translationwas finally being found. One year on from the openingof the global flagship store in New York, the brand wasonce again ready to tackle its territorial Achilles heel andtake on the UK fashion market right where it is distilledto its most competitive and fickle – the high street. Andwhat better high street to take on, than Oxford Street incentral London? With over 200m visitors and 300 retailerstaking approximately £5.5bn (€7bn) every year, this isone of the busiest retail environments in the world.

The same collaborative process that gave birth to theNY store was employed in the design and execution ofnot one, but two new stores which opened simultaneouslyat either end of Oxford Street in November 2007. Thelarger of the two premises (nearer the more up-marketMayfair area) is the official European UNIQLO flagshipstore, echoing in terms of interior design and architecture,many of the features found in the New York location.Four huge revolving mannequin boxes reach up to thefirst floor, displaying the current seasonal offerings andfor the first time outside Japan, a dedicated UT 'future

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convenience store' section has been created with theshelf-stacked 'T's in tubes' layout of the Harajuku shop.

The re-birth of the brand in the UK was promoted notonly by the 2008 incarnation of the UT T-shirt project,but also by a more cohesive version of the Peoplecampaign – first devised for the New York launch byMarcus Kiersztan of MP Creative, and Nicola Formichetti,creative director of Dazed & Confused. Focussing onlocal heroes and celebrities as brand advocates, thesuccess of this egalitarian campaign relied heavily on itbeing adapted for each specific location. Therefore forLondon, home-grown British talent was featured suchas eclectic rapper Dizzee Rascal, who also performed atthe opening of the stores. Kensuke Suwa concludes:'When launching the London flagship store, the strapline "From Tokyo to London" reinforced the idea that thebrand was Japanese, but by working with British talentsuch as Bobby Gillespie of Primal Scream, actressSamantha Morton and Georgia Jagger, we created acampaign specifically for London that would resonatewith Londoners.'

Building global communities online

Considering the size and location of UNIQLO's flagshipstores, one could be forgiven for presuming thatglobalising the brand has thus far been a strictlyterritorial, real-world affair. However, looking at the mostsuccessfully integrated of the brand's advertising andmarketing campaigns, it soon becomes clear thatencouraging consumers to interact with the brand in adigital environment has played just as big a part – if notbigger – in helping the UNIQLO community to expandand transcend cultural boundaries.

Yugo Nakamura, as well as forming part of UNIQLO'sCreative Committee, is creative director at tha* ltd. – theagency responsible for some of the brand's mostinnovative digital campaigns such as UNIQLO GRID and

UT LOOP. 'With all of the UNIQLO online campaigns, thebasic question is how to deepen and broaden the users'brand experience. The challenge is then to achieve thisthrough encouraging user participation, by creating andvisualising a space where users can actively interactwith the campaign. This isn't to say that everything isdependent on the activity of the users; what is important,is to keep the balance between places where users canbe passive and places where they can be active.'

Designed to reflect how the brand is constantly evolvingin the hands of the consumer, UNIQLO GRID allowsusers on a dedicated microsite to manipulate the UNIQLOlogo by using the mouse pointer to click, drag, spin andmultiply to their hearts' content. However, the digitalcanvas on which they play with the logo is shared bythousands of users across the world – making this agenuinely collaborative exercise. At the top of the page,it tells you exactly who (by nickname) is making whichmoves. At the time of writing, Mako in Japan wasfuriously multiplying in diagonals across the bottom of thescreen…

For a slightly trickier but ultimately more rewardingcreative process, check out the UNIQLO UT LOOP – partof the UT T-shirts campaign. Originally running alongsidea series of TV spots, this Flash-enabled site providesyou with nine different UNIQLO representatives, eachwith their own sample noise, be it a shout, grunt or evena big ol' fashioned raspberry. You can then drag anddrop the different characters, complete with noises, intosixteen different spaces, thereby creating your very ownmini dub loop. Once you are happy with how it sounds,you can submit your loop to the website, where it will be

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shuffled and played at random as part of the 'People'sLoop'. There is even an easy 'Blog this' button whichallows visitors to download and share either thiscollaborative loop or just their own, as a widget forembedding on blogs or external websites. YugoNakamura concludes: 'Rather than being at the centre offashion trends, UNIQLO has a philosophy of providingthe high quality components of fashion. Respectively,UNIQLO GRID and UT LOOP both encapsulate thisidea of combining simple elements into a complex andfreeform variety.'

