FIGARODIGITAL.CO.UK
Andrew Marcus, Deputy Head of Communications at Museum of London, tells Figaro Digital how they enlisted the support of rapper Tinie Tempah to promote the museum’s new Sherlock Holmes-inspired tweed
WOVEN in the STARS
hat do you get if you put a famous English rapper in a tweed jacket and send him down the catwalk? In October 2014, Museum of London took it upon
themselves to find out with a campaign designed to promote their exhibition, Sherlock Holmes: The Man Who Never Lived And Will Never Die. Partnering with Liberty of London, Christys’ Hats and Lovat Mill (Hawick, Scotland), they crafted a fabric to bring together the history of tweed and contemporary tailoring in London. Then they sent Tinie Tempah out in it. “Museum of London has to think
like a consumer brand,” Deputy Head of Communications Andrew Marcus told delegates at Figaro Digital’s Content Marketing Seminar. This means connecting with the city’s influencers. “You may think of museums as being all to do with history, but if there isn’t
a relevance to our lives now, then what’s the point?” For this reason, Museum of London’s marketing
strategies centre on the interests of two very specific
personas: the ‘cultural connoisseur’ (sophisticated city dwellers looking for high quality experiences), and the arty, trendy ‘London insider’.
A STUDY IN GREY (WITH BLUE AND GOLD)
Having survived over 120 years, 56
short stories, four novels and recent screen adaptations by the BBC and Guy Ritchie, Sherlock Holmes is very much a part of London. But the campaign aimed to do more than inspire a passion for Sir Arthur Conan Doyle’s timeless character. It was part of a larger objective to situate London as the capital of men’s fashion, with Holmes’ iconic tweed as the centrepiece. “London is incredibly important to the
ARTICLE ESTELLE HAKNER 52 issue 24 may 2015
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68
