Trend Report AW15 by Alice Hoar

Tr e n d Fo r e c a s t i n g Rep o r t AW15

Visual Merchandising

Structured Space

Menswear

Indistinct

Trend 5

Print & Graphics

Pages 4 - 23

Pages 12 - 17

Pages 24-37

Pages 30 - 33

Pages 38 - 53

Trend 2

Fig 2. Contents

Trend 1

Trend 3

Trend 4

Trend 6

Interior Outdoors

Optical Illusions

Stacking Threads

Master of the Runway

Pages 6 - 11

Pages 18 - 23

Pages 26 - 29

Pages 34 - 37

Colour Me In

Trend 8

Creative Direction

Flash & Trash

Trend 10

Universal Works

Pages 44 - 49

Pages 54 - 6

Pages 56 - 59

Pages 64 - 75

Trend 7

Trend 9

Trend 11

New Age Byzantine

Tribal Origins

Equal Treatment

Pages 40 - 43

Pages 50 - 53

Pages 60 - 63

Illustrations Pages 76 - 89

Visual Merchandising Trends

Fig 3. Chapter Divider

Trend 1 ‘Interior Outdoors’ is a trend based around the idea of bringing nature inside; a combination of natural forms and man-made structures. This trend has largely been inspired by the Autumn/Winter 2015 Trade Shows in Berlin, as many of these had combined natural forms into their Visual Merchandising. Examples include Show & Order Trade Show and Seek Trade Show (Fig 12.). These shows reinforced ecologically conscious thinking, without forcing the Eco-friendly fabrics. It’s a trend all about bringing the natural environment into our familiar, urban environment; adapting natural forms in ways that make them visually stimulating but also environmentally beneficial.

Several designers have been incorporating this into their catwalk shows during Fashion Weeks. Dior’s SS15 Catwalk was held in an entirely floral setting created using man-made scaffolding structures and millions of tropical plants (Fig 6.); Setting great inspiration for the AW15 catwalks. This catwalk, being a spring/ summer show, had an entirely floral feel; every little floral detail added to the opulence and beauty of the Dior catwalk setting. However, this was just the beginning of the natural form trend, as the seasons transition into Autumn/ Winter 15, we see a rise in Eco-conscious nature-inspired- sets. Ermengildo Zenga is a prime example of this AW15 VM trend; the set for their AW15 catwalk (Fig 11. & Fig 13.) was an urban forest. An ecologically conscious playground for the modern-day urban man; it combined the previously seen tropical paradise theme of SS15 with a darker, and more intense, message about going green. The show told a story of the ultimate luxe safari trip, a trip that takes the models through a prehistoric-looking tropical forest with a ‘Jurassic Park’ feel; the main focus being that idea of ‘returning to the wilderness’.

Interior Outdoors Fig 10. Bikini Berlin VM (2015)

Fig 6. Dior SS15 Catwalk (2014)

Fig 11. Tropical Catwalk (2015)

Fig 7. Anthropologie Store (2015)

Fig 4. Bikini Berlin Hotel (2015)

Fig 12. Seek Trade Show (2015)

Fig 5. Tree through celling (2012)

Fig 13. Tropical Catwalk (2015)

Fig 8. Biotecture Wall (2013)

Fig 9. Drift Wood (2013)

Fig 17. Dior SS15 (2014)

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Fig 14. Dior SS15 (2014)

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Fig 19. Bikini Berlin (2015)

Fig 15. Tropical (2015)

Fig 20. Drift Wood (2013)

Fig 16. Biotecture (2013)

Fig 18. Rocks (2014)

Fig 21. Tree through celling (2012)

C olour Pallet The colours chosen for the ‘Interior Outdoors’ colour pallet reflect the themes within this trend. The deeper, earthier tones seen in ‘Tansy’ and ‘Gerbera’ are representative of the deeper message behind the trend, the idea of Eco-conscious thinking. The pinky, floral colours seen in ‘Hollyhock’ and ‘Thistle’ represent the natural elements, the floral colours of tropical plants. And, the bluey, silver hues, seen in ‘Bliss’ and ‘Mist’, represent the metallic tones of the urban environment; as well as what it is missing, the bliss of nature.

Hanging plants and flowers from above to create a jungle effect

Displaying plants of shrubbery in refurbished or reused man-made cases such as wooden crates or steel cages

Allowing natural forms to grow inside, such as ivy

Creating in-store biotecture walls

Building around trees the natural environment by placing windows or openings in the celling

Creating natural forms out of modern materials, such as metals or lights Fig 22. Interior Outdoors Components

Mock Ups Here is a mock up of what the â&#x20AC;&#x2DC;Interior Outdoorsâ&#x20AC;&#x2122; trend may look like in a Visual Merchandising set up (Fig 23.), using some of the key elements displayed in the images to the left. (Fig 22.).

Fig 23. Interior Outdoors Mock Up

Trend 2 ‘Structured Space’ is a trend inspired by man-made structures and urban, architectural and structural environments. This trend is another largely influenced by the AW15 Berlin Trade Shows. Show & Order (Fig 27.), one of the largest Trade Shows, held their international order platform in an old thermal power station. This made for an unique industrial location for the show, to which they added studio lighting rigs and steel pipe clothing rails as part of their Visual Merchandising. This gave the show a very architectural, structured feel with an urban twist of a worn, derelict backdrop. Bright Trade Show (Fig 24.) was another example of this trend in Berlin. Held in a disused warehouse, the Bright show was typically urban, featuring men’s street wear brands such as Vans, Hype and Obey, as well as some new, up and coming brands. The location featured exposed pipes and brickwork, as well as a general wear-and-tear, worn look to the old floors and doorways. However, the brands themselves showcased unique styles through structural VM, such as steel pipe clothing rails and old TV’s playing adverts and promotion videos.

Also in Berlin, the Bikini Berlin shopping centre (Fig 25. & Fig 29.)

showcases an industrial style with exposed steel beams and columns as well as pipes and industrial lighting. The Pop Up stores in place in AW 14/15 are a great inspiration for this trend, they show a transition into an entirely industrial visual merchandising trend.

At the luxury end of the fashion spectrum, there are more signs of this emergent trend; however, none are more obvious than Dior’s Pre-Fall AW15 catwalk show (F) in Tokyo. This collection, designed by Raf Simons, was showcased on a manmade catwalk, sculpted from steel piping and other industrial materials. This created the appearance of a structured space with an urban influence.

Structured Space Fig 30. Exposed Bricks (2015)

Fig 26. Warehouse Celling (2015)

Fig 31. Seek Trade Show (2015)

Fig 27. Show & Order Show (2015)

Fig 24. Bright Trade Show (2015)

Fig 32. Seek Trade Show (2015)

Fig 25. Bikini Berlin Stores (2015)

Fig 33. Dior Pre Show (2015)

Fig 28. Premium Trade Show (2015)

Fig 29. Bikini Berlin Celling (2015)

Fig 37. Seek Trade Show(2015)

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Fig 34. Show & Order (2015)

Fig 39. Show & Order (2015)

Fig 35. Bikini Berlin (2015)

Fig 40. Warehouse Roof (2015)

Fig 36. Mykita (2015)

Fig 38. Bright Show (2015)

Fig 41. Bikini Berlin (2015)

C olour Pallet The colours chosen for the ‘Structured Space’ colour pallet reflect the industrial and urban feel of the trend. The darkest colour in the pallet is a deep, earthy brown shade called ‘Deconstructive’; this colour is representative of the worn appearance of old, disused industrial buildings and materials. The three slightly lighter, middle tones are ‘Tarnished’, ‘Grit’ and ‘Graphite’; these colours are rich tones of browns and blues that represent the colours of cement and industrial materials seen in disused, deteriorated buildings and warehouses. The lightest colours in the pallet are ‘Aluminum’ and ‘Titanium’, which, as suggested in their names, represent the silvery hues of metals.

Exposing the industrial properties of materials, such as steel, concrete or iron

Allowing graffiti or vandalisms to be seen (or artistically creating these)

Creating clothing rails or other installations from industrial items of piping or wires

Exposing brickwork and the fabrications of the building

Allowing the natural wear and tear of a building/location to be seen

Using studio or industrial lighting to recreate an industrial setting Fig 42. Structured Space Components

Mock Ups Here is a mock up of what the â&#x20AC;&#x2DC;Structured Spaceâ&#x20AC;&#x2122; trend may look like in a Visual Merchandising set up within a store (Fig 43.), using some of the key elements displayed in the images to the left (Fig 42.).

Fig 43. Structured Space Mock Up

Trend 3 ‘Optical Illusions’ is a trend about visual trickery and deceiving the eye through the use of pattern, lighting and mirrors. Optical Illusions is a Visual Merchandising style that has been seen across several areas this season, including store displays, catwalk show spaces and clothing.

Starting with the AW15 catwalk shows, Prada led this trend with their use of a unique and interesting show-space (Fig 50.). Their AW15 collection was displayed in a specialist scientific facility that is specifically designed to create optical illusions and trick the eye (Fig 53.). The use of repeated patterns created in lights, long corridors and mirrors alludes to a never-ending space (Fig 48.). Overall, this space added a very mystical edge to show, creating a situation that blurs the lines between trickery and reality.

Another Designer that used Optical Illusions to showcase his clothing was Carlo Brandelli for Kilgour. Brandelli used suspended fiber optic strands that hung above the audiences head, these emitted a greenish blue light as they cut up the room into sharp and angular shapes (Fig 46.). Again, this uses light to distort the appearance of the setting and the garments being displayed within it (Fig 51.).

Alongside this idea of optical illusions within visual merchandising, we have also seen the use of some more traditional optical illusion ideas within garment. Byblos Milano have featured an entire collection this season based around the use of black and white patterns that have been seen in optical illusion artwork (Fig 44.& Fig 47.). The same was also done within Tom Ford’s AW15 collection (Fig 45.).

Optical Illusions

Fig 50. Prada Showspace (2015)

Fig 46. Kilgour VM (2015)

Fig 51. Kilgour VM (2015)

Fig 47. Byblos Milano (2015)

Fig 44. Byblos Milano (2015)

Fig 52. Byblos Milano (2015)

Fig 45. Tom Ford AW15 (2015)

Fig 53. Prada Showspace (2015)

Fig 48. Prada Showspace (2015)

Fig 49. Prada Showspace (2015)

Fig 57. Kilgour VM (2015)

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Fig 54. Tom Ford (2015)

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Fig 59. Byblos Milano (2015)

Fig 55. Byblos Milano (2015)

Fig 60. Prada Showspace (2015)

Fig 56. Byblos Milano (2015)

Fig 61. Prada Showspace (2015)

Fig 58. Prada Showspace (2015)

C olour Pallet The colours chosen for the ‘Optical Illusion’ colour pallet are representative of the themes and visual codes within this trend. The black, ‘Negative Space’, and white, ‘Black Light’, colours seen are representative of the typical black and white optical illusion art work, which uses pattern to deceive the eye. The red tone seen in ‘Prism’ is a focal primary colour that would stand out against the rest of the colours to draw the eye in to something of interest. The bluey, green shades seen in ‘Retina’, ‘Truth’ and ‘Future’ represent tones often seen or created by lights such as strobes.

Using door ways to create the illusion of a never ending space

Using strobe effect lights and mirrors to distort light

Using black and white optical illusion patterns and artwork

Using mirrors to trick the eye and create â&#x20AC;&#x2DC;infiniteâ&#x20AC;&#x2122; effects.

Using black and white as key colours to create patterns

Only using brighter, primary colours when needed to make something stand out Fig 62. Optical Illusion Components

Mock Ups Here is a mock up of what the â&#x20AC;&#x2DC;Optical Illusionâ&#x20AC;&#x2122; trend may look like in a Visual Merchandising set up (Fig 63.), within a store, using some of the key elements displayed in the images to the left. (Fig 62.).

Fig 63. Optical Illusion Mock Up

Menswear Trends

Fig 64. Chapter Divider

Trend 4 ‘Stacking Threads’ is a menswear trend that focuses of the art of layering and the combination of multiple fabrics of varying styles, textures, colours and cut. This trend is one that has featured heavily on the AW15 Menswear catwalks this season. Especially among the Juun J, MAN and Raf Simons shows. Although the concept of layering is not new to menswear, nor to Autumn/Winter styles, this season seems to have embodied a new wave of layering. This style focuses on the colours, where, rather than clashing layers, there are subtle tonal changes between the layers of an outfit. This has been best displayed by Juun J AW15 collection, in which tones of green (Fig 69.), beige (Fig 68.) and creams (Fig 67.) have been used to create depth within layering styles. This idea has also been translated within Vivienne Westwood’s AW15 collection ‘MAN’. Here, tonal changes of blacks, navy and greys can be seen (Fig 65. & Fig 66.). The common combination of garments seen within both of these collections is the use of a large, oversized coat over layers of jumpers, sweatshirts and t-shirts. They both also use varying textures to break up layers of the outfit, such as the use of furs within the Juun J collection (Fig 71. & Fig 72.) and the use of leathers within the MAN collection (Fig 66.).

Another designer that has adopted this trend for AW15 is Raf Simons. His catwalk collection this season features combinations of long coats, over lab coats, over jumpers, turtlenecks and t-shirts. The colours he has used are also very similar to those seen in the Juun J and MAN collections. A black, grey and white tonal range has been used heavily within his ensembles, as seen here (Fig 74.). He has also used this common style of an oversized, long line coat as a top layer of the outfit.

Stacking Threads Fig 71. Juun J Aw15 (2015)

Fig 67. Juun J Aw15 (2015)

Fig 72. Juun J Aw15 (2015)

Fig 68. Juun J Aw15 (2015)

Fig 65. MAN Aw15 (2015)

Fig 73. Juun J Aw15 (2015)

Fig 66. MAN Aw15 (2015)

Fig 74. Raf Simons (2015)

Fig 69. Juun J Aw15 (2015)

Fig 70. MAN Aw15 (2015)

Fig 78. Juun J AW15 (2015)

Fig 75. Raf Simons (2015)

Fig 80. Raf Simons (2015)

Fig 76. McQ AW15 (2015)

Fig 81. Juun J AW15 (2015)

Fig 77. MAN AW15 (2015)

Fig 82. Juun J AW15 (2015)

Fig 79. Juun J AW15 (2015)

C olour Pallet The colours chosen for the ‘Stacking Threads’ colour pallet reflect the theme within the trend. The varying shades here represent the varying layers created in many of the outfits seen within this trend, especially these examples. The deepest, darkest colours seen here in ‘Haute Core’ and ‘Cement’ represent the darkest colour within an outfit; the darker colour usually draws a focus point for the ensemble. The mid-tone colours seen in ‘Discrete’ and ‘Hessian’ represent the elements of the outfit that may go unseen by the eye, the in-between layers of the outfit. The lightest colours, seen in ‘Frayed Lace’ and ‘Exposure’ are representative of the lightest tonal colour of an outfit, often used to draw the eye to detail, such as a texture or print on one of the layers.