Clicks and clocks

There is of course, a campaign masterminded by Projector,Tokyo which took the interactive and monstrouslyaddictive flash site model to a whole new level in 2008.It has scooped thus far, the Innova Lotus Gold Award atADFEST, 2 Gold Awards and the Grand Prix at the OneShow Interactive, a Grand Clio for Interactive, a D&ADBlack Pencil for Online Advertising as well as a CyberLions Grand Prix and the prestigious Contagious-sponsored Titanium Lion award at Cannes 2008. Ladiesand gentlemen, we give you the UNIQLOCK.

Mark Tutssel, chief creative officer, Leo BurnettWorldwide, was the Cannes 2008 Titanium andIntegrated jury president. He describes the impact whichthe UNIQLOCK had on the judges: 'A Titanium Lion isan idea that's so unique, pure and new it cannot belabelled in a conventional way. It breaks through traditional

award-category boundaries and creates somethingaltogether better. Titanium is about finding tomorrow'sideas that reset the creative bar and move the industryforward. The UNIQLOCK was an idea that stopped thejury dead in its tracks. An idea that fused togethereverything that is new in our business: entertainment,utility and interactivity. After all, only with innovative andground-breaking thinking can we adapt to the speed atwhich the world is changing. This is virtual, brandedutility – pure Titanium.'

The 2008 campaign is a development of a 2007initiative – an online clock which marks passing momentswith 5-second clips of female dancers performingmicro-routines clad in the new UNIQLO line ofcashmere. Somewhere between branded entertainmentand utility, this delightfully distracting microsite struck achord with bored office workers everywhere; it rackedup over 30m views in 195 countries – highly significantconsidering that the brand has stores in only a handfulof these territories.

Recognising the brand-building potential of theapplication, Projector set about making it bigger andbetter for 2008. As a result, it now operates 24/7 for365 days a year, with the dancers' clothes changingaccording to each season – polo shirts in spring andcashmere sweaters in the winter. It will also go to sleepat night, with sequences on the hour and an alarm clockfunction in case you're in the habit of keeping yourlaptop next to your bed. Perhaps most significantlyhowever, a downloadable version of the UNIQLOCK isnow available as a widget for embedding on blogs,iGoogle or Facebook profiles. By viewing WORLD.UNIQLOCK, users can link to all the embedded sites viaa global map which lets you see at any given time,exactly how many people are watching the UNIQLOCKand in what country. This is perhaps the most literalrealisation of the UNIQLO global community to date –proven by the fact that so far, over 27,000 widgets havebeen downloaded and the site itself has been viewed68m times in over 209 countries.

'I had the intuition that an expression which perfectlysynchronised bodily movements with sound, would bethe most simple and pure way of representingUNIQLO's products. The concept of MUSIC X DANCEX CLOCK came from the "rhythm of a second" – dance

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to the rhythm of a second and music to the rhythm of asecond – in the same way that a clock keeps time to therhythm of a second. After Googling the name "UNIQLOCK"and finding zero results, I knew straight away that thistag would be perfect for spreading the experienceacross the web and uniting global bloggers,' saysKoichiro Tanaka, creative director, Projector, Tokyo.

