Club vexed report by Abbie Lane

Word count: 6,584

Introducing

Club Vexed

By Abigail Spencer-Lane

Contents,

006

008

012

An Introduction Club Vexed explained

Punk The last activist fashion statement?

No Vote The decline of electoral voting in the UK

016

020

024

The invisible activist The decline of student activism in the UK

Generation Me Understanding Student Narcissism

An Opportunity The influence of the internet on student activism in the UK

028

032

036

Social Celebrity Understanding celebrity inflluence via social media

The International Activist The prominence of student activism globally

The Big Idea How to increase student activism in the UK

038

042

046

The Consumer An insight into the student consumer

Altering Opinion Changing the student opinion of politics

An Unlikely Duo The potential of Grime and politics

050

054

058

The T-shirt The power of the slogan t-shirt

Allriot The power of the t-shirt

The Collaboration Allriot X ASOS

066

070

078

The Initiative The five pillars of the implementation

A bit of inspiration Visual inspiration for the collaboration material

The Lookbook Images from the Allriot X ASOS lookbook

090

098

102

A bit more inspiration Visual inspiration for the club night

Welcome to the club Allriot X ASOS club night

The promotion Promoting the initiative through social media

112

116

118

The five year plan A promotional plan to increase student voter turnout by 2020

To conclude The conclusion

The References List of references, bibliography and list of illustrations

An Introduction,

â&#x20AC;&#x2DC;Student activism was once a force to be reckoned with. It changed the world, visibly and profoundly. It was the catalysts that lead to the end of the Vietnam War, it pressured governments to finally stop supporting apartheid and it forced the world to start addressing institutionalized racism. But today, in the face of genuine and widely felt grievances, students are impotent and apathetic. Universities are businesses, education is job training and a degree is a holiday.â&#x20AC;&#x2122; (Deacon, 2014) In Burma, the current regime has become one of fear and brutality. Yet, a group of youths fuelled by the desire to change their country and armed with the uniform of punk for courage, are protesting for a better life (Ashurst, 2015). In Russia, fashion designers such as Gosha Rubchinskiyinspired by the regressive regime under Vladimir Putinare creating a voice for the censored youth through their clothing and artwork, provoking action to improve the country they love (Nakiska, 2014). In the UK, the government have created significant debt for students, and the cost of living is climbing annually (Martin, 2015) however, there are little to no visual reactions on the streets or in shops. It can be said that the visual discontent within the UK shown through the youth draping their bodies in protest fashion has deteriorated in prominence. With the punk era being -in the most part- a distant memory, students of today

cascade around discontent yet wear marginally the same regurgitations of high street clothing- a seemingly far less expressive and aggressive outlet than that of mohawks, safety pins and studs seen in the 1970s (Stevenson, 1999: 2). The Millennials are the first generation to grow up with the internet at their disposal, and as such, it seems crucial to delve into the relationship between the lack of physical self expression among university students and the online world. At a fascinating time where todayâ&#x20AC;&#x2122;s university students in the UK are facing the most pessimistic future of any other generation (Clegg, 2015), political discontent should theoretically be on the rise. However, such theorised discontent is not translating into the visual expressions previously witnessed within clothing. This report will hence aim to analyse how/ why the relationship between fashion and activism has changed for university students in the UK.

Figure 1: Punks in London (Steve Johnston, 1977)

Punk,

Figure 2: The Fashion World of Jean Paul Gaultier Exhibition (own image, 2014)

In order to gain further understanding of activist fashion among students, and the reasoning behind why there appears to be a lack of any noticeable political fashion statement that dominants the wardrobes of this demographic in the UK, it is worthwhile exploring the last notable movement- Punk- and the origins that gave birth to it in order to draw both parallels and differences between the political environment of the 1970s and modern society. From this, it will become more apparent as to whether or not the current environment is ripe for another political fashion movement from the youth to occur. Prior to the creation of the internet, the 1970s gave birth to the last notable, self-adopted political fashion movement. A diary entry by Rob Collins in 1998 saw him referring to the movement as deriving from ‘a (no) future moulded by parent’s aspirations, a dead end government and a lack of self confidence’ which transformed, seemingly ‘overnight to a future controlled by the individual’ (Stevenson, 1999: 65). From this, it can be inferred that Punk emerged as a result of bleak futures and a distrust towards the government of the time. This observation of Punk deriving from the displeasing present of the time can be furthered by analysing ‘the psychoanalysis theory’ discussed by Codina and Herrero (2004). The theory ‘consistently advocates the future as a freedom of the subconscious’ where ‘there is instinctive purity of the personality and social barriers to freedom do not exist’ (Meneses and Rodriguez, 2010: 75). This accepted theory poses the point that the adoption of such radical fashion could derive from a yearning for the future where these ‘social barriers to freedom’- such as the government- ‘do not exist’ (Meneses and Rodriguez, 2010: 75). This therefore suggests that some fashion movements can be seen as a call for the future to arrive, a form of escapism from the displeasing present. This theory runs consistent with the foundations of Punk, as mentioned previously, Punk was a reaction born as an activist statement from the youth of the UK who had grown discontent with the society they lived in and needed a source of both protest and escape (Stevenson, 1999: 65). The theory could also suggest that when unfamiliar fashion statements occur, they elicit positive feelings onto onlookers as they can be seen to be referencing the future which creates positive emotions in people away from the negativity associated with both the present and the past (Meneses and Rodriguez, 2010: 76). It therefore can be deduced as likely that such a trend can eventually snowball and be picked up by a larger, more influential group. This again reinforces the origins of Punk in that it was seen as such an alien fashion concept in its premature days; futuristic and rebellious. The connection between Punk and the future is acknowledged by Jon Savage (2002) who recalls Penny Rimbaud of Crass- an activist Punkmentioning that they aimed to ‘go out and show that there is a future’ to the ‘young kids’ who believed otherwise (Savage, 2002: 481). Furthermore, the clothes of Punk produced by Vivienne Westwood (fig. 3) and Malcolm McLaren were described as being ‘impossible to place in history’ as if ‘they were from some distant place or parallel universe beyond the conventions of rock ‘n’ roll mythology’ (Stevenson, 1999: 13). Punk was therefore, likely to be adopted by the masses as a route to escapism from the hardships of the present by predicting and almost partaking- through fashion- in this idyllic future. Despite Punk merely being a visual reflection of the

discontent youth, it was used as a means to actively change the current regime. Mike Sabbagh acknowledged that ‘punk represented “baby steps” into activism’ and his colleague Steve MacLean explains that if ‘she dresses like a punk’ then ‘she’s fighting the establishment in an underground way’ (Lynskey, 2012). However, in terms of the transformation from social movement to political reform, Punk was not overly successful. Jon Savage, recalling his experiences with the movement suggests that ‘very few Punks had the rigour or the courage fully to investigate the ideas contained in their subculture’ (Savage, 2002: 481). This suggests that whilst Punk was founded from the need for political reform, the origin was not exercised by all of Punk’s adopters, lessening the political impact of the movement. If anything, the state of the political system worsened during the years of Punk with the ‘symbiotic’ opposite ‘of the time’, Margaret Thatcher becoming Prime Minister, against the wishes of the ‘libertarian, anarchist’ ideologies of Punk adopters (Savage, 2002: 480). This point is furthered by Nils and Ray Stevenson who made note back in 1979 that ‘actions rarely have the desired effect. All the discontent and left wing politics...united the extreme right and centre. The election’ was ‘won by the Conservatives and Margaret Thatcher’ became ‘Prime Minister’ (Stevenson, 1999: 121). This highly suggests that Punk failed by becoming too much of a threat and therefore uniting its opponents and shattering the hope of its core foundations. Furthermore, the warnings of the ‘no future’ that Punk was trying to avoid occurred ‘by the summer of 1977’ as ‘unemployment was up to 1.6 million, 6 per cent of the workforce: the public service cuts demanded by the IMF began to bite, and the polarizations of the time found their expression in street violence’ (Savage, 2002: 480). From this account, it seems just to concur that Punk ultimately failed in reforming the displeasure and fear that birthed it. On the other hand, Punk can be said to have succeeded in furthering freedom of speech for the individual. Jon Savage made the observation that following the Punk movement, ‘suddenly to say the unsayable was possible, even desirable’ (Savage, 2002: 481). Taking this into consideration, it is suggested that the truth in its rawest form was provided with acceptance in a society that only a few years before had been operating under the dictated, dishonest conditions that spawned the production of Punk as an outlet for the youth of the UK who had grown discontent with the way their lives were being dictated to them by those in power. In terms of voting turnout, when Margaret Thatcher came to power in the 1979 general election, the voting turnout for young people (aged 18-24) was only 62.5%, the lowest turnout of any other age demographic and a reduction from the 70.2% turnout in 1974 (Dar, 2013: 4). This information can be seen as surprising as with the political activism shown by Punks- as mentioned beforehand- it would be expected that voting turnout among this age group would have increased at a time where the call for change was so prominent. These statistics highlight that Punk can be said to have failed in gaining action from their reaction to the state of politics in the UK for the younger generation. Furthermore, the statistics show a further decline in 18-24 year old voter turnout, with only a 51.8% turnout at the 2010 general election (Dar, 2013: 4). This hence highlights a problem that 18-24 year olds are ideologically unrepresented in the current government regime, due to their lack of conventional political participation. 10

If ‘she dresses like a punk’ then ‘she’s fighting the establishment’

Figure 3: Vivienne Westwood Young (Uknown, 1977)

Figure 4: Student Protests (Joe Allam, 2010)

No Vote,

Voter

Turnout

In the UK today, the majority of students remain absent from voting- as mentioned previously- only 51.8% of 1824 year olds voted in the 2010 general election, marking the lowest turnout of any other age demographic, and a 22.9% lower rate than the 65+ demographic (Dar, 2013: 4). With their previously discussed prospects proving pessimistic, it would perhaps appear more likely that they would be more willing to engage in order to regain control of their futures. However, as researched by Melo and Stockemer (2014: 42) they believe ‘it likely that individuals expressing satisfaction with their government and, even more so, with democracy, have a higher propensity to vote’. This suggests that members of society who are disgruntled by the government are less likely to vote. However, Melo and Stockemer (2014: 42) progress to deduce that those who are discontent with ‘the performance of elites, and/or the political system overall, ought to be more likely to engage in unconventional activity than those who feel satisfied’. This ‘unconventional activity’ is defined by Melo and Stockemer (2014: 34) as protesting, rioting, and other forms of political involvement excluding electoral voting. Such unconventional activity can be witnessed in the routes of the Punk era however today, such activity previously displayed by discontent students remains sparse (Deacon, 2014). The potential

problem highlighted here is that the youth could remain unrepresented with displeasing future prospects as their lack of significant political activity could result in an unwillingness of the government to adhere to their silent wishes. It could therefore prove relevant to attempt to drive political activity in the students of the UK in order to ensure that their voices are heard. Furthering the point of the lack of political engagement among students, Jankowski and Strate- referenced by Melo and Stockemer (2014: 38)- state that ‘low rates of political participation among young adults are due to the start-up problem’ which relates to the pressure on young adults that come in the form of financial strains, ‘getting an education, finding a mate… and establishing a career’. From this, it can be inferred that these pressures- likely to occur when finishing university and entering the workplace- could be distracting the UK’s students from voting. This in itself is slightly ironic as the one thing that could increase the ease of which their desires are achieved, is by taking a political stand and engaging with related activities such as voting. It therefore can be said that the importance of electoral voting needs to be reiterated to students, and the way that this is being done at current needs to be examined and adapted to improve effectiveness.

Figure 5: Student Protests (2) (Joe Allam, 2010)

â&#x20AC;&#x2DC;The prescribed austerity has hardly touched the baby boomers, who reaped the benefits of the post war boom and extravagance of the Thatcher years, simply because they care enough to walk to a ballot box.â&#x20AC;&#x2122; (Deacon, 2014)

The Invisible Activist,

Figure 16: Graduation ceremony (anon, 2014)

Figure 6: Revolution Cambridge (Revolution, u.d.)