Trend 5 ‘Indistinct’ is a menswear trend that focuses of the idea of gender neutrality and the use of feminine patterns, fabrics or cuts on the masculine figure. This trend follows the current social trend of gender neutrality, within menswear it has been seen in several catwalk shows this season including Givenchy, Gucci, Raf Simons and Rick Owens. However, we are also starting to see this at the lower end of the market with stores such as Selfridges launching a Unisex range.

On the catwalk, Givenchy challenged several gender stereotypes within fashion, using floral prints (Fig 83.) and using female models to walk in the menswear garments (Fig 87.). They also play with fit and cut of garments by using feminine styles on the male figure, something that Gucci also did within their AW15 collection (Fig 85.). Certain fabrics have also been used within both collections that would usually be associated with womenswear, such as mesh or lace (Fig 86.), floral patterns (Fig 91.) and ribbons (Fig 89.). Similarly to Givenchy, Gucci also used female models within their male catwalk show (Fig 89.). Raf Simons is another designer that has used the idea of gender neutrality as an underlying theme within his AW15 catwalk collection. The entire collection was entitled ‘Gender Fuse’ (Fig 92.) and, similarly to the garments within Givenchy and Gucci’s shows, he mixed traditionally feminine silhouettes with the masculine figure to create genderneutral outfits.

Another designer using gender in an interesting way this season is Rick Owens. Although his designs did not necessarily embody the idea of gender neutral, unisex clothing, he did use gender to cause scandal. By cutting his garments in a way that exposed the men wearing them, he created cause for discussion around gender stereotypes and sexualisation.

Indistinct Fig 89. Gucci AW15 (2015)

Fig 85. Gucci AW15 (2015)

Fig 90. Gucci AW15 (2015)

Fig 86. Givenchy (2015)

Fig 83. Givenchy (2015)

Fig 91. Givenchy (2015)

Fig 84. Givenchy (2015)

Fig 92. Raf Simons (2015)

Fig 87. Givenchy (2015)

Fig 88. Rick Owens (2015)

Fig 96. Givenchy (2015)

Fig 93. Givenchy (2015)

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Fig 98. Givenchy (2015)

Fig 94. Givenchy (2015)

Fig 99. Gucci (2015)

Fig 95. Rick Owens (2015)

Fig 100. Gucci (2015)

Fig 97. Gucci (2015)

C olour Pallet The colours chosen for the ‘Indistinct’ colour pallet reflect the themes of gender-neutrality within this trend. The deeper tones seen in ‘Indisputable’, ‘Transfer’ and ‘Charlie’ are representative of one side of the gender stereotypes and the lighter colours seen in ‘Polar’, ‘Neutrality’ and ‘Off White’ represent the other, opposite side. This reflects the distinctions between male and female, masculine and feminine. However, all of the colours fall within a similar bluey green tonal range creating an unclear divide between them.

Trend 6 ‘Master of the Runway’ is a menswear trend that focuses of the idea of male dominance, in line with the influence of the recent release of the ‘Fifty Shades of Grey’ movie. Several menswear catwalk shows featured male dominance and ‘Fifty Shades’ themes this season. Some of the most prominent examples of this were Raf Simons, Todd Lynn, Alexander McQueen and Balmain. Although this is a trend that started out in AW14, with Versace featuring black leather and mesh within their collection (Fig 104. & Fig 107.), only now are we starting to see this trend on a much bigger, more wide spread, scale. Now some of the biggest menswear labels are featuring male dominance insprired garments.

This season, many of the brands used fabrics and textures to translate their interpretation of male dominance. They achieved this by using materials often associated with BDSM, such as leather, latex, PVC and metal chains. The combination of these materials and the use of the colour red, that has connotations of lust as well as danger and authority, creates a suggestion of sexual domination. For example, Raf Simons featured a red PVC coat within his collection (Fig 105.). McQueen also featured the combination of red and black through layers of red fabrics and black leathers (Fig 103.). Todd Lynn also featured full leather outfits (Fig 101.). Balmain also features a frequent use of leather within their AW15 collection (Fig 102.), as do Alexander McQueen (Fig 103.). Greys have also been used within several of these menswear collections as a direct reference to the ‘Fifty Shades of Grey’ movie.

This themes and the brands embodying the idea of male dominance have created a distinct opposite to those using gender neutrality as a key theme in their AW15 collections. This idea puts men on a pedistole as the greater, dominant sex rather than encouraging gender equality.

Master of the Runway Fig 107. Versace (2014)

Fig 103. McQueen AW15 (2015)

Fig 108. 50 Shades (2015)

Fig 104. Versace (2014)

Fig 101. Todd Lynn (2015)

Fig 109. 50 Shades (2015)

Fig 110. 50 Shades (2015)

Fig 102. Balmain (2015)

Fig 105. Raf Simons (2015)

Fig 106. Balmain (2015)

Fig 114. Todd Lynn (2015)

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Fig 111. Versace (2014)

Fig 116. Todd Lynn (2015)

Fig 112. Balmain (2015)

Fig 117. Versace (2015)

Fig 113. 50 Shades (2015)

Fig 118. 50 Shades (2015)

Fig 115. 50 Shades (2015)

C olour Pallet The colours chosen for the ‘Master of the Runway’ colour pallet reflect the themes within this trend. The deeper, darker tones seen in ‘Ultimate’ and ‘Deep’ are representative of the darker materials used within the garments, such as leather. The grey tones seen in ‘Hegemony’, ‘Masked’ and ‘Dusk’ represent the ’Fifty Shades of Grey’ element of the trend. The red tone ‘Rule’ represents lust and danger.

Print and Graphic

Fig 119. Chapter Divider

Trend 7 ‘New Age Byzantine’ is a print and graphic trend that focuses of the use of Byzantine style artwork withing clothing and garment, this idea embodies religious and monarchy ideologies. The use of Byzantine style art and Iconography within clothing has become very popular this season. Although this was first seen in AW14 within Dolce & Gabbana’s Womenswear collection, this was very apt for the brand as their Italian roots sit firmly around religious and catholic ideologies. These roots are shared with much of the Byzantine and religious art beign featured in this seasons catwalk shows. This season we have seen Byzantine style art filter into the menswear shows, lead by Dolce & Gabbana that focused on the patterns of Byzantine art and translated into graphic prints (Fig 124.) as opposed to the overly embellished outfits that we saw in their AW14 Womenswear show (Fig 123.).

At a slightly lower end of the scale, the Universal Works capsule collection show also embodied this idea of Byzantine and religion; both by using colour schemes similar to those used in Byzantine such as golds and blues, and also through the choice of setting. The Universal Works show was held in a cathedral, infront of stain glass windows (Fig 128.).

This time around, and the idea behing ‘New Age Byzantine’ seems to be a case of much more subtle hints to the era through the use of colours and gold details. Using traditionally expensive colours such as purples and burgendys, as well as gold embellished accessories (Fig 121. & Fig 129.) or shirt details such as buttons. Universal Works also used setting as a subtle hint towards the trend.

New Age Byzantine Fig 126. Byzantine Art (2006)

Fig 122. Byzantine Art (2012)

Fig 127. D&G (2015)

Fig 123. Dolce & Gabbana (2014)

Fig 120. Byzantine Art (2010)

Fig 128. Universal Works (2015)

Fig 121. Dolce & Gabbana (2014)

Fig 129. D&G (2015)

Fig 124. Dolce & Gabbana (2015)

Fig 125. Byzantine Art (2009)

Fig 133. D&G (2014)

Fig 130. D&G (2015)

Fig 135. Byzantine Art (2010)

Fig 131. D&G (2015)

Fig 136. Byzantine Art (2004)

Fig 132. UW (2015)

Fig 137. Cathedral (2011)

Fig 134. Byzantine Art (2009)

C olour Pallet The colours chosen for the ‘New Age Byzantine’ colour pallet reflect those seen in both the original work of the Byzantine and Baroque eras, as well as iconography, and the modern interpretations of these that can be seen within fashion. The darkest colour ‘Eternal’... The deeper, richer tones seen in ‘Stain Glass’, ‘Velvet’ and ‘Merlot’ are all representative of the rich, prestigious connotation of these colours during the age of Byzantine and the Monarchy. The remaining colours, ‘Baroque’ and ‘Iconic’ represent the bright golds and bronzes that were used in Iconography and Byzantine Art.

Trend 8 ‘Colour Me In’ is a print and graphic trend that embodies the playfulness of childhood drawings and doodles, as well as graffiti, mark making and the art of customisation This season, print and graphics inspired by customisation and mark making. The catwalk has seen several examples of this across menswear and womenswear for AW15. The trend was sparked by the SS15 collection from Dior Homme, which featured crayon like doodles that covered their menswear garments (Fig 141. & Fig 145.), and this trend has continued into AW15.

This season Raf Simons used ‘graffitied’ garments within his collection (Fig 138.), here it was used as a take on the college years and refers to the doodles and graffiti you might see around a college campus (Fig 142.). The colours he used here were very similar to those from the Dior Homme SS15 collection, as they tended to be predominantly primary and secondary colours. Similarly, Dolce & Gabbana’s AW15 collection featured drawings and doodles on their garments (Fig.). The doodles seen were created by children and copied on to the garment either graphically (Fig 139.) or sewn on (Fig 146.). This also follows the theme of Angelina Jolie’s wedding dress from 2014 (Fig 144.), as she let her children doodle and draw on her veil (Fig 143.). The commonality between these collections and Angelina Jolie’s dress is therefore the idea of a childs playfulness, using their doodles or style to reflect that idea of freedom and creativity. This has then been transformed onto clothing in a customisation style that means the garmets tell some sort of story about the drawer.

C olour Me In Fig 144. Wedding Dress (2014)

Fig 140. Raf Simons (2015)

Fig 145. Dior Homme (2015)

Fig 141. Dior Homme (2015)

Fig 138. Raf Simons (2015)

Fig 146. Dolce & Gabbana (2015)

Fig 139. Dolce & Gabbana (2015)

Fig 147. Dior Homme (2015)

Fig 142. Raf Simons (2015)

Fig 143. Wedding Dress (2014)

Fig 151. Dior Homme (2015)

Fig 148. R Simons (2015)

Fig 153. D&G AW15 (2015)

Fig 149. R Simons (2015)

Fig 154. Raf Simons (2015)

Fig 150. R Simons (2015)

Fig 155. D&G AW15 (2015)

Fig 152. Raf Simons (2015)

C olour Pallet The colours chosen for the ‘Colour Me In’ colour pallet reflect the themes of customization and graffiti within this trend, they reflect the playfulness of unrefined doodles on garments. The blue tones, yellow and red tone seen in ‘Denim’, ‘Aqua’, ‘Lemonade’ and ‘Blush’ are representative of primary colours, although they are not solid, primary colours. The green tones equally reflect part of a ‘basic’ set of colours used for children’s colouring, these two are called ‘Fern’ and ‘Pistachio’.

Womenswear Illustrations

Fig 156. D&G AW15 Illustrations

Menswear Illustrations

Fig 157. Dior Homme AW15 Illustrations

Trend 9 â&#x20AC;&#x2DC;Tribal Originsâ&#x20AC;&#x2122; is a trend inspired by tribal cultures, origins and roots. Tribal Origins is based around the use of tribal patterns from several tribal cultures, that have been seen this season on the AW15 catwalks.

The KTZ AW15 collection was one of the strongest showcases of tribal influences on fashion this season. The KTZ garments featured two tone pattterns such as black and white (Fig 160.) and orange and black (Fig 158.). The patterns seen on these garments vary from medieval or roman-esque style tribal artwork to a cave man or esqimo style garments (Fig 164.).

Another brand using tribal origins as their influence this season is Givenchy. Givenchyâ&#x20AC;&#x2122;s AW15 collection featured a strong colour pallet of reds, blacks and browns (Fig 166.) that reflected the style of the patterns and garments. The patterns used are reflective of both oriental (Fig 162.) and aztec roots (Fig 159.), with some references more distinct than others.

Tribal Origins Fig 164. KTZ AW15 (2015)

Fig 160. KTZ AW15 (2015)

Fig 165. KTZ AW15 (2015)

Fig 161. KTZ AW15 (2015)

Fig 158. KTZ AW15 (2015)

Fig 166. Givenchy AW15 (2015)

Fig 159. Givenchy AW15 (2015)

Fig 167. Givenchy AW15 (2015)

Fig 162. Givenchy AW15 (2015)

Fig 163. KTZ AW15 (2015)

Fig 171.Givenchy (2015)

Fig 168. KTZ AW15 (2015)

Fig 173. KTZ AW15 (2015)

Fig 169. Mask (2015)

Fig 174. Givenchy (2015)

Fig 170. Mask (2015)

Fig 175. KTZ AW15 (2015)

Fig 172. Givenchy (2015)

C olour Pallet The colours chosen for the ‘Tribal Origins’ colour pallet reflect the ideology of tribal cultures, origins and roots. The darkest colour in the pallet is a black called ‘Dark Marks’, this is inspired by the idea of markings created on themselves, such as tattoos, but also those left behind by much older, historic tribes. The deeper, earthier tones seen in ‘Ashes’ and ‘Roots’ are representative of the natural environment that tribes live in and survive on. The deep red colour, ‘Hunter’, represents blood and a hunt-to-kill mentality. The fiery, orange tones seen in ‘Ambers’ and ‘Chant’ represent the natural element fire and refer to the idea of a campfire.

Creative Direction Trends

Fig 176. Chapter Divider

Trend 10 ‘Flash & Trash’ is a creative direction trend that looks at the idea of the super rich, in lavish lifestyles of the rich and famous. Flash and Trash focuses on the idea of high fashion that has been designed with the ideology and wear once and throw away that you see at the lower end of the market in stores such as Primark.

Nowadays, brands such as Moschino are creating ready-to-wear collections that are so bold and entirely focussed on micro trends, that you would likely only wear it once. This is something the super rich can now afford, but for the lower end of the market it seems like a far off idea.

Celebrities are the biggest influence on this trend, such as the Kim K and the Kardashians (Fig 177. & Fig 185.). As well as Chris Brown and Karrueche, who advocated the wearing of real fur this season, sitting front row at AW15 shows in matching fur coats (Fig 178.). Real fur seems to be the biggest demonstration of someone’s luxury lifestyle this season, with even Kim Kardashian’s daughter North West being photographed in a real fur coat (Fig 181.); an idea that seems slightly outragous at such a young age.

