Third Year Dissertation Proposal

THE

PROPOSAL

Fig. 1

Level 3 Preparation

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Contents Chapter 01

Preface: 05

Chapter 02

Introduction: 06

Chapter 03

Context 1: 08

Chapter 04

Celebrity culture as damaging: 10

Chapter 05

Context 2: 12

Chapter 06

What is luxury?: 14

Chapter 07

Conclusion/what’s next: 19

Chapter 08

Illustrations: 20

Chapter 09.a

References: 21

Chapter 09.b

Bibliography: 22

Chapter 10

Appendix: 23

Chapter 10.a

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Cartograms: 24

Chapter 11.b

Research Methodology: 26

Chapter 11.c

Questionnaire: 27

Chapter 11.d

Experimental Research: 28

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Chapter 01

FCP TRIANGLE WEAKNESSES

Fig 2. FCP Triangle

STRENGTHS

Chapter 01

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Preface

Upon reflection of my time throughout the course so far, I have been able to identify where my strengths and weaknesses lie within the fashion communication landscape.

It is often difficult to state where your strengths lie as it can be a challenge to make complimentary statements about yourself, by putting it in context it allows you to see the picture as a whole. Projects such as ‘Self Promotion’ and the ‘Identity Zine’ have allowed me to show my visual capabilities put into context. Branding of the self has allowed me to showcase my strengths and the area of the industry I wish to pursue. By applying my strengths to the FCP triangle, (fig. 2) it has brought me to the position which my future career could typically sit within. The aspects revolving around curating content and developing visuals has become something I enjoy within the course; with which I have received positive feedback.

Upon evaluation, this draws my areas of potential towards the creative concept and execution of the triangle. Careers such as a photo-shoot assistant, magazine editor or areas of the industry with involvement of content curation. In relation to the weaknesses found, it is evident that defining ideas is a strength of mine but resolving the ‘so what?’ of an idea is something I struggle to outline. Reflecting on the course as a whole, I feel that it has given me the opportunity to explore a range of areas, a ‘creative course which mixes design and theory’ (NTU, 2016). It has also allowed me to put my skills to practice, working with knowledgeable industry and to develop my weaker areas such as creative research.

This has shaped me to further build the skills and knowledge to pursue as a fashion communicator.

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Chapter 02

Chapter 02

Introduction

Fig. 4 Copenhagen store, 2012

Fig. 3 The Kardashians, 2016

This report will outline my proposed ideas to take forward for my level 3 research topics. My ideas will be supported with primary research in order to gain insight into the consumers and how I will reach them. Following the media’s current position, it is one of a troubling matter, with young generations being exposed to media consumption, future generations are at risk of being encapsulated in what we call celebrity culture. It has been described as ‘pollution to the planet’ by Rowan Williams (2015), stating that we have ‘no real heroes anymore’.

My second proposal focuses on the changing face of luxury, ‘in the past luxury could be defined by the cost of the materials used, these days it often rests on looser constructions — like time, craftsmanship and resourcefulness’ (Beckett. K, 2015). The question comes into context of what is next for luxury, with ‘86% of global luxury consumers stating quality as a key luxury attribute, whereas only 52% stating exclusivity ‘ (Painter. G, 2015). The perceptions of luxury are shifting away from the idea that objects hold distinctive material value.

“Pollution to the planet” - Rowan Williams, 2015

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Chapter 03

Chapter 03

Context: 1

Fig. 5 Cartogram 26.05.16

I began my research by creating a cartogram, focusing on the topic of celebrity culture, gathering research to build insight around my idea. The result of celebrity consumption is damaging to future generations, ‘we are passing to our children a depleted and threatened material environment’ (Williams.

R, 2015). A consequence of this is who is valued as a true hero, role model ideals are being blurred through the media exposing generations, particularly the Y and Z cohort to celebrities who have gained fame in unheroic ways. Landon James argues that ‘it’s become easier to obtain celebrity status, harder to be a hero’ (2014). Baudrillard’s theory of Hyperrealism outlines how ‘what is real and what is fiction are seamlessly blended together’ (Lonergan. P, 2016).