Since the UNIQLOCK, Projector has continued to studythe behavioural patterns of internet users – concentratingon that initial moment of uptake and how content isabsorbed. As a result, its latest campaign for UNIQLO'sline of Dry Wear focuses on the way in which neuronsfire in the human brain when we observe the actions ofanother human on screen. More abstract than theUNIQLOCK, DRY IN MOTION displays a grid of gracefulgymnasts, which replicates or changes in size every fiveseconds. Each figure is contained within their ownsphere which displays around its rim, the passingseconds in different increments. There is also a counterin the top corner of the screen showing 'your view time'– a reminder of just how distracting this kind of websitecan be. Koichiro Tanaka describes the thinking behindits conception: 'I am interested in the mirror neuron whichcopies the behaviour of another human as if the observeritself were acting. When we see completely controlledbody movement, our feelings move and as a result, wewant to see it more. In other words, emotion is made bybody motion. I feel that it is important to visualise "Timein Motion" – another method of representing the user'sbehaviour in a different way from the UNIQLOCK whichvisualises the expansion of the users.'

Turning Japanese

UNIQLO aims to triple its turnover in the next four yearswith continued expansion into Singapore in 2009 alongwith the opening of a new European flagship store inParis. The success of the US and UK flagship stores hasproved that the brand is now capable of adapting tocater for each new location – operating with a dualitywhich allows it to sell simultaneously in the Japanesesuburbs and the centre of Manhattan. However, SouthAmerica, India and Australasia present whole newcultural and economic challenges, so until stores areprospering in these locations, discussions of UNIQLObecoming the world's biggest retail brand will have to beput on hold. One thing is for sure though – thanks to thecollaborative efforts of the Creative Committee andcampaigns such as the UNIQLOCK, the brand has setin place a marketing strategy which is capable of usingevery second of every day to build brand awarenesswithin a truly global community. The rest, as they say, isjust bricks and mortar.

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Uniqlo is a distinct brand with a wide competitive setincluding Gap and Primark at the basics end and Zaraat a more premium level. It operates in a space which isnot only crowded in terms of competing retailers, butalso in the context of marketing messages trying totarget similar demographics. As a result, Uniqlo has towork very hard to get its message across. Marketinginnovations like the Uniqlock and the Loop are useful inhelping to build communities and raise the presence ofthe Uniqlo brand.

It's a fair aspiration for Uniqlo to want to be the world'sbiggest retail brand, but it has a long way to go beforemeeting this goal. Companies like Inditex, the parentcompany of Zara, are far more advanced in terms ofcreating a sustainable and profitable global reach.

However, there is an opportunity for Uniqlo to becomemore visible and relevant. In-store, presentation is cleanand visually compelling with lots of colour, while blockmerchandising makes the offer look significant andattractive to consumers. Uniqlo's large flagship stores incapitals like London and New York give the brand atoehold in countries where it is unlikely to work as wellin more provincial towns and cities. In an urban contextwith high footfall and diversity, almost anything can becredible, but in retail terms, cities like London are anexception. Uniqlo's plan to focus on expansion in Asia,bringing it closer to its home country, is likely to be amore successful strategy.

www.verdict.co.uk

ANALYST’S INSIGHT / By Neil Saunders / consulting director / Verdict Research /

CHALLENGE / INITIAL ATTEMPTS TO REPLICATETHE QUINTESSENTIALLY JAPANESE, UTILITARIANBUSINESS MODEL IN WESTERN TERRITORIESPROVED UNSUCCESSFUL. THE RAPID EXPANSIONCOMBINED WITH A LACK OF FLAGSHIP STORESAND SUFFICIENT MARKETING SUPPORT MEANTTHAT THE BRAND WAS LEFT OUT IN THE COLD BYTHE UK MARKET. CLOSE TO BANKRUPTCY, A NEWAPPROACH WAS REQUIRED THAT WOULD HELPUNIQLO CARVE ITS OWN NICHE IN THE MOSTCOMPETITIVE RETAIL ENVIRONMENTS IN THE UK ANDTHE US, STARTING THE SUCCESSFUL GLOBALISATIONOF THE BRAND ANEW /