Several designers have also featured real furs on their catwalk this season, including Moschino (Fig 179.) and Giambattista Valli (Fig 180.). Other brands have also displayed opulence on the catwalk this season through the use of overthe-top diamond dresses and lace (Fig 186.) to show glamour. Zuhair Murad were one of the best examples of this for AW15, showcasing floor length diamonte gowns (Fig 183. & Fig 184.).

Flash & Trash Fig 183. Zuhair Murad (2015)

Fig 179. Moschino (2015)

Fig 184. Zuhair Murad (2015)

Fig 180. Giambattista Valli (2015)

Fig 185. Kim & Khloe (2014)

Fig 177. Kim K (2014)

Fig 186. Alessandra (2015)

Fig 178. Matching Furs (2015)

Fig 181. North West (2015) Fig 182. Moschino (2015)

Fig 190. Kim K (2014)

Fig 187. Ralph Lauren (2015)

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Fig 192. Kim & Khloe (2014)

Fig 188. Valli (2015)

Fig 193. Alessandra (2015)

Fig 189. Dress (2015)

Fig 194. Moschino RTW (2015) Fig 191. Zuhair Murad (2015)

C olour Pallet The colours chosen for the ‘Flash & Trash’ colour pallet reflect the idea of excess and wealth within this trend. The beige, brown tones seen in ‘Faux’ and ‘Mink’ are representative of furs, and the distinction between real and fake fur. The paler colours seen in ‘Luxe’ and ‘Opulence’ represent the glamour and wealth of the super rich and famous. And the pinky, purple hues, seen in ‘Desire’ and ‘Envy’, represent the lust and want of material items.

Trend 11 ‘Equal Treatment’ is a creative direction trend that focuses on the issue of positive discrimination and equality in fashion. This season we have seen several examples of fashion making an attempt to create equality, especially within modelling. However, some would argue that some of this could be seen as positive discrimination.

Last year, Viktoria Modesta created a storm in the fashion world, being used in several editorials and campaigns, as a amputee model with only one leg. Although she personally aims to empower the disabled and give them a chance in the fashion world, many people could argue that she was used in brand campaigns for all the wrong reasons. The same could be said for Marks and Spencers 2014 Christmas advertisment that features a downs syndrome child after his mother complained about the lack of disabled people being used in their adverts.

This season it has taken a turn for the better with the campaign ‘Role Models not Runway Models’ offering the opportunity for disabled models to be on the catwalk. FTL Moda also featured disabled models within their AW15 Catwalk, although this was done in the right light, with the clothes still being the key focus of the collection

Equal Treatment

Fig 197. Viktoria Modesta (2014)

Fig 201. Viktoria Modesta (2014)

Fig 198. Viktoria Modesta (2014)

Fig 195. FTL Moda AW15 (2015)

Fig 202. FTL Moda AW15 (2015)

Fig 196. FTL Moda AW15 (2015)

Fig 203. FTL Moda AW15 (2015)

Fig 199. Viktoria Modesta (2014) Fig 200. FTL Moda AW15 (2015)

Fig 207. FTL Moda (2015)

Fig 204. FTL Moda (2015)

Fig 209. FTL Moda (2015)

Fig 204. FTL Moda (2015)

Fig 205. V. Modesta (2015)

Fig 210. M&S Advert (2015)

Fig 206. FTL Moda (2015)

Fig 211. Unisex Clothing (2015)

Fig 208. V. Modesta (2015)

C olour Pallet The colours chosen for the ‘Equal Treatment’ colour pallet reflect the idea of inclusion and positive discrimination within this trend. The contrasting tones seen in ‘Encompass’ and ‘Absent’ are representative of the differences within human kind. However, these both have similar tonal qualities showing their united qualities. The brown tones seen in ‘Noir’, ‘Feature’, ‘Plain Even’ and ‘Fair’ also show how something can appear different but in fact have many similarities.

Universal Works

Fig 212. Chapter Divider

Universal Works Looking at this Brand Essence Model for U n ive r s a l Wo r k s, t h e m o s t a p p r o p r i a t e trend for the brand to adopt may b e t h e â&#x20AC;&#x2DC; I n t e r i o r O u t d o o r s â&#x20AC;&#x2122; Vi s u a l Merchandising trend. This is due to the fact that it ref lects their

Brand Personality

promise of sustainability.

Laid Back Attitude Hard Working Honest

Brand Values Aim to mix Great British clothing with an International feel, crafting clothes with love, soul and care

Brand Promise A good, honest menswear brand, quality garments, wearable, sustainable, affordable

Fig 213. Brand Essence Model

Brand Essence Model

Brand Attributes & Benefits Universal Works clothing is comfor table, versatile & can be worn for work & play

Brand Truth A British menswear company who care about function, fit & cut of a garment

Brand Design Equation Minimal Subtle Branding Masculine

Th e B r i t i s h H e r i t a ge t h e m e o f t h e B u t c h e r â&#x20AC;&#x2122;s Hook Creative Direction trend also suits this undividedly British brand. This is seen throughout their Brand Essence Model as an impor tant foundation of the brands.

Perseptual Map

Diesel

Masculine Barbour

Univer sal Works

Fig 214. Perceptual Map

Tommy Hilfiger

I n n ov a t o r s

Ted Baker

Paul Smith

L a g g a rd s

Fe m i n i n e

Universal Works Mock Ups The Visual Merchandising trend that may be most suited to Universal Works is ‘Interior Outdoors’. This is a trend that combines the industrial and urban with natural forms. This could work well for the brand as they already have a trend industrial element within both their brand and stores. Below is an image of a previous store layout and Visual Merchandising design (Fig 215.) against a mock up for how the ‘Interior Outdoors’ trend could be translated into their stores (Fig 216.). Here, there is also a revised colour pallet more appropriate to the masculinity of the brand.

Fig 215. Universal Works Store (2013).

Interior Outdoors Citrus Rust

Bamboo

Driftwood

Oak Tree

Morning Moss

Nettle

Fig 216. Interior Outdoors Mock Up (2015).

Universal Works Mock Ups The Print and Graphic trend that best suits Universal Works is ‘New Age Byzantine’. This is a trend that combines the traditional byzantine, iconography artwork and style with modern clothing. This could work well for the brand as they already have a similar colour pallet within much of their AW15 clothing range and frequently use patterns as motifs. Below is an example of how they are already using this trend in a visual merchandising style (Fig 217.). To the right, is how ‘New Age Byzantine’ could be translated into garment for Universal Works (Fig 218.) and a colour pallet.

Fig 217. Universal Works AW15 Show (2015).

New Age Byzantine Eternal

Stain Glass

Velvet

Merlot

This is a mock up of what the print and graphic trend â&#x20AC;&#x2DC;New Age Byzantineâ&#x20AC;&#x2122; might look like when translated into

Baroque

garment for universal works. This demonstrates the subtle use of byzantine patterns on areas such as pockets and the shirt lining, and the use

Iconic

of gold details on seams and buttons.

Fig 218. New Age Byzantine Mock Up (2015).

Universal Works Mock Ups The menswear trend that may be most suited to Universal Works is ‘Master of the Runway’. This is a trend that focuses on male dominance and, as Universal Works has a design equation of masculine, this feels appropriate. Below is an image of some of Universal Works current clothing (Fig 219.) and to the right are some examples of how subtle changes and details could hint at this trend. Such as the use of leather, cuff-links, grey details or a tie range that hints at ‘Fifty Shades of Grey’, and collar chains that mimic bondage collars (Fig 220.). This also shows the colour pallet.

Fig 219. Universal Works Clothing (2015).

Master of the Runway Deep

Ultimate

Hegemony

Dusk

Masked

Rule

Fig 220. Master of the Runway Ideas.

List of Illustrations

List of Illustrations List of Illustrations F i g 1 . C o v e r Pa g e I m a g e .

Fig 2. Contents. Fr o m L e f t t o R i g h t : D i o r S S 1 5 C a t w a l k ( 2 0 1 4 ) . h t t p : / / 3 . b p. b l o g s p o t . c o m / - w Z - 7 I f t l 6 t 0 / U n m T i w k P - w I / A A A A A A A A A e E / e M f Y n q w t o K U / s1600/4.jpg D i o r P r e S h o w A W 1 5 ( 2 0 1 5 ) . h t t p : / / c d n i . c o n d e n a s t . c o . u k / 4 2 6 x 6 3 9 / S h o w s / A W 2 0 1 5 / Pa r i s / R - T- W / c h r i s t i a n _ d i o r _ - _ pre/064_426x639.jpg D i o r S S 1 5 C a t w a l k F l o w e r s ( 2 0 1 4 ) . h t t p : / / 3 . b p. b l o g s p o t . c o m / - w Z - 7 I f t l 6 t 0 / U n m T i w k P - w I / A A A A A A A A A e E / eMfYnqwtoKU/s1600/4.jpg Kilgour AW15 (2015). https://jer mynstreetjour nal.files.wordpress.com/2015/01/autumn-winter15.jpg P r a d a A W 1 5 S h o w S p a c e ( 2 0 1 5 ) . h t t p : / / 1 . b p. b l o g s p o t . c o m / - 2 p 2 - W O M S r G M / V L w X 8 z 7 I v o I / A A A A A A A A e G E / zchEtj5tVhw/s1600/Prada%2BMens.jpg Ju u n J AW 1 5 C o a t ( 2 0 1 5 ) . h t t p : / / 3 . b p. b l o g s p o t . c o m / - E m m r M w D S m l 0 / VO h Z D Ku N D i I / A A A A A A A AC o w / W q i u P s L I e P 4 / s1600/Juun_J_13_1366.jpg Givenchy AW15 Models (2015). http://showstudio.com/img/instagrams/97801-98000/97902_963n.jpg Givenchy AW15 Floral Print (2015). http://showstudio.com/img/insta g rams/97801-98000/97902_960n.jpg Ju u n J AW 1 5 C o a t ( 2 0 1 5 ) . h t t p : / / 2 . b p. b l o g s p o t . c o m / - E Z 1 R z 4 i n u p M / VO h Z E F _ 1 i h I / A A A A A A A AC p E / E L l X z k a 3 e r s / s1600/Juun_J_08_1366.jpg Ra f S i m o n s AW 1 5 Re d C o a t ( 2 0 1 5 ) . h t t p : / / w h i t e l i e s m a g. c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 1 / 0 1 2 1 2 0 1 4 5 7 4 9 1024x769.jpg Byzantine Ar t Mosaic (2014). https://figures.boundless.com/11803/full/la-placidia-in-italia.jpg D i o r S S 1 5 M e n sw e a r ( 2 0 1 5 ) . h t t p : / / aw s. m e d i a . s t y l e. c o m / i m a ge / t s / fa s h i o n - s h ow s / s p r i n g - 2 0 1 5 - m e n sw e a r / p a r i s / d i o r- h o m m e / c o l l e c t i o n / 1 3 6 6 / 2 0 4 8 / D I O _ 0 6 3 3 . 1 3 6 6 x 2 0 4 8 . J P G Byzantine Mosaic (2013). https://figures.boundless.com/11803/002.jpg Raf Simons AW15 Lab Coats (2015). http://whiteliesmag.com/wp-content/uploads/2015/02/0121201457491024x769.jpg K T Z A W 1 5 ( 2 0 1 5 ) . h t t p : / / 1 . b p. b l o g s p o t . c o m / - H 8 A 5 V T 4 Z 4 E A / V L w e 3 k V t c v I / J L s / b 9 o X W S F W Z p g / s 1 6 0 0 / K T Z - Fa l l W i n t e r- 2 0 1 5 - L o n d o n - C o l l e c t i o n s - M e n - 0 2 7 . j p g K T Z A W 1 5 ( 2 0 1 5 ) . h t t p : / / 1 . b p. b l o g s p o t . c o m / - H 8 A 5 V T 4 Z 4 E A / V L w e 3 k V t c v I J L s / b 9 o X W S F W Z p g / s 1 6 0 0 / K T Z - Fa l l W i n t e r- 2 0 1 5 - L o n d o n - C o l l e c t i o n s - M e n - 0 2 5 . j p g A l e x a n d e r M c Q u e e n S a v a g e B e a u t y E x h i b i t i o n ( 2 0 1 5 ) . h t t p : / / w w w. g a i n s b u r y a n d w h i t i n g . c o m / 2 0 1 2 / 0 4 / 2 6 / Alexander_McQueen_Savage_Beauty_thumb_02-03.jpg K i m K a r d a s h i a n ( 2 0 1 4 ) . h t t p : / / w w w. f a s h i o n f i l e . c o m . a u / w p - c o n t e n t / u p l o a d s / 2 0 1 4 / 1 1 / k i m - k a r d a s h i a n - m e l b o u r n e latex-03.jpg N o r t h W e s t i n F u r ( 2 0 1 5 ) . h t t p : / / i . d a i l y m a i l . c o . u k / i / p i x / 2 0 1 5 / 0 2 / 1 2 / 2 5 9 6 8 DA 3 0 0 0 0 0 5 7 8 - 2 9 5 0 0 5 6 image-a-56_1423704730907.jpg Disabled Model (2015). http://s3-ec.buzzfed.com/static/2015-02/17/4/enhanced/webdr06/ enhanced-7595-1424164876-26.jpg U n i ve r s a l Wo r k s L o go ( 2 0 1 5 ) . h t t p s : / / p b s . t w i m g. c o m / p r o f i l e _ i m a ge s / 4 7 8 4 9 6 7 2 8 0 3 5 7 8 2 6 5 6 / d 4 w Q m D i b. j p e g Unisex Clothing Range at Selfridges (2015). http://i.dailymail.co.uk/i/pix/2015/03/19/26CDF957000005783002605-image-a-14_1426780418104.jpg U n i v e r s a l W o r k s ( 2 0 1 5 ) . h t t p : / / w w w. u n i v e r s a l w o r k s . c o . u k

