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Catherine Smith
Strategic Solutionist
3rd Year Portfolio of Catherine Smith
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Portfolio Contents Page
Concept
Chapter One: Who, What, How?
Chapter Two: Financial and Business Analysis
Chapter Three: Healthy Brand Analysis
Chapter Four: A Brand Challenge
Chapter Fiver: Creative Development Project
References
pg 4
Pg 5
pg 11
pg 19
pg 29
pg 53
pg 59
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Portfolio Concept: Seeing the Bigger Picture
Seeing the bigger picture as a concept, describes my simple approach to problem solving. It is my belief that a brand cannot see the big-
ger picture if they are sitting in the middle of it; therefore, through doing extensive research, I assist brands in seeing their bigger picture.
Seeing the bigger picture;
1. Firstly allows for the current situation of the brand to be evaluated, evaluation will result in the identifcation of the brands problem
area.
2. Seeing the bigger picture, secondly would allow for a path towards solving this problem to be accurately planned.
The Creative Execution
Mazes are designed as path fnding challenges, built to disorientate, confuse and to eventually get the participant lost. A maze perfectly
fts the above concept as; if a brand were lost in a maze of inefective consumer communication (for example), after the brand is given
the opportunity to view the maze in its entirety, the location of this brand may be identifed and a path can be mapped to take the
brand out of their lost position in the maze, through the exit gate, and into a position of consumer communication strength in the market
place. The three colours that will be used throughout the portfolio were chosen because of what they symbolize; the blue symbolizes the
glass maze and the silver and gold symbolizes the golden opportunities, which research and insight analysis can provide.
Hecate
Hecate, whom is depicted in this logo below, is the three-headed Greek Goddess of crossroads, paths and gateways. While Hecates iden-
tity has taken on various meaning over time, her association to helping others plan their way forward and accepting change, has never
been shaken from her. Her assistance in moving individuals forward, aligns to what I wish to provide for brands as a Strategic Solutionist,
therefore I have chosen to use her in my logo.
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Chapter One: Who, What, How?
Seeing it for what is
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The
Who
The
What
The
How
How can I help you?
Allow me to introduce myself
What I am all about
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I am a hard working, inquisitive individual who loves learning and problem solving. I bring to the table a unique combination of having an equally
strong passion for both nance (mathematics) and creativity. I am also a people person, who is inspired through collaborations and exploration.
School: Springeld Convent School
Period: Gr1 Gr12
Subjects: English, Afrikaans, Maths, Histor, Art & Art History,
Consumer Studies, Life Orientation
Territory Institution: Cape Peninsula University of Technology
Period: 2010
Course: Interior Design
Position: Elected Class Representative
Institution: Vega School of Brand Leadership
Course: BA in Brand Building and Management
Year: 3rd Year
Degree Completion date: November 2013
Modules Covered:
- Brand Stratrgy - Critical Studies,
- Creative Development - Statistics,
- Finance, - Economics,
- Logistics - Orginsational Behaviour
- Corporate Social Responsibility - New Media,
- Innovation in Business Management - Digital Media
- Word of Mouth in Branding.
Awards: Bright Star Merit Award, Awarded to distinction
students, for both 1st and 2nd Year.
Previous Education
Current Studies
Curriculum Vitae of Catherine Smith
Institution: Taverham Hall School, England
Position: Gap Student
Matron in the evening
Assistant Teacher in the Morning
Sports Coach in the Afternoon
Time period: January 2009 December 2009
Institution: Private
Position: Aupair
Time Period: May 2011 Janunary 2012
Institution: Rock Sushi Thai Medowridge
Position: Waitress
Shifts: 3 to 4 Shifts a week
Time Period: March 2012 Septemner 2013
Peronal Reference
Name: Robyn Faraday
Relationship: Best Friend
Contact Number: 0835315064
Educational Reference
Name: Thys de Beer
Relationship: Current Lecturer
Contact Number: 021 461 8089
Professional Reference
Name: Laura Watkins
Relationship: Current Manager
Contact Number: 0844053544
Previous Work Experience
References
Name: Catherine Bridget Smith
Date of Birth: 14 August 1990

Country of Birth: South Africa
Contact Number: Not Available Online
Email Address: cathsmi009@live.com
Postal Address: Not Available Online
Hobbies:
Traveling
Running
Cooking
Creating(painting,xing,restoring)
Blogging
Interests:
SocialMedia
NatureandSustainability
Architecture
HealthandNutrition
Basic information
Hobbies and Interests
Written Motivation
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What: Personal Blue Print
Positioning:
For previously established brands, I am the Strategic Solutionist, who, through thorough insight analysis, extracts the tools necessary in
turning your branding problem into an opportunistic solution.
Vision:
My vision is to full the position of Brand Solutionist in a highly efective, collective team, who provides reliable solutions to branding prob-
lems.
Mission:
To utilize true insights efectively in process of transforming the challenge facing a brand, into an opportunity,
Personality:
Confdent
Dependable
Excitable
Inquisitive
Values:
Positivity
Thoroughness
Imagination
Essence:
Thorough Exploration
Message:
Operational Solutions
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You
You
You
You
You, Me and the Maze: How Can I Help You?
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Chapter Two: Financial and Business Analysis
The Quick Look and Obvious Choice
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Roberto Gallotta
Elizabeth Crockett
Tania Perdikis
Catherine Smith
Assess and identify the marketing metrics used by a
South African brand, in order to measure their return on
marketing spend.
eLabel
The
Brief
The
Brand
The
Team
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Why eLabel?
eLabel, in short, is a service based company which operates in the form of a online, mobile, application. The app, which has been devel-
oped for the South African market, provides its users with information regarding the environmentally sustainable practises of an individu-
al product and its brand. The app works through electronic elabling reading, in this way, the application reads the bar codes of productsto
identify and provide the relevant information. eLabels purpose and aim was to provide a knowledge base for consumers, in order to
allow them to make more informed purchasing decisions. Mobile applications as an industry, is heavily used, popular and growing, ac-
cording to Joshua Brustein. (2013), therefore assessing the branding metrics and measurements of eLabel was highly appropriate in terms
of gaining insight into how a company operates in the digital market place.
eLabels overall philosophy on measuring their return to marketing spend, is more than a philosophy, but a integral part of their business
model. Capturing and analysing the marketing efect, is how their product gains users. Therefore, funds and resources need to be readily
available to adjust their marketing accordingly. The marketing and the research that goes into eLabel goes hand in hand. In eLabels case,
the marketing is seen in the delivery and supply information to consumers. After initial exposure to the brand, which would fall along
the same costing strategy model as a launch campaign, the long term measuring of the marketing spend, directly relates to how much
money is spent on researching the new products which consumers want to scan. The more brand disturbances that eLabel causes with
revealing previously concealed information, the more the application will be downloaded, and the more media attention it will get. eLa-
bels philosophy on measuring their marketing spend, is paramount as eLabel needs to generate enough money to be able to constantly
broaden their research, by recording the impact of the application and its usage. The metrics which follow are used to measure this re-
turn to marketing spend.
