#targetgroup

User Group: Ages 10 to 25

Our target audience includes young players (10-25 years old) who have a variety of motivations:

love for animals

enjoyment of games

interest in educational experiences

This range captures different levels of interest and immersion, from young animal lovers to curious students. The game needs to be versatile, allowing for casual play while also supporting deeper learning about animals.

Questionnaire that I made on tactility

Analysis: All of the participants work in the creative industry. 80% of the people said that their sense of touch helps them the most to get back into the moment. Most people said they still feel affected by the pandemic, feel lonely or disconnected to the outside world. And that what helps them to feel better after being online for a long time is spending time outside/ in nature, to turn off all devices, read a book, eat something, cook, listen to music (all things that require the senses). Materials they like to touch and that bring them back into the moment are: Stone, moss, ceramic, fur/mohair, fluffy fabric. Objects they like are things they got from their parents/grandparents (memories), a soft carpet and more functional things like their bed or yoga utensils.

Insights: My hypothesis that touch is the best of the senses to let people be more in the moment was confirmed in this small study. It also confirmed that people still feel affected by the pandemic/ working from home and feel more lonely and isolated than before. The things they use to feel better after being online a lot are all analogue, very real things that connect them to the world again.

examining the behaviour of the (potential) target group regarding to space and objects

(people working in the creative industry, interested in design and art, 25+) at Stedelijk Museum Amsterdam

Observations and analysis: Most people were around 50 and wearing "normal" clothes, meaning jeans, sneakers, grey t-shirt. All of them walked around slowly, looking at the art work for some time, then moving on. When there were artworks that included/allowed interaction, most people slowly and shyly approached the work and started touching it. This were also the works where people often stayed the longest, and it seemed as if they also felt the most engaged with.

Insights: It was interesting to see how everyone in the museum followed the same rules of being quiet, moving slowly, looking at the art, then moving on. Almost as if it was some kind of practiced group performance. Again, it seemed that the work you were allowed to touch had the biggest affect on them. Personally, I also remembered those works the most after leaving the museum.

COS notably produce two seasonal collection every year due to a long design process within 18 months as they commit to their mission providing classic, timeless fashion pieces with hidden functional detail

minimalist, sleek but chic

women, men, kids

21 markets and operate 270 stores across 41 countries (Kent 2020)

According to Business of Fashion (2020), COS is targeting those who design their lifestyle very simple and modern

Directive of COS, Karin Gustafsson states that the customers have a keen interest in art, design and architecture and understand about good design with their hobbies such as reading blogs, visiting galleries, which essential for them to (Abnett 2015)

"most of the customers are those who work in creative industry and communication such as fashion stylist, digital content creator" says a COS Store Manager

"She prefers the simple things in life: good design and functionality, art and literature.

The mindset in this instance is a longing for simplicity, innovation, longer-lasting clothing and a close alignment with cultural cornerstones (for instance, Cos’s biannual magazine is put together by the team behind Fantastic Man and the Gentlewoman).

COS Research:

- COS stories features stories about Chris Downey, a blind architect in San Francisco who designs structures with touch in mind; musician Nils Frahm, who builds sonically complex compositions; and Lizzie Ostrom, who choreographs “scent adventures.” What do they have to do with fashion? Nothing. And that’s exactly the point. - COS customers are sharing what an international “big-city” mindset. “It doesn’t mean you have to live in a big city, but you enjoy the things you find there” Martin Andersson

“Our customers have a keen interest in art, in architecture, in design. They know about good design, they read blogs, they go to galleries, and it’s very important in their life.” "Say we’re looking at a particular artist. That artist might have a particular work process that we then apply to the design as well.”

To COS one of the links between fashion and architecture–aside from conceptual inspiration–is how people use and perceive the two: It’s about experience. “We talk a lot about how things feel in our collection,” she says. “How they feel to wear and how the fabric is to touch, the sound it makes–we really think so much more about the experience and the function of things than just the garment [itself].” Karin Gustafsson.

Analysis: COS has a quite clear image of who their customers are (or at least who they want them to be). Therefore they don't usually talk about fashion in for example their online magazine, but about architecture, design, music and more. That is also what makes them special as a brand, that they sell not only fashion, but a certain mindset and lifestyle. They also talk about the importance of touch in the interview, that its much more about the experience than the clothes themselves.

Insights: This is still the mindset of COS themselves, but since this article was published in 2016, now six years later many of these statements aren't the case anymore. Especially the target group they describe seems to buy less and less at COS, while ARKET stores are as ever-crowded as when they started.