â&#x20AC;&#x2DC;Itâ&#x20AC;&#x2122;s an infuriating paradox, but intellectual institutions are now infected by an aggressively antiintellectual culture. Students are making more headlines for urinating on war memorials and telling rape jokes than for fighting injustice or advancing progressive ideas.â&#x20AC;&#x2122; (Deacon, 2014) 18

Today, the pessimistic, discontent feelings among the youth towards their futures and the current government regime can be said to run parallel to that witnessed in the 1970s. With ‘587,000 18-24 year olds’ currently unemployed in 2015 (Mirza-Davies, 2015: 2) whichdespite being a slight improvement on the previous year- when paired with the average graduate debt being £44,000; almost double the figure before the increase in tuition fees (Garner, 2014), and rent throughout the UK increasing by an average of 2.1% in the last twelve months (Martin, 2015); the students of today are facing bleak financial prospects. However, despite these bleak prospects, political activism among students of the UK appears to have been in decline from the days of Punk. Theocharis (2011: 163) mentioned the negative associations with this generation of students, such as the referral to them ‘by columnists and academics alike as...‘Generation Me’ and even ‘The Dumbest’ generation’. Such names, he explains as being given to young people for their decreasing engagement ‘in the political process’ (Theocharis, 2011: 163). Archie Bland of the Independent writes of this decline saying that ‘today, the Chancellor can privatise the student loan book without a whimper of protest, or even of comprehension, from the vast majority’ (Bland, 2014). This reduction in activism among students he links to the failed ‘tuition fee protests in 2011’ which resulted in the subsequent jailing of student protesters (Bland, 2014). He progresses to write of how university

Figure 7: Drinking Shots (Why The Fuzz, 2015)

is now for having fun before begrudgingly entering the workforce, and is almost used as a preservation of youth highlighted by the misogyny and other prejudice humour represented in ‘laddish’ culture (Bland, 2014). Deacon (2014) furthers this point by suggesting that students involve themselves in this new culture instead of ‘fighting injustice or advancing progressive ideas’ that formerly played a key role in student life. However, student Zak Thomas (2014) challenges the belief of Bland and Deacon that student activism is dead, using protests of December 2013 such as ‘arguing that the university wage packets directly affected the quality of teaching’, protests against ‘police violence’ and the ‘#3Cosas campaign’ which demanded ‘greater working conditions for the University of London’s employees’ as evidence (Thomas, 2014). The use of the hashtag in the ‘#3Cosas campaign’ could suggest that student activism is simply not as apparent as it used to be due to the increased usage of the online world. Therefore, it could be the case that student activism is not in decline, but has merely adapted its outlets to become more timely to this digital generation. However, Thomas (2014) progresses to sympathise with Bland’s view that ‘the politicised student may not be in the majority’, but predicts that under the current worsening financial conditions for students in the UK, there will be ‘a rise in student activism’ (Thomas, 2014). Whilst observing again that student activism is not as prominent as it used to be, Thomas’ view does provide hope for the future.

Figure 15: Kylie Jenner Selfie (Kylie Jenner, u.d.)

Generation Me,

‘“I want to understand the forces at work in the world so I can change it for the better whilst I’m alive.” The room rippled with smirks followed by a hush of confusion. The boy blushed and conversation moved on.’ (Deacon, 2014)

As previously mentioned by Theocharis (2011: 163), the millennial generation have been subject to scrutiny from previous generations. Often being referred to as ‘narcissistic’ (Westerman et al, 2011: 8), such stereotypes were proven in the research of Twenge et al (2008) -as referenced by Westerman et al (2011)- that shows an increased level of narcissism from 1982 to 2006 in university students (Westerman et al, 2011: 9). As a proven personality change, it is important to dissect narcissism in today’s students in order to gauge whether or not it is a potential factor contributing to the decline in political engagement from that seen in the 1970s. Through primary research, an investigation into political engagement and narcissism among university students concluded a correlation between the two as shown in figure 14. The research analysed two variables- the number of ‘selfies’ posted across Instagram, Facebook and Twitter of each participant in the past month, and their political engagement. Results concluded that the greater number of ‘selfies’ posted, the lower the likelihood of political engagement. Despite not being able to completely deduce the correlation between the two variables down to only these two, the results were extremely conclusive with an obvious pattern on all accounts. This research highlights a potential factor in the lack of political engagement among students; that their preoccupation with their online presence is deterring them from politics. When discussing each participant’s political engagement with them, the responses from those with a large number of ‘selfies’ on social media were unanimous in the feeling that politics was “boring”, “irrelevant” and “not something” you would “want to be seen discussing” (appendix page 32). The last point was perhaps the most crucial. It highlights the fact that politics is deemed as something that is not completely socially accepted among students in the UK, which could prove to be vital in understanding the lack of activism among this group. 22

Figure 14: Narcissism and politics results (Own Image, 2015)

9+ SELFIES= 0% ENGAGEMENT WITH POLITICS

1-4 SELFIES= 58% ENGAGEMENT WITH POLITICS

0 SELFIES= 69% ENGAGEMENT WITH POLITICS

An Opportunity,

Figure 42: Social Media (Stormon, 2015)

Figure 8: Student Protests (3) (Joe Allam, 2010)

Despite the criticism given to the Millennial generation on their lack of conventional political involvement such as electoral voting, Theocharis (2011: 163) mentions that ‘young people have an impressive record of using new technology to organise political action’. This therefore suggests that perhaps it is not a case of a severe lack of political engagement, but instead that due to the adoption of the internet by Millennials, the outlet for political engagement has changed. Theocharis stresses the importance of digital communication as he notes that ‘many scholars believe’ that it has ‘the potential for far-reaching social and political transformation’ (2011: 163). As shown in case study 1 on the 2010 anti-cuts protests (fig. 8) in the UK, social media, websites and blogs are all used by students in order to efficiently organise protest events, and increase recognition and support of political causes. Whilst activism is still in decline, the internet and its communication capacity shown in the case study highlights an opportunity to increase political activism among socially connected students.

Figure 38: Student Protests (4) (Joe Allam, 2010)

As mentioned by Theocharis (2012: 1478), ‘in November 2010 more than 50,000 people marched through central London in opposition to the Conservative –Liberal Democrat coalition government’s plans to raise the tuition fee cap’, the majority of these were university students or prospective ones. As noted by Williams and Vager (2010), referenced by Theocharis (2012: 1478), the discontent at these plans was made abundantly clear after putting faith in the promises of the Liberal Democrats that such fee changes would not occur. As an outlet, Theocharis (2012: 1477) makes reference to the importance of the online world in voicing discontent. Theocharis makes the observation that ‘although social media have largely monopolized the debate on online political activism in recent years, students did not limit their online e-tactics to the use of social media, but used websites and blogs extensively to describe and contextualize their views, demands, protest experiences and actions.’ (Theocharis, 2012: 1477). As results from a study conducted by Van Aelst and Walgrave ‘on the anti-globalization movement’ it was revealed that ‘almost all the organization websites they examined hosted calendars with upcoming protest activities; visitors were encouraged and given detailed information (e.g. transport, sleeping, accommodation, etc.) on how to participate’ (Theocharis, 2012: 1481). This shows how websites and blogs are used in activism to further organise events which would theoretically lead to higher numbers attending. The study by Van Aelst and Walgrave also found that ‘SMOs use websites to facilitate lateral linkages with other organizations in order to acknowledge their presence, build a network of support and make each other aware of common views and interests’ (Theocharis, 2012: 1481). -Case 27

Study

2010

anti-

cuts

protests

Figure 26: Russell Brand (2) (anon, 2014)

Social Celebrity,

Figure 9: Russell Brand (FTS, 2013)

Since the days of Punk, students have immersed themselves in the digital world often being referred to as ‘Digital Natives, Millennials, or Net Generation’ (Margaryan et al, 2010: 429). Through the adoption of social media, this has resulted in a different approach to celebrity culture, with celebrities seeming more relatable and accessible than ever. As PR News stated, social media channels ‘can show’ a ‘slice of life, unique lifestyle or give a window into who’ the celebrity really is (PR News, 2013). This new accessibility can be said to have improved political interest in students with celebrities such as Russell Brand (fig. 9) revolutionising the way in which political activism is communicated to students. In case study 2 this phenomenon is further investigated, with Russell Brand’s YouTube channel ‘The Trews’ reaching significant numbers of young people in the UK. The case study shows how influential both celebrity culture and digital communication can be in influencing student involvement in politics, and gives a counterargument to the notion that young people of today are not politically engaged. Furthermore, Burton and Netemeyer (1992) mention how ‘due to the inexperience and limited knowledge of the political process, first time voters are quite susceptible to personal influence’ especially from people they deem as ‘opinion leaders’ (Wood and Herbst, 2007: 144). From this insight, it can be inferred that the likelihood of celebrities influencing first time voters is quite high, especially due to their increased accessibility as a result of social media. However, as proved to be the case with Russell Brand’s influence, despite high viewing figures for his video urging people to back Labour in the 2015 general election (Mason, 2015), Labour encountered a surprising loss in the election, with the Conservatives winning the majority (BBC, 2015). From this it can be inferred once again that these efforts- whilst increasing political interest among students- are not transforming interest into electoral voting. However, voting statistics counter this claim as votes cast by 18-24 year olds increased to 58% from 52% in 2010 (Sky News, 2015). It is possible that this is due to the increase in SNP voters, as Dr Steve Fisher (2015) mentions that ‘around 40% of 2010 Labour voters voted Yes in the independence referendum, and of these 75% said they intend to vote for the SNP in the next general election’. This loss of labour seats in Scotland to the SNP, Fisher (2015) suggests accounts for the overall loss that the party faced. Alternatively, the Labour loss could be a similar occurrence to that witnessed when Margaret Thatcher came into power- as mentioned previously‘All the discontent and left wing politics...united the extreme right and centre’ (Stevenson, 1999: 121). This could suggest that Russell Brand’s high viewing figures were seen as a threat and potentially further united the right, counteracting left-wing youth votes.

At the start of 2015, readers of Prospect magazine voted ‘comedian turned activist’ Russell Brand ‘fourth in their annual table of the world’s top thinkers’ (Ellis-Peterson, 2015). With ‘nearly 10 million Twitter followers’, he is fast becoming a powerful influence on politics, especially for young people in the UK. The Guardian comments on the comedian as being ‘listened to by hundreds of thousands of disillusioned Britons, particularly young people who have been repeatedly kicked over the last few years’ further concluding his influence with the statement ‘Russell Brand matters’ (Jones, 2015). A recent interview posted on his YouTube channel ‘The Trews’ with Labour leader Ed Miliband in a very small amount of time received ‘more than 1.75 million’ views compared to Conservative leader David ‘Cameron’s kitchen interview with the paywall-free SunNation’ gaining just ‘141,000’ views ‘despite having been available online for much longer’ (Mason, 2015). Brand later endorsed Labour, urging viewers to vote Labour (Mason, 2015). With Brand’s audience predominantly being young people, and ‘700,000’ people under the age of 24 registering to vote, his influence over political engagement could prove to be incredibly high. -Case

Study

Russell

Brand

The International Activist,

Figure 18: Punks going H.A.M. at a festival in downtown Yangon (anon, 2015)

International adoption of political fashion illustrates the potential it has to progress political change. In both Burma and Russia, the current political regime in their country is driving many of the youths to take a stand through fashion. In Burma, as highlighted in case study 3, the Punk scene can be seen to have re-emerged, currently being utilised to provide the courage that the discontented youth need to act against the regime, in favour of their beliefs and welfare of their country. This shows the power a fashion movement has on the mentality of the youth in Burma. Whilst only symbolic of what they do, it inspires them to act when they are disgruntled by a worsening situation. Similarly, in Russia- as shown in case study 4- fashion designer and photographer Gosha Rubchinskiy is providing the censored youth with a voice. Through his artwork, he is telling their story in its entirety, and is actively promoting their discontent, driving this philosophy of a ‘new Russia’ (Nakiska, 2014) that the Russian youth are so keen to progress. This case study provides evidence for the influential power of fashion designers to reach the masses. Even in countries where fashion is not as prominent, the possibility of fashion to leverage a country into a more beneficial position results in the industries contributors being heard. This point is furthered by the current government in Russiadespite being openly anti-homosexual- giving support to openly homosexual designers in a quest to expand the revenue of the fashion industry (Drain, 2014) through initiatives such as the creation of the Russian Fashion Council (case study 5). The Russian apparel retail industry currently stands at a value of $52.8 billion (MarketLine, 2014: 2), a lower figure than the UK’s that stands at a value of $57.3 billion (MarketLine, 2014: 2). These statistics show the prominence of the fashion industry within the UK. With Russia supporting the opposing ideologies of this lucrative sector, despite being smaller than the UK’s, it highlights an opportunity for fashion in the UK to create more of a difference as it has the financial significance to do so. The worth of the UK’s fashion industry is ‘twice the size of the car industry’s and nearly as big as the contribution from housing’, making it one of the biggest contributing sectors to the British economy (Yueh, 2014). Yueh (2014) furthers its importance by explaining that it is an integral part of the service sector that ‘powered the economic recovery’. From these insights, it shows the potential the sector has to make a difference to British society, mirroring the reforming nature of the Russian fashion industry on Russian society. With such movements occurring globally with different groups of youths using fashion as a fuel for protest, the question of why students in the UK are not partaking in something similar needs to be further investigated. As mentioned earlier, there appears to be a link between political engagement and narcissism, with the most stereotypically narcissistic students deeming engagement with politics as socially unacceptable (appendix page 32). It would therefore appear that there is an opportunity to alter this perception through the financially influential nature of the UK’s fashion industry. However, to evaluate the

potential success or failure of such an initiative will require a further understanding of the influence the fashion industry has on students today. Lipovetsky (1994)- cited by Jukka (1997: 75)described the phenomenon of fashion as ‘a vector of narcissistic individualisation, an instrument for enlarging the aesthetic cult of the self’. From this, it can be suggested that fashion acts as an outlet for narcissism, hence can be used as supporting evidence for fashion as a route to politically engaging narcissistic students by indulging their narcissism and incorporating political activism into something they wish to associate themselves with.