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1. Ad Awareness:
Ad awareness is the process of measuring the percentage of the total population that is aware of a brands advertising. The more ad-
verting done, the more chance there is consumers will become brand aware. Ad awareness varies due to the seasons, reach and the
frequency of the advertising. eLabel will be able to measure their ad awareness through, for example, social media. After the launch of
eLabels television commercial, increases in Facebook likes, Twitter followers can be recorded to gain insight into the reach of the com-
mercial. If the television commercial does not produce an increase in brand awareness, alternative advertising can be considered.
2. Heavy Usage:
The formulas for heavy usage reads as follows: Category purchases by customers of a brand, compared with general purchases in that
category, divided by average customers in the category. The more the application is utilised the more exposure the company receives,
which leads to companies seeking to advertise on eLabel, therefore increasing eLabels revenue. eLabel currently sells business intelli-
gence reports to brands so that they may compare their performance to their competitors. The eLabel database is able to tell you who
is scanning a barcode, where the person is and the date and time of the scan, therefore allowing for insights into consumers.
3. Baseline Sales
Estimations of baseline sales establishes a benchmark for evaluating the sales generated by specifc marketing activities. The baseline also
helps isolate sales from the efects of other infuences, such as seasonality or competitive promotions. Incremental sales are the number
of units sold through a sales promotion, in excess of the estimated number that would have been sold without it. Therefore:
Baseline Sales = total sales incremental sales
For eLabel this would be adopted to baseline downloads, to see how heavily the brand relies on its marketing for downloads of the ap-
plication to occur.
4. Incremental Sales or Marketing Promotional Lift
Incremental Downloads/ Baseline Downloads = %
This metric gives a percentage of how much more popular the brand has become after thier marketing. After the launch of eLabels tel-
evision advertisement, the company can measure daily, the download rate of their application, to gage the advertisements efectiveness
and therefore allows eLabel to adjust airing accordingly until desired results are achieved. eLabel has structured their business model
around the free exposure they will receive from revealing hard hitting information about products. Using this metric, eLabel will be able
to see which stories generate the most application downloads and can therefore look for patterns as to what stories customers are fnd-
ing most interesting, providing opportunities for eLabel to better align themselves with consumers.
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5. Market Penetration
eLabel is a new brand therefore it is important for the brand to measure its market penetration. Market penetration reveals how well the
brand has been accepted by its target audience in the market. The statistics for application downloads alone wouldnt be sufcient for
measure the popularity of the application, but actual measurements of the usage by those who have downloaded it, will. The application
will only own the space of being a respected authority of information, if the application is used regularly by consumers. Therefore in order
to work out the market penetration the following formula would be applicable:
Application Use (in numbers) / Total downloads of application (in numbers)
This will give eLabel an average of how many times customers have used the application, and will therefore tell eLabel how well the ap-
plication has been accepted in to the lifestyle consumers, allowing eLabel to adjust their marketing if necessary.

6. Learning Curve
The learning curve as a metric measure, allows for the company to put a strategic marketing plan in place, as it identifes how long an
advertisement should be in circulation before a new one needs to be launched. Diferent forms of marketing exposure have diferent
shelf lives based on the ever changing taste of consumers. eLabels initial advertising aims to explain what eLabel does, which will only be
useful to the brand in the early exposure days. eLabels main form of marketing, will live in the medias reaction to eLables shocking truth
revealations about brands, which is challenging, as news stories are short lived. In order to remain relevant and to gain exposure in popu-
lar media, eLabel needs to pace the rate at which high profle information is revealed.
7. Impressions
An impression is made every time a consumer views an advertisement. It is important to know this metric because it will allows eLabel
to measure how many people are seeing the advertisements (reach) and how many times they see it (frequency). This will give eLabel
an idea of how much awareness is being created by an advertisement. An impression measurement will allow eLabel to know whether
they have reached their goal, in terms of the amount of people they estimated would see the advertisement. An impression is measure
using the following formula:
Impression = reach x frequency
8. Efective frequency
Efective frequency is a measurement of, the number of times a person need to see or hear an advertisement in order to register the
message. Marketers usually consider an efective frequency to be three. Advertisements for large companies with an existing, strong
brand heritage may allow a consumer to register the message quicker than an advertisement of a new, smaller company trying to cre-
ate more awareness, therefore as eLabel is young, a higher numbers of impressions should be encouraged and aimed for.
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9. Click Through Rate
A Click through Rate measures and records the clicks on an advertisement as a fraction of the number of impressions the advertisement
makes. The purpose of a click through rates is to measure the efectiveness of a web advertisement by counting the number of consum-
ers who are intrigued enough to click on the advertisement. (Finance in Brand Building Module Manual; Pages 166 172). In order to make
click through rates useful, subsequent convergence should be measured, to get a fgure for how many people actually download the Ap-
plication after clicking on the advertisement.
10. Net reach
Net reach measures the number or percentage of people who receive at least one advertisement from a brand. It works together with
frequency, which measures the average number of times a consumer sees an advertisement. On average, 91% of online adults use social
media regularly. Which would mean that the social media pages of eLabel, could reach a lot of potential their consumers if utilized ef-
fectively. (Bodnar, K; 2012) Because of the nature of eLabel, they could get a lot of free advertising coverage in newspapers, websites and
word of mouth. As facts about brands are exposed, people will start writing and talking about it eLabel.
11. Page views
Page views is a metric that measures the impact, usage patterns and popularity of a companys website. If eLabels web page has a lot of
views, it would then be considered to be popular. eLabel as company is web based, which makes their website extremely important, as
that is where their target market interact with them.
12. Share of Voice
Share of voice refers to the strength of an advert in its market. It takes into account; expenditure, ratings, pages and poster sites. (Davi-
dov, P; 2012).The signifcance of this metric is that the more people who talk about your brand, the more exposure and popularity it will
get. eLabel will get a lot of share of voice as their company will stir up controversy in the media, by exposing the wrong doings of other
companies.
13. Visitors
Visitors are the number of unique website viewers within a given period of time. This number measures the reach of a website and can
determine the trafc of a website and can track occasional or regular website viewers. eLabel, should check their visitors at least once a
day and then compile the data to create an average visitor rate. (Finance in Brand Building Module Manual; Pages 166 172).