With the majority of society looking up to celebrity ideals across social platforms, the image that we see creates a hyperreality that tricks realisation into removing from any emotional engagement and choosing artificial stimulation rather than any form of “real” reality.

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Individuals are accustomed to a society of consumer culture in which social media forms the forefront of our stage, theorist Erving Goffman came up with the term ‘impression management to refer to our desire to manipulate others’ impressions of us on the front stage’ (Spark Notes, 2016).

Ideals are formed based on celebrity culture, being highly influenced by what we see in media, this stimulates a “fake” feeling and ultimately bases our desires around an unattainable idea of what we would like to be. The world in which we live has brought us to the idea that everything must be perfectly constructed to reveal ideal aesthetics, ‘I posted gross pictures of myself and lost over 3000 followers’. All forms of reality are ignored, encapsulated in society ideals, Tasha Kleeman states ‘if we are hiding behind a virtual persona whom we class better than ourselves, reality can only ever disappoint’ (2014). The lives of celebrities are showcased across media and their unattainable worlds are viewed through ‘a visual language that is both engaging and deceptive’ (Shroeder, 2002).

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Chapter 04

Chapter 04

Due to this media consumption, we place strong importance on a reproduction of reality and see the image as an exhibition of our ideal self. Through conducting a questionnaire, one participant believed that celebrity culture was ‘fake, unachievable, egotistical and a lack of spirituality’ (Hayley 2016, Appendix 1). Although differing views were stated, the majority of participants were expressing the same views when the question was posed of ‘what do you think of when ‘celebrity culture’ comes to mind?’.

This consumer won’t deny that they are often seen browsing social media but agreed that too much time was spent on social media as a society. They are placed within the generations Y and Z, cohorts that are exposed to higher levels of technology and have experienced less of life than earlier generations. A cohort of individuals who are becoming more exposed to a world of consumer culture. These are a group of people who are more influenced by the media and are optimistic about changing developments within society. Differently, to earlier cohorts they are a consumer to target as they are faced with prospects of the future and will be open to long-term effects taking force within humanity.

Society is highly influenced by social platforms as a means of displaying how we want the world to perceive us. Carl Rogers theory of the ideal self vs. the real self highlights how, ‘A person’s ideal self may not be consistent with what actually happens in life and experiences of the person’ (McLeod, S. A. 2014). People look to society’s ideals rather than being self-actualised as their real self. Narrow ideas are presented of how celebrities should behave to meet society’s ideals, which has much impact on the younger generation as to how they should present themselves at the ‘front stage’ and individuals are beginning to become more detached from reality. Conducting a short survey on the topic of celebrity culture as damaging to future generations, 90% of people found that too much time is spent on social media and it could potentially be damaging to generations. ‘The development of long lasting meaningful relationships is diminishing due to social media. There’s a lack of emotional connections being made.’

(The Social Disconnect of Social Media, 2014).

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Well groomed

Presentable

Technology

Optimistic

Celebrity culture as damaging to future generations

Social

Fig. 6 Consumer Profile

My idea combines the overhaul of media consumption with the key driver celebrity culture, described as ‘pollution to the planet’ (Williams. R, 2015). A potential execution to pursue this idea would be to create a publication which sets out to showcase who the true ‘heroes’ of society are, dismissing perceptions of celebrity culture as something heroic. Within society, ‘the word “hero” is on a steady downslope, while “celebrity” is rising rapidly’ (Jones. L, 2014). With celebrity culture on the rise, this can only mean that there is a continuation of blurring between ‘celebrity’ and ‘hero’. There is an evident gap in the market, with generations being too exposed to celebrity culture and not enough importance placed on the true heroes.