Gosha Rubchinskiy, a Russian fashion designer, was born and raised in the suburbs of Moscow. His work is inspired by the Russian skater youth which is further explored in a photobook he created which “explores Rubchinskiy’s fascination with Russia’s rebellious youth and their outlets through smoking, skateboarding and graffiti” (Francis-Westgate, 2014). The photobook named “Crimea/ Kids”, created in St Petersburg “sold out in three days” (Francis- Westgate, 2014). Isabella Burley, in a runway review for Dazed and Confused magazine, likened the Russian designers Paris debut show to the debut collection of Comme Des Garcons in Paris back in 1981, mentioning that Rubchinskiy too, seemed to mark “the beginning of something special, something big” (Burley, 2014). Gosha often makes reference to how the rebellious nature of the Russian youth is a depiction of a “new Russia”, with the new generation wanting to “be the voice of their people and spread the word that they are creative and can make cool music and art” (Nakiska, 2014). Rubchinskiy appears to be championing this movement of creativity in Russia’s youth, which is illustrated by him being referred to as someone that “belongs to a postSoviet generation bent on creative change” , and actively being “part of an effort to rebuild Saint Petersburg creatively”, which he mentioned when discussing his inspiration behind a film he created called ‘Transfigurations’ (Baker, 2014). -Case

Study

Gosha

Rubchinskiy

In Burma, Burmese youths are becoming increasingly discontent towards the ‘brutal military regime’ in their country (Ashurst, 2015). As a result of this, an underground scene of Burmese punks are emerging to voice their concerns about their beloved countries regressive regime. The aesthetic of the anarchic clothing worn by the members runs parallel to that witnessed around the time of punk in the UK due to the movement evolving in Burma from ‘cassettes of Brit bands smuggled into the country by sailors in the 90s’ (Ashurst, 2015). As a point of protest, the group rallied together to create ‘Yangon Calling’ a ‘punk rock documentary in every possible way’ shot with hidden cameras to save the youths from possible death (Ashurst, 2015). The group are concerned with the state of one particular place in Burma called Myanmar, all believing that life there is ‘unfair’ (Ashurst, 2015). For these individuals, ‘punk is a way to express their frustrations’ despite criticisms from the conservative population (Ashurst, 2015). -Case

Study

Burmese

Punks

In October 2014 ‘Alexander Shumsky, the president and co-founder of Mercedes-Benz Fashion Week Russia, announced the launch of the Russian Fashion Council’ (Drain, 2014). The council aims to help Russian designers and to ‘develop’ the Russian fashion industry. ‘The council will be working with Russia’s Ministry of Trade to ensure easy international export of the goods’ and will also ‘allow a select group of Russian designers to show their collections in Milan, offering a cohesive show format and exposure to international press and buyers that they wouldn’t get in Moscow’ (Drain, 2014). -Case Study 5 : The Russian Fashion Council

Figure 27: Gosha Rubchinskiy SS15 collection (Gosha Rubchinskiy, 2014)

The Big Idea, â&#x20AC;&#x2DC;To my generation wars are what happened to our grandparents and human rights violations are things that occur in distant lands. We naively take the stability and security of our liberal democracy for granted and have become the most passive and politically impotent generation in living memory.â&#x20AC;&#x2122; (Deacon, 2014) From compiling the before mentioned research, the relationship between fashion and politics appears nonexistent within student communities, and political activism is on the decline. However, at a time where UK students are facing exhaustive financial strains with no immediate benefit, it is clear that a voice is needed to end a failing government with little to no regard for student welfare due to the number of absent voters falling into this category. With Punk proving to have failed in persuading young citizens to act conventionally on their discontent, it appears that a revised attempt at a fashion related movement where electoral voting is the core and most prominent issue, could prove advantageous in allowing a silenced generation a voice in their futures. The influence of the fashion industry in the UK, combined with the low social standing of politics within the narcissistic Millennial generation provides an opportunity for change in opinion on activism if both fashion and politics were to join forces. With the digital world providing an opportunity for change, a strategy to promote a political fashion brand to the mass student market via the online world in order to increase conventional political participation will be implemented.

Figure 43: Be a voice not an echo lookbook image (Own Image, 2015)

Figure 44: The Student Cave Consumer Profile (Own Image, 2015)

The Consumer,

Figure 30: The Student Cave Consumer Profile (2) (Own Image, 2015)

The Student Cave, The modern student loves a variety of music scenes and a good night out, often sharing these loves online. These key interests can be used in the creation of the implementation to create something that will draw in the modern, party orientated student into the political world. (Appendix page 28)

Figure 29: The Student Cave Consumer Profile (1) (Own Image, 2015)

Music Nightlife Last Digital

lover fanatic minute native

â&#x20AC;&#x2DC;organisedâ&#x20AC;&#x2122; mess, collection of empty bottles, music lovers sound system, array of DVDs for the morning after, scattered paper, unfolded clothes, exposed wires.

Altering Opinion,

Figure 25: Rock The Vote (Rock The Vote, u.d.)

In order to revise the current negative image of politics that many students associate it with, partnering it up with something that students share positive associations with could prove to be beneficial. As shown in case study 6, Apple were able to broaden their consumer reach by emotionally connecting to something the masses have in common- music. Their marketing approach put aesthetics at the forefront enabling them to reinvent the way that technology was perceived by consumers away from ‘ugly’ competitor products that whilst innovative, failed to connect with the masses (Griffin, 2015). The success of associating music with the brand is something that can be used when attempting to reinvent the image of politics to students. By injecting something that many students have in common and share positive associations with into politics, it will hopefully enable a change of opinion similar to how Apple’s use of music and aesthetics altered the perception of technology (Griffin, 2015). From the findings of case study 5 and taking inspiration from the consistent view mentioned earlier linking ‘lad’ culture witnessed in university nightlife to a representation of the decline in political activism in students (Deacon, 2014), it would appear appropriate to further investigate the potential of nightlife in regards to altering perceptions of politics among the student community in the UK. Hollands et al (u.d.: 5) touches on this change in nightlife, noting that ‘the experience of going out...has changed drastically over the last decade, largely through the advent of ‘clubbing’, dance music and late night hybrid barclubs’ and suggests that it has now become an integral ‘lifestyle element’ of UK university students. This integral adoption of clubbing and dance music could provide an opportunity to infiltrate and influence a large majority of students. Much like the combination of music and fashion seen at the height of the Punk era, club culture could be used alongside fashion to create a politically engaged student population. Wayne Hemingway (2011)- founder of Vintage Festivalstated that ‘club culture in the UK is now a multi-millionpound industry’. This observation highlights the national influence of club culture, and its widespread adoption. As acknowledged by Goulding and Shankar (2011: 1435), Club culture has been adopted by young people globally. They further the dissection of club culture by referring it to a ‘neo-tribal’ experience which they explain as representing ‘a temporary escape from the pressures and stresses’ of everyday life (Goulding and Shankar, 2011: 1436). From this, club culture appears to provide a contrasting set of associations to the reality of everyday life at the heart of politics. This could prove to be a complementary association as the harsh realities of politics could be softened by the escapism of club culture, making it more likely to be adopted by the youth of the UK as it will become associated with an enjoyable event. Furthermore, as stated earlier regarding the widespread adoption of Punk, the escapist nature was what attracted many youths, which suggests that club culture could provide that same escapism. Club culture is also mentioned by Goulding and Shankar (2011: 1436) as enabling the ‘instant formation of friendships’. This could be utilised when attempting to promote political activism in students as the formation of friendships could further the sharing of political thoughts and activist events. DJ Elijah in an article by Kieran Yates (2015), brought to attention the threats that club culture is currently facing in the UK such as venues being ‘under threat from property and retail developers’ and the changing landscape of clubs themselves that are now ‘going

for ‘safer’ options that will bring in crowds’ instead of promoting ‘new music’. This phenomenon shows a gap in the market for a club that provides crowds with alternatives to the typical ‘old-school garage’ music that dominates the majority of clubs in the UK (Yates, 2015). Dazed Digital (2015) draws on the threat of property and retail developers to UK club culture, by suggesting that apart from Boris Johnson’s ‘save Soho’ initiative, none of the political parties mention the protection of the UK’s nightlife in their manifesto points for the 2015 general election. This could potentially be used as a marketing point as it is likely to appeal to students and the significant part that club culture plays in their university life. It can therefore be used to encourage them to become more politically engaged. The influence of music on young people’s involvement with politics can be seen in case study 7 on the nonprofit American organisation Rock the Vote. The case study shows how the use of music artists can dramatically influence youth voting turnouts and provides further evidence for the likely success of integrating club culture into politics in improving student voter turnout. However, it does highlight the integral use of celebrities in achieving an increased voting turnout. It could therefore be useful to look at potential celebrity DJ or club music artists who are admired by students in the UK as a tool for further increasing student voter turnout. Furthermore, case study 8 on Red Wedge- a political rock tour- provides further evidence for the success of music in influencing political engagement in young people. As stated in the case study regarding increased interest levels of young people regarding politics- shown through a growing number of young people approaching Labour MPs to discuss their policies (Black, 2015)- it can be inferred that the music tour had a direct impact on political interest in young people. However to deduce the occurrence to merely the tour could prove reductionist. Nevertheless, the case study provides an insight into the power of music over politicians in influencing young voters. It provides further evidence for the use of well known DJs or music artists in attracting the attention of the modern student. However, the influence shown here could potentially be limited to fans of rock music as it is an antiestablishment music genre by nature (Wicke and Fogg, 1990: 92) which could mean that naturally, adopters of the genre are predisposed to political activism.

‘hardline party blokes going out there and lecturing the crowd on the evils of capitalism’ is ‘not how you change the minds of rock fans’ (Black, 2015)

Apple is one of the biggest companies in the world, recording the largest ‘quarterly profits ever made by a public company’ and in terms of GDP, is larger than Hong Kong (Griffin, 2015). Prior to the introduction of the iPod, Apple appealed to computer and technology enthusiasts (Design Council, 2013). However, the marketing of the original iPod ‘catapulted the company from computer business to mass-market entertainment brand’ (Design Council, 2013). Apple drew on the emotion associated with music within its marketing and as a result, ‘Apple redefined what the company did and shifted its brand association to something that connects with larger numbers of people outside computing or creative community’ (Design Council, 2013). -

Case

Study

Apple

In 1990, a non-profit organisation was set up in America with an aim to increase the turnout of young voters (Rock the Vote, u.d.). ‘Rock the Vote’ has since ‘revolutionized the use of pop culture, music, art and technology to inspire political activity’ with significant results as they ‘have run the largest voter registration drives for young people on record during the past six Presidential elections’ in America (Rock the Vote, u.d.). They often use music artist and other celebrities as brand ambassadors, ‘whether it’s Madonna wrapping herself in the flag for the first Rock the Vote PSA or Snoop Dogg launching our bus tour in 2004’, in an attempt to reach young voters (Rock the Vote, u.d.). The success is seen in the statistics of the organisation, with ‘Rock the Vote’ being ‘responsible for registering 6 million people’ (Kreps, 2014). -Case

Study

Rock

The

Vote

Red Wedge was classed as a ‘political initiative set up by the likes of Billy Bragg, Paul Weller and Tom Robinson 30 years ago’ in the form of a rock tour throughout the UK (Black, 2015). Billy Bragg mentions that the initiative was set up in ‘the darkest days of the Thatcherite 80s’ where ‘there was a feeling that something had to be done’ (Black, 2015). Neil Spencer recalls the significance of the music tour on young people’s involvement in politics stating that suddenly ‘you had these very stolid, long-term party members suddenly finding themselves confronted by young people who wanted to talk about the environment, gay rights, minorities, and to get all these things on the Labour party agenda’ (Black, 2015). Tom Robinson touches on the method of influencing attendants of the events, stating that ‘politicians would turn up and want to go on stage’ which was the ‘last thing’ they ‘wanted’ as ‘hardline party blokes going out there and lecturing the crowd on the evils of capitalism’ is ‘not how you change the minds of rock fans’ (Black, 2015). Looking back on the experience, Billy Bragg mentions that ‘there was a feeling immediately afterward that we hadn’t actually achieved very much, but now, in retrospect, I think we did. We hadn’t set out to change the world, just to create some common ground between young people and the Labour party. I think that’s what we did’ (Black, 2015). -Case

Figure 12: Billy Bragg watched by Labour leader Neil Kinnock at the 1985 launch of Red Wedge (Richard Young, 1985)

Study

Red

Wedge

Figure 24: Skepta (Ruth Saxelby, 2015)

An Unlikely Duo,

‘Grime describes the world politicians of all parties have ignored - its misery’ (Shlaim, 2011). In terms of a music genre to attach to the movement, Grime appears to have the potential to create a similar activist movement to that seen in the 1970s. Radio 1 presenter Fearne Cotton (2015) states that Grime is the ‘the closest thing to Punk at the moment’. This claim is furthered by music platform Fact Magazine (2015) which reinforces that ‘music critics have drawn parallels between punk rock and grime ever since the latter was born’. The ‘UK Punk duo Slaves’ (fig. 10 and 11) are avid followers of Grime and even covered ‘Skepta’s ‘shutdown’ in the BBC radio 1 live lounge’- a Grime track (Fact Magazine, 2015). Furthermore, Shlaim solidifies Grime as a potential background music for the discontent youth. Following the student protests of 2010, she declares that ‘Grime occupies much the same space today as punk did in the eighties. As with punk, some appears pretty much apolitical, some expresses a purely emotional response to a contemporary situation, and some provides as biting a political analysis as one would hope to find anywhere’ (Shlaim, 2011). The Guardian also makes a similar claim, stating that ‘Grime describes the world politicians of all parties have ignored - its misery’ (Shlaim, 2011). From this insight, it is clear that there are many parallels to be drawn between Punk and Grime in portraying political unrest. However, Shlaim (2011) mentions that despite the parallels, the relationship between Grime and politics has significantly less awareness in UK society in comparison to the widespread awareness of Punk and politics. This highlights an opportunity to further publicise Grime to students as a form of political expression through club culture.