Fig 3. Chapter Divider Fr o m L e f t t o R i g h t : Warehouse Celling (2015). Own photo from Berlin [Photo g raph] D i o r P r e S h o w A W 1 5 ( 2 0 1 5 ) . h t t p : / / c d n i . c o n d e n a s t . c o . u k / 4 2 6 x 6 3 9 / S h o w s / A W 2 0 1 5 / Pa r i s / R - T- W / c h r i s t i a n _ d i o r _ - _ pre/064_426x639.jpg Kilgour AW15 (2015). https://jer mynstreetjour nal.files.wordpress.com/2015/01/autumn-winter15.jpg E r m e n e g i l d o Z e g n a A W 1 5 ( 2 0 1 5 ) . h t t p : / / w w w. t e l e g r a p h . c o . u k / l u x u r y / 5 8 7 0 0 / 1 4 2 1 5 2 4 3 9 8 8 8 0 / b o x o u t j p g / A LT E R N AT E S . j p g Bikini Berlin Store (2015). Own photo from Bikini Berlin [Photograph] Altered. D i o r S S 1 5 C a t w a l k ( 2 0 1 4 ) . h t t p : / / 3 . b p. b l o g s p o t . c o m / - w Z - 7 I f t l 6 t 0 / U n m T i w k P - w I / A A A A A A A A A e E / e M f Y n q w t o K U / s1600/4.jpg D i o r S S 1 5 C a t w a l k F l o w e r s ( 2 0 1 4 ) . h t t p : / / 3 . b p. b l o g s p o t . c o m / - w Z - 7 I f t l 6 t 0 / U n m T i w k P - w I / A A A A A A A A A e E / eMfYnqwtoKU/s1600/4.jpg Tr e n d O n e : Fig 4. Bikini Berlin Hotel (2015). http://dnahotels.com/uploads/reception.jpg F i g 5 . Tr e e t h r o u g h c e l l i n g ( 2 0 1 2 ) . h t t p : / / b l o g . l u m e n s . c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 2 / 0 3 / C o r a l l o - H o u s e - 1 0 t re e - t o p. j p g F i g 6 . D i o r S S 1 5 C a t w a l k ( 2 0 1 4 ) . h t t p : / / 3 . b p. b l o g s p o t . c o m / - w Z - 7 I f t l 6 t 0 / U n m T i w k P - w I / A A A A A A A A A e E / eMfYnqwtoKU/s1600/4.jpg F i g 7 . A n t h r o p o l o g i e S t o r e ( 2 0 1 5 ) . h t t p : / / 2 . b p. b l o g s p o t . c o m / - O a u J 1 i g t N 3 I / Tm d C G v j T _ m I / A A A A A A A A F D g / g7mZFmSQ5-8/s1600/IMG_2459.JPG Fig 8. Biotecture Wall (2013). F i g 9 . D r i f t W o o d ( 2 0 1 3 ) . h t t p : / / w w w. t r a d i t i o n a l t i m b e r. c o . u k / d e m o / w p - c o n t e n t / u p l o a d s / 2 0 1 3 / 0 3 / r e c l a i m e d driftwood-oak-3m.jpg Fig 10. Bikini Berlin VM (2015) Own Photo from Berlin [Photograph] F i g 1 1 . Tr o p i c a l C a t w a l k ( 2 0 1 5 ) . h t t p : / / w w w. t e l e g r a p h . c o . u k / l u x u r y / 5 8 7 0 0 / 1 4 2 1 5 2 4 3 9 8 8 8 0 / b o x o u t j p g / A LT E R N AT E S / F i g 1 2 . S e e k Tr a d e S h o w ( 2 0 1 5 ) . O w n P h o t o f r o m B e r l i n [ P h o t o g r a p h ] F i g 1 3 . Tr o p i c a l C a t w a l k ( 2 0 1 5 ) . h t t p : / / w w w. o u t t h e r e m a g a z i n e . c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 1 / F i g 1 4 . D i o r S S 1 5 ( 2 0 1 4 ) . h t t p : / / 3 . b p. b l o g s p o t . c o m / - w Z - 7 I f t l 6 t 0 / U n m T i w k P - w I / A A A A A A A A A e E / e M f Y n q w t o K U / s1600/4.jpg F i g 1 5 . Tr o p i c a l ( 2 0 1 5 ) . h t t p : / / w w w. t e l e g r a p h . c o . u k / l u x u r y / 5 8 7 0 0 / 1 4 2 1 5 2 4 3 9 8 8 8 0 / b o x o u t j p g / A LT E R N AT E S / Fig 16. Biotecture (2013). F i g 1 7 . D i o r S S 1 5 ( 2 0 1 4 ) . h t t p : / / 3 . b p. b l o g s p o t . c o m / - w Z - 7 I f t l 6 t 0 / U n m T i w k P - w I / A A A A A A A A A e E / e M f Y n q w t o K U / s1600/6.jpg F i g 1 8 . Ro c k s ( 2 0 1 4 ) . h t t p : / / u p l o a d . w i k i m e d i a . o rg / w i k i p e d i a / c o m m o n s / 7 / 7 2 / D i r k vd M _ r o c k s . j p g Fig 19. Bikini Berlin (2015). Own Photo from Berlin [Photograph] F i g 2 0 . D r i f t W o o d ( 2 0 1 3 ) . h t t p : / / w w w. t r a d i t i o n a l t i m b e r. c o . u k / d e m o / w p - c o n t e n t / u p l o a d s / 2 0 1 3 / 0 3 / r e c l a i m e d driftwood-oak-3m.jpg F i g 2 1 . Tr e e t h r o u g h c e l l i n g ( 2 0 1 2 ) . h t t p : / / b l o g . l u m e n s . c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 2 / 0 3 / C o r a l l o - H o u s e - 1 0 t re e - t o p. j p g

Fig 22. Interior Outdoors Components. C l o c k w i s e f r o m C e n t r e To p : D i o r S S 1 5 C a t w a l k ( 2 0 1 4 ) . h t t p : / / 3 . b p. b l o g s p o t . c o m / - w Z - 7 I f t l 6 t 0 / U n m T i w k P - w I / A A A A A A A A A e E / e M f Y n q w t o K U / s1600/4.jpg S e e k Tr a d e S h o w ( 2 0 1 5 ) . O w n P h o t o f r o m B e r l i n [ P h o t o g r a p h ] Tr e e t h r o u g h c e l l i n g ( 2 0 1 2 ) . h t t p : / / b l o g . l u m e n s . c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 2 / 0 3 / C o r a l l o - H o u s e - 1 0 - t r e e - t o p . jpg Bikini Berlin VM (2015) Own Photo from Berlin [Photograph] A n t h r o p o l o g i e S t o r e ( 2 0 1 5 ) . h t t p : / / 2 . b p. b l o g s p o t . c o m / - O a u J 1 i g t N 3 I / Tm d C G v j T _ m I / A A A A A A A A F D g / g 7 m Z F m S Q 5 - 8 / s1600/IMG_2459.JPG Bikini Berlin Hotel (2015). http://dnahotels.com/uploads/reception.jpg Fig 23. Interior Outdoors Mock Up (2015). http://st2.depositphotos.com/2332949/5930/i/950/ depositphotos_59309759-Mock-up-white-frame-on-white-brick-wall.jpg [Altered] Tr e n d Tw o : F i g 2 4 . B r i g h t Tr a d e S h o w ( 2 0 1 5 ) . O w n P h o t o f r o m B e r l i n [ P h o t o g r a p h ] Fig 25. Bikini Berlin Stores (2015). Own Photo from Berlin [Photograph] Fig 26. Warehouse Celling (2015). Own Photo from Berlin [Photo g raph] Fig 27. Show & Order Show (2015). Own Photo from Berlin [Photograph] F i g 2 8 . P r e m i u m Tr a d e S h o w ( 2 0 1 5 ) . O w n P h o t o f r o m B e r l i n [ P h o t o g r a p h ] Fig 29. Bikini Berlin Celling (2015). Own Photo from Berlin [Photograph] Fig 30. Exposed Bricks (2015). Own Photo from Berlin [Photograph] F i g 3 1 . S e e k Tr a d e S h o w ( 2 0 1 5 ) . O w n P h o t o f r o m B e r l i n [ P h o t o g r a p h ] F i g 3 2 . S e e k Tr a d e S h o w ( 2 0 1 5 ) . O w n P h o t o f r o m B e r l i n [ P h o t o g r a p h ] Fig 33. Dior Pre Show (2015). Dior Pre Show AW15 (2015). http://cdni.condenast.co.uk/426x639/Shows/ A W 2 0 1 5 / Pa r i s / R - T- W / c h r i s t i a n _ d i o r _ - _ p r e / 0 6 4 _ 4 2 6 x 6 3 9 . j p g Fig Fig Fig Fig Fig Fig Fig Fig

34. 35. 36. 37. 38. 39. 40. 41.

Show & Order (2015). Own Photo from Berlin [Photograph] Bikini Berlin (2015). Own Photo from Berlin [Photograph] Mykita (2015). Own Photo from Berlin [Photograph] S e e k Tr a d e S h o w ( 2 0 1 5 ) . O w n P h o t o f r o m B e r l i n [ P h o t o g r a p h ] Bright Show (2015). Own Photo from Berlin [Photograph] Show & Order (2015). Own Photo from Berlin [Photograph] Wa re h o u s e Ro o f ( 2 0 1 5 ) . O w n P h o t o f r o m B e r l i n [ P h o t o g r a p h ] Bikini Berlin (2015). Own Photo from Berlin [Photograph]

F i g 4 2 . S t r u c t u r e d S p a c e C o m p o n e n t s . C l o c k w i s e f r o m C e n t r e To p : Bikini Berlin Celling (2015). Own Photo from Berlin [Photograph] M e t a l H a n g i n g C l o t h i n g R a i l ( 2 0 1 4 ) . h t t p : / / s t y l e - f i l e s . c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 4 / 0 9 / c l o t h h a n g e r- 1 . j p g Show & Order Galler y (2015). Own Photo from Berlin [Photograph] Warehouse Celling (2015). Own Photo from Berlin [Photo g raph] Exposed Bricks (2015). Own Photo from Berlin [Photograph] Street Graffiti (2015). Own Photo from Berlin [Photograph] Fig 43. Structured Space Mock Up (2015). http://st2.depositphotos.com/2332949/5930/i/950/ depositphotos_59309759-Mock-up-white-frame-on-white-brick-wall.jpg [Altered]

Tr e n d T h r e e :

Fig 44. Byblos Milano (2015). http://images.dazedcdn.com/1000x800/dd/1110/2/1112102.jpg F i g 4 5 . To m Fo r d ( 2 0 1 5 ) . h t t p : / / w w w. i d o l m a g . c o . u k / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 2 / T h e _ L o n d o n _ C o l l e c t i o n s _ M e n s _ A W 1 5 _ To m _ Fo r d B u r o _ C o v e r. j p g F i g 4 6 . K i l g o u r ( 2 0 1 5 ) . h t t p s : / / j e r m y n s t r e e t j o u r n a l . f i l e s . w o r d p r e s s . c o m / 2 0 1 5 / 0 1 / a u t u m n - w i n t e r- 2 0 1 5 - i m a g e - 6 . jpg Fig 47. Byblos Milano (2015). http://images.dazedcdn.com/1000x800/dd/1110/2/1112090.jpg F i g 4 8 . P ra d a S h ow s p a c e ( 2 0 1 5 ) . h t t p : / / f t a p e. c o m / m e d i a / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 1 / P ra d a - M e n s - AW 1 5 Showspace-3.jpg F i g 4 9 . P r a d a S h o w s p a c e ( 2 0 1 5 ) . h t t p : / / 1 . b p. b l o g s p o t . c o m / - 2 p 2 - W O M S r G M / V L w X 8 z 7 I v o I / A A A A A A A A e G E / zch E t j 5 t V h w / s 1 6 0 0 / P ra d a % 2 B M e n s % 2 BAW 1 5 % 2 B S h ow s p a c e % 2 B ( 7 ) . j p g F i g 5 0 . P r a d a S h o w s p a c e ( 2 0 1 5 ) . h t t p : / / s t a t i c . d e z e e n . c o m / u p l o a d s / 2 0 1 5 / 0 1 / P r a d a - A W 1 5 - m e n s w e a r- c a t w a l k - b y OMA-AMO_dezeen_784_3.jpg F i g 5 1 . K i l g o u r ( 2 0 1 5 ) . h t t p s : / / j e r m y n s t r e e t j o u r n a l . f i l e s . w o r d p r e s s . c o m / 2 0 1 5 / 0 1 / a u t u m n - w i n t e r- 2 0 1 5 - i m a g e - 1 . jpg Fig 52. Byblos Milano (2015). http://images.dazedcdn.com/1000x800/dd/1110/2/1112095.jpg F i g 5 3 . P ra d a S h ow s p a c e ( 2 0 1 5 ) . h t t p : / / f t a p e. c o m / m e d i a / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 1 / P ra d a - M e n s - AW 1 5 Showspace-1.jpg F i g 5 4 . To m Fo r d ( 2 0 1 5 ) . h t t p : / / w w w. d e s i g n s c e n e . n e t / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 1 / LC M - 0 2 - 6 2 0 x 9 3 0 . j p g Fig 55. Byblos Milano (2015). http://images.dazedcdn.com/1000x800/dd/1110/2/1112090.jpg Fig 56. Byblos Milano (2015). http://images.dazedcdn.com/1000x800/dd/1110/2/1112095.jpg F i g 5 7 . K i l g o u r ( 2 0 1 5 ) . h t t p s : / / j e r m y n s t r e e t j o u r n a l . f i l e s . w o r d p r e s s . c o m / 2 0 1 5 / 0 1 / a u t u m n - w i n t e r- 2 0 1 5 - i m a g e - 6 . jpg F i g 5 8 . P ra d a S h ow s p a c e ( 2 0 1 5 ) . h t t p : / / f t a p e. c o m / m e d i a / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 1 / P ra d a - M e n s - AW 1 5 Showspace-3.jpg Fig 59. Byblos Milano (2015). http://images.dazedcdn.com/1000x800/dd/1110/2/1112098.jpg F i g 6 0 . P r a d a S h o w s p a c e ( 2 0 1 5 ) . h t t p : / / s t a t i c . d e z e e n . c o m / u p l o a d s / 2 0 1 5 / 0 1 / P r a d a - A W 1 5 - m e n s w e a r- c a t w a l k - b y OMA-AMO_dezeen_784_3.jpg F i g 6 1 . P ra d a S h ow s p a c e ( 2 0 1 5 ) . h t t p : / / f t a p e. c o m / m e d i a / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 1 / P ra d a - M e n s - AW 1 5 Showspace-1.jpg Fig 62. Optical Illusion Components C l o c k w i s e f r o m C e n t r e To p : P r a d a S h o w s p a c e ( 2 0 1 5 ) . h t t p : / / s t a t i c . d e z e e n . c o m / u p l o a d s / 2 0 1 5 / 0 1 / P r a d a - A W 1 5 - m e n s w e a r- c a t w a l k - b y - O M A AMO_dezeen_784_3.jpg S t r o b e L i g h t i n g ( 2 0 1 5 ) . h t t p : / / w w w. m u s i k - p r o d u k t i v. c o . u k / p i c - 0 1 0 0 7 2 5 2 0 _ 0 2 x l / a m e r i c a n - d j - f x - b e a m _ 0 2 x l . j p g M i r r o r ( 2 0 1 4 ) . h t t p : / / w w w. b r i s c o e s . c o . n z / p r o d u c t i m a g e s / m a g n i f y / 1 / 1 0 0 3 3 _ 1 7 2 2 7 _ 5 0 5 8 . j p g O p t i c a l I l l u s i o n Pa t t e r n ( 2 0 1 0 ) . h t t p : / / i . y t i m g . c o m / v i / 0 C p G X Z H q Z z w / m a x r e s d e f a u l t . j p g Fig 63. Optical Illusion Mock Up (2015). http://st2.depositphotos.com/2332949/5930/i/950/ depositphotos_59309759-Mock-up-white-frame-on-white-brick-wall.jpg [Altered] Fig 64. Chapter Divider Fr o m L e f t t o R i g h t : 5 0 S h a d e s B o o k ( 2 0 1 2 ) . h t t p : / / b l o g s - i m a g e s . f o r b e s . c o m / j e n n a g o u d r e a u / f i l e s / 2 0 1 2 / 0 3 / F i f t y - S h a d e s - o f - G r e y. j p g G i v e n c h y A W 1 5 ( 2 0 1 5 ) . h t t p : / / 3 . b p. b l o g s p o t . c o m / - n r Y P J S 5 5 A d w / V G r Y 1 L A d 7 u I / A A A A A A A A e V g / R Ts k f H E W 8 C g / s 1 6 0 0 / G i v e n c h y - B l a c k - F l o r a l - A b s t r a c t - C o n t r a s t - To p - P r i n t - C o l u m b i a n - F i t - T- S h i r t - 4 - S p r i n g - S u m m e r- 2 0 1 5 - . j p g Givenchy AW15 (2015). http://showstudio.com/img/instagrams/97801-98000/97902_960n.jpg?1404122336 Juun J AW15 (2015). http://deuxhommesma g.com/wp-content/juj_lb_fw15_013.jpg R a f S i m o n s ( 2 0 1 5 ) . h t t p : / / w w w. p o r t - m a g a z i n e . c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 1 / Q 9 A 0 2 5 2 . j p g [ A l t e r e d ]