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Chapter 05

Chapter 05

Context: 2 Fig. 7 Cartogram 29.05.16

To begin my research for my second proposed idea, I created a cartogram which would set out starting points for my idea and aided me to categorise research surrounding the topic. Culturally, the face of luxury is dramatically changing, with differing opinions of what is perceived as ‘luxury’ to the consumer. Following the history of luxury, it was more commonly seen in the 19th century in the industrial revolution where indulgences were more easily shipped across countries and predominantly emerged from the austerity of the 1920s. Lucia Van Der post suggests that ‘old luxury is a thing of the past and people now want to be emotionally touched by their experiences’ (2014). Typically, luxury would be associated with the few privileged people which derived meaning of exclusivity and superficial possessions. ‘Luxury is no longer just about a brand name or solely synonymous with material things. A sense of time, experience and value are intrinsic to enriching today’s luxury offer and should be the building blocks that help us create new definitions of luxury in the future’ (Ford. J, 2015). Luxury has democratised, becoming more readily accessible to more and more of society.

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With this in mind, this means that brands must consider how they will target new consumers and push luxury in new and innovative ways. With ‘86% of global luxury consumers stating quality as a key luxury attribute, whereas only 52% stating exclusivity’ (Painter. G, 2015), consumers are readily placing more importance on quality over exclusivity, changing up perceptions where once distinctive brand labelling showed wealth and class. Designer logos and their unattainability to the masses was an ultimate luxury status symbol within society.

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Chapter 06

Chapter 06 Fig. 7 Consumer Profile

What is luxury to you?

By carrying out an experimental primary research task, I was able to gather relevant visual information surrounding the question of ‘What is luxury to you?’. The task was categorised as follows, ‘Boomers II and Boomers II’, ‘Generation X’ and ‘Generations Y and Z’. By categorising through generation cohorts, I could see the differing views across age groups. The research task allowed participants to visualise luxury through relevant magazine imagery (Appendix 2).

My research drew me to the consumer of the generation Y and Z cohort, who are driving the changes of luxury with ‘estimates that they already make up 45% of luxury consumers’ (Painter. G, 2015). This generation has been shaped by growing up in a digital economy and always have a need to enhance their social media formed on the basis of sharing rare experiences. The consumer now places much more value on experience, Claudia D’Arpizio states that consumers ‘value the experience around them more than the products themselves, since the experience is more shareable’ (2016).

This consumer focuses highly on sharing their experiences, acting as a catalyst of influencing their peers to share these luxury experiences. They are placed within the early adopters and early majority within Rogers’ Innovation Adoption Curve (shown on the following page, fig. 9). A generation who are accepting of change more quickly than the average. Heritage, provenance and traditional mean little to them when thinking about a brand so it is key for brands to target the consumer in ways they can connect to readily through experience. Brands need to accommodate to the way in which this cohort adapts to change and are quickly moving through technological advances, ‘crucially, these need to be at a pace that moves as quickly as Millennials, who represent the future of the luxury consumer’ (Stickland.

N, 2015). In-store experiences need to have more focus on curation and inspiration.

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LAGGARDS

Fig. 9 Diffusion of Innovation

LATE MAJOIRTY

INNOVATORS

EARLY ADOPTORS

EARLY MAJOIRTY

Diffusion of innovation

Chapter 06

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Chapter 06

The future of luxury Following the future of luxury, shifting the way we perceive luxury is becoming harder for brands to grasp due to the way in which technology is becoming easier to obtain. An appreciation of luxury and the richness of time are beginning to appear throughout luxury due to the fact that ‘consumers are experiencing a sensory overload and are increasingly looking for slow and luxury products’ (Pearl Fisher, 2015). Consumers want to experience meaningful experiences, which they can create a talking point relating to the brand.