SOLUTION / INSTEAD OF ENLISTING THE SERVICESOF ONLY ONE AGENCY, A COMMITTEE WASDEVELOPED UTILISING THE BEST CREATIVE MINDSFROM EACH DISCIPLINE. A FRESH, COSMOPOLITANBRAND IDENTITY WAS MASTERMINDED WHICHWOULD DEFINE THE DESIGN AND ARCHITECTUREOF NEW FLAGSHIP STORES IN NYC AND LONDON,AS WELL AS THE MARKETING AND ADVERTISINGWHICH SUPPORTED THEIR PRESENCE. IN ADDITIONTO THE REAL WORLD EXPANSION OF THE BRAND,INTEGRATED MARKETING CAMPAIGNS WEREDEVELOPED TO BUILD A GLOBAL COMMUNITYONLINE. CAMPAIGNS SUCH AS THE UNIQLOCKUSED THE BLOGOSHERE AS A BUZZ-BUILDINGPLATFORM – COMBINING A SENSE OF FUN,FASHION AND UTILITY IN A MICROCOSM OF THEBRAND ITSELF /

RESULTS / THE FLAGSHIP STORES IN NYC ANDLONDON ARE EXTREMELY SUCCESSFUL, PROVINGTHAT THE NEW BRAND IDENTITY NOT ONLYWORKS, BUT CAN BE ADAPTED FOR NEWTERRITORIES. A NEW EUROPEAN FLAGSHIP INPARIS IS DUE TO OPEN IN 2009 ALONG WITHSTORES IN SINGAPORE. THE UNIQLOCK, AS WELLAS SCOOPING NUMEROUS AWARDS HAS SO FARBEEN SEEN OVER 68M TIMES BY PEOPLE IN 209COUNTRIES. FURTHER PROOF THAT THE UNIQLOGLOBAL COMMUNITY IS EXPANDING, IS EVIDENT INPARENT COMPANY FAST RETAILING'S PROFITFIGURES. PREDICTIONS FOR FISCAL 2008 ARE¥585BN (€3.5BN) IN NET SALES AND IN JUNE ITREPORTED A FIVE-YEAR RECORD HIGH SHAREPRICE OF ¥9860 (€59). UNIQLO FOUNDER TADASHIYANAI IS AIMING TO MAKE UNIQLO THE WORLD'SBIGGEST RETAIL BRAND /

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01 / RECRUIT & REJUVENATE /

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RE-THINK

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804 STORES

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SERVICE-DRIVEN

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CONTAINERS

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UNIQLOPAPER

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STREET-CAST

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UNIQLO / BRAND MAP /

Uniqlo is Japan's leading unisex clothingchain, with 804 stores and a 2008 netsales forecast of ¥585bn (€3.5bn).Shares in its parent, Fast Retailing reporteda five-year record high of ¥12,110 (€71.7)in July.This scenario certainly wasn't predictedafter a failed expansion into the UK in2001. Uniqlo had high expectations of itsEuropean launch, but was met withconsumer indifference – largely becauseof a 'scattergun' approach to retaillocations, the lack of a flagship storeand minimal marketing activity in the keyterritory of London. This retreat forcedthe brand into a rethink, embarkingupon a more collaborative approach toits identity and marketing that has sincesparked a global success story. Ratherthan using a single agency, key figures(Kashiwa Sato, Markus Kiersztan¸ YugoNakamura, etc) from numerous creativedisciplines, were recruited to rejuvenateevery aspect of the Uniqlo brand, fromstore design to its digital presence.

The UNIQLO brand philosophy has alwaysbeen about creating a distinctly utilitarian,service-driven retail experience to reflectthe basic prices but premium productquality. Prior to the 2006 opening of itsglobal flagship store in Manhattan's fashiondistrict, several shipping containers werehoisted into selected locations aroundNYC to serve as temporary outlets – theneatly folded stacks of clothing promotingthe utilitarian perfection preached bythe brand. Once the real store opened,the 36,000 square foot space showed adeliberate juxtaposition between thebrand's Japanese heritage and acontemporary, culturally inclusive retailexperience. After the lessons learned in London, thisstrategy shows that UNIQLO nowapproaches each new market tentativelyand looks to gain a solid understandingprior to large scale-commitment. Withplans already in place for Paris andSingapore, the company aims to tripleits turnover in the next four years.