Raf Simons (2015). http://whiteliesmag.com/wp-content/uploads/2015/01/012120145749-1024x769.jpg Juun J AW15 (2015). http://deuxhommesma g.com/wp-content/jnj_m_lb_fw13_010.jpg

Tr e n d Fo u r : F i g 6 5 . M a n A W 1 5 ( 2 0 1 5 ) . h t t p : / / 2 . b p. b l o g s p o t . c o m / - s j o l O n To M To / V L e 0 G Tu L Q r I / A A A A A A A A S l E / Y 8 M W i W E U N Z A / s1600/man_aw15_023.jpg Fig 66. Man AW15 (2015). http://deuxhommesmag.com/wp-content/uploads/2015/01/man_aw15_018.jpg Fig 67. Juun J AW15 (2015). http://deuxhommesma g.com/wp-content/jnj_m_lb_fw13_001.jpg Fig 68. Juun J AW15 (2015). http://ima ges.dazedcdn.com/1200/0-242-1733-1156/dd/1100/3/1103058.jpg Fig 69. Juun J AW15 (2015). https://s-media-cache-ak0.pinimg.com/originals/a7/e1/6a/ a 7 e 1 6 a 0 2 3 2 0 f 8 6 d f 4 f 9 7 2 7 d e 1 d 4 1 5 7 fe. j p g Fig 70. Man AW15 (2015). http://deuxhommesmag.com/wp-content/uploads/2015/01/man_aw15_018.jpg Fig 71. Juun J AW15 (2015). http://deuxhommesma g.com/wp-content/jnj_m_lb_fw13_010.jpg Fig 72. Juun J AW15 (2015). http://deuxhommesma g.com/wp-content/juj_lb_fw15_013.jpg Fig 73. Juun J AW15 (2015). http://deuxhommesma g.com/wp-content/juj_lb_fw15_050.jpg F g 7 4 . R a f S i m o n s ( 2 0 1 5 ) . h t t p : / / w w w. j o u j o u v i l l e r o y. c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 1 / r a f - s i m o n s - a u t u m n w i n t e r- 2 0 1 5 - 2 0 1 6 - p a r i s - f a s h i o n - w e e k - re d - t r e n d - g r a f f i t i . j p g F i g 7 5 . M a n A W 1 5 ( 2 0 1 5 ) . h t t p : / / 2 . b p. b l o g s p o t . c o m / - s j o l O n To M To / V L e 0 G Tu L Q r I / A A A A A A A A S l E / Y 8 M W i W E U N Z A / s1600/man_aw15_023.jpg F i g 7 6 . M c Q ( 2 0 1 5 ) . h t t p : / / w w w. d i s n e y r o l l e r g i r l . n e t / w p - c o n t e n t / u p l o a d s / M c Q - a w 1 5 - 4 . j p g Fig 77. MAN AW5 (2015). http://deuxhommesmag.com/wp-content/uploads/2015/01/man_aw15_018.jpg Fig 78. Juun J AW15 (2015). https://s-media-cache-ak0.pinimg.com/originals/a7/e1/6a/ a 7 e 1 6 a 0 2 3 2 0 f 8 6 d f 4 f 9 7 2 7 d e 1 d 4 1 5 7 fe. j p g F i g 7 9 . J u u n J A W 1 5 ( 2 0 1 5 ) . h t t p : / / 4 0 . m e d i a . t u m b l r. c o m / d 9 5 f 1 0 d 5 d 1 3 4 9 2 e 4 d 0 4 a 4 c 4 9 c f 6 c 0 8 c 3 / t u m b l r _ ni300kF1s81qc8yajo1_500.jpg F i g 8 0 . R a f S i m o n s ( 2 0 1 5 ) . h t t p : / / w w w. j o u j o u v i l l e r o y. c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 1 / r a f - s i m o n s - a u t u m n w i n t e r- 2 0 1 5 - 2 0 1 6 - p a r i s - f a s h i o n - w e e k - re d - t r e n d - g r a f f i t i . j p g Fig 81. Juun J AW15 (2015). http://ima ges.dazedcdn.com/1200/0-242-1733-1156/dd/1100/3/1103058.jpg Fig 82. Juun J AW15 (2015). http://deuxhommesma g.com/wp-content/jnj_m_lb_fw13_001.jpg Tr e n d F i v e : F i g 8 3 . G i v e n c h y ( 2 0 1 5 ) . h t t p : / / 3 . b p. b l o g s p o t . c o m / - n r Y P J S 5 5 A d w / V G r Y 1 L A d 7 u I / A A A A A A A A e V g / R Ts k f H E W 8 C g / s 1 6 0 0 / G i v e n c h y - B l a c k - F l o r a l - A b s t r a c t - C o n t r a s t - To p - P r i n t - C o l u m b i a n - F i t - T- S h i r t - 4 - S p r i n g - S u m m e r- 2 0 1 5 - . j p g Fig 84. Givenchy (2015). http://showstudio.com/img/instagrams/97801-98000/97902_960n.jpg?1404122336 Fig 85. Gucci AW15 (2015). https://designandculturebyed.files.wordpress.com/2015/01/guc_0206.jpg F i g 8 6 . G i v e n c h y ( 2 0 1 5 ) . h t t p : / / w w w. t h e g l a s s m a g a z i n e . c o m / w p / w p - c o n t e n t / u p l o a d s / 2 0 1 4 / 0 6 / O N _ 0 0 4 9 . 4 5 0 x 6 7 5 . jpg F i g 8 7 . G i v e n c h y ( 2 0 1 5 ) . h t t p : / / s t y l e c a r t e l . c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 4 / 0 7 / R U D - 2 3 1 - Pa r i s - M e n - S S 1 5 Givenchy-Adriana-Lima-dÇfilÇ.jpg F i g 8 8 . R i c k O w e n s ( 2 0 1 5 ) . h t t p : / / m a r i e c l a i re. m e d i a . i p c d i g i t a l . c o. u k / 1 1 1 1 6 / 0 0 0 0 8 4 f b a / 8 3 c 5 _ o r h 1 0 0 0 0 0 w 4 4 0 / Rick-Owens-penis-show-Gar ticle9.jpg F i g 8 9 . G u c c i AW 1 5 ( 2 0 1 5 ) . h t t p : / / m e d i a . s t y l e. c o m / i m a ge / fa s h i o n - s h ow s / fa l l - 2 0 1 5 - m e n sw e a r / m i l a n / g u c c i / collection/1366/2048/GUC_0133.jpg F i g 9 0 . G u c c i A W 1 5 ( 2 0 1 5 ) . h t t p : / / f t a p e . c o m / m e d i a / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 1 / G u c c i - M e n s w e a r- F W 1 5 - 0 5 . j p g F i g 9 1 . G ive n ch y ( 2 0 1 5 ) . h t t p : / / m e d i a . s t y l e. c o m / i m a ge / t s / fa s h i o n - s h ow s / s p r i n g - 2 0 1 5 - m e n sw e a r / p a r i s / g ive n ch y / collection/1366/2048/_ON_0886.1366x2048.JPG Fig 92. Raf Simons (2015). https://designandculturebyed.files.wordpress.com/2015/01/slide28.jpg?w=720/ slide28.jpg

Fig 93. Givenchy (2015). http://showstudio.com/img/instagrams/97801-98000/97902_960n.jpg?1404122336 F i g 9 4 . G i v e n c h y ( 2 0 1 5 ) . h t t p : / / s t y l e c a r t e l . c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 4 / 0 7 / R U D - 2 3 1 - Pa r i s - M e n - S S 1 5 Givenchy-Adriana-Lima-dÇfilÇ.jpg F i g 9 5 . R i c k O w e n s ( 2 0 1 5 ) . h t t p : / / m a r i e c l a i re. m e d i a . i p c d i g i t a l . c o. u k / 1 1 1 1 6 / 0 0 0 0 8 4 f b a / 8 3 c 5 _ o r h 1 0 0 0 0 0 w 4 4 0 / Rick-Owens-penis-show-Gar ticle9.jpg F i g 9 6 . G i v e n c h y ( 2 0 1 5 ) . h t t p : / / w w w. t h e g l a s s m a g a z i n e . c o m / w p / w p - c o n t e n t / u p l o a d s / 2 0 1 4 / 0 6 / O N _ 0 0 4 9 . 4 5 0 x 6 7 5 . jpg F i g 9 7 . G u c c i ( 2 0 1 5 ) . h t t p : / / m e d i a . s t y l e. c o m / i m a ge / fa s h i o n - s h ow s / fa l l - 2 0 1 5 - m e n sw e a r / m i l a n / g u c c i / collection/1366/2048/GUC_0133.jpg F i g 9 8 . G i v e n c h y ( 2 0 1 5 ) . h t t p : / / 3 . b p. b l o g s p o t . c o m / - n r Y P J S 5 5 A d w / V G r Y 1 L A d 7 u I / A A A A A A A A e V g / R Ts k f H E W 8 C g / s 1 6 0 0 / G i v e n c h y - B l a c k - F l o r a l - A b s t r a c t - C o n t r a s t - To p - P r i n t - C o l u m b i a n - F i t - T- S h i r t - 4 - S p r i n g - S u m m e r- 2 0 1 5 - . j p g Fig 99. Gucci (2015). https://designandculturebyed.files.wordpress.com/2015/01/guc_0206.jpg F i g 1 0 0 . G u c c i ( 2 0 1 5 ) . h t t p : / / f t a p e . c o m / m e d i a / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 1 / G u c c i - M e n s w e a r- F W 1 5 - 0 5 . j p g Tr e n d S i x F i g 1 0 1 . To d d L y n n ( 2 0 1 5 ) . h t t p s : / / s c o n t e n t - l h r. x x . f b c d n . n e t / h p h o t o s xpa1/v/t1.0-9/10440286_10153119449830011_820201743367635520_n. j p g ? o h = 1 0 c 2 6 0 4 b 3 c d 3 2 a e d 2 b b f c 8 4 3 2 5 0 3 7 a 8 f & o e = 5 5 8 8 7 6 F 1 & d l = 1 , h t t p s : / / w w w. f a c e b o o k . c o m / p h o t o . php?fbid=10153119449830011&set=oa.820863984649822&type=1&theater F i g 1 0 2 . B a l m a i n ( 2 0 1 5 ) . h t t p s : / / s c o n t e n t - l h r. x x . f b c d n . n e t / h p h o t o s xpf1/v/t1.0-9/11013205_10153119448505011_7458730784945852305_n. j p g ? o h = 8 a 1 9 1 2 3 0 9 7 8 1 a d d a e 5 c 0 4 1 b e c d b c 7 d d 1 & o e = 5 5 7 8 8 0 E 4 & d l = 1 , h t t p s : / / w w w. f a c e b o o k . c o m / p h o t o . php?fbid=10153119448505011&set=oa.820863984649822&type=1&theater Fig 103. McQueen AW15 (2015). https://s-media-cache-ak0.pinimg.com/736x/b7/ba/85/ b7ba8518bb23306d38155efa4d8572d4.jpg F i g 1 0 4 . Ve r s a c e ( 2 0 1 4 ) . h t t p s : / / s c o n t e n t - l h r. x x . f b c d n . n e t / h p h o t o s xpf1/v/t1.0-9/1601333_10153119448915011_7765332412797673096_n. j p g ? o h = 4 0 2 f 4 5 8 5 b 3 1 3 4 2 b a e 9 b 8 d c a 2 5 7 5 5 1 9 e a & o e = 5 5 8 E C 7 5 0 & d l = 1 , h t t p s : / / w w w. f a c e b o o k . c o m / p h o t o . php?fbid=10153119448915011&set=oa.820863984649822&type=1&theater F i g 1 0 5 . R a f S i m o n s ( 2 0 1 5 ) . h t t p : / / w w w. p o r t - m a g a z i n e . c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 1 / Q 9 A 0 2 5 2 . j p g F i g 1 0 6 . B a l m a i n ( 2 0 1 5 ) . h t t p s : / / s c o n t e n t - l h r. x x . f b c d n . n e t / h p h o t o s xpf1/v/t1.0-9/11013205_10153119448505011_7458730784945852305_n. jpg?oh=8a1912309781addae5c041becdbc7dd1&oe=557880E4&dl=2, F i g 1 0 7 . Ve r s a c e ( 2 0 1 4 ) . h t t p s : / / s c o n t e n t - l h r. x x . f b c d n . n e t / h p h o t o s - x p f 1 / v/l/t1.0-9/11018410_10153119448330011_5655436481892194758_n. j p g ? o h = 0 7 c 1 7 3 a 9 d b 1 d 0 e 1 e 0 1 0 d f 7 7 d 5 5 b 1 7 b 1 5 & o e = 5 5 8 1 6 B 6 C & d l = 1 , h t t p s : / / w w w. f a c e b o o k . c o m / p h o t o . php?fbid=10153119448330011&set=oa.820863984649822&type=1&theater F i g 1 0 8 . 5 0 S h a d e s ( 2 0 1 5 ) . h t t p : / / t b o. c o m / s t o r y i m a ge / T B / 2 0 1 5 0 2 1 2 / A RT I C L E / 1 5 0 2 1 9 7 5 6 / E P / 1 / 3 / E P 150219756.jpg Fig 109. 50 Shades (2015). https://fbcdn-sphotos-d-a.akamaihd.net/hphotosak-xpf1/v/t1.0-9/11034318_10153119449035011_4327769784284198231_n. jpg?oh=73911d7bd432abdaf3cb9a61604d3042&oe=558A480B&__gda__=1434232180_ e a 8 9 d 9 a 5 0 1 1 f 7 c 3 c 8 4 0 6 c b e d 7 b 0 4 e 7 2 4 & d l = 1 , h t t p s : / / w w w. f a c e b o o k . c o m / p h o t o . php?fbid=10153119449035011&set=oa.820863984649822&type=1&theater Fig 110. 50 Shades (2015). http://i.guim.co.uk/static/w-1430/h--/q-95/sys-images/Guardian/Pix/ pictures/2015/2/13/1423852473366/bada83c7-1ed3-4e30-ac67-c1dcf33e1502-2060x1236.jpeg F i g 1 1 1 . Ve r s a c e ( 2 0 1 4 ) . h t t p s : / / s c o n t e n t - l h r. x x . f b c d n . n e t / h p h o t o s xpf1/v/t1.0-9/1601333_10153119448915011_7765332412797673096_n. j p g ? o h = 4 0 2 f 4 5 8 5 b 3 1 3 4 2 b a e 9 b 8 d c a 2 5 7 5 5 1 9 e a & o e = 5 5 8 E C 7 5 0 & d l = 1 , h t t p s : / / w w w. f a c e b o o k . c o m / p h o t o . php?fbid=10153119448915011&set=oa.820863984649822&type=1&theater F i g 1 1 2 . B a l m a i n ( 2 0 1 5 ) . h t t p s : / / s c o n t e n t - l h r. x x . f b c d n . n e t / h p h o t o s -