Experience begins to take forefront importance over the actual material goods that are being sold. As a world that is becoming more socially and ethically aware, consumers’ interests lie within philanthropic luxury. It is important for brands to take note that our purchases need to have an added, enriched and ethical value. There is a strong focus on longevity and timeliness, linking to luxury and sustainability as a key driver for the future. Following my experimental primary research, as previously discussed (see appendix 3), one participant visualised luxury in relation to fur and as having connotations of luxury and wealth.

However, perceptions are changing and unethical practices of producing material goods are phasing out. Andrew Winston claims that ‘luxury brands can no longer ignore sustainability’ and typically it has ‘been an industry not traditionally associated with concerns about environmental impacts, human rights, and wellness, even while those trends have been sweeping through the mainstream consumer products sector’ (Winston. A, 2016). ‘In a recent survey

by Salon 1.618, consumers put the luxury industry last in a ranking of industries associated with sustainable commitments; ranking lower than the financial and petrol sectors’ (Wolters. K, 2016). Although luxury and sustainability appear as two completely different concepts, the next big thing for luxury is sustainably crafting the brand in order to tap into philanthropic luxury and to deliver added value. Sustainability will enable brands to differentiate themselves from other brands, allowing for expression and innovation.

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Chapter 06

Chapter 07

What’s next?

“Luxury brands can no longer ignore sustainability” - Andrew Winston, 2016

My idea focuses on the changing face of luxury and the future which could potentially be the link between sustainability and luxury.

There is a gap in the market for sustainable luxury, with previous connotations to luxury dating back to the 19th century, relating to unethical productions such as the production of fur and leather within the fashion industry.

This is focused on creating a product purely for its aesthetic appeal. Brands are gradually moving away from this luxury preconception by providing experience for the consumer and adding ethical value to their products.

A potential execution to take forward this idea could be to create a new sustainable brand which focuses purely on experience and sustainable production of products within the brand. This would set out to explore luxury in new and innovative ways, diminishing the previous luxury connotations.

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To summarise, I feel that there is a gap in the market for both of my ideas to take forward through to level 3. The way in which media consumption is overhauled within today’s society is a catalyst for celebrity culture as causing negative effects to future generations.

To continue the development of my research over summer, I will conduct a focus group in order to gain further insight into consumers’ opinions surrounding the topic of celebrity culture and propose my potential idea of a publication to them to see what views and impact they could have upon it. I will also continue to develop research surrounding the consumer for this idea, as this definitely needs defining more thoroughly to ensure I am targeting the correct consumer cohort.

A form of netnography will take place over summer to analyse and look at current publications on the market, in order to see if any reflect a similar topic. This will enable me to identify where the publication could be placed within the market.

Following the changing face of luxury, there is a gap in the market for luxury in relation to sustainability. The way in which the notions of luxury have changed over time is something recognisable and can only be explained through the way the consumer now places more importance on experience over the actual product. With this in mind, sustainability is a current issue within society, which although would usually be placed on the opposite end of the spectrum to luxury is something recognised as the next step for this market. To continue my research surrounding this topic, I will put together a questionnaire for consumers to complete in order to gain some opinions of people’s perceptions of luxury, as currently only conducted a very visual form of research. I will also talk to an industry expert within the fashion market to gain insight into their opinions following sustainability and luxury, and what knowledge they already have of the two linking topics. It would also be useful for me to do some general research relating to current luxury brands that are adding value through sustainability within the experience and product.

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Chapter 08

Illustrations Fig.1 – The sea. Available at: http://bestraling.tumblr.com/. [Accessed 30 May 2016].

Chapter 09.a

References Beckett, K. (2015). V&A Asks, What Is Luxury?. Available: http://www.nytimes.com/2015/08/27/arts/ international/va-asks-what-is-luxury.html?_r=0&module=ArrowsNav&contentCollection=International%20 Arts&action=keypress®ion=FixedLeft&pgtype=article. Last accessed 27th May 2016.

Fig.2 – Own image, 2016. FCP triangle Strengths & Weaknesses. [Photoshop JPEG].