Figure 11: Slaves Band Playing for Todd Lynn (James Joseph, 2015)

Figure 10: Slaves (Lewis Abbey, 2015)

50Katharine Hamnett (Terry Richardson, u.d.) Figure 23: ‘Use a Condom’ t-shirt by

The T-shirt,

The current retail market in the UK is extremely densely populated. Yueh (2014) warns that according to Business of Fashion writer Imran Ameh, ‘an estimated 95% of start-ups fail in the first five years’, making it an incredibly risky sector to invest in. This statistic makes it less appealing to attempt to break a new fashion brand into the sector, but instead it seems more viable to increase awareness of an established brand. From case study 9 on Katharine Hamnett’s political slogan t-shirts, it is clear that the popularity for them in the 1980s has carried on into the modern day. Sibbles (2009) comments on the classic nature of the political t-shirt comparing them to ‘jeans’ and ‘the little black dress’ making them appear timeless and relevant. The transcending nature of political t-shirts could be adopted when considering how to integrate political fashion into the lives of students. Furthermore, T-shirts by nature are inexpensive which could prove beneficial to the student lifestyle. When considering what makes an effective political t-shirt, Katharine Hamnett suggests that ‘a successful T-shirt has to make you think but then, crucially, you have to act’. From this, it can be inferred that political t-shirts have the ability to make people think, however, they do not have the power to make people act. It therefore seems fair to deduce that t-shirts alone are not likely to transform voting turnouts, but can act as a catalyst for students to further consider the impact politics is having on their lives.

Katharine Hamnett combined fashion and politics back in the late 1970s when she began designing her ‘over-sized’ slogan t-shirts such as ‘her first design’ which stated ‘Choose Life’ (Fig.22) (Waters, 2015). Her political designs became ‘immensely popular’ in the 1980s, and set her up as ‘fashion’s most political designer’ (Mavrody, 2013). She has since been known as ‘the pioneer of the political slogan t-shirt’ with other designers following in her footsteps, reaffirming ‘the political power of the slogan t-shirt, including Westwood (“I Am Not A Terrorist”) and, more recently, Christopher Shannon (“Save Me”)’ (Waters, 2015). -Case

Figure 22: Katharine Hamnett ‘Choose Life’ t-shirt 52 (Chris Floyd, 2015)

Study

Katharine

Hamnett

Figure 21: Margaret Thatcher and Katharine Hamnett (anon ,1983)

Allriot,

Figure 20: Allriot t-shirt (Allriot, u.d.)

Allriot are a disillusioned, political t-shirt brand whose manifesto revolves around the discontent of young people, urging them to take a stand against the current establishment (Allriot, u.d.). Their reason for the creation of Allriot they claim as being ‘to take the conversation offline and into our everyday lives, and to have a bit of a laugh along the way’ (Allriot, u.d.). The key idea of the brand that makes it unique is the humour. They believe that ‘humour is revolutionary’ as ‘it plays with the rules, not by the rules. It’s the RED PILL that lifts apathy and challenges stale ideas’ (Allriot, u.d.). Laineste (2013: 482) draws on the sociological advantages of using humour in political activism stating that ‘previous studies on the functions of humour have suggested that among other things,humour can be used to enhance group cohesion by lifting up the spirits or to attack the (political) enemy by sharp sarcasm’. From this, Allriot’s approach can be evaluated as potentially effective as the humour on which the company prides itself on has the potential to lift ‘the spirits’ of the disillusioned youth. This insight provides evidence for how to best approach online communication, ensuring that the humorous, sarcastic tone of voice of Allriot is maintained throughout the promotion of the brand.

Figure 19: Allriot spaceman t-shirt (Allriot, u.d.)

Figure 35: Roxanne Mesquida for ASOS magazine September 2010 Issue (ASOS, 2010)

The Collaboration,

E n g a g i n g social media presence

ALLRIOT (AIM TO BE)

ALLRIOT (CURRENTLY) Unfashionable to students

Lack social

Fashionable

media

of presence

Figure 33: Perceptual map of fashion brands (Own Image, 2015)

students

Figure 34: Brie Larson for ASOS magazine March 2014 Issue (Ben Morris, 2014)

From the perceptual map shown in figure 33, it can be seen that where the brand aims to be in 2020 is more directly aligned with fashion brands popular among students as discovered through primary research (appendix pg. 40). This revised alignment will hopefully aid the promotion of the brands political message to one of improved social standing in the eyes of the image conscious, politically disengaged, student consumer.

In order to reach the perceptual map placement, a collaboration with ASOS- the brand that gained the highest ranking among students as shown in the primary research- would prove beneficial. As shown in the SWOT diagram (fig. 31) due to the student consumer being a digital native, ASOSâ&#x20AC;&#x2122;s online presence and reliance on social media would also prove beneficial in reaching and influencing this consumer group. However, as highlighted as a threat, it is uncertain as to whether or not an established brand like ASOS would be willing to associate themselves with politics due to potential sociological risks. However, to address this issue, the Allriot X ASOS collaboration will attempt to remain as politically neutral as possible in all endeavours. The likelihood of a fashion brand involving itself with politics is explored on the next page through primary research.

Figure 32: ASOS #bestnightever marketing campaign image (ASOS, 2012)

S S

1. ASOS are an established brand that students love (appendix page) 2. They have a strong social media presence which will help to attract the ‘digital native’ (appendix page) 3. Reputable company name that students will trust and respect.

W W

1. Despite being popular among the majority of students, not all students view it as a go-to shopping destination.

O O

1. Potential for aligning the brand closer with their target, student consumer. ASOS main consumer: ‘20 somethings’ (Beswick, 2015) 2. Can sage via ASOS ASOS ASOS

build awareness of Allriot and their mesthe large following on ASOS’s online platforms. Twitter followers: approx. 850,000 Instagram followers: approx. 2.8 million Facebook ‘likes’: approx. 3.5 million

3. Learn from their social media success in order to build on Allriot’s.

T T

1. ASOS may be reluctant to associate themselves with politics. 2. The association could damage the brand message for those who do not regard ASOS as a favoured fashion brand.

Figure 31: ASOS X Allriot collaboration S.W.O.T. (Own Image, 2015)

The risk explored, Kirsty jewellery

Taylor business

(Small owner)

Julie owner

‘Yes I would. I have a big interest in politics anyway and really hope that people voting for the first time will actually vote next month! It’s so important. I’m not sure if it would really fit with the brand, but I would definitely consider sponsoring an event or creating a line influenced by politics. If it meant that I started losing customers I would stop. I hope that answers your question.’

Mitchell (Small business of independent gift shop)

‘No probably not, I’m only a small business so I don’t really want to get any opponents. I think it’s good when businesses have the courage to try and make a change but because of the size of mine I don’t think I’d really have the scope to make a real impact regardless.‘

The likelihood of fashion brands involving themselves in politics proved uncertain in the above primary research with 1/3 brand directors saying they would, 1/3 unsure and 1/3 saying they would not. Vrai Ou Faux director Richard Hutchison voices his concerns over backing a specific political party, which suggests that if the agenda were politically neutral, a brand like ASOS may be more willing to get involved in issues that affect their student consumers (Hutchison, 2015).

Figure 45: Vrai Ou Faux (Richard Hutchison, u.d.)

Richard Hutchison (Founder and director of Vrai Ou Faux online clothing brand) ‘I think in general no, and no brand should really associate themselves with a specific party or major political views, it’s a way to allienate yourself from customers and just bad business practice. But for specific political issues that affect them as a fashion brand or their consumers they shouldn’t be afraid to get behind a campaign or movement i.e. free the nipple or maybe securing safe working conditions for factory workers.’

Appendix pg.36 Industry responses Figure 46: Vrai Ou Faux (2) (Richard Hutchison, u.d.)

The Initiative,

Figure 19: Allriot spaceman t-shirt (Allriot, u.d.)

The Collaboration,

Club Nights,

- A collaboration with Allriot and ASOS in order to further brand awareness and positioning within the student market for Allriot.

- These will be integral in re-associating politics in the minds of students, by integrating it into the student lifestyle.

- The collaboration will consist of an initial collection of Allriot t-shirts exclusive to ASOS.

- Club nights will be hosted by the collaboration (ASOS X Allriot) in secret locations (revealed on the day of the event) and will feature grime music.

Podcasts,

Celebrity,

- Podcasts will be used to create a following similar to that seen on Russell Brand’s ‘The Trews’ where a daily podcast will be uploaded discussing political topics.

- Celebrity brand ambassadors will be asked to get involved, increasing awareness of the cause and acting as a quality stamp for the initiative.

Figure 36: Allriot Mass Media T-shirt (Allriot, u.d.)

- The first celebrity to get involved will be Russell Brand as his YouTube channel ‘The Trews’ has a large student following.

The

05 Social Media, - Facebook pages will be set up for the club nights where political content will be posted, aiming to fuel discussions.

five

pillars,

- Twitter, Instagram and Facebook will be used for Allriot to promote political discussions through hashtags such as #imvexedbecause and the posting of political articles. - Bloggers and Instagram bloggers will be used as a key part in the PR strategy.

Figure 39: The Five Pillars (Own Image, 2015)

Figure 37: Allriot Thought Criminal T-shirt (Allriot, u.d.)

A bit of inspiration, for the collaboration,

Figure 59: The Clash original concert poster (Anon, 1979)

Figure 28: Old Punk moodboard (Own Image, 2015)

Old Punk, With harsh lines, and a ‘cut and paste’ aesthetic, the ‘old punk’ trend sees a move away from the digital and back to basics. These aesthetics can be found from old gig posters from the likes of bands like The Clash and the Sex Pistols.

Figure 64: Organised Mess moodboard (Own Image, 2015) [moodboard]

Organised mess, ‘Organised mess’ draws on the student lifestyle, using misplacement of garments to produce graphically structured images that bring the ‘organised’ structual aspect to mess. Minimal clothing brand Cos used this misplacement of garments in an interactive installation designed by Snarkitecture and inspired by their SS15 collection (fig. .

Figure 63: Cos X Snarkitecture Interactive Installation SS15 (Cos, u.d.)

Figure 27: Gosha Rubchinskiy SS15 collection (Gosha Rubchinskiy, 2014)

‘Flourescent language’ is inspired by Gosha Rubchinskiys SS15 lookbook (Fig. 27 and 65). The lookbook draws on both the club culture in Russia, and the youth who are calling for a ‘New Russia’. The flourescent lighting creates an optimistic glow for otherwise minimal photographs, and adds a touch of excitement whilst not overshadowing the product .

Figure 66: Flourescent Language moodboard (Own Image, 2015)

Flourescent Language,

Figure 65: Gosha Rubchinskiy SS15 (2) (Gosha Rubchinskiy, 2015)

The Lookbook,

Figure 47: Be a voice not an echo design (Own Image, 2015)

Figure 48: Show up or shut up design (Own Image, 2015)

A bit more inspiration, for the club night

Figure 13: The Grand Budapest Hotel (Wes Anderson, 2014)

Figure 40: Bright with bite moodboard (Own Image, 2015)

Bright with bite, ‘Bright with bite’ is a trend deriving from the quirky colour references in director Wes Anderson’s (fig. 13) innovative films. The trend reflects in graphics of the season, with bold, graphic shapes adding an extra dimension to the harsh colours. The bright colour palette consisting of pinks, blues and reds, can be used to instantly catch attention and stands out from the monochrome designs that infest design. Providing an escape into a colourful world, ‘bright with bite’ has the potential to reach discontent youths who want to escape the hardships of reality.