xpf1/v/t1.0-9/11013205_10153119448505011_7458730784945852305_n. j p g ? o h = 8 a 1 9 1 2 3 0 9 7 8 1 a d d a e 5 c 0 4 1 b e c d b c 7 d d 1 & o e = 5 5 7 8 8 0 E 4 & d l = 1 , h t t p s : / / w w w. f a c e b o o k . c o m / p h o t o . php?fbid=10153119448505011&set=oa.820863984649822&type=1&theater F i g 1 1 3 . 5 0 S h a d e s ( 2 0 1 5 ) . h t t p : / / b l o g s - i m a g e s . f o r b e s . c o m / j e n n a g o u d r e a u / f i l e s / 2 0 1 2 / 0 3 / F i f t y - S h a d e s - o f - G r e y. jpg F i g 1 1 4 . To d d L y n n ( 2 0 1 5 ) . h t t p s : / / s c o n t e n t - l h r. x x . f b c d n . n e t / h p h o t o s xpa1/v/t1.0-9/10440286_10153119449830011_820201743367635520_n. jpg?oh=10c2604b3cd32aed2bbfc84325037a8f&oe=558876F1&dl=1, F i g 1 1 5 . 5 0 S h a d e s ( 2 0 1 5 ) . h t t p : / / t b o. c o m / s t o r y i m a ge / T B / 2 0 1 5 0 2 1 2 / A RT I C L E / 1 5 0 2 1 9 7 5 6 / E P / 1 / 3 / E P 150219756.jpg F i g 1 1 6 . To d d L y n n ( 2 0 1 5 ) . h t t p s : / / s c o n t e n t - l h r. x x . f b c d n . n e t / h p h o t o s xpf1/v/t1.0-9/10352031_10153119448715011_5208704975662031865_n. j p g ? o h = 8 0 2 5 7 6 f 4 4 2 4 a a a 5 4 2 4 c 3 b 7 a d 5 8 a 3 9 b e 6 & o e = 5 5 8 6 9 8 1 D & d l = 1 , h t t p s : / / w w w. f a c e b o o k . c o m / p h o t o . php?fbid=10153119448715011&set=oa.820863984649822&type=1&theater F i g 1 1 7 . Ve r s a c e ( 2 0 1 4 ) . h t t p s : / / s c o n t e n t - l h r. x x . f b c d n . n e t / h p h o t o s - x p f 1 / v/l/t1.0-9/11018410_10153119448330011_5655436481892194758_n. j p g ? o h = 0 7 c 1 7 3 a 9 d b 1 d 0 e 1 e 0 1 0 d f 7 7 d 5 5 b 1 7 b 1 5 & o e = 5 5 8 1 6 B 6 C & d l = 1 , h t t p s : / / w w w. f a c e b o o k . c o m / p h o t o . php?fbid=10153119448330011&set=oa.820863984649822&type=1&theater Fig 118. 50 Shades (2015). https://fbcdn-sphotos-d-a.akamaihd.net/hphotosak-xpf1/v/t1.0-9/11034318_10153119449035011_4327769784284198231_n. jpg?oh=73911d7bd432abdaf3cb9a61604d3042&oe=558A480B&__gda__=1434232180_ e a 8 9 d 9 a 5 0 1 1 f 7 c 3 c 8 4 0 6 c b e d 7 b 0 4 e 7 2 4 & d l = 1 , h t t p s : / / w w w. f a c e b o o k . c o m / p h o t o . php?fbid=10153119449035011&set=oa.820863984649822&type=1&theater Fig 119. Chapter Divider Fr o m L e f t t o R i g h t : Byzantine Ar t (2010). http://figures.boundless.com/11803/full/la-placidia-in-ravenna-001.jpe D i o r H o m m e ( 2 0 1 4 ) . h t t p : / / a w s . m e d i a . s t y l e. c o m / i m a ge / t s / f a s h i o n - s h o w s / s p r i n g - 2 0 1 5 - m e n s w e a r / p a r i s / d i o rhomme/collection/1366/2048/DIO_0633.1366x2048.JPG R a f S i m o n s ( 2 0 1 5 ) . h t t p : / / w w w. p o r t - m a g a z i n e . c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 1 / Q 9 A 0 3 2 6 . j p g Givenchy AW15 (2015). https://s3.amazonaws.com/img.tagloom.com/sm/3115/lr96/ eca41347ea9b824c1e770bbc59d6cc7244ec09cc.jpg R a f S i m o n s ( 2 0 1 5 ) . h t t p : / / w w w. p o r t - m a g a z i n e . c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 1 / Q 9 7 4 6 3 3 2 6 . j p g [ A l t e r e d ] K T Z ( 2 0 1 5 ) . h t t p : / / py l o t m a g a z i n e. c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 1 / k t z _ 1 2 . j p g G i v e n c h y A W 1 5 ( 2 0 1 5 ) . h t t p : / / d a i l y. m o d e l o g s . c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 1 / M a c - P h i r i - G i v e n c h y - A W 1 5 - 1 6 . j p g Tr e n d S e v e n Fig 120. Byzantine Ar t (2010). http://figures.boundless.com/11803/full/la-placidia-in-ravenna-001.jpe F i g 1 2 1 . D o l c e & G a b b a n a ( 2 0 1 4 ) . h t t p : / / w w w. i t s l a v i d a . c o m / f i l e s / 2 0 1 4 / 1 2 / D o l c e - G a b b a n a 1 . j p g Fig 122. Byzantine Ar t (2012). https://jauntingjen.files.wordpress.com/2013/12/ravenna-gabriel-apse-mosaic-inberlin.jpg Fig 123. Dolce & Gabbana (2014). https://fashionblagstheblog.files.wordpress.com/2013/06/524c0-dolce-andg abbana-fw-2014-women-adv-campaign-9.jpg Fig 124. Dolce & Gabbana (2015). http://media.male-extravaganza.com/wp-content/uploads/2015/01/DG.jpg F i g 1 2 5 . B y z a n t i n e A r t ( 2 0 0 9 ) . h t t p s : / / w o rd s c e n e. f i l e s. w o rd p re s s. c o m / 2 0 1 2 / 0 7 / d s c 0 0 4 9 . j p g F i g 1 2 6 . B y z a n t i n e A r t ( 2 0 0 6 ) . h t t p : / / f a r m 7 . s t a t i c f l i c k r. c o m / 6 1 5 1 / 6 1 6 2 8 5 2 3 3 8 _ d 9 8 8 7 6 0 7 2 1 _ o . j p g Fig 127. D&G (2015). http://cdni.condenast.co.uk/426x639/Shows/AW2014/Milan/Mens/Dolce_and_Gabbana/ 00130h_426x639.jpg F i g 1 2 8 . U n ive r s a l Wo r k s ( 2 0 1 5 ) . h t t p s : / / i . v i m e o c d n . c o m / v i d e o / 5 0 2 9 1 6 1 4 5 _ 6 4 0 . j p g Fig 129. D&G (2015). http://cdni.condenast.co.uk/426x639/Shows/AW2014/Milan/Mens/Dolce_and_Gabbana/ Details/00060h_426x639.jpg

Fig 130. D&G (2015). http://cdni.condenast.co.uk/426x639/Shows/AW2014/Milan/Mens/Dolce_and_Gabbana/ Details/00060h_426x639.jpg Fig 131. Dolce & Gabbana (2015). http://media.male-extravaganza.com/wp-content/uploads/2015/01/DG.jpg Fig 132. UW (2014). https://i.vimeocdn.com/video/502916145_640.jpg F i g 1 3 3 . D o l c e & G a b b a n a ( 2 0 1 4 ) . h t t p : / / w w w. i t s l a v i d a . c o m / f i l e s / 2 0 1 4 / 1 2 / D o l c e - G a b b a n a 1 . j p g F i g 1 3 4 . B y z a n t i n e A r t ( 2 0 0 9 ) . h t t p s : / / w o rd s c e n e. f i l e s. w o rd p re s s. c o m / 2 0 1 2 / 0 7 / d s c 0 0 4 9 . j p g Fig 135. Byzantine Ar t (2010). http://figures.boundless.com/11803/full/la-placidia-in-ravenna-001.jpe Fig 136. Byzantine Ar t (2004). http://upload.wikimedia.org/wikipedia/commons/c/cc/Shroud_of_Charlemagne_ manufactured_in_Constantinople_814.jpg Fig 137. Cathedral (2011). https://classconnection.s3.amazonaws.com/815/f lashcards/923815/png/ picture61324153622236.png Tr e n d E i g h t F i g 1 3 8 . R a f S i m o n s ( 2 0 1 5 ) . h t t p : / / w w w. j o u j o u v i l l e r o y. c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 1 / r a f - s i m o n s - a u t u m n w i n t e r- 2 0 1 5 - 2 0 1 6 - p a r i s - f a s h i o n - w e e k - re d - t r e n d - g r a f f i t i . j p g F i g 1 3 9 . D o l c e & G a b b a n a ( 2 0 1 5 ) . h t t p : / / w w w. g r o w i n g y o u r b a b y. c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 3 / M F WA u t u m n W i n t e r- 2 0 1 5 - D o l c e - G a b b a n a - V i v a - L a - M o m m a - C h i l d s - d r a w i n g - d r e s s 1 - 4 9 8 x 7 5 0 . j p g F i g 1 4 0 . R a f S i m o n s ( 2 0 1 5 ) . h t t p : / / w w w. t h e g l a s s m a g a z i n e . c o m / w p / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 1 / D o o d l e - J u m p e r. jpg F i g 1 4 1 . D i o r H o m m e ( 2 0 1 5 ) . h t t p : / / aw s. m e d i a . s t y l e. c o m / i m a ge / t s / fa s h i o n - s h ow s / s p r i n g - 2 0 1 5 - m e n sw e a r / p a r i s / d i o r- h o m m e / c o l l e c t i o n / 1 3 6 6 / 2 0 4 8 / D I O _ 0 6 3 3 . 1 3 6 6 x 2 0 4 8 . J P G F i g 1 4 2 . R a f S i m o n s ( 2 0 1 5 ) . h t t p : / / 4 0 . m e d i a . t u m b l r. c o m / 9 2 4 b 0 2 f 5 a 7 0 1 4 f 7 1 4 c 1 c 2 7 e 9 e 0 8 3 e 3 6 6 / t u m b l r _ niknb5xEMx1u4zpklo1_1280.jpg F i g 1 4 3 . W e d d i n g D r e s s ( 2 0 1 4 ) . h t t p : / / w w w. h o u s t o n f a m i l y m a g a z i n e . c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 4 / 0 9 / Bwh1vOgCQAEWEP2.png F i g 1 4 4 . W e d d i n g D r e s s ( 2 0 1 4 ) . h t t p : / / w w w. h o u s t o n f a m i l y m a g a z i n e . c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 4 / 0 9 / Bwh1vOgCQAEWEP2.png F i g 1 4 5 . D i o r H o m m e ( 2 0 1 5 ) . h t t p : / / aw s. m e d i a . s t y l e. c o m / i m a ge / t s / fa s h i o n - s h ow s / s p r i n g - 2 0 1 5 - m e n sw e a r / p a r i s / d i o r- h o m m e / c o l l e c t i o n / 1 3 6 6 / 2 0 4 8 / D I O _ 0 6 6 2 . 1 3 6 6 x 2 0 4 8 . J P G Fig 146. Dolce & Gabbana (2015). https://alexandrathelittlebird.files.wordpress.com/2015/03/dol_0471.jpg F i g 1 4 7 . D i o r H o m m e ( 2 0 1 5 ) . h t t p : / / f t a p e . c o m / m e d i a / w p - c o n t e n t / u p l o a d s / 2 0 1 4 / 0 7 / m e n _ P H OTO - PA P - H O M M E SS15-44.jpg F i g 1 4 8 . R S i m o n s ( 2 0 1 5 ) . h t t p : / / w w w. p o r t - m a g a z i n e . c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 1 / Q 9 A 0 3 2 6 . j p g F i g 1 4 9 . R S i m o n s ( 2 0 1 5 ) . h t t p : / / w w w. j o u j o u v i l l e r o y. c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 1 / r a f - s i m o n s - a u t u m n w i n t e r- 2 0 1 5 - 2 0 1 6 - p a r i s - f a s h i o n - w e e k - re d - t r e n d - g r a f f i t i . j p g F i g 1 5 0 . R S i m o n s ( 2 0 1 5 ) . h t t p : / / 4 0 . m e d i a . t u m b l r. c o m / 9 2 4 b 0 2 f 5 a 7 0 1 4 f 7 1 4 c 1 c 2 7 e 9 e 0 8 3 e 3 6 6 / t u m b l r _ niknb5xEMx1u4zpklo1_1280.jpg F i g 1 5 1 . D i o r H o m m e ( 2 0 1 5 ) . h t t p : / / aw s. m e d i a . s t y l e. c o m / i m a ge / t s / fa s h i o n - s h ow s / s p r i n g - 2 0 1 5 - m e n sw e a r / p a r i s / d i o r- h o m m e / c o l l e c t i o n / 1 3 6 6 / 2 0 4 8 / D I O _ 0 6 3 3 . 1 3 6 6 x 2 0 4 8 . J P G Fig 152. Raf Simons (2015). https://designandculturebyed.files.wordpress.com/2015/01/kim_0826.jpg F i g 1 5 3 . D & G A W 1 5 ( 2 0 1 5 ) . h t t p : / / w w w. g r o w i n g y o u r b a b y. c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 3 / M F W- A u t u m n W i n t e r 2 0 1 5 - D o l c e - G ab b a n a - Viva - L a - M o m m a - C h i l d s - d raw i n g - d re s s 1 - 4 9 8 x 7 5 0 . j p g F i g 1 5 4 . R a f S i m o n s ( 2 0 1 5 ) . h t t p : / / w w w. t h e g l a s s m a g a z i n e . c o m / w p / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 1 / D o o d l e - J u m p e r. jpg Fig 155. D&G AW15 (2015). https://alexandrathelittlebird.files.wordpress.com/2015/03/dol_0471.jpg