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As it stands eLabel already comes up as the frst search hit on Google, which suggests that the website is already receiving a lot of traf-
fc. Online marketing is easier to measure than billboard and magazine marketing as data the can be recorded as to how long, and which
marketing was viewed and used. However, online marketing does present other challenges. Therefore as a closing the challenges in
measuring online brand efectiveness and marketing spend were identifed:
1. There is little face-to-face interaction being an online brands and their clients, and therefore a subsequent loss in consumer insights.
2. Without knowledge about what products customers will use in the future, eLabel could waste time and money on products that arent
in demand.
3. Currently what separates a brand and a company is that a brand has a relationship with their customers. However for an application
that is downloaded onto a cell phone, it is challenging for eLabel to measure how efective the information they are supplying is, for their
target audience.
4. eLabel is an application, therefore, limits its use to only those who have cell phones that hold the application, further limiting it to those
who know how to use this applications.
5. eLabel could be approached by brands asking for paid approval. This is a challenge for the marketing efectiveness spends of the com-
pany, as it is an easy solution to get money and exposure for the company.
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Chapter Three: Healthy Brand Analysis:
The Penetrating Gaze
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Catherine Smith
Perform a full brand analysis on a non-mainstream
South African brand.
Wakaberry
The
Brief
The
Brand
Done
By
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Overview of Wakaberry
Wakaberry was frst established in Durban in May 2011. The brand was inspired by the global trend and growing popularity of Froyo (which
is the popular term used globally for frozen yoghurt. The name WAKA berry came from the song by Shakira, Waka Waka, which be-
came an anthem for South Africans during the 2010 World Cup according to Wakaberry 2013.
Wakaberry, as a frozen yogurt company, has acknowledged that consumers desire the ability to personally customize their purchases.
Previously in the ice cream and frozen yogurt market in South Africa, the brand was in control of the portion sizes, and had price per
scoop barriers as to how many favours you could try in one sitting. Wakaberry diferentiated themselves from these competitors by
completely abolishing these barriers and giving complete control to the customer by introducing self-service Wakaberry bars. This way,
as Wakaberry (2013) states each customer is the boss of their own creation.
Wakaberries Target Market
In order to understand whom the brand is for, the target market was defned. Wakaberry targets market consists of young individuals
either in heart or age. This is identifable from the bright fun colouring of pink, blue and green used in their stores, advertising and logo. The
fun theme is seen again from what Wakaberries calls their customers; Waka-fans, who are apart of Wakaberries Waka-Nation. Waka-
parties, availble to be held instore, again reinforce this fun element according to Wakaberry (2013).
Another characteristic of Wakaberries target audience is that they are health conscious. Frozen yogurt is perceived to be a healthier
alternative to ice cream according to Rosalind Ryan. (2013). Wakaberry has used this knowledge to their advantage by stating that their
products are super low in fat and that their product is a guilt free pleasure. This alignment targets individuals looking for healthy treat
alternative, which would be for; individuals for themselves, or parents for their children. In summary Wakaberries primary target market
is young, fun, health driven individuals and secondary target market include mothers, looking for healthy treats for their children.
Stakeholder Communication
Next, an analysis of Wakaberries stakeholder communication was conducted. Wakaberries communication strategy should be tailored
to specifc stakeholders to ensure that the brands purpose is being efectively transferred to all who come into contact with it. The three
main stakeholders who were assessed in this project were Wakaberries Consumers, Employees and the community. Wakaberries com-
munication for these three has been tailored with the use of; social media and in-store maintenance for their consumes, a high internal
brand value system and culture for their employees and lastly involvement in charity schemes with in the community.
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Wakaberries Positioning
Once the brands diferentiation, target market and communications of Wakaberry had been outlined, the positioning could be devel-
oped. A brands positioning utilizes a space in the market and minds of their consumers to live. The easiest way according to Reis and
Trout to claim this space is to be the frst to exist in the market, and this is exactly the advantage that Wakaberry had. Through the appli-
cation of bellow model the ensuing positioning statement was constructed.
For youthful and healthy individuals, Wakaberry is the self-service Froyo bar, whose continuous rotation of favours gives their Waka-fans
an opportunity to design their own unique, delicious treat, on every returning visit.
Vega Healthy Brand Practise Analysis
The next step in the analysis process was to measure the brand against Vegas healthy brand criteria which are as follows:
1. Does the brand have a particular and an engaging, authentic and coherent communicator?
Wakaberry is a particular communicator, as it communicates in the same way across all of its stakeholder groups. Therefore a shared
meaning of the brand has formed across these stakeholder groups. Wakaberry has done this by personifying themselves, as having a fun,
and high-energy personality. Therefore there communication, both in the form of their signage, colours and the words they use in their
advertising and media, all have the same, fun and cheerful underlying meaning. To align Wakaberries high energy feel it ensures a quick
response rate on social media, which intern motivates relationships as if generates a too way communication between the brand and its
stakeholders.
Kapferer Four Question Model
A brand
for what?
A brand
for whom?
A brand
for when?
A brand
against
whom?
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2. Does the brand have a meaningful and particular purpose?
Brands arent defned by their form, but rather by their purpose (G Cook (Undated; 1-5)) and therefore customers dont necessarily buy a
product, but instead they buy a brand. Wakaberries stated purpose is to create a value adding experience that will bring a smile to the
mind, body and soul. Wakaberry aims to instil this purpose by providing real yoghurt, real people and real fun Wakaberry. (2013). Main-
tenance of this value adding experience would for example require; ensureing staf be friendly, knowledgeable and passionate. Through
having a purpose Wakaberry has given themselves guidelines and characteristics that they need to constantly uphold and meet.
3. Is the brand purpose served in all that it does?
Media sources and Internet is making it increasingly difcult for brands to deceive customers on whether they are fulflling their promises
or not. Wakaberry, being a new brand, made information concerning their value chain and stakeholders available to the public through
use of an info-graphic, which can be found on website. Information regarding who, why and how Wakaberry was started, is also readily
available. Stating that they uphold their values in all interactions with their stakeholdersaccording to how we do business Wakaberry.
(2013), Wakaberry has made themselves accountable for their actions. In terms of product, and staf the purpose in served, openly as is
witnessed by customers in-store.