Figure 41: The Gender Clash moodboard (Own Image, 2015)

‘Gender clash’ references the current merging of genders within fashion. The prominence of this movement is growing with the youth of today being classed as ‘gender neutral’ (Piras, 2014). The movement has been furthered by the likes of celebrities such as Jaden Smith breaching the boundarie of gender clothing by wearing a skirt, commenting that they are ‘just clothes’ (Wee, 2015). Combined with the increasing awareness of feminism, colours and clothing are stripped of their gender connotations and adopted by all.

The Gender Clash, 95

Figure 60: Unfocused moodboard (Own Image, 2015)

Unfocused, â&#x20AC;&#x2DC;Unfocusedâ&#x20AC;&#x2122; references the trend towards artwork that feels alive. It takes inspiration from artists such as David Benjamin Sherry (fig. 61.) who produces beautifully tranquil landscape photographs with an urban, futuristic depth, and sculptor/ photographer Nicole Wermers (fig. 62) who photographs her sculptures in an errie fashion giving life to the stone. The trend has been apparent in nightlife photography for years, with the unfocused lense providing a sense of the atmiosphere enabling the viewer to engage in the feel of the night.

Figure 61: Hyperborealis (David Benjamin Sherry, 2011)

Figure 62: Buhuu Suite (Nicole Wermers, 2011)

Welcome To The Club,

Figure 49: Allriot X ASOS club night promotional design (Own Image, 2015)

Figure 50: Show up or shut up club night flyer design (Own Image, 2015)

100

White Rabbit describes itself on its Facebook page as a ‘secret party series’ in Nottingham with near to no other information being made available (White Rabbit, 2015). The group appears to operate under a sense of mystery and intrigue, often holding out important event details until the last minute. For the groups 1st birthday, they posted an ambiguous video which featured flashing lights, mysterious music and a glitchy White Rabbit logo. The description of the video mentioned that ‘There’s very little we can mention other than the venue is easily accessible via Tram or Taxi, boasting multiple stages, multiple crews and a step in the right direction for Nottingham’s nightlife’ (White Rabbit, 2015). As a result of the mystery, the group’s Facebook page has a high engagement rate for the number of likes it has, with people often commenting with things such as ‘I’m not missing this one’ and ‘intriguing’ (White Rabbit, 2015). Cast

Study

10:

White

Rabbit

Student club nights will be introduced in order to further integrate the brand into the student lifestyle. Taking inspiration from secret events agency White Rabbit discussed in case study 10, the events will operate through a haze of mystery, adding an element of intrigue which will hopefully encourage people to attend. This mystery will be achieved through social media, with important details such as the venue and DJs/ artists released close to the date. This will ensure that attendees will have to follow the club night group on social media in order to remain informed about the event which will result in the groups political content being seen by nightlife loving students.

101

Figure 51: Be a voice not an echo lookbook image (2) (Own Image, 2015)

102

The Promotion,

103

When analysing Allriot’s social media, it becomes apparent that there is not a consistency across all platforms. Their Twitter account has a staggering 50.9K followers, whilst their Instagram account only has 3,237 followers. Instagram is an incredibly influential platformespecially for the younger generation (Vromen et al, 2015: 80). Sedge Beswick (2015) from ASOS makes note of the influential potential of Instagram stating that ‘brands see 50% more engagement on Instagram than anywhere else’. Beswick (2015) also mentions how ‘Instagram reaches nearly half of 18-34 year olds globally’ which is beneficial when attempting to reach the student market who are generally around 18-21 years of age. The high engagement rates on Instagram Beswick (2015) suggests as being due to the smaller amount of content put on the platform in comparison to social media platforms such as Twitter, which due to the high volume of content posted daily, often results in brand messages becoming lost. Furthermore, when considering the implementation of combining club culture into the initiative, it could be suggested that Instagram will be a platform that sees high engagement levels after club nights as photos of the night could be posted here. When dissecting Allriot’s Twitter account, it becomes clear that there is more of a lifestyle element attached to it, with content often being posted about political news stories or encouraging people to vote. However, this lifestyle element is neglected on their Instagram, with the majority of posts being product based. It could therefore be suggested that in order to drive more traffic to their Instagram, a lifestyle element should be initiated similar to that already implemented on their Twitter. Mark W. Schaefer (2012) quoted Dr.Robert Cialdini who suggested that ‘how we can stand out in this increasingly information-dense world’ is to ‘be more human’. This insight suggests the importance of personalisation and lifestyle elements in reaching target markets online. This point is furthered in case study 11 on Vans. The company have been able to successfully utilise social media to improve brand loyalty by setting themselves up as a lifestyle brand through events and interactive online initiatives (Aldenton, 2014). The integration of daily podcasts, protest events and the #imvexedbecause campaign will help to achieve a similar result by involving followers in political discussions away from dry product posts.

Figure 52: Be a voice not an echo lookbook image (3) (Own Image, 2015)

104

Vans have created a loyal social media following over the past fews years, and this can be attributed to their authenticity, merging of the digital and physical worlds through events, creating original content and ensuring that the content is genuine and helps to spark conversation (Aldenton, 2014). As Aldenton (2014) describes, ‘The company regularly invites the customer into the Vans world, offering free music concerts, skate, surf, BMX and snow competitions, and frequent giveaways across platforms’. This integration of the physical and the digital has helped to build a more personal relationship between the brand and its followers. Furthermore, ‘upon reaching the two-million-followers mark on Instagram, the brand invited fans to post their favourite things that come in pairs with the hashtag #pairsforvans for a chance to win free shoes’, such interactive campaigns Aldenton suggests ‘encourage consumers to engage and create their own original content’ which is ‘integral’ to the brands social media strategy as it helps to encourage brand loyalty (Aldenton, 2014). The brand also attributes its social media success to their focus on ‘meaningful content and connections’ which they suggest ‘are crucial for achieving authenticity, particularly when engaging with millennials’ (Aldenton, 2014). In terms of customer interaction, ‘the brand is always quick to respond to both product queries and general comments across all of its platforms, and this open dialogue is effective in growing its community. Responses are informal and humorous, combining diplomacy and internet colloquialisms, and often turning into a whole conversation’ (Aldenton, 2014). -Case

Study

11:

Vans

105

Figure 53: Be a voice not an echo lookbook image (4) (Own Image, 2015)

The 3 Câ&#x20AC;&#x2122;s of social media marketing

Figure 58: Be a voice not an echo lookbook image (7) (Own Image, 2015)

106

Figure 57: The 3 C’s of social media marketing model (Own Image, 2015)

Content, Creating to

engaging content be

that

encourages achieved

people

interact here

with

the initiative (Hopkins,

what

needs 2011).

Podcasts: Podcasts debating relevant political topics will be delivered via social media. The podcasts will take a ‘rant of the day’ approach and will aim to invite a celebrity guest weekly to keep viewers engaged. Discussions: General discussions will be conducted, predominantly around Twitter, where Allriot/ ASOS will ask a question to followers revolving around the idea of poltics, with incentives such as free entry to the club night used to drive traffic and responses. Protest photos: Photos from student protest groups will be posted to the Instagram account and followers will be urged to tag Allriot in their personal protest photos.

Community, Creating a successful online community provides the “opportunity to position yourself as a key influencer” (Hopkins, 2011). Protest events: Create a more personal relationship with social media followers by offering to provide t-shirts for student protests and publicising the event on social media. This will create a better relationship between the brand and its followers and also, between followers which will hopefully fuel political engagement between like minded individuals. Podcasts: Streaming podcasts live once a week with the option for listener interaction, will further the relationships between the brand and its followers. ASOS: social

result of media

the

collaboration, ASOS content,

will

be involved widening

posting the

and

sharing Allriot’s community.

Facebook: The Facebook group of the club night, ‘Show up or shut up’ will be used to reveal mysterious details about the events which should improve engagement as followers will want to know more. Furthermore, this platform will be used to share political content and conversations such as podcasts. Twitter:

Implementing

interactive

hashtag

(#imvexedbecause)

will

encourage

interaction.

Commerce, In order to increase sales which will help to fund the initiative, Allriot will have to be careful not to be “too promotional” and instead engaging followers through the above strategy (Hopkins, 2011). Instagram: Posting images predominantly revolving around the lifestyle of the initiative i.e. political/ protest photos. Also, encouraging Allriot consumers to tag the brand in their photos so that the brand can ‘re-gram’ the photos on to their account will hopefully improve sales as they are much more likely to trust other customers than the brand at the beginning. It will also make the customers feel like part of the Allriot community and closer to the brand. Furthermore, on the Instagram platform, Allriot X ASOS can implement the use of a hashtag for their users to purchase products with. Chirpify, is a third party technology that ‘can post products to Instagram and sales are triggered when Instagram users comment with so-called “actiontags”’ (Hughes, 2014). If an ‘actiontag’ such as #iwantit was implemented, it could improve the ease of transactions by enabling the user to purchase product seen in a picture on Instagram without having to leave the site to find it on the website.

107

The press release,

108

Figure 67: The Press Release (Own Image, 2015)

Allriot X ASOS presents

show up or shut up

ASOS have teamed up with political t-shirt brand Allriot in a revolutionary initiative to dress the activists of the 21st century. Actively encouraging the political engagement of students, this unique collaboration aims to set fire to the burnt days of punk, sweep up its soul and rebuild it with a new aesthetic and a new soundtrack. The classic archaic rock beats will be replaced by an underground grime bass for student soldiers to march to, whilst their uniform will see the ditching of safety pins and rips in favour of illustrative masterpieces. The first collection eases in the transformation with the grungy free-hand aesthetic of punk gig posters reimagined into a riotous graphic that will have wearers barking as loud as the government bites. The second graphic takes on a more classic design, with wittingly sarcastic UK political figure Winston Churchill taking centre stage bombarded by the crisp lines of admiration and a statement not dissimilar to the straight talking words of the man himself. Show up or shut up is the beginning of a student revolution. It’s time for the disgruntled man to stick it to the man that stuck it to him. It’s time for a revolution. ‘Know that destiny is not written in the palm, but forever in the palm of your hand…. Now get dressed for the occasion’- Allriot.

109

Figure 68: Perceptual map of publications (Own Image, 2015)

Politically

engaged

ALLRIOT (AIM TO BE)

Student

lack of student demographic

Politically

disengaged

110

demographic

Where to send the press release,

111

The Five Year Plan, A five year plan for the initiative, aiming to improve student voting turnouts for the 2020 general election in the UK.

112

Figure 54: Be a voice not an echo lookbook image (5) (Own Image, 2015)

113

Figure 55: Five Year Plan (Own Image, 2015)

2016 (Jan-June)

2016 (July-Dec)

2017 (Jan-June)

2017 (July-Dec)

Aim

To promote the Allriot and ASOS collaboration and the political message behind it.

To promote the ‘Show Up or Shut Up’ club night (first one in December) to the student communities in London and Manchester and the message behind it.

Introduce a new collection. Expand the club night into more cities throughout the UK.

Further solidify the club night as a top UK student night. Further emphasise the brand message. Begin to sponsor and promote student protest events/ organisations.

HEAVY PUSH. Press pack sent to journalists on the collaboration of Allriot and ASOS, and their new collection. Will include: A lookbook Press Release Stickers

HEAVY PUSH Press pack sent to journalists on the third collaboration of Allriot and ASOS. Lookbook and press release sent.

MEDIUM PUSH Invite Dazed and Confused contributor and photographer Lea Colombo to a club night in London for press exposure.

HEAVY PUSH Contact student writer’s from ‘The Tab’ (online student publication) for feature articles on the new club night and the message behind it. Strong focus on the music side to encourage people who aren’t currently politically Push for magazine features for active. the collection. Approach: Dazed and Contact London and Confused, i-D, The Advocate, Manchester university radio Vice and POP (Appendix pg. stations for mentions of the 50) night. Push for feature articles for the collaboration. Approach: Dazed and Confused, Vice, The Advocate and The Guardian. Push for blog features.

Social Media

Heavy focus on Instagram. Aim to reach 20,000 Instagram followers on Allriots profile through pushing awareness of ASOS collaboration. Daily updates on political news stories and interaction with followers consistently accross all social media platforms.

Don’t reveal the location until the morning of the event to create suspense and conversation. Push the mystery of the event to student press.

Push for features from: Dazed and Confused, i-D, The Advocate, Vice, POP and The Tab. Contact The Tab in other universities in the UK, gaining awareness of the club nights that will tour the UK for the period. Tour list (depending on success): Glasgow, Newcastle, Manchester, Liverpool, Leeds, Sheffield, Nottingham, Birmingham, Cardiff, Bristol London, Southampton, Brighton, Exeter

Continue to push for magazine features in a variety of publications, particularly focusing on: Dazed and Confused, i-D, The Advocate, Vice and POP.

Promotional flyers distributed around student areas in Manchester and London via student ambassadors 2 weeks prior to the event.

Push for blog features. Students flyering for events in their city.

Encourage club awareness through half price entrance as a result of sharing the event on Facebook, Instagram or Twitter.

Maintain daily updates on political news stories and interaction with followers consistently accross all social media platforms.

Maintain the mystery of the event online.