Fig 156. D&G AW15 Illustrations (2015). [Own Illustrations) Fig 157. Dior Homme AW15 Illustrations (2015). [Own Illustrations)

Tr e n d N i n e Fig 158. KTZ AW15 (2015). http://wjlondon.com/wp-content/uploads/2014/06/Kaykon_to_Zai_KTZ_2_orange_ hat_gladiator_rome_monochrome_black_and_white_ss15_spring_summer_2015_ready_to_wear_london_collections_ mens_fashion_week_rosemary_pitts_whos_jack.jpg Fig 159. Givenchy AW15 (2015). https://s3.amazonaws.com/img.tagloom.com/sm/3115/lr96/ eca41347ea9b824c1e770bbc59d6cc7244ec09cc.jpg F i g 1 6 0 . K T Z A W 1 5 ( 2 0 1 5 ) . h t t p : / / 4 1 . m e d i a . t u m b l r. c o m / e 5 9 2 8 e 5 7 9 3 6 7 1 a 1 e f 8 9 4 7 f e 8 1 f d e 0 2 9 0 / t u m b l r _ nizgtqtMJE1sn8xnoo1_1280.jpg F i g 1 6 1 . K T Z A W 1 5 ( 2 0 1 5 ) . h t t p : / / 1 . b p. b l o g s p o t . c o m / - 9 y a 2 H W s 2 c d c / V L w e 5 Z m w m R I / A A A A A A A A J M E / A Q H I t M Z O U P Q / s 1 6 0 0 / K T Z - Fa l l - W i n t e r- 2 0 1 5 - L o n d o n - C o l l e c t i o n s - 0 2 5 . j p g Fig 162. Givenchy AW15 (2015). F i g 1 6 3 . K T Z AW 1 5 ( 2 0 1 5 ) . h t t p : / / py l o t m a g a z i n e. c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 1 / k t z _ 1 2 . j p g F i g 1 6 4 . K T Z A W 1 5 ( 2 0 1 5 ) . h t t p : / / 1 . b p. b l o g s p o t . c o m / - 9 y a 2 H W s 2 c d c / V L w e 5 Z m w m R I / A A A A A A A A J M E / A Q H I t M Z O U P Q / s 1 6 0 0 / K T Z - Fa l l - W i n t e r- 2 0 1 5 - L o n d o n - C o l l e c t i o n s - 0 3 0 . j p g F i g 1 6 5 . K T Z A W 1 5 ( 2 0 1 5 ) . h t t p : / / w w w. k o k o n t o z a i . c o . u k / w p - c o n t e n t / u p l o a d s / 2 0 1 4 / 0 6 / k t z _ m e n _ s s 1 5 _ 0 3 2 . j p g Fig 166. Givenchy AW15 (2015). http://photon.101medialablimit.netdna-cdn.com/hypebeast.com/ i m a g e / 2 0 1 5 / 0 1 / g i v e n c h y - 2 0 1 5 - f a l l - w i n t e r- c o l l e c t i o n - 2 3 . j p g ? w = 3 7 7 F i g 1 6 7 . G i v e n c h y A W 1 5 ( 2 0 1 5 ) . h t t p : / / w w w. t h e g l a s s m a g a z i n e . c o m / w p / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 1 / M O N 0 3 5 1 . jpg F i g 1 6 8 . K T Z AW 1 5 ( 2 0 1 5 ) . h t t p : / / py l o t m a g a z i n e. c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 1 / k t z _ 1 2 . j p g Fig 169. Mask (2015). https://fbcdn-sphotos-a-a.akamaihd.net/hphotos-ak-xfa1/v/t1.0-9/ s480x480/10945587_838867099506542_9115994633030310923_n.jpg? Fig 170. Mask (2015). https://fbcdn-sphotos-a-a.akamaihd.net/hphotos-ak-xfa1/v/t1.0-9/ s480x480/10945587_838867099506542_9115994633030310923_n.jpg? Fig 171. Givenchy (2015). http://photon.101medialablimit.netdna-cdn.com/hypebeast.com/image/2015/01/ g i v e n c h y - 2 0 1 5 - f a l l - w i n t e r- c o l l e c t i o n - 2 3 . j p g ? w = 3 7 7 Fig 172. Givenchy (2015). https://s3.amazonaws.com/img.tagloom.com/sm/3115/lr96/ eca41347ea9b824c1e770bbc59d6cc7244ec09cc.jpg F i g 1 7 3 . K T Z A W 1 5 ( 2 0 1 5 ) . h t t p : / / w w w. k o k o n t o z a i . c o . u k / w p - c o n t e n t / u p l o a d s / 2 0 1 4 / 0 6 / k t z _ m e n _ s s 1 5 _ 0 3 2 . j p g F i g 1 7 4 . G i v e n c h y ( 2 0 1 5 ) . h t t p : / / 4 1 . m e d i a . t u m b l r. c o m / e 5 9 2 8 e 5 7 9 3 6 7 1 a 1 e f 8 9 4 7 f e 8 1 f d e 0 2 9 0 / t u m b l r _ nizgtqtMJE1sn8xnoo1_1280.jpg Fig 175. KTZ AW15 (2015). http://wjlondon.com/wp-content/uploads/2014/06/Kaykon_to_Zai_KTZ_2_orange_ hat_gladiator_rome_monochrome_black_and_white_ss15_spring_summer_2015_ready_to_wear_london_collections_ mens_fashion_week_rosemary_pitts_whos_jack.jpg Fig 176. Chapter Divider Fr o m L e f t t o R i g h t : U n i s ex C o l l e c t i o n ( 2 0 1 5 ) . h t t p : / / k l ave r t j e. w e n dyo n l i n e. n l . s 3 . a m a zo n aw s. c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 1 / Selfridges_unisex.jpg Disabled Model (2015). http://s3-ec.buzzfed.com/static/2015-02/17/4/enhanced/webdr06/ enhanced-7595-1424164876-26.jpg M&S Christmas Adver t (2014). http://i.huf fpost.com/gen/847035/thumbs/o-MS-KIDSWEAR-CHRISTMAS-facebook. jpg N o r t h W e s t i n F u r ( 2 0 1 5 ) . h t t p : / / i . d a i l y m a i l . c o . u k / i / p i x / 2 0 1 5 / 0 2 / 1 2 / 2 5 9 6 8 DA 3 0 0 0 0 0 5 7 8 - 2 9 5 0 0 5 6 image-a-56_1423704730907.jpg Disabled Model (2015). http://s3-ec.buzzfed.com/static/2015-02/17/4/enhanced/webdr01/ enhanced-22146-1424164875-15.jpg [Altered] D e s i g u a l ( 2 0 1 5 ) . h t t p : / / w w w. t h e u p c o m i n g . c o . u k / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 2 / N Y F W- A W 1 5 - D e s i g u a l - A d n a n M o h a m e dy - Th e - U p c o m i n g - 2 . j p g Moschino. (2015). https://pbs.twimg.com/media/B-3cI0VUcAAgcYn.jpg:large

Tr e n d Te n F i g 1 7 7 . K i m K ( 2 0 1 4 ) . h t t p : / / w w w. f a s h i o n f i l e . c o m . a u / w p - c o n t e n t / u p l o a d s / 2 0 1 4 / 1 1 / k i m - k a r d a s h i a n - m e l b o u r n e latex-03.jpg F i g 1 7 8 . M a t ch i n g F u r s ( 2 0 1 5 ) . h t t p : / / a s s e t s - s 3 . u s m a g a z i n e. c o m / u p l o a d s / a s s e t s / a r t i c l e s / 8 3 2 6 1 - ch r i s - b r ow n karrueche-matching-furs-fashion-week-photos/1424207301_karrueche-tran-chris-brown-zoom.jpg F i g 1 7 9 . M o s c h i n o ( 2 0 1 5 ) . h t t p s : / / s c o n t e n t - l h r. x x . f b c d n . n e t / h p h o t o s xfp1/v/t1.0-9/11024659_10153117568655011_2032036162211995885_n. j p g ? o h = f e d a e 7 4 3 2 0 1 2 0 4 7 9 c 5 b e c 8 d 6 a 5 a f 6 f f 8 & o e = 5 5 8 8 9 B 9 7 & d l = 1 , h t t p s : / / w w w. f a c e b o o k . c o m / p h o t o . php?fbid=10153117568655011&set=oa.820374038032150&type=1&theater F i g 1 8 0 . G i a m b a t t i s t a V a l l i ( 2 0 1 5 ) . h t t p s : / / s c o n t e n t - l h r. x x . f b c d n . n e t / h p h o t o s xap1/v/t1.0-9/10994335_10153117568455011_5349546571661898676_n. j p g ? o h = 8 2 e 8 0 2 0 1 9 f 3 0 c e 7 4 c 1 3 c 3 0 3 d d 9 c e 0 5 1 3 & o e = 5 5 7 8 5 4 F B & d l = 1 , h t t p s : / / w w w. f a c e b o o k . c o m / p h o t o . php?fbid=10153117568455011&set=oa.820374038032150&type=1&theater F i g 1 8 1 . N o r t h W e s t ( 2 0 1 5 ) . h t t p : / / i . d a i l y m a i l . c o . u k / i / p i x / 2 0 1 5 / 0 2 / 1 2 / 2 5 9 6 8 DA 3 0 0 0 0 0 5 7 8 - 2 9 5 0 0 5 6 image-a-56_1423704730907.jpg F i g 1 8 2 . M o s c h i n o ( 2 0 1 5 ) . h t t p s : / / s c o n t e n t - l h r. x x . f b c d n . n e t / h p h o t o s xpa1/v/t1.0-9/11037567_10153117569010011_3316900798836472419_n. j p g ? o h = 3 5 e 7 3 1 f 0 5 a 5 7 4 d 3 1 3 1 2 8 d e 9 f 8 7 5 8 2 4 0 c & o e = 5 5 8 A A A 6 C & d l = 1 , h t t p s : / / w w w. f a c e b o o k . c o m / p h o t o . php?fbid=10153117569010011&set=oa.820374038032150&type=1&theater Fig 183. Zuhair Murad (2015). https://fbcdn-sphotos-a-a.akamaihd.net/hphotos-ak-xpa1/t31.08 / 1 0 9 2 2 3 2 7 _ 1 0 1 5 3 1 1 7 5 6 9 2 8 0 0 1 1 _ 5 7 6 4 4 1 3 1 2 3 1 5 0 7 5 3 1 4 1 _ o . j p g ? d l = 1 , h t t p s : / / w w w. f a c e b o o k . c o m / p h o t o . php?fbid=10153117569280011&set=oa.820374038032150&type=1&theater F i g 1 8 4 . Z u h a i r M u r a d ( 2 0 1 5 ) . h t t p s : / / s c o n t e n t - l h r. x x . f b c d n . n e t / h p h o t o s - x f p 1 / t 3 1 . 0 8 / 1 1 0 0 1 5 8 1 _ 1 0 1 5 3 1 1 7 5 7 1 1 6 5 0 1 1 _ 6 3 1 3 1 2 2 2 1 6 6 3 2 5 8 5 2 7 6 _ o . j p g ? d l = 1 , h t t p s : / / w w w. f a c e b o o k . c o m / p h o t o . php?fbid=10153117571165011&set=oa.820374038032150&type=1&theater F i g 1 8 5 . K i m & K h l o e ( 2 0 1 4 ) . h t t p : / / f a s h i o n b o m b. t h e f a s h i o n b o m b. n e t d n a - c d n . c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 4 / 1 1 / 3 - K i m - K a r d a s h i a n s - H a i r f i n i t y - L a u n c h - Pa r t y - J u a n - C a r l o s - O b a n d o - S p r i n g - 2 0 1 5 - Pe a c h - C r o p - To p D o u b l e - S l i t - S k i r t - a n d - J a c k e t - K h l o e - K a r d a s h i a n - B l a c k - A l e x a n d e r- M c Q u e e n - B u t t o n e d - D r e s s . j p g Fig 186. Alessandra (2015). https://fbcdn-sphotos-f-a.akamaihd.net/hphotosak-xfp1/v/t1.0-9/10981654_10153117579600011_8917624860708858595_n. jpg?oh=99f77a29c5ce3a11fadc7e146dde5688&oe=55902E2F&__ g d a _ _ = 1 4 3 3 7 6 3 1 4 6 _ 4 2 3 9 2 b 1 e f 2 a d a 3 7 9 3 b 8 d 6 f 0 8 c d f 3 d 8 f 2 & d l = 1 , h t t p s : / / w w w. f a c e b o o k . c o m / p h o t o . php?fbid=10153117579600011&set=oa.820374038032150&type=1&theater F i g 1 8 7 . R a l p h L a u r e n ( 2 0 1 5 ) . h t t p s : / / s c o n t e n t - l h r. x x . f b c d n . n e t / h p h o t o s xfp1/v/t1.0-9/11008557_10153117569415011_9150648173083306480_n. j p g ? o h = 6 b 6 a 6 b 6 6 b f a 0 6 7 9 1 6 1 0 6 4 6 4 5 3 d 7 0 d e 0 a & o e = 5 5 7 C 9 2 4 7 & d l = 1 , h t t p s : / / w w w. f a c e b o o k . c o m / p h o t o . php?fbid=10153117569415011&set=oa.820374038032150&type=1&theater F i g 1 8 8 . V a l l i ( 2 0 1 5 ) . h t t p s : / / s c o n t e n t - l h r. x x . f b c d n . n e t / h p h o t o s - x a p 1 / v / t1.0-9/10994335_10153117568455011_5349546571661898676_n. j p g ? o h = 8 2 e 8 0 2 0 1 9 f 3 0 c e 7 4 c 1 3 c 3 0 3 d d 9 c e 0 5 1 3 & o e = 5 5 7 8 5 4 F B & d l = 1 , h t t p s : / / w w w. f a c e b o o k . c o m / p h o t o . php?fbid=10153117568455011&set=oa.820374038032150&type=1&theater Fig 189. Dress (2015). https://fbcdn-sphotos-b-a.akamaihd.net/hphotos-ak-xpa1/t31.08 / 1 0 8 5 5 0 9 9 _ 1 0 1 5 3 1 1 7 5 7 0 8 3 0 0 1 1 _ 4 6 0 1 4 7 1 6 9 2 5 1 9 0 7 5 4 5 9 _ o . j p g ? d l = 1 , h t t p s : / / w w w. f a c e b o o k . c o m / p h o t o . php?fbid=10153117570830011&set=oa.820374038032150&type=1&theater F i g 1 9 0 . K i m K ( 2 0 1 4 ) . h t t p : / / w w w. f a s h i o n f i l e . c o m . a u / w p - c o n t e n t / u p l o a d s / 2 0 1 4 / 1 1 / k i m - k a r d a s h i a n - m e l b o u r n e latex-03.jpg F i g 1 9 1 . Z u h a i r M u r a d ( 2 0 1 5 ) . h t t p s : / / s c o n t e n t - l h r. x x . f b c d n . n e t / h p h o t o s - x f p 1 / t 3 1 . 0 8/11001581_10153117571165011_6313122216632585276_o.jpg?dl=1, https://www F i g 1 9 2 . K i m & K h l o e ( 2 0 1 4 ) . h t t p : / / f a s h i o n b o m b. t h e f a s h i o n b o m b. n e t d n a - c d n . c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 4 / 1 1 / 3 - K i m - K a r d a s h i a n s - H a i r f i n i t y - L a u n c h - Pa r t y - J u a n - C a r l o s - O b a n d o - S p r i n g - 2 0 1 5 - Pe a c h - C r o p - To p -