Bingham, J. (2015). Rowan Williams: celebrity culture as damaging to future generations as pollution. Available: http://www. telegraph.co.uk/news/religion/11927068/Rowan-Williams-celebrity-culture-as-damaging-to-future-generations-as-pollution.html.

Last accessed 27th May 2016.

Fig.3 – The Kardashians. Available at: http://www.viralthread.com/accurate-data-suggestsyoure-growing-tired-of-the-kardashianjenners/. [Accessed 30 May 2016].

D’Arpizio, C. (2015). The Future of Luxury Is Now, as Heritage Brands Meet New Demands. Available: http://robbreport.com/ sports-leisure/future-luxury-now-heritage-brands-meet-new-demands. Last accessed 30th May 2016.

Fig.4 – Copenhagen store. Available at: http://retaildesignblog.net/2012/01/06/normannstore-copenhagen/. [Accessed 30 May 2016].

Fig.5 – Own image, 2016. Cartogram. [Photograph].

Fig.6 – Own image, 2016. Consumer profile. [Photoshop JPEG].

Fig.7 – Own image, 2016. Cartogram. [Photograph].

Ford, J. (2015). Redefining Luxury in 2015: How New Products & Experiences are Changing Our Perception of Luxury. Available: http://www.justluxe.com/luxe-insider/trends/feature-1960035.php. Last accessed 30th May 2016.

Jones, L. (2014). Too many celebrities, not enough heroes. Available: https://www.washingtonpost.com/opinions/too-manycelebrities-not-enough-heroes/2014/02/28/dbfc3f5c-98e0-11e3-80ac-63a8ba7f7942_story.html. Last accessed 27th May 2016.

Kleeman, T. (2014). Are We Losing Sight of Reality in an Increasingly Virtual World?. Available: http://www.huffingtonpost.co.uk/ tasha-kleeman/social-media_b_5654267.html. Last accessed 28th May 2016.

Lonergan, P. (2016). The Phantasmagoria of Contemporary Culture. Retrieved from: https://now.ntu.ac.uk/d2l/le/content/361441/ fullscreen/1687714/View

Fig.8 – Own image, 2016. Consumer profile. [Photoshop JPEG].

McLeod, S. A. (2014). Carl Rogers. Available: http://www.simplypsychology.org/carl-rogers.html. Last accessed 28th May 2016.

N/A. (2015). How the future of luxury might help us all live better lives. Available: http://www.pearlfisher.com/live/perspectives/ how-the-future-of-luxury-might-help-us-all-live-better-lives/. Last accessed 30th May 2016.

Fig.9 – Own image, 2016. Rogers’ Innovation Adoption Curve. [Photoshop JPEG].

NTU. (2016). Courses: Fashion Communication & Promotion. Available: http://www.ntu.ac.uk/apps/pss/course_finder/84458-1/5/ ba_(hons)_fashion_communication_and_promotion.aspx. Last accessed 26th May 2016.

Omede, O. (2014). The Social Disconnect of Social Media. Available: http://johnjaysentinel.com/2014/05/23/the-social-disconnectof-social-media/. Last accessed 28th May 2016.

Painter, G. (2015). Is the definition of luxury changing?. Available: http://luxurysociety.com/articles/2015/11/is-the-definition-ofluxury-changing. Last accessed 30th May 2016.

Post, L. (2014). A Brief History of Luxury. Available: https://trulyexperiences.com/blog/2014/10/brief-history-luxury/. Last accessed 30th May 2016.

Schroeder, J (2002). Visual Consumption. London: Routledge. p115-121.

Spark Notes. (2016). Identity and Reality. Available: http://www.sparknotes.com/sociology/identity-and-reality/section2.rhtml. Last accessed 28th May 2016.