Create Facebook pages for the event in each city i.e. ‘Show Up or Shut Up Nottingham’ in Create conversation and order to tailor political content involvement by asking who they shared to areas to make it more would want to see perform. relevant to the individual. Aim to reach 30,000 Instagram Get the ‘#imvexedbecause’ followers and 60,000 Twitter trending in order to generate followers. conversation. Create a Facebook page for the event.

Celebrity

Contact student protest groups on Facebook and forums, providing them with t-shirts for the protests (requiring that the protests are for general student interests and not any controversial ideological protests).

Involve rapper Loyle Carner in the first club night as a special guest. Get him to promote the event through his social media channels, engaging his followers in the political conversation behind the event. 114

Aim to reach 50,000 Instagram followers, 75,000 Twitter followers and 5,000 people on the Facebook page.

Encourage sharing of content through PR strategy. Ensure social media followers are aware of sponsorship of protest events- provide coverage and protestor photos from the events. Aim to reach 60,000 Instagram followers, 80,000 Twitter followers and 15,000 people on the Facebook page.

2018 (Jan-June)

2018 (July-Dec)

2019 (Jan-June)

2019 (July-Dec)

2020 (Jan-Election)

Further solidify the club night and emphasise brand message to students. Introduce a new collection.

Continue the growth of the club nights, making it a monthly event. Continue the promotion of the years collection.

Introduce a new collection. Introduce brand ambassadors for political conversation. Continue promotion of brand message.

Introduce political podcasts. Continue promotion of brand message via celebrity Continue to focus on club nights.

Introduce final collection. Encourage people to vote through the club nights. Create political discussions. Emphasis on student protest events.

HEAVY PUSH Press pack sent to journalists on the fourth collaboration of Allriot and ASOS. Lookbook and press release sent.

MEDIUM PUSH Continue to push for magazine features in a variety of publications, particularly focusing on: Dazed and Confused, i-D, The Advocate, Vice and POP.

HEAVY PUSH Press pack sent to journalists on the fifth collaboration of Allriot and ASOS. Lookbook and press release sent.

HEAVY PUSH Contact Dazed and Confused and Vice for online interviews regarding the political podcasts introduced.

HEAVY PUSH Press pack sent to journalists on the fifth collaboration of Allriot and ASOS. Lookbook and press release sent.

Push for features from: Dazed and Confused, i-D, The Advocate, Vice, POP and The Tab.

Trained students flyering for events in their city.

Push for features from: Dazed and Confused, i-D, The Advocate, Vice, POP and The Tab.

Push for blog features.

Recruit students for flyering that have a passion for politics and provide training to ensure that they engage students with political conversation whilst flyering.

Trained students flyering for events in their city. Push for being featured on Russell Brand’s ‘The Trews’.

Include celebrity guests on podcasts to entice listeners. Push for features from: Dazed and Confused, Ask featured celebrities to i-D, The Advocate, Vice, promote the podcasts via POP, The Tab and The their social media channels Guardian. and in any upcoming interviews. Push for blog features. Ask politicians from all parties to be interviewed on the podcasts so that student listeners become more informed of what each party is offering.

Trained students flyering for events in their city. Implement a strategy whereby only if you are registered to vote can you attend the club nights. The build up of prominence of the events should entice people to register to vote. Focus on political interviews on podcasts.

Maintain daily updates on political news stories and interaction with followers consistently accross all social media platforms.

Provide further coverage of protest events and encourage protestors to tag their protest images with Allriot X ASOS.

Invite students to contribute and create their own podcasts to share on social media.

Aim to reach 80,000 Instagram followers, 100,000 Twitter followers and 30,000 Facebook likes.

Aim to reach 100,000 Instagram followers, 110,000 Twitter followers and 50,000 Facebook likes.

Share daily podcasts via Instagram, Facebook and Twitter. Ask questions surrounding the content discussed in order to generate political conversation between students.

Aim to reach 150,000 Instagram followers, 160,000 Twitter followers and 80,000 Facebook Aim to reach 500,000 likes as a result of Russell views for the first podcast Brand’s association with the with Russell Brand. brand.

Involve Russell Brand on the first podcast and ask to share it on his YouTube channel ‘The Trews’ in order to gain exposure of the cause to more students.

Feature initiative on ‘The Trews’ in order to again increase exposure and conversation.

Reignite the ‘#imvexedbecause’ on Twitter.

Involve Russell Brand in the initiative in order to ignite political conversation.

115

Begin a #imvotingfor initiative with the incentive of a chance to win free tickets to the last ‘Show Up or Shut Up’ event before the election.

Figure 56: Be a voice not an echo lookbook 116 image (6) (Own Image, 2015)

To Conclude,

â&#x20AC;&#x2DC;Know that destiny is not written in the palm, but forever in the palm of your handâ&#x20AC;Ś. Now get dressed for the occasionâ&#x20AC;&#x2122; (Allriot, u.d.) With a politically discontent yet relatively silent student community in the UK, it will prove beneficial to their future prospects to actively engage in politics. The Allriot X ASOS collaboration will aim to encourage such engagement, and build awareness of political issues affecting this demographic. Through the implementation of a five year plan involving PR, an integrative, lifestyle based social media plan, club events, celebrity collaborations and exclusive political fashion designs, the social standing of politics in the minds of the image conscious student community will be improved and as a result, the relationship between

students and politics should strengthen. The ultimate aim of the initiative is to increase student voter turnout in the 2020 general election which should be achievable assuming that the ASOS brand would agree to such a collaboration. The success of this initiative will make general election results more representative of the UK as a whole by closing the voter turnout gap between age demographics. With a new soundtrack and modern designs, the initiative has modernised the concept behind 1970s punk and hopes to create a difference for those who are currently taken advantage of in the political system.

117

The References,

118

119

List of references, Books, Jukka, G (1997). The Sociology of Taste. Oxford: Routledge . p75. Stevenson, N. Stevenson, R. (1999) A diary of the punk years 1976-79. London: Thames and Hudson. p2-121. Savage, J (2002) England’s Dreaming: Anarchy, Sex Pistols, Punk Rock, and beyond. New York: St.Martin’s Griffin. p480-481. Wicke, P. and Fogg, R. (1990) Rock Music: Culture, Aesthetics and Sociology. Cambridge: Cambridge University Press. p92.

Radio, Cotton, F. 2015 [radio] Fearne Cotton. BBC Radio 1. 5 May. 10:00.

Reports, Dar, A. (2013) Elections: Turnout, London: House of Commons Library. p.4. Hollands, R. Et al. (u.d.) The London of the North? Youth culture, urban change and nightlife in Leeds, Newcastle: University of Newcastle Upon Tyne. Pg. 5. Mirza-Davies, J (2015) Youth unemployment statistics: Economic Policy and Statistics, London: The House of Commons Library. Pg. 2. MarketLine (2014). Apparel Retail in the United Kingdom, UK, London: MarketLine. MarketLine (2014). Apparel Retail In Russia, UK, London: MarketLine.

Television, Clegg, N (2015) The Leaders Debate. [Television programme] ITV, UK, 2 April.

Journals, Goulding, C. Shankar, A (2011) ‘Club Culture, Neotribalism and ritualised behaviour’, Annals of Tourism Research, Vol.38 (4), pp. 14351436. Laineste, L (2013). ‘Can the ‘Stripping of the Boss’ be More Than a Joke?’, Integrative Psychological and Behavioural Science, Vol. 47(4), pp.482. Margaryan, A. et al. (2010) ‘Are digital natives a myth or reality? University students’ use of digital technologies’, Computers and Education, Vol.56(2), pp.429. Melo, Df; Stockemer, D (2014) ‘Comparative European Politics, Age and political participation in Germany, France and the UK: A comparative analysis’, Vol.12(1), pp.34-42. Meneses, G. and Rodriguez, J. (2010) ‘A synchronic understanding of involvement with fashion’, Journal of Fashion Marketing and Management: An International Journal, Vol.14(1), pp. 75 - 76. PR News (2013). ‘Celebrity Activity on Social Media Illustrates Transformation in PR’, PR News, Vol.69(14).

120

Theocharis, Y (2011) ‘Cuts, Tweet, Solidarity and Mobilisation’, Parliamentary Affairs, Vol.65(1), pp.163. Theocharis, Y (2012) ‘The contribution of websites and blogs to the students’ protest communication tactics during the 2010 UK university occupations’, Information, Communication and Society, Vol.16(9), pp.1477- 1481. Vromen, A., Xenos, M. and Loader, B. (2015) ‘Young people, social media and connective action: from organisational maintenance to everyday political talk’, Journal Of Youth Studies, Vol.18(1), pp. 80-100. Westerman, J et al (2012) ‘Are Universities Creating Millenial Narcissistic Employees? An Empirical Examination of Narcissism in Business Students and Its Implications’, Journal of Management Education, Vol. 36(1), pp. 8-9. Woods, N. and Herbst, K. (2007) ‘Political Star Power and Political Parties: Does Celebrity Endorsement Win First-Time Votes?’, Journal of Political Marketing, Vol.6(2/3), pp.144.

Lectures, Beswick, S. (2015). Social Media: The Guide. FASH30002, Nottingham Trent University, 20 April 2015.

Websites, Aldenton, S. (2014) Social media cast study- Vans. [online] WGSN. Available at: http://www.wgsn.com/content/board_viewer/#/54659/ page/1 [Accessed 27 April 2015] Allriot (u.d.). The Brand: Manifesto. [online] Allriot.com. Available at: http://allriot.com/thebrand [Accessed 21 April 2015] Ashurst, S. (2015) Watch Burmese punks rebel against brutal military regime. [online] Dazed Digital. Available at: http://www.dazeddigital. com/artsandculture/article/24260/1/watch-burmese-punks-rebel-against-brutal-military-regime Baker, H. (2014). Exclusive: Gosha Rubchinskiy’s Crimea/ Kids. [online] AnOther Magazine. Available at: http://www.anothermag.com/current/view/3863/Exclusive_Gosha_Rubchinskiys_CrimeaKids [Accessed 7 Dec. 2014] BBC. (2015) Election results: Conservatives win majority. [online] BBC News. Available at: http://www.bbc.co.uk/news/election-2015-32633099 [Accessed 8 May 2015] Black, J. (2015). Red Wedge: bringing Labour party politics to young music fans. [online] The Guardian. Available at: http://www.theguardian.com/music/2015/apr/22/red-wedge-bringing-labour-party-politics-to-young-music-fans [Accessed 22 April 2015] Bland, A. (2014). Student politics: Where are all the activists? Making jokes in the bar. [online] The Independent. Available at: http://www. independent.co.uk/voices/comment/student-politics-where-are-all-the-activists-making-jokes-in-the-bar-9069562.html [Accessed 11 March 2015] Burley, I. (2014). Gosha Rubchinskiy SS15. [online] Dazed Digital. Available at: http://www.dazeddigital.com/fashion/article/20502/1/ gosha-rubchinskiy-ss15 [Accessed 7 Dec. 2014] Dazed Digital (2015). We demand! [online] Dazed Digital. Available at: http://www.dazeddigital.com/artsandculture/article/24274/1/ we-demand [Accessed 25 April 2015] Deacon, L. (2014). The Death of Student Activism and The Rise of Lad Culture and Political Apathy in Universities. [online] Huffington Post. Available at: http://www.huffingtonpost.co.uk/liam-deacon/the-death-of-student-actism_b_4904133.html [Accessed 11 March 2015] Design Council (2013). The power of branding. [online] The Design Council. Available at: http://www.designcouncil.org.uk/news-opinion/ power-branding [Accessed 27 April 2015] Drain, K (2014). Russia Launches Its Own Fashion Council. [online] Fashion Times. Available at: http://www.fashiontimes.com/articles/13549/20141027/russian-fashion-council-to-kickoff-develop-local-fashion-business.htm [Accessed 8 Nov. 2014] Ellis-Peterson, H. (2015) Russell Brand voted world’s fourth most influential thinker. [online] The Guardian. Available at: http://www.theguardian.com/culture/2015/mar/26/hot-prospect-russell-brand-voted-worlds-fourth-most-influential-thinker [Accessed 18 April 2015] Fact Magazine (2015) Watch punk rock band Slaves cover Skepta’s ‘Shutdown’. [online] Fact Magazine. Available at: http://www.factmag. com/2015/05/08/watch-punk-rock-band-slaves-cover-skeptas-shutdown/ [Accessed May 8 2015] 121