D o u b l e - S l i t - S k i r t - a n d - J a c k e t - K h l o e - K a r d a s h i a n - B l a c k - A l e x a n d e r- M c Q u e e n - B u t t o n e d - D r e s s . j p g Fig 193. Alessandra (2015). https://fbcdn-sphotos-f-a.akamaihd.net/hphotosak-xfp1/v/t1.0-9/10981654_10153117579600011_8917624860708858595_n. jpg?oh=99f77a29c5ce3a11fadc7e146dde5688&oe=55902E2F&__ g d a _ _ = 1 4 3 3 7 6 3 1 4 6 _ 4 2 3 9 2 b 1 e f 2 a d a 3 7 9 3 b 8 d 6 f 0 8 c d f 3 d 8 f 2 & d l = 1 , h t t p s : / / w w w. f a c e b o o k . c o m / p h o t o . php?fbid=10153117579600011&set=oa.820374038032150&type=1&theater F i g 1 9 4 . M o s ch i n o RT W ( 2 0 1 5 ) . h t t p : / / t h e l d n d i a r i e s. c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 4 / 0 9 / MoschinoB-e1411217203597.jpg Tr e n d E l e v e n Fig 195. FTL Moda AW15 (2015). http://s3-ec.buzzfed.com/static/2015-02/17/4/enhanced/webdr06/ Fig 196. FTL Moda AW15 (2015). http://s3-ec.buzzfed.com/static/2015-02/17/4/enhanced/webdr04/ F i g 1 9 7 . Vi k t o r i a M o d e s t a ( 2 0 1 4 ) . h t t p : / / i . d a i l y m a i l . c o. u k / i / p i x / 2 0 1 4 / 1 2 / 1 8 / 2 4 1 F 4 8 E 9 0 0 0 0 0 5 7 8 - 2 8 7 7 9 9 8 Vi k t o r i a _ n ow _ m a ke s _ a _ fe a t u re _ o f _ h e r _ a m p u t a t e d _ l e g _ d e s i g n i n g _ o u t l - m - 9 _ 1 4 1 8 8 9 7 9 5 2 0 5 7 . j p g F i g 1 9 8 . Vi k t o r i a M o d e s t a ( 2 0 1 4 ) . h t t p : / / i . d a i l y m a i l . c o. u k / i / p i x / 2 0 1 4 / 1 2 / 1 8 / 2 4 1 F 4 8 F 8 0 0 0 0 0 5 7 8 - 2 8 7 7 9 9 8 image-a-10_1418897974418.jpg F i g 1 9 9 . Vi k t o r i a M o d e s t a ( 2 0 1 4 ) . h t t p : / / i . d a i l y m a i l . c o. u k / i / p i x / 2 0 1 4 / 1 2 / 1 8 / 2 4 1 F 4 8 F 8 0 0 0 0 0 5 7 8 - 2 8 7 7 9 9 8 image-a-10_1418897974418.jpg Fig 200. FTL Moda AW15 (2015). http://s3-ec.buzzfed.com/static/2015-02/17/4/enhanced/webdr01/ F i g 2 0 1 . Vi k t o r i a M o d e s t a ( 2 0 1 4 ) . h t t p : / / i . d a i l y m a i l . c o. u k / i / p i x / 2 0 1 4 / 1 2 / 1 8 / 2 4 1 F 4 9 0 2 0 0 0 0 0 5 7 8 - 2 8 7 7 9 9 8 Vi k t o r i a _ M o d e s t a _ h a d _ d i f f i c u l t i e s _ i n _ b i r t h _ t h a t _ l e f t _ h e r _ l e g _ a n d - a - 4 _ 1 4 1 8 8 9 7 8 4 9 2 5 5 . j p g Fig 202. FTL Moda AW15 (2015). http://s3-ec.buzzfed.com/static/2015-02/17/4/enhanced/webdr10/ Fig 203. FTL Moda AW15 (2015). http://s3-ec.buzzfed.com/static/2015-02/17/4/enhanced/webdr06/ Fig 204. FTL Moda (2015). http://s3-ec.buzzfed.com/static/2015-02/17/4/enhanced/webdr10/ F i g 2 0 5 . V. M o d e s t a ( 2 0 1 4 ) . h t t p : / / i . d a i l y m a i l . c o . u k / i / p i x / 2 0 1 4 / 1 2 / 1 8 / 2 4 1 F 4 9 0 2 0 0 0 0 0 5 7 8 - 2 8 7 7 9 9 8 - V i k t o r i a _ Modesta_had_difficulties_in_bir th_that_left_her_leg_and-a-4_1418897849255.jpg Fig 206. FTL Moda (2015). http://s3-ec.buzzfed.com/static/2015-02/17/4/enhanced/webdr06/ Fig 207. FTL Moda (2015). http://s3-ec.buzzfed.com/static/2015-02/17/4/enhanced/webdr06/ F i g 2 0 8 . V. M o d e s t a ( 2 0 1 4 ) . h t t p : / / i . d a i l y m a i l . c o . u k / i / p i x / 2 0 1 4 / 1 2 / 1 8 / 2 4 1 F 4 8 E 9 0 0 0 0 0 5 7 8 - 2 8 7 7 9 9 8 - V i k t o r i a _ now_makes_a_feature_of_her_amputated_leg_designing_outl-m-9_1418897952057.jpg Fig 209. FTL Moda (2015). http://s3-ec.buzzfed.com/static/2015-02/17/4/enhanced/webdr04/ Fig 210. M&S Adver t (2014). http://i.huf fpost.com/gen/847035/thumbs/o-MS-KIDSWEAR-CHRISTMAS-facebook. jpg F i g 2 1 1 . U n i s ex C o l l e c t i o n ( 2 0 1 5 ) . h t t p : / / k l ave r t j e. w e n dyo n l i n e. n l . s 3 . a m a zo n aw s. c o m / w p - c o n t e n t / uploads/2015/01/Selfridges_unisex.jpg Fig 212. Chapter Divider Fr o m L e f t t o R i g h t : Universal Universal Universal Universal Universal Universal Universal

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( 2 0 1 5 ) . h t t p : / / w w w. u n i v e r s a l w o r k s . c o . u k ( 2 0 1 5 ) . h t t p : / / w w w. u n i v e r s a l w o r k s . c o . u k ( 2 0 1 5 ) . h t t p : / / w w w. u n i v e r s a l w o r k s . c o . u k ( 2 0 1 5 ) . h t t p : / / w w w. u n i v e r s a l w o r k s . c o . u k L o go ( 2 0 1 5 ) . h t t p s : / / p b s . t w i m g. c o m / p r o f i l e _ i m a ge s / 4 7 8 4 9 6 7 2 8 0 3 5 7 8 2 6 5 6 / d 4 w Q m D i b. j p e g ( 2 0 1 5 ) . h t t p : / / w w w. u n i v e r s a l w o r k s . c o . u k ( 2 0 1 5 ) . h t t p : / / w w w. u n i v e r s a l w o r k s . c o . u k

Fig 213. Brand Essence Model U n ive r s a l Wo r k s ( 2 0 1 5 ) .

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( 2 0 1 5 ) . h t t p : / / w w w. u n i v e r s a l w o r k s . c o . u k L o go ( 2 0 1 5 ) . h t t p s : / / p b s . t w i m g. c o m / p r o f i l e _ i m a ge s / 4 7 8 4 9 6 7 2 8 0 3 5 7 8 2 6 5 6 / d 4 w Q m D i b. j p e g ( 2 0 1 5 ) . h t t p : / / w w w. u n i v e r s a l w o r k s . c o . u k ( 2 0 1 5 ) . h t t p : / / w w w. u n i v e r s a l w o r k s . c o . u k

F i g 2 1 4 . Pe r c e p t u a l M a p U n ive r s a l Wo r k s ( 2 0 1 5 ) . h t t p : / / s t a t i c 1 . s q u a re s p a c e. c o m / static/50a7f171e4b0ea694c51cd71/54b433f2e4b031fb9d66db7c/54b435bfe4b08db696ec7032/1421096394908/ IMG_2246.jpg Barbour (2015). http://wjlondon.com/wp-content/uploads/2015/01/IMG_1183.jpg D i e s e l ( 2 0 1 5 ) . h t t p : / / 4 . b p. b l o g s p o t . c o m / - F b c y b 2 J m h q Y / V L 0 p Pa Y Y x Y I / A A A A A A A D K r I / 4 s 7 o v r K k - X Y / s 1 6 0 0 / d i e s e l gold-black-001.JPG To m m y H i l f i g e r ( 2 0 1 5 ) . h t t p : / / w w w. b u r o 2 4 7 . c o m / i m a g e s / o b z o r - b u r o - 2 4 - 7 - m u z h s k a y a - k o l l e k t c i y a - g u c c i - o s e n - z - h . jpg P a u l S m i t h ( 2 0 1 5 ) . h t t p s : / / a f i c i o n a d o l . f i l e s . w o r d p r e s s . c o m / 2 0 1 5 / 0 1 / p a u l - s m i t h - a w - 1 5 - m e n s w e a r- 3 0 1 . j p g Te d B a k e r ( 2 0 1 5 ) . h t t p : / / u k h o t f a s h i o n . c o . u k / w p - c o n t e n t / u p l o a d s / 2 0 1 3 / 1 2 / t e d - b a k e r - l o o k - f o r - m e n - 7 6 8 x 1 0 2 4 . j p g F i g 2 1 5 . U n i v e r s a l W o r k s S t o r e ( 2 0 1 3 ) . h t t p : / / w w w. p r o p e r m a g . c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 3 / 1 0 / I M G _ 2 8 7 2 . j p g Fig 216. Interior Outdoors Mock Up (2015). http://st2.depositphotos.com/2332949/5930/i/950/ depositphotos_59309759-Mock-up-white-frame-on-white-brick-wall.jpg [Altered] F i g 2 1 7 . U n ive r s a l Wo r k s AW 1 5 S h ow ( 2 0 1 5 ) . h t t p s : / / i . v i m e o c d n . c o m / v i d e o / 5 0 2 9 1 6 1 4 5 _ 6 4 0 . j p g F i g 2 1 8 . N e w A g e B y z a n t i n e M o c k U p ( 2 0 1 5 ) . h t t p : / / p r e v i e w s . 1 2 3 r f. c o m / i m a g e s / d r i l l i n g i n t h e d a r k / d r i l l i n g i n t h e d a r k 0 9 0 7 / d r i l l i n g i n t h e d a r k 0 9 0 7 0 0 0 0 9 / 5 1 8 2 8 5 6 - M e n - b u t t o n - d o w n - s h i r t - S t o c k - Ve c t o r- c l o t h e s . j p g [Altered] F i g 2 1 9 . U n ive r s a l Wo r k s C l o t h i n g ( 2 0 1 5 ) . uploads/2015/02/UWO1.jpg

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F i g 2 2 0 . M a s t e r o f t h e Ru n w a y I d e a s . C l o c k w i s e f r o m To p L e f t : C u f f L i n k s ( 2 0 1 3 ) . h t t p : / / w e e k l y g r a v y. c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 3 / 1 2 / c u f f l i n k s . j p g C o l l a r C h a i n ( 2 0 1 3 ) . h t t p : / / c d n b. l y s t i t . c o m / p h o t o s / 2 0 1 3 / 0 6 / 0 5 / r i v e r- i s l a n d - g o l d - t r i a n g l e - c h a i n - c o l l a r - t i p s product-1-10430657-893497765.jpeg B l a c k L e a t h e r ( 2 0 1 3 ) . h t t p : / / o m m o r p h i a b e a u t y b a r. c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 3 / 0 1 / l e a t h e r. j p g G rey T i e s ( 2 0 1 5 ) . h t t p : / / t b o. c o m / s t o r y i m a ge / T B / 2 0 1 5 0 2 1 2 / A RT I C L E / 1 5 0 2 1 9 7 5 6 / E P / 1 / 3 / E P - 1 5 0 2 1 9 7 5 6 . j p g

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