4. Does the brand have a distinctive Identity
Having a unique identity is fundamental to a brand; for example if 2 brands had the same identity neither would achieve loyalty over
the other, as they would be sharing the same spot in customers mind. Wakaberries identity is one of a fun unique experience, paired with
a high quality product. The fun aspect is pulled through the multicoloured interior of Wakaberry bars, the colours of the frozen yogurts
themselves, the funky chair design and the self-service machines. This distinct identity removes itself from its main competitors, who
even though also use the two bright colours of pink and green, dont however have a fun experienced based interaction, as you get your
frozen yoghurt and leave. At Wakaberry you interact from the time you enter and pump your own yoghurt, to the time you leave having
eaten and enjoyed your own creation on one of Wakaberries funky chairs.
5.Does the brand add value to the lives of people?
A brand shouldnt be harmful, to mind, body or the environment according to G Cook (Undated; 1-5)). Wakaberry provides organic frozen
yoghurt, which is 98% fat free. As discussed earlier, the brand has aligned its self to provide a healthy guilt free pleasure. Therefore in the
form of the product itself it isnt harming customers, but rather providing them with treat that is better for their bodies. Their toppings
however which range from Cadbury fakes and whispers all the way to jelly tots, dont align with being healthy treats,
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and therefore creates a contradiction for the healthy ofering of the brand. In terms of not taking away from the environment, across the
country Wakaberry uses eco-bows, which you use to self serve into.
6. Does the brand build sustainable relationships by never taking more than it gives?
Suitability of relationships for a brand refers to a brand being able to meet the current demand, but at the same time not compromise fu-
ture generations according to G Cook (Undated; 1-5). Wakaberry gives back with their eco bowls and through their own charity program.
This program is called the Ubuntu Youth Empowerment Project. This project aims to give the youth a place where they can be supervised
and supported during times of the day where they cant get this support at home, for example after school in the afternoon, while their
parents are still at work. Having both internal giving back systems and external giving back projects in place, is important for a brand, it
not only gives the brand likability, but sustainability for the future.
7. Does the brand and business that underpins Wakaberry demonstrate that proft isnt the driver but rather a consequence of the
above?
Wakaberry states in their business strategy, that creating stakeholder value is their number one priority. In order to obtain and create
this value they push for their strict purpose and correlating values of real yoghurt, real people, real fun, to be maintained and sustained
constantly. By having these strong values Wakaberry communicates to their customer that what they get out of the brand is Wakaber-
ries driving force and focus. In Wakaberry case, their reason to exist lies in upholding their purpose in all form of communication to their
stakeholders, and with this proft has become a consequence.
Brand Image versus Brand Identity
The next step in this project, after identifying Wakaberry to be a healthy brand, was to analyse whether this health was efectively being
projected outwardly through examining if the brand identity matched the brand image. The brand identity refers to the unique, particu-
lar meaning and value that the Wakaberry has created and wishes to sustain. The brand image is how external stakeholders really see
Wakaberry. In order to acquire the core Identity of Wakaberry, the Aaker 4 perspective model was applied. Having the identity of Waka-
berry then allowed for the image to be measured against it. As seen in the diagrams which follow, the essence brand is Fun Through Crea-
tion, which demonstrates that the brand identity matches the brand image.
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Brand as a Product As an Organisation
Wakaberry
Identity
As a Person As a Symbol
1. Product scope:
Frozen yoghurt
2. Product Attributes:
Hu|t|p|e sweet favours
3. Quality / value:
Organ|c m||k. 93X |at free
4. Uses:
Mutr|t|on and food
5.Users:
|un. Youth
6. Country of Origin:
South Afr|ca
7. Organizational attributes:
|resh. |nnovat|ve
and open
8. Local vs global;
Loca|. named after the
adopted soccer anthem for
South Afr|ca waka waka
9. Personality:
m|gh energy. exper|menta|.
happy. pos|t|ve and |dM
10. Brand Customer
Relationship
cxper|ence dr|ven. ass|s-
tance based re|at|onsh|p. as
|t |s a se|f-serv|ce exper|-
ence
11. Visual Imagery and
Metaphors:
|nk |ogo and wh|te stores
w|th pops of br|ght co|ours.
C|ean cut ||nes and surfaces.
12. Heritage:
As a new brand. her|tage |s
m|n|ma|. however the name
of the brand. does form
part of our recent h|story.
g|v|ng the brand a deve|op-
|ng nosta|g|c her|tage.
Experimental
Open
Bright
Colours
Assistance
Based
Relationship
Happy
Organic
Milk
98%
Fat Free
Trustworthy
South
African
High
Energy
Self Service
Experience
Fun Through
Creation
Multiple Flavours
Positive
Essence
Extended Core
Core
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Wakaberries Portfolio
With Wakaberries identity clarifed ,Wakaberries brand portfolio inventory, roles, structure and graphics needed to be assessed in orde
to ensure that the brand was performing at their utmost potential, while also projecting a coherent brand identity.
1. Brands inventory:
1. Wakaberry 98% Fat Free Frozen yoghurt
2. 40 toppings
3. Wakaberry Sorbet
4. Wakaberry Merchandise
5. Wakaberry Self service experience
6. Waka- Parties
7. Wakaberry Loyalty Card
Wakaberry Portfolio Roles
Linchpin
The Wakaberry loyalty card
f||s the ||nchp|n ro|e as
a|though |t |snt the ma|n
dr|ver for product purchase
|t prov|des that extra added
va|ue to the customer wh|ch
ou||ds customer |oya|ty.
Strategic Role
wasaoerrys fat free and
da|ry free soroet |s strateg|c
as |t |s the resu|ts of assess|ng
that the marset |s mov|ng |n a
hea|th consc|ous d|rect|on
therefore wasaoerry has
strateg|ca||y a|||gned
themese|ves w|th the|r
customers des|res.
Silver Bullet
wasa art|es are the s||ver
ou||et as |t |s an extens|on of
the orand wh|ch |s seep|ng
the orand |mag|ne re|evant
and up to date w|th the|r cus-
tomers. |t |s mas|ng the most
of the newo|e fuss regard|ng
the orand and g|v|ng custom-
ers an opportun|ty to have
the|r spec|a| o|rthday at the
new popu|ar p|ace |n town.
.
Cash Cow
!he como|nat|on of the se|f-
serv|ce and 93X fat free
frozen yoghurt |s the cash
cow of the orand. |t |nvo|ves
||tt|e |nvestment as |t |s a
tr|ed and tested un|que ex-
per|ence wh|ch consumer
seep return|ng for.
.