Aligning the brand with the art and designindustry, the UNIQLO Paper is a freein-store and online magazine conceivedby MP Creative. 'More than a look-book',it features interviews with designers,local celebrities and artists to emphasisethe brand's cultural relevance. An in-store gallery exhibited a range of100 limited-edition T-shirt designs from40 artists including Yayoi Kusama, Tezukaand Godzilla. This space was later usedto house the first foreign installment ofthe brand's UT Campaign. Based on thesuccessful UT Store in Tokyo this distinctlyJapanese retail device sells limited-editionT's packaged in plastic tubes, providinga self-service system that is moreconvenience store than fussy fashionretailer. The campaign was supported byprint, poster and in-store ads, featuringportraits by Terry Richardson. In spring2008, the project launched on a globalscale with Matt Irwin shooting 300 street-cast models in Tokyo, NY and London.

02 / UTILITARIAN & UNIQUE / 03 / PAPER & PLASTIC /

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IN-STOREGALLERY

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OXFORDSTREET

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HEROES

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EMBED

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GRID

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68M

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DRY INMOTION

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209COUNTRIES

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UNIQLOCK

The re-birth of the brand in London'sOxford Street (200m annual visitors)was promoted by the 2008 incarnation ofthe UT T-shirt project, but also by a morecohesive version of the People campaign- first devised for the New York launch byMarcus Kiersztan of MP Creative, andNicola Formichetti, creative director ofDazed & Confused. Focussing on localheroes and celebrities as brand advocates,the success of this egalitarian campaignrelied heavily on it being adapted for eachspecific location. Therefore for London,home-grown British talent was featuredsuch as eclectic rapper Dizzee Rascal,who also performed at the opening of thestores. The strap line 'From Tokyo toLondon' reinforced the idea that the brandwas Japanese, but by working with Britishtalent such as Bobby Gillespie of PrimalScream, actress Samantha Morton andGeorgia Jagger, Uniqlo created a campaignfor London that would resonate withLondoners.

Encouraging consumers to interact withthe brand and participate with eachother inside the digital environment hasplayed a big role in helping the UNIQLObusiness expand by transcending culturalboundaries.Designed to reflect how the brand isconstantly evolving in the hands of theconsumer, the UNIQLO GRID microsite(designed by Yugo Nakamura's tha* ltd)allows users to manipulate the UNIQLOlogo. This digital canvas is shared bythousands of other users across theworld – making it a genuinely collaborativeexercise. The UT LOOP is a flash-enabledsite providing visitors with nine differentUNIQLO representatives. Each comeswith their own sample noise (shout, grunt,raspberry, etc), thus creating personalisedmini dub loops which people can submitto the main site to be played at randomas part of the 'People's Loop'. A 'BlogThis' widget allows visitors to share andembed this collaborative device.

A monstrously addictive flash sitemasterminded by Projector, Tokyo scoopeda coveted D&AD Black Pencil and boththe Cyber Grand Prix and Titanium Lionat Cannes 2008. UNIQLOCK is an onlineclock that fuses entertainment, utilityand interactivity. Operating 24/7, itmarks passing moments with 5-secondclips of female dancers clad in UNIQLOclothes that change according to theseason. A downloadable UNIQLOCK isavailable as a widget for embedding onblogs, iGoogle or social networkingprofiles. Users can link to these embeddedsites via a global map which detailsexactly how many people are watchingUNIQLOCK worldwide. The site has beenviewed 68m times in 209 countries –highly significant considering that thebrand has stores in only a handful ofterritories.Projector's latest campaign, DRY INMOTION, features gymnasts and isinspired by the way neurons fire in thebrain when observing the actions ofanother human on screen.

04 / LONDON & LOCAL / 05 / LOGOS & LOOPS / 06 / CLICKS & CLOCKS /

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