Fisher, S (2015) Labour need to tempt not terrify the voters they have lost to the SNP. [online] The British Election Study. Available at: http:// www.britishelectionstudy.com/uncategorized/labour-need-to-tempt-not-terrify-the-voters-they-have-lost-to-the-snp/#.VUzmrflViko [Accessed 8 May 2015] Francis Westgate, S. (2014). Exclusive images from Gosha Rubchinskiy’s new book. [online] Dazed Digital. Available at: http://www.dazeddigital.com/fashion/article/21524/1/gosha-rubchinskiy-exclusive-images. [Accessed 25 Oct 2014]. Garner, R. (2014). 73% of today’s students will still be paying off their tuition fees in their 50s. [online] The Independent. Available at: http:// www.independent.co.uk/student/news/73-of-todays-students-will-still-be-paying-off-their-tuition-fees-in-their-50s-9249258.html [Accessed 14 April 2015] Griffin, A. (2015). How Apple became so successful that its total revenue is bigger than the GDP of some countries. [online] The Independent. Available at: http://www.independent.co.uk/news/business/analysis-and-features/how-apple-become-so-successful-that-its-total-revenueis-bigger-than-the-gdp-of-some-countries-10007454.html [Accessed 27 April 2015] Hemingway, W. (2011). We should celebrate Britain’s role in clubbing. [online] The Independent. Available at: http://www.independent.co.uk/ arts-entertainment/music/features/we-should-celebrate-britains-role-in-clubbing-2318169.html [Accessed 25 April 2015] Hopkins, J. (2011) 3 C’s of Social Media Marketing: Content, Community and Commerce. [online] Hub Spot. Available at: http://blog.hubspot. com/blog/tabid/6307/bid/15948/3-C-s-of-Social-Media-Marketing-Content-Community-Commerce.aspx [Accessed 29 April 2015] Hughes, A (2014) Instagram: can it drive sales? [online] WGSN. Available at: http://www.wgsn.com.ezproxy.ntu.ac.uk/content/board_viewer/#/148312/page/1 [Accessed 5 Jan 2015] Jones, O. (2015) Russell Brand has endorsed Labour- and the Tories should be worried. [online] The Guardian. Available at: http://www.theguardian.com/commentisfree/2015/may/04/russell-brand-endorsed-labour-tories-should-be-worried [Accessed 4 May 2015] Kreps, D. (2014). Rock the Vote Returns for 2014 Midterm Election. [online] Rolling Stone. Available at: http://www.rollingstone.com/politics/ news/rock-the-vote-returns-for-2014-midterm-election-20140623 [Accessed 14 April 2015] Lynskey, D. (2012) No Future? Punk is still the sound of youth rebellion the world over. [online] The Guardian. Available at: http://www.theguardian.com/music/2012/jun/01/no-future-punk-youth-rebellion [Accessed 14 April 2015] Martin, S. (2015). Cost of renting homes in England and Scotland rises by 2.1% says ONS. [online] International Business Times. Available at: http://www.ibtimes.co.uk/cost-renting-homes-england-scotland-rises-by-2-1-says-ons-1498219 [Accessed 24 April 2015] Mason, R. (2015) Russell Brand changes mind about voting and urges support for Labour. [online] The Guardian. Available at: http://www. theguardian.com/politics/2015/may/04/russell-brand-changes-mind-about-voting-and-urges-support-for-labour?CMP=fb_gu [Accessed 4 May 2015] Mavrody, N. (2013) Ethical Designer Katharine Hamnett: ‘In Fashion, It’s Easy to Get Rich and Famous by Being a Bad Person’. [online] The Fashion Spot. Available at: http://www.thefashionspot.com/runway-news/351665-katharine-hamnett-interview/ [Accessed 29 April 2015] Nakiska, T. (2014). Gosha Rubchinskiy’s Russian Rave Revolution. [online] Dazed Digital. Available at: http://www.dazeddigital.com/fashion/ article/20134/1/gosha-rubchinskiys-russian-rave-revolution [Accessed 7 Dec. 2014] Piras, L. (2014) Gender Neutral: youth consumer trend analysis. [online] WGSN. Available at: http://www.wgsn.com.ezproxy.ntu.ac.uk/content/board_viewer/#/144897/page/1 [Accessed 22 April 2015] Rock the Vote. (u.d.). About Rock the Vote. [online] Rock the Vote. Available at: http://www.rockthevote.com/about-us/ [Accessed 14 April 2015] Thomas, Z. (2014). Is student activism really dead? [online] National Union of Students. Available at: http://www.nus.org.uk/en/lifestyle/ is-student-activism-really-dead/ [Accessed 17 March 2015] Shlaim, T. (2011) Can’t find the new punk? You’re not looking hard enough- grime, hip hop and the UK riots. [online] Verso Books. Available at: http://www.versobooks.com/blogs/669-can-t-find-the-new-punk-you-re-not-looking-hard-enough-grime-hip-hop-and-the-uk-riots [Accessed 8 May 2015] Sibbles, E. (2009) Get it off your chest. [online] The Guardian. Available at: http://www.theguardian.com/lifeandstyle/2009/jun/19/slogan-t-shirts-hamnett [Accessed 14 April 2015] Sky News (2015) Six Out Of 10 Young Voters Turn Out For Election. [online] Available at: http://news.sky.com/story/1479819/six-out-of10-young-voters-turn-out-for-election [Accessed 8 May 2015] Waters, J. (2015) Fashion’s most iconic political statements. [online] Dazed Digital. Available at: http://www.dazeddigital.com/fashion/arti122

cle/24414/1/fashion-s-most-iconic-political-statements [Accessed 21 April 2015] Wee, D. (2015) Jaden Smith: My dresses aren’t ‘girls clothes’, they’re just ‘clothes’. [online] Gay Star News. Available at: http://www.gaystarnews.com/article/jaden-smith-my-dresses-arent-girl-clothes-theyre-just-clothes140415 [Accessed 22 April 2015] White Rabbit (2015) White Rabbit. [online] Facebook. Available at: https://www.facebook.com/WhiteRabbitParty/timeline?ref=page_internal [Accessed 29 April 2015] White Rabbit (2015) White Rabbit 1st Birthday Promo Video. [online] Facebook. Available at: https://www.facebook.com/WhiteRabbitParty/videos/vb.456584597780451/678904782215097/?type=2&theater [Accessed 29 April 2015] Yates, K. (2015). Are we still generation vexed? [online] Dazed Digital. Available at: http://www.dazeddigital.com/artsandculture/article/24443/1/are-we-still-generation-vexed [Accessed 17 March 2015] Yueh, L. (2014) The fashion business. [online] BBC. Available at: http://www.bbc.co.uk/news/business-26257403 [Accessed 11 March 2015]

123

Bibliography, Books, Arthur, M (2011) Student Activism and Curricular Change in Higher Education. Ashgate Publishing Gate. Beer, D (2014). Punk Sociology. Palgrave Macmillan. University of York, UK. pg. 2Ensminger, David A. (2011). Visual Vitriol : The Street Art and Subcultures of the Punk and Hardcore Generation. University Press of Mississippi. Haenfler, R (2006) Straight Edge: Clean-Living Youth, Hardcore Punk, and Social Change. Rutgers University Press. Jukka, G (1997). The Sociology of Taste. Oxford: Routledge . p75. Stevenson, N. Stevenson, R. (1999) A diary of the punk years 1976-79. London: Thames and Hudson. p2-121. Savage, J (2002) England’s Dreaming: Anarchy, Sex Pistols, Punk Rock, and beyond. New York: St.Martin’s Griffin. p480-481. Wicke, P. and Fogg, R. (1990) Rock Music: Culture, Aesthetics and Sociology. Cambridge: Cambridge University Press. p92.

Radio, Cotton, F. 2015 [radio] Fearne Cotton. BBC Radio 1. 5 May. 10:00.

Television, Clegg, N (2015) The Leaders Debate. [Television programme] ITV, UK, 2 April.

Melo, Df; Stockemer, D (2014) ‘Comparative European Politics, Age and political participation in Germany, France and the UK: A comparative analysis’, Vol.12(1), pp.34-42. Meneses, G. and Rodriguez, J. (2010) ‘A synchronic understanding of involvement with fashion’, Journal of Fashion Marketing and Management: An International Journal, Vol.14(1), pp. 75 - 76. PR News (2013). ‘Celebrity Activity on Social Media Illustrates Transformation in PR’, PR News, Vol.69(14). Theocharis, Y (2011) ‘Cuts, Tweet, Solidarity and Mobilisation’, Parliamentary Affairs, Vol.65(1), pp.163. Theocharis, Y (2012) ‘The contribution of websites and blogs to the students’ protest communication tactics during the 2010 UK university occupations’, Information, Communication and Society, Vol.16(9), pp.1477- 1481. Vromen, A., Xenos, M. and Loader, B. (2015) ‘Young people, social media and connective action: from organisational maintenance to everyday political talk’, Journal Of Youth Studies, Vol.18(1), pp. 80-100. Westerman, J et al (2012) ‘Are Universities Creating Millenial Narcissistic Employees? An Empirical Examination of Narcissism in Business Students and Its Implications’, Journal of Management Education, Vol. 36(1), pp. 8-9. Woods, N. and Herbst, K. (2007) ‘Political Star Power and Political Parties: Does Celebrity Endorsement Win First-Time Votes?’, Journal of Political Marketing, Vol.6(2/3), pp.144.

Lectures, Beswick, S. (2015). Social Media: The Guide. FASH30002, Nottingham Trent University, 20 April 2015.

Drain, K (2014). Russia Launches Its Own Fashion Council. [online] Fashion Times. Available at: http://www.fashiontimes.com/articles/13549/20141027/russian-fashion-council-to-kickoff-develop-local-fashion-business.htm [Accessed 8 Nov. 2014] Ellis-Peterson, H. (2015) Russell Brand voted world’s fourth most influential thinker. [online] The Guardian. Available at: http://www.theguardian.com/culture/2015/mar/26/hot-prospect-russell-brand-voted-worlds-fourth-most-influential-thinker [Accessed 18 April 2015] Fact Magazine (2015) Watch punk rock band Slaves cover Skepta’s ‘Shutdown’. [online] Fact Magazine. Available at: http://www.factmag. com/2015/05/08/watch-punk-rock-band-slaves-cover-skeptas-shutdown/ [Accessed May 8 2015] Fisher, S (2015) Labour need to tempt not terrify the voters they have lost to the SNP. [online] The British Election Study. Available at: http:// www.britishelectionstudy.com/uncategorized/labour-need-to-tempt-not-terrify-the-voters-they-have-lost-to-the-snp/#.VUzmrflViko [Accessed 8 May 2015] Francis Westgate, S. (2014). Exclusive images from Gosha Rubchinskiy’s new book. [online] Dazed Digital. Available at: http://www.dazeddigital.com/fashion/article/21524/1/gosha-rubchinskiy-exclusive-images. [Accessed 25 Oct 2014]. Garner, R. (2014). 73% of today’s students will still be paying off their tuition fees in their 50s. [online] The Independent. Available at: http:// www.independent.co.uk/student/news/73-of-todays-students-will-still-be-paying-off-their-tuition-fees-in-their-50s-9249258.html [Accessed 14 April 2015] Griffin, A. (2015). How Apple became so successful that its total revenue is bigger than the GDP of some countries. [online] The Independent. Available at: http://www.independent.co.uk/news/business/analysis-and-features/how-apple-become-so-successful-that-its-total-revenueis-bigger-than-the-gdp-of-some-countries-10007454.html [Accessed 27 April 2015] Hemingway, W. (2011). We should celebrate Britain’s role in clubbing. [online] The Independent. Available at: http://www.independent.co.uk/ arts-entertainment/music/features/we-should-celebrate-britains-role-in-clubbing-2318169.html [Accessed 25 April 2015] Hopkins, J. (2011) 3 C’s of Social Media Marketing: Content, Community and Commerce. [online] Hub Spot. Available at: http://blog.hubspot. com/blog/tabid/6307/bid/15948/3-C-s-of-Social-Media-Marketing-Content-Community-Commerce.aspx [Accessed 29 April 2015] Hughes, A (2014) Instagram: can it drive sales? [online] WGSN. Available at: http://www.wgsn.com.ezproxy.ntu.ac.uk/content/board_viewer/#/148312/page/1 [Accessed 5 Jan 2015] Jones, O. (2015) Russell Brand has endorsed Labour- and the Tories should be worried. [online] The Guardian. Available at: http://www.theguardian.com/commentisfree/2015/may/04/russell-brand-endorsed-labour-tories-should-be-worried [Accessed 4 May 2015] Kreps, D. (2014). Rock the Vote Returns for 2014 Midterm Election. [online] Rolling Stone. Available at: http://www.rollingstone.com/politics/ news/rock-the-vote-returns-for-2014-midterm-election-20140623 [Accessed 14 April 2015] Lynskey, D. (2012) No Future? Punk is still the sound of youth rebellion the world over. [online] The Guardian. Available at: http://www.theguardian.com/music/2012/jun/01/no-future-punk-youth-rebellion [Accessed 14 April 2015] Martin, S. (2015). Cost of renting homes in England and Scotland rises by 2.1% says ONS. [online] International Business Times. Available at: http://www.ibtimes.co.uk/cost-renting-homes-england-scotland-rises-by-2-1-says-ons-1498219 [Accessed 24 April 2015] Mason, R. (2015) Russell Brand changes mind about voting and urges support for Labour. [online] The Guardian. Available at: http://www. theguardian.com/politics/2015/may/04/russell-brand-changes-mind-about-voting-and-urges-support-for-labour?CMP=fb_gu [Accessed 4 May 2015] Mavrody, N. (2013) Ethical Designer Katharine Hamnett: ‘In Fashion, It’s Easy to Get Rich and Famous by Being a Bad Person’. [online] The Fashion Spot. Available at: http://www.thefashionspot.com/runway-news/351665-katharine-hamnett-interview/ [Accessed 29 April 2015] Nakiska, T. (2014). Gosha Rubchinskiy’s Russian Rave Revolution. [online] Dazed Digital. Available at: http://www.dazeddigital.com/fashion/ article/20134/1/gosha-rubchinskiys-russian-rave-revolution [Accessed 7 Dec. 2014] Piras, L. (2014) Gender Neutral: youth consumer trend analysis. [online] WGSN. Available at: http://www.wgsn.com.ezproxy.ntu.ac.uk/content/board_viewer/#/144897/page/1 [Accessed 22 April 2015] Rock the Vote. (u.d.). About Rock the Vote. [online] Rock the Vote. Available at: http://www.rockthevote.com/about-us/ [Accessed 14 April 2015] Thomas, Z. (2014). Is student activism really dead? [online] National Union of Students. Available at: http://www.nus.org.uk/en/lifestyle/ is-student-activism-really-dead/ [Accessed 17 March 2015] Shlaim, T. (2011) Can’t find the new punk? You’re not looking hard enough- grime, hip hop and the UK riots. [online] Verso Books. Available at: http://www.versobooks.com/blogs/669-can-t-find-the-new-punk-you-re-not-looking-hard-enough-grime-hip-hop-and-the-uk-riots [Accessed 126