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Wakaberry
Portfolio
Structure
Self-service
Experienece
Waka-parties
Services Products
Eadable
Products
98% Fat Free
Frozen
Yoghurt
Dairy
Free
Sorbet
Merchandise
Caps
Towls
Key Rings
Bags
Wakaberry
Portfolio
Graphics
Waka-parties
Services Products
Eadable
Products
Merchandise
Once the portfolio was outlined horizontal and vertical brand extensions, that could enhance brand equity, were explored. Creating ver-
tical extensions to Wakaberry could damage the brand becauseit is monolithic brand, creating a less or more premium product, would
change the entire imagine, or this singular purpose brand. Therefore horizontal extensions a better align with Wakaberries as these new
products would equally matches their premium product quality standard. The two I recommended were:
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The Steps of
an Integrated
Brand Contact
Management
Analysis
Step 1
Perform a Brand
Contact
Inventory
Step 2
Do a Full Brand
Contact
Audit
Step 3
Build a Brand
Contact
Vehicle
Step 4
Develop an
Implementation
Strategy
1.Wakaberry Froyo
Self Service Branches as
they provide the
d|erent|at|ng exper|ence
of Wakaberry.
2.Wakaberries Social
|etwor-|ng ages - as |t |s
how the brand connects
with its consumers outside
of the store.
3.The Events that
Wakaberzy Attends as it
g|ves tn|s new orand tne
expos0re |t needs to grow
| 0o||c ke|at|ons ~an-
ager. !o dec|de on events
2. An Overall Branch
Overseer. !o ens0re
franchises have
coherency .
8 !ne Soc|a| ~ed|a
~anager. !o manage tne
best tool for our-of-store
communication.
4. The Owner of the
company. !o ma-e
strateg|c orand dec|s|ons

| ave cont|n0o0s sta
mora| o0||d|ng and tra|n-
|ng programs
2 cns0re extreme|y ca0-
tious event selection, to
g0arantee pos|t|ve a||gn-
ment with the brand.
8 ~a|nta|n extreme|y
quick response rate to all
consumer communication
|!ne|r soc|a| med|a pages
2.Consumer Generated
~ed|a
3.Wakaberry branches
4!ne exper|ence
5a|d ^dvert|sements
3ow|s and pac-ag|ng
!ne comm0n|ty program
8.Collaborations
9~ercnand|se
10.Word of mouth
11.Care line operator
|2romot|on
13.Events
1. To introduc sugar free frozen yoghurt- Wakaberry wouldnt use a harmful sweetening chemical, but Instead use xylitol, which is natural
sweetener and therefore aligns to their real product value.
2. A Wakaberry truck - modelled on old ice-cream trucks that has self-service machines on the outside. It could be ordered for private
home parties, which are more accommodating to active children than shopping malls which aligns to the brands value of real fun.
Integrated Brand Contact Management Analysis
The last step in Wakaberries brand analysis was to perform Dr Carla Enslins Integrated Brand Contact Management Analysis. Through
undergoing the process shown bellow, Wakaberry has the opportunity to better itself and create a more a coherent brand image by
managing their contact points efectively to all project Wakaberries message.
29
Chapter Four: A Brand Challenge
The Stare Down
30
Candice Botha
Tatyana Truskalo
Dominic Irla
Luke Stoch
Carla Hechter
Brunel approached Night Light with the objective of
releasing a new challenger lip care brand onto the market.
The lip balm was titled Kiss This and the favour was
Purple Haze. The brief entailed both a strategic and
creative solution for the brand to successfully launch the
product into the established brand landscape.
Kiss This
The
Brief
The
Brand
The
Team
31
Stage Zero: Before the Kiss This brief could be tackled, we as a team had to transform ourselves from a group of students into an agency.
The blueprint bellow outlines the agency we created; Night Light.
Night Light Agency Blue Print
Positioning:
Night Light is the brave and bold collaboration that helps brands face their fears through uncomplicating scary challenges.
Values:
Bravery
Simplicity
Foresight
Open Culture
Uncompromised Quality

Personality:
Brazen and brave, Night Light aint afraid of no ghost.
Were not about bells or whistles, were about tenacious and playful energy.
Mission :
To slay brand monsters.
So, what are brand monsters?
Brand Monsters are those intimidating decisions that brands are afraid to make.
Such as being in the dark and not knowing the outcome. Big changes and scary challenges.
Tone :
Brave. Bold. Simple.
Essence:
Bravery
32
With our angency in place we could engage with our bried. Stage one in tackling the brief entailed doing extensive research, in order to
gain the true insights necessary to move onto stage 2 of brand challenge process.
Research Objectives:
Primary:
To determine consumer usage patterns of lip care products.
To distinguish between diferent consumer segments.
To fnd out which competitor brands are most popular and why, within relevant consumer segments.
To determine who makes the purchase decision for those relevant consumer segments.
To determine which qualities are most important to relevant markets when it comes to lip care products.
To research how top competitors are displayed at the point of purchase with regards to packaging and position.
To determine how potential consumers feel about the product when testing it.
Secondary:
Once top competitors have been derived, competitor research was conducted in order to determine points of parity and points of
diference so as to fnd a gap in the market and better establish a sustainable diferentiator for the Kiss This brand.
To analyse the current market situation.
To analyse current and upcoming trends.
Research Methodology
An online consumer survey of 244 people was conducted containing both qualitative and quantitative questions.
Qualitative observational research of competitors in-store displays was conducted.
Qualitative product testing was conducted determine opinions about the products physical attributes such as smell, colour, moisturi-
sation efectiveness and the tingle feeling. These were informal interviews conducted with 10 males and 10 females.
A qualitative telephonic interview with pharmacy sales representative for Sandoz Pharma was conducted in order to gain knowledge
of the limitations of in-store product promotion.
Secondary competitor research was conducted in order to establish points of parity and points of diference so as to fnd a gap in the
market.
33
Analysiss Performed:
Situational Analysis
Industry Analysis
- PESTLE Analysis
- SWOT Analysis
Stakeholder Analysis - focusing specifcally on:
Consumers
Sales Representatives and retailers
Manufacturers and Research Scientists
Target Audience Analysis
Lip balm usage by gender
Trailing of the product
Current most popular brands
Competitor Analysis Based on the target Audiences most popular brands included:

Zam- Buk Blistex DTC Labello Softlips Vaseline
34
Key insights
From our interviews, surveys and in-store observations we found that premium priced brands had a higher brand loyalty, while, af-
fordable brands relied on convenience and brand awareness in order to inspire purchase.
Our surveys revealed that women between the ages of 18 and 25 based their preference on attributes in the following order: quality,
price, ingredients and recognition.
Our informal interviews and statistics revealed that females are resistant to change because of the emotional risk involved with cos-
metic products.
The main competitor brands focused on medicinal and functional benefts rather than attitude thus leaving a gap in the market, which
Kiss This can fll.