Stickland, N. (2015). Luxury brands need to broaden from selling unattainable products to luxury moments Read more at http://www.campaignlive.co.uk/article/1361387/luxury-brands-need-broaden-selling-unattainable-products-l. Available: http:// www.campaignlive.co.uk/article/1361387/luxury-brands-need-broaden-selling-unattainable-products-luxury-moments?src_ site=marketingmagazine#. Last accessed 30th May 2016.

Winston, A. (2016). Luxury brands can no longer ignore sustainability. Available: https://hbr.org/2016/02/luxury-brands-can-nolonger-ignore-sustainability. Last accessed 30th May 2016.

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Wolters, K. (2016). Sustainability and Luxury. Available: http://www.wpp.com/wpp/marketing/consumerinsights/sustainabilityand-luxury/. Last accessed 30th May 2016.

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Chapter 09.b

Bibliography

Chapter 10

The Appendix

Ahuvia, A. (2005). Beyond the Extended Self: Loved Objects and Consumers’ Identity Narratives. Consumer Research. 1 (2), p171-184.

Barbaramitra (2010) Baudrillard – ideas and concepts. Available at: https://www.youtube. com/watch?v=80osUvkFIzI (Last accessed 27th May 2016).

Berg, H and Clifford, H (1999). Consumers and Luxury. Manchester: Manchester University Press. p51-56.

Bunker, G. (2013). Social media destroying the next generation of inspirational leaders?.

Available: https://www.clearswift.com/blog/2013/10/11/social-media-destroying-nextgeneration-inspirational-leaders. Last accessed 30th May 2016.

Gibson, C, P (2012). Fashion and Celebrity Culture. London/New York: Berg. p123-130.

Mcferran, B. (2014). Why Do We Buy Luxury Brands—and How Do They Make Us Feel?.

Available: https://www.psychologytoday.com/blog/ill-have-what-shes-having/201405/whydo-we-buy-luxury-brands-and-how-do-they-make-us-feel. Last accessed 30th May 2016.

N/A. (2016). Sustainability and Luxury. Available: http://www.wpp.com/wpp/marketing/ consumerinsights/sustainability-and-luxury/. Last accessed 30th May 2016.

N/A. (2013). The Concept of Luxury: A Global Phenomenon with Local Implications.

Available: http://www.europeanfinancialreview.com/?p=869. Last accessed 30th May 2016.

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Chapter 10.a

Cartogram 2

Cartograms Cartogram 1

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Chapter 11.b

Chapter 11.c

Research Methodology

Questionnaire Appendix 1

Method

Purpose

Online Questionnaire

To gather statistics and opinions surrounding the differing views of social media and celebrity culture.

To gain views and opinions through a visual landscape of imagery.

Experimental research task

Focus Group (Planned research)

Printed Questionnaire (Planned research)

Talk to industry expert

Netnography

Strengths

- Allows participants to voice their opinions confidentally without being asked directly in person.

- A good way to get participants to be creative, often more willing with a hands on task.

To gain further insight - An effective way to into the topic of get participants talking, celebrity culture and ideas and opinions can to gain opinions of the bounce off one another. idea of a publication.

To gain opinions - Able to gain direct surrounding the quotes and develop changing face of statistics on the topic. luxury as currently only have very visual evidence of research.

To see what knowledge they have about sustainability and luxury and of any luxury brands they know are doing this.

To gain insight into publications on the market to see if any other competitors stand out as similar.

- They are knowledgeable in the industry, can also give facts to support research.

- Allows you to look into a broad spectrum of data.

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Weaknesses - It can be difficult to gain over 30 responses within a short period of time.

- Restricting participants to only a range of 10 magazines, isn’t really broad enough.

- Can often prompt responses that you are wanting to get for your research.

- Can be time consuming and is quite an over-used and traditional method of research that sometimes people aren’t willing to get involved in.

- Can sometimes be biased so can be hard to gain a valid response.

- Can often be difficult to find the information you are looking for.

Hayley, 2016

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Chapter 11.d

Experimental Research Appendix 2

Alexandra Stephens FASH20032: Promotion & Context N0571149

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