8 May 2015] Sibbles, E. (2009) Get it off your chest. [online] The Guardian. Available at: http://www.theguardian.com/lifeandstyle/2009/jun/19/slogan-t-shirts-hamnett [Accessed 14 April 2015] Sky News (2015) Six Out Of 10 Young Voters Turn Out For Election. [online] Available at: http://news.sky.com/story/1479819/six-out-of10-young-voters-turn-out-for-election [Accessed 8 May 2015] Waters, J. (2015) Fashion’s most iconic political statements. [online] Dazed Digital. Available at: http://www.dazeddigital.com/fashion/article/24414/1/fashion-s-most-iconic-political-statements [Accessed 21 April 2015] Wee, D. (2015) Jaden Smith: My dresses aren’t ‘girls clothes’, they’re just ‘clothes’. [online] Gay Star News. Available at: http://www.gaystarnews.com/article/jaden-smith-my-dresses-arent-girl-clothes-theyre-just-clothes140415 [Accessed 22 April 2015] White Rabbit (2015) White Rabbit. [online] Facebook. Available at: https://www.facebook.com/WhiteRabbitParty/timeline?ref=page_internal [Accessed 29 April 2015] White Rabbit (2015) White Rabbit 1st Birthday Promo Video. [online] Facebook. Available at: https://www.facebook.com/WhiteRabbitParty/videos/vb.456584597780451/678904782215097/?type=2&theater [Accessed 29 April 2015] Yates, K. (2015). Are we still generation vexed? [online] Dazed Digital. Available at: http://www.dazeddigital.com/artsandculture/article/24443/1/are-we-still-generation-vexed [Accessed 17 March 2015] Yueh, L. (2014) The fashion business. [online] BBC. Available at: http://www.bbc.co.uk/news/business-26257403 [Accessed 11 March 2015]

127

List of Illustrations, Figure 1: Punks in London (Steve Johnston, 1977) [photograph] Available at: http://showstudio.com/project/punk_photography/steve_johnston Figure 2: The Fashion World of Jean Paul Gaultier Exhibition (own image, 2014) [photograph] Figure 3: Vivienne Westwood Young (Uknown, 1977) [photograph] Available at: http://pixshark.com/young-vivienne-westwood-1977.htm Figure 4: Student Protests (Joe Allam, 2010) [photograph] Available at: http://joeallam.co.uk/portfolio/photography/protest/ Figure 5: Student Protests (2) (Joe Allam, 2010) [photograph] [edited] Available at: http://joeallam.co.uk/portfolio/photography/protest/ Figure 6: Revolution Cambridge (Revolution, u.d.) [photograph] [edited] Available at: http://www.revolution-bars.co.uk/bar/cambridge/ Figure 7: Drinking Shots (Why The Fuzz, 2015) [photograph] [edited] Available at: http://www.whythefuzz.com/the-twitter-drinkinggame/ Figure 8: Student Protests (3) (Joe Allam, 2010) [photograph] [edited] Available at: http://joeallam.co.uk/portfolio/photography/protest/ Figure 9: Russell Brand (FTS, 2013) [photograph] [edited] Available at: http://www.frenchtoastsunday.com/2013/07/babe-of-the-weekrussell-brand.html Figure 10: Slaves (Lewis Abbey, 2015) [photograph] Available at: http://www.inveterate.co.uk/music/interview-slaves-i-think-it-has-quitean-instant-feel-and-message/145794/ Figure 11: Slaves Band Playing for Todd Lynn (James Joseph, 2015) [photograph] Available at: http://www.stylenoir.co.uk/lcm-todd-lynnaw15/ Figure 12: Billy Bragg watched by Labour leader Neil Kinnock at the 1985 launch of Red Wedge (Richard Young, 1985) [photograph] Available at: http://www.theguardian.com/music/gallery/2013/mar/26/billy-bragg-folk-music-bard-of-barking Figure 13: The Grand Budapest Hotel (Wes Anderson, 2014) [Film Still] Available at: http://nypost.com/2014/02/06/first-look-at-wes-andersons-grand-budapest-hotel/ Figure 14: Narcissism and politics results (Own Image, 2015) [Infographic] Figure 15: Kylie Jenner Selfie (Kylie Jenner, u.d.) [photograph] [edited] Available at: http://imgkid.com/instagram-selfies-tumblr.shtml Figure 16: Graduation ceremony (anon, 2014) [photograph] [edited] Available at: http://www.goldprousa.com/blog/baltimore-entertainment/hire-dj-baltimore-graduation-party/ Figure 17: Social Media (Decoded Magazine, 2014) [photograph] [edited] Available at: http://www.decodedmagazine.com/10-essential-social-media-tips-to-promoting/ Figure 18: Punks going H.A.M. at a festival in downtown Yangon (anon, 2015) [film still] [edited] Available at: http://www.dazeddigital.com/ artsandculture/article/24260/1/watch-burmese-punks-rebel-against-brutal-military-regime Figure 19: Allriot spaceman t-shirt (Allriot, u.d.) [photograph] Available at: https://www.allriot.com/blog-masonry Figure 20: Allriot t-shirt (Allriot, u.d.) [photograph] Available at: https://www.allriot.com/blog-masonry Figure 21: Margaret Thatcher and Katharine Hamnett (anon ,1983) [photograph] Available at: http://blogazine.com.br/bkp/2013-08-16mc-dia-feliz-bsb.html Figure 22: Katharine Hamnett ‘Choose Life’ t-shirt (Chris Floyd, 2015) [photograph] Available at: http://www.redonline.co.uk/red-women/ blogs/katharine-hamnett-wearing-her-heart-on-her-t-shirt Figure 23: ‘Use a Condom’ t-shirt by Katharine Hamnett (Terry Richardson, u.d.) [photograph] Available at: http://galleryhip.com/katharine-hamnett-terry-richardson.html Figure 24: Skepta (Ruth Saxelby, 2015) [photograph] Available at: http://www.thefader.com/2015/03/01/skepta-shutdown

128

Figure 25: Rock The Vote (Rock The Vote, u.d.) [Poster] Available at: http://www.rockthevote.com/live/11062012/toolkit/downloadables. html Figure 26: Russell Brand (2) (anon, 2014) [photograph] [edited] Available at: http://issuu.com/openthecity/docs/open_winter_2014_issuu Figure 27: Gosha Rubchinskiy SS15 collection (Gosha Rubchinskiy, 2014) [Photograph] Available at: http://gosharubchinskiy.com/collection/ ss2015/ Figure 28: Old Punk moodboard (Own Image, 2015) [moodboard] Figure 29: The Student Cave Consumer Profile (1) (Own Image, 2015) [Photograph] Figure 30: The Student Cave Consumer Profile (2) (Own Image, 2015) [Photograph] Figure 31: ASOS X Allriot collaboration S.W.O.T. (Own Image, 2015) [Marketing Model] Figure 32: ASOS #bestnightever marketing campaign image (ASOS, 2012) [Photograph] Available at: https://asosmarketing.wordpress. com/ Figure 33: Perceptual map of fashion brands (Own Image, 2015) [Marketing Model] Figure 34: Brie Larson for ASOS magazine March 2014 Issue (Ben Morris, 2014) [Photograph] Available at: http://celebmafia.com/brie-larson-asos-magazine-march-2014-issue-photo-shoot-ben-morris-54828/ Figure 35: Roxanne Mesquida for ASOS magazine September 2010 Issue (ASOS, 2010) [Photograph] Available at: http://www.popsugar. co.uk/fashion/Bonnie-Wright-Emma-Stone-Roxanne-Mesquida-Cover-ASOS-Magazine-10613451 Figure 36: Allriot Mass Media T-shirt (Allriot, u.d.) [Photograph] [edited] Available at: http://www.ethicalsuperstore.com/products/all-riot/ all-riot--mass-media--political-t-shirt/ Figure 37: Allriot Thought Criminal T-shirt (Allriot, u.d.) [Photograph] [edited] Available at: http://www.storenvy.com/products/9743905thought-criminal-limited-edition-streetwear-t-shirt-by-allriot-free-uk-and Figure 38: Student Protests (4) (Joe Allam, 2010) [Photograph] [edited] Available at: http://joeallam.co.uk/portfolio/photography/protest/ Figure 39: The Five Pillars (Own Image, 2015) [Diagram] Figure 40: Bright with bite moodboard (Own Image, 2015) [moodboard] Figure 41: The Gender Clash moodboard (Own Image, 2015) [moodboard] Figure 42: Social Media (Stormon, 2015) [photograph] [edited] Available at: http://www.bandt.com.au/media/the-luxury-of-social-media Figure 43: Be a voice not an echo lookbook image (Own Image, 2015) [photograph] Figure 44: The Student Cave Consumer Profile (Own Image, 2015) [photograph] Figure 45: Vrai Ou Faux (Richard Hutchison, u.d.) [photograph] Figure 46: Vrai Ou Faux (2) (Richard Hutchison, u.d.) [photograph] Figure 47: Be a voice not an echo design (Own Image, 2015) [graphic] Figure 48: Show up or shut up design (Own Image, 2015) [graphic] Figure 49: Allriot X ASOS club night promotional design (Own Image, 2015) [poster] Figure 50: Show up or shut up club night flyer design (Own Image, 2015) [flyer] Figure 51: Be a voice not an echo lookbook image (2) (Own Image, 2015) [photograph] Figure 52: Be a voice not an echo lookbook image (3) (Own Image, 2015) [photograph] Figure 53: Be a voice not an echo lookbook image (4) (Own Image, 2015) [photograph] Figure 54: Be a voice not an echo lookbook image (5) (Own Image, 2015) [photograph] 129

Figure 55: Five Year Plan (Own Image, 2015) [Table] Figure 56: Be a voice not an echo lookbook image (6) (Own Image, 2015) [photograph] Figure 57: The 3 Câ&#x20AC;&#x2122;s of social media marketing model (Own Image, 2015) [marketing model] Figure 58: Be a voice not an echo lookbook image (7) (Own Image, 2015) [photograph] Figure 59: The Clash original concert poster (Anon, 1979) [poster] Available at: https://www.limitedruns.com/original/rock-gig-posters/ punk-hardcore/the-clash-original-concert-poster/image/ Figure 60: Unfocused moodboard (Own Image, 2015) [moodboard] Figure 61: Hyperborealis (David Benjamin Sherry, 2011) [photograph] Available at: http://www.saatchigallery.com/artists/david_benjamin_sherry.htm?section_name=photography Figure 62: Buhuu Suite (Nicole Wermers, 2011) [photograph] Available at: http://www.saatchigallery.com/artists/nicole_wermers.htm?section_name=photography Figure 63: Cos X Snarkitecture Interactive Installation SS15 (Cos, u.d.) Available at: http://www.cosstores.com/gb/Fashion/Projects Figure 64: Organised Mess moodboard (Own Image, 2015) [moodboard] Figure 65: Gosha Rubchinskiy SS15 (2) (Gosha Rubchinskiy, 2015) [photograph] Available at: http://goodhoodstore.com/insider/gosha-rubchinskiy-ss15-lookbook-6410/ Figure 66: Flourescent Language moodboard (Own Image, 2015) [moodboard] Figure 67: The Press Release (Own Image, 2015) [press release] Figure 68: Perceptual map of publications (Own Image, 2015) [marketing model]

130

131

132

Abigail Spencer-Lane N0423568 FASH30002 Self Devised Project 2 Tutor: Si Beales Module Leader: Sarah Lewington

133

134