Competitors have relatively well established brand loyalty, however they lack brand attitude and personality.
Competitor marketing strategies are often focused visually around kissing and lips and therefore should be avoided.
The favour of the product is potentially limiting, as not everyone likes this favour.
Large portions of men dont buy their own lip care products but rather borrowed from friends or used products bought for them.
The green movement has caused consumers to be environmentally conscious and this ought to be considered when manufacturing
and packaging for the product.
There is a trend of nostalgia within the market, for example the vintage clothing trend, the return of Rascals and the old Lip Ice packag-
ing, which they have recently returned to. Kiss This could potentially harness this emotional connection through the song Purple Haze
as it relates the brand back to the old days.
Almost all South Africans have mobile phones above television or radio, Kiss This could potentially utilise this when strategising their
marketing contact points.
35
A fair amount of the women above the age of 26 used the Elizabeth Arden 8 Hour Cream, which was handed out as a promotion with
Elle South Africa fashion magazine. This could also provide an efective marketing channel for Kiss This.
In the male surveys it was revealed that Labello was by far the supreme market leader, however, females had a larger variety of pre-
ferred brands. This is most likely due to the fact that very few brands are marketed toward men.
The males who tested the product appeared to be hyper aware of the purple tint and the feminine con- notations of the colour, gloss
and name of the product.
The men who used lip care products use it mainly for medicinal purposes and therefore may not connect with an attitude brand.
Key issues
1. How can an attitude driven, attractive brand identity be created for Kiss This?

2. How can an attention grabbing, unique visual identity be created for Kiss This?
3. How do we successfully launch Kiss This Purple Haze into an existing, highly competitive, market?
S.M.A.R.T. Objectives
1. Develop a relevant, unique and clearly defned brand identity for Kiss This by 12 September 2012.
2. Develop an appropriate visual identity, which will live in all Kiss This communication points, by 12 September 2012.
3. Create a launch strategy for the Kiss This product that will increase brand awareness within its target audience from 0% to 50%
within 6 months from launch.
Based on the thorough research and subsequent key insights, the key issues and objectives were developed.
These key objectives outlined what needed to done in order to answer the brief efectively .
36
In the second stage of answering the Brief we used the insights, and objectives to develop the following strategic Identity and blueprint
for the Kiss This product.
Proposed strategy

Value Proposition
|unct|ona| 3enefts
|t ehect|ve|y mo|stur|s|ng
your ||ps.
cmot|ona| 3enefts.
Sexy
Act on your |mpu|ses
Self Assured
Go|ng aga|nst the gra|n
Se|f cxpress|ve 3enefts.
cdgy
0|ehard sty|e
Attract|ve
Bold
Fearless
Trend-setting
Self assured
Electric
Assertive
Outspoken
Bold
Mischievous Edgy
Blunt
Gutsy
ACT ON
IMPULSE
No excuses
Sexy
Essence
Extended Core
Core
37
Proposed Kiss This Blueprint
After Act on impulse was established as the brands essence the following brand blue print for Kiss This was developed:
Values
Being Blunt, Fearlessness. Bold StyleMischief
Tone
We say what we want, when we want and how we want. Were blunt and assertive. Sometimes were a little bit arrogant but its only
because were better than you.
Vision
We dont want pretty, we want sexy.
We dont want girls, we want women.
We want rule breakers and risk takers who act on their impulses and speak their minds.
Mission
To lead by example by being the sexiest motherfucking lip balm around.
Positioning
Kiss This is the lip balm that stomps on convention and brings blunt attitude to the table for self assured, opinionated and edgy women
who reject the boring.
Message
Act on impulse.
38
After the strategy and blueprint were completed, a concept intended to communicate the Kiss This message, was developed, making
concept development the third stage in answering our brief.
Concept
Lose your inhibitions.
Concept Description
Losing inhibitions as a state of mind embodied all of the proposed brand personality traits. It is daring, impulsive and exciting.
It was completely unique concept to the lip balm category, and thus could have successfully diferentiated Kiss This from competitor
brands.
Logo
The visual identity was centred around a fexi- logo. This meant that it could appear in a variety of diferent forms between varying con-
tact points. The logo consists of the image, the text, and a combination of the two. The skull design was inspired by the sugar skulls associ-
ated with the Mexican Day of the Dead festival, tattoo designs as well as the fne curved and feminine lines of lace fabric.
The rhinestone eyes were inspired by Damien Hirsts diamond encrusted skull titled For the Love of God.
39
Packaging
Once the Kiss This strategy, identity and visual identity was complete, stage 4 was to propose a launch campaign that had to; frstly align
with the brand message and secondly create the brand awareness necessary to make this brand successful.
Launch Campaign
Concept
The cult of living
The concept of lose your inhibitions is brought to life in the launch campaign through creating the Cult of living Campaing. The purpose
of this is to clearly communicate the state of mind of the brand and fnd consumers who resonate with it. The launch campaign praises
grabbing life by the balls and giving inhibitions the fnger - making this state of mind desirable, and aligning the brand with it.
Launch Campaign Competition
The launch Campaign was based around a competition in which consumers posted their home made videos of themselves acting out
their ultimate thrilling activity they would like to experience. The makers of video with the most votes on the Kiss This website at the
end of the competition would receive their ultimate experience made real, arranged by Kiss This. An example of one of these activities
would be riding on the biggest roller coaster in the world.
40
Print
Cosmopolitan has a 73% female readership. 28% of their readership is between the ages of 15-24, with 29% in the 25-34 age group. These
combined ages reached our primary target audience perfectly as well as include the spill over age groups of above 25 and below 18.
Cosmopolitan has a diverse readership that crosses all ethnic group and has a massive readership of 833, 052 people monthly.
Glamour has an 86% female readership. 44% of their readership is between the ages of 15 - 24, with 28% in the 25 - 34 age group. These
combined ages perfectly reached our primary target audience as well as include the spill over age groups of above 25 and bellow 18.
Glamour also has a diverse reader- ship that crosses all ethnic groups and has a large readership of 556,577 people monthly.
Elle has an 83% female readership. 43% of their readership is between the ages of 15 - 24, with 20% in the 25 - 34 age group. These com-
bined ages perfectly reached our primary target audience as well as include the spill over age groups of above 25 and bellow 18. Elle too
has a diverse readership that crosses all ethnic groups, however the magazine has the smallest readership of 261,715 people monthly. De-
spite its relatively small readership we felt the attitude that Elle magazine encompasses and matches that of the attitude of our target
audience, therefore we feel it to be a good strategic move to also place our print advertising in Elle.
One Small Seed was chosen specifcally for its unique readership. This was to directly target the bloggers and opinion leaders that we
feel infuence our primary target market. One Small Seed has a diferent image in comparison to more traditional magazines. It has a
strong following within the creative community. It was our aim to get these opinion leaders and bloggers talking about our product, as
consumers are more likely to trust reviews over advertising.
41
Print Advertisements
42
Merchandise
The merchandise shown bellow was planned to be handed out as a promotional tool at these popular clubs and bars in South Africa:
Cape Town:
Fiction, Rafkis, Deco Dance
Stickers
Key Rings Vest Ear Plugs
Johannesburg:
Capital ,The Woods, Truth
Durban:
Amsterdam, Origin Live
Online Advertising
Banner Advertisements
Banner advertisements were proposed to placed on relevant websites where our consumers can be found, drawing them to the Kiss
This website.

43
Website and Mobile Site
It is imperative for a brand in todays, in a technologically driven
world to have an online presence. The Kiss This website incorporates
the brands visual and ve bal identity and easily links to the rel-
evant social media websites, which is immensely important in frstly
spreading our campaign and secondly to create a two-way conver-
sation with our audience. It is not sufcient anymore to simply have
a well functioning website, brands must now engage with a mobile
audience, therefore a mobi site would also have been developed.
The Kiss This webiste would not only have been an information
source but would have also hosted the Cult of Living competition.
Facebook and Twitter
Facebook is one of the best mediums in reaching our target audi-
ence as communications can be targeted specifcally to age and
gender. It is also seen as noninvasive. It opens the channels for
brand-consumer conversation and all results are immediate and is
vital in spreading word-of-mouth. The Facebook page will contain an
iFrame of the website so that users can access the site without leav-
ing their comfort zone of the Facebook interface. Twitter is a widely
used platform within our target audience. Correct use of trends and
hashtags will further spreads brand awareness and is valuable in
creating hype around the campaign, therefore a Twitter page will
also be utalised
44
Bloggers Press Pack
A press pack of products and merchandise was to be sent
to prominent South African bloggers in order to generate
more hype around the campaign and by reaching consumers
through their trusted word-of-mouth channels. These blog-
gers could include;
Bloggers Press Pack was suggested to include:
10x Product, 50x Stickers, 5x Event Tickets, 2x T-Shirts
2x Key Chain, Info Booklet, Banner Ad and a Manifesto Video
Radio
5fm is arguably the most relevant national radio station to
our target audience. Despite the female listenership being
20% lower than that of the male, it is still the most relevant
radio station, especially as it reaches a national audience.
53% of listeners are between the ages of 15 - 24 and 26%
between the ages of 25 - 34. This proves that 5fm is indeed
highly popular amongst Generation Y. The listenership is also
very racially diverse, hence not limiting brand exposure.
45
Launch party
To announce the winners of the Cult of Living Competition, and to bring the launch campaign to a big fnale, a Launch Party was planned.
The launch Party was to be held at 3 Venues in Johannesburg, Durban, Cape Town with a live feed between them. The Launch party will
include the following elements:

46
Launch Party Event Flyer
47
The Brand Exposure Loop
The purpose of the brand exposure loop is to demonstrate impactful-ness and inter connectedness of the proposed campaign. Simply
put, the more eforts are focused towards competition, the more trafc will be generated towards the web and mobile sites. The more
people who visit the website, the more people will enter the competition by uploading their videos, the more those videos are shared,
both by those uploading them as well as the viewers. The more videos shared, the more brand exposure is generated on social media
sites. The more online exposure, the more video votes will be achieved. The more votes for the competition directly equates to the
brand exposure through the competition. This is also intersected by our daily #HashTag competition give-aways, thus promoting the
brand further. It was our goal to achieve maximum exposure in a short space of time. We aimef to EXPLODE onto the scene, not merely
launch.
48
Media Planning
It is vital for stakeholders to receive a coherent brand experience at every contact point. This will reinforce the brand message and en-
sure and that communications are efective. As it was a new brand and product, there were no existing brand contact points. Therefore
upon the launch of the product, many of the contact points will be initiated simultaneously. This means that there is no specifc order in
which the consumer contact journey will commence. Bellow is a prediction of the most likely customer contact journey.
The Media Roll Out
Once all of the contact points and campaign was been developed, the media roll out, was put into a calendar format to ensure that all of
the components of the campaign work together, on schedule in an integrated an efective manner.
49
The Media Roll Out
50
The Budget
The fnal stage in completing this brand challenge was forming the budget, which outlined all the costs involved in creating the above
brand and launch campaign
51
52
53
Chapter Five: Creative Development Project
When seeing is believing
54
Catherine Smith
Take a personal ideology from private to the public
Personal Ideologies
The
Brief
The
Subject
Done
By
55
Ideology Rationale
The ideology which both the bellow manifesto and the structure were inspired and based upon was: you have to shift to develop. This
ideology was born from a pattern that is noticeable in my familys history. Each individual in my family believes that they are on their
own path in life, with the goal being to develop themselves to the up most. In order for the Smiths (dads surname) and Flanagans (moms
maiden name) to develop themselves, they regularly re-assess what their current situation in their life is and decide whether in fact they
are being drawn down a the right or a diferent path. Difering paths choices have previously centred around: career changes, moving
houses, changing religions (and not small religion changes either, we are talking about Christianity to Judaism and atheist to Christianity). It
is of our belief that you developed when you shift your life, as when you are continuously learning, you are identify things and situations
which you really enjoy, therefore building your lives on what you love.
The word shift was chosen in replacement of words such as; change, as shift has a connotation of a mind and body movement. Change
is impersonal, and doesnt acknowledge the previous development that one has undertaken. Shift infers that something, that is already
established is moving to something else, therefore it was appropriate for this ideology.
You have to shift to develop
56
The Pattern Manifesto Rationale
The umbrella ideology for this project as mentioned above is you have to shift to develop. While individually and personally to my fam-
ily it means the world, and represents us, to the public it may be seen as directionless and unclear. Therefore in order to take the ideology
into a public space and transfer it into a call for action, it needed to be narrowed down into one simple example, of how someone could
shift, just something small in their lives.
Hence the Pattern Manifesto was born. The word pattern is highly relevant, as, as the ideology suggests that one needs to continuously
break their lives patterns, in order to develop. To translate this into a simple manifesto, research into the patterns that people tradition-
ally undertake was conducted. The patterns that presented themselves included: people taking the same route to work in the morning,
people making their cofee the same way, the time at which people got up in the morning and the position they chose to sit every day in
lecture theatres.
However it came down to the on foot journeys which became most interesting. The repeated paths one takes to go to a bathroom, the
repeated path to go to the library. Taking it bigger, the same parking bay they walk to everyday, and the same home they walk around
every evening. If an individual looked back at the pattern they had made with their foot trafc in a day, and then compared that foot
trafc to previous days, would it look similar? Or almost exactly the same?
This became the basis for the pattern manifesto, inspiring people to start shifting, even in the tiniest way, by simply changing what their
daily foot patterning looked like. Stage one of this manifesto was to do a written call for action which resulted in the following:
What pattern are you creating?
Re-evaluate your repetition
Break your pattern
Cultivate your creation
Develop
It is time to design your steps
57
In order to translate this written manifesto into a creative expression of what these written words meant an attractive, yet unassuming
activity had to be established. The activity had to be attractive, as it is a call for action, therefor needs to pull people in to take part, how-
ever, it needs to be unassuming as it cant force someone to take part, if they arent convinced by it.
The manifesto, as it was calling people to change their foot trafc patterns, already had specifcations: it would be most efective on the
foor, it would need to be attractive and make people want to take part and subtly hint patterning. Traditionally people take part in fun
activities, therefore games. A game, on the foor, which can incorporate patterns. After several development processes and discussions
the execution which suited the project best was: hop scotch.
The almost undeniable urge to jump on a Hop Scotch when one is spotted together with placing it in a mundane one-in-front- of-the-oth-
er foot trafc path suited the manifesto perfectly. The Hop Stock squares themselves each have a diferent patterned material in them
as to inspire the jumpers and to symbolize the new and exciting pattern that they were making. The Hop Scotch itself was placed in high
foot trafc, but usually rushed through area on route to the bathroom and kitchen, which changed the preconceived journey that indi-
viduals believed they would be taking. It changed their journey, by providing them with a chance to break that days pattern.
The Pattern
Manifesto
The Hecate
Passage
58
The Hecate Passage
The fnal step of this project was to build a triplex structure, either functional or not, which could live in space, to take your manifesto and
ideology public.
As both my manifesto and ideology work with the basis that people should be shifting their own path, a requirement for my structure
was that it had to be able to be walked through. Previous ideas involved a high rise building however a single level passage, proved to
be most ideal. A set path or passage however would have again contradicted the umbrella ideology. Therefore a manipulatable, shifting
passage became the focus of the project. This is where the idea of slides or partitions on rollers was developed from. There were 5 slides
were included in the fnal building, two on side and three on the other. Each slide has a unique pattern cut into it. The pattern again, simi-
lar to the Hop Scotch, is both inspiring and representative of the process of one interacting with this passage, shifting the partitions and
therefore creating a new passage and pattern to follow when walking through this structure.
The name of this structure the, Hecate Passage, comes from the name of the goddess of crossroads and change; Hecate. As she represents
change and the decisions life presents you with, to shift your life and to choose a new, exciting and developing path, therefore her name
suited and emphasized the underlying ideology of this monument, and became a name I based my personal brand around.
The Pattern
Manifesto
The Hecate
Passage
59
References
Concept Reference
Goddess Gift. (Unkown). Greek Goddess of The Crossroads. Available: http://www.goddessgift.com/goddess-myths/greek_goddess_
Hecate.htm. Last accessed 20 October 2013.
Finacial Analysis References
(Paul W. Farris; Neil T. Bendle; Phillip E. Pfeifer; David J. Reibstein. (2006). Reach, Net Reach, and Frequency. Available: http://
my.safaribooksonline.com/book/sales-and-marketing/0131873709/advertising-media-and-web-metrics/ch09lev1sec4. Last accessed 8th
October 2012.)
Davidov, P. (2012). What is the share of voice metric in media marketing in. Available: http://blog.onyx-os.com/what-is-the-share-of-
voice-metric/. Last accessed 8th October 2012
(Paul W. Farris; Neil T. Bendle; Phillip E. Pfeifer; David J. Reibstein. (2006). Reach, Net Reach, and Frequency)
Kipp Bodnar. (2012). 21 Internet Marketing Stats That Will Blow Your Mind .Available: http://blog.hubspot.com/blog/tabid/6307/
bid/33328/21-Internet-Marketing-Stats-That-Will-Blow-Your-Mind.aspx#ixzz28jykXGZN. Last accessed 8th October 2012.
Healthy Brand Analysis Reference
Aaker, D. A. (1996). Building strong brands. New York: Simon & Schuster Inc.
Anne Olsson. (2006). The Brand Proposition. Available: http://epubl.ltu.se/1402-1773/2006/159/LTU-CUPP-06159-SE.pdf. Last accessed 20th
April 2013.
BizMag. (2012). Start-up inspiration. Available: http://bizmag.co.za/start-up-inspiration/. Last accessed 20th April 2013.
CD. (2012). Wakaberry Lands in Rosebank. Available: http://completedisbelief.co.za/blog/2012/12/14/wakaberry-lands-in-rosebank/. Last
accessed 20th April 2013.
EDD. (2013). Myg & Wakaberry Frozen Yoghurt . Available: http://showme.co.za/cape-town/restaurant-guide/ice-cream-parlour/myog-
wakaberry-frozen-yoghurt-under-the-cover-with-ed/. Last accessed 20th April 2013.
Gordon Cook, kira Erwin, Patrick Carmody and Dr Carla Enslin. (Undated). How Healthy is your brand. Not Applicatble. NA (Whole), 1-5.
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Kapferer, J-N. (2001). Strategic brand management (Creating and sustaining brand equity long term). London: Kogan Page Limited.
Marcels. (2013). 21 years and still swirling. Available: http://www.marcels.co.za/. Last accessed 20th April 2013.
Ries, A. & Trout, J. (1993). Positioning The battle for your mind. New York. Warner Books, inc.
ROSALIND RYAN. (2013). The healthy ways to eat ice cream.Available: http://www.dailymail.co.uk/health/article-132598/The-healthy-
ways-eat-ice-cream.html. Last accessed 1 May 2013.
Wakaberry. (2013). About Us. Available: http://www.wakaberry.co.za/about-us/. Last accessed 20th April 2013.
Brand Challenge References
Lips. (2012). Retrieved September 12, 2012, from MAC Cosmetics: http://www.maccosmetics.
Products. (2012). Retrieved September 12, 2012, from Labello: http://www.labello.com/products
Products. (2012). Retrieved September 12, 2012, from Blistex: http://www.blistex.com/products Products. (2012). Retrieved September 12,
2012, from Vaseline: whttp://www.vaseline.us/products/de- fault.aspx
61
62
Thank YOU for
taking
a LOOK
The End