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alysha emma davis ma fashion management & communication 2017 the purpose of this paper is to illustrate the final outcomes and decisions made for the developed business; curated, a luxury lifestyle experience with a social conscience. the final outcomes are explored through a magazine style report with article pertaining to each section
front cover, new beginnings | fig. 1 rose quartz w. gold | fig. 2 & fig. 3
ILLUSTRATED ENTERPRISE REPORT
one | contents
five | introduction
six | why curated is important to me
nine | key research
twelv e | concept generation
fourteen | concept generation | experience as the product
seventeen | concept generation | the cost of being conscious pt.2
nineteen | concept generation | the socially conscious consumer
twentyone | concept generation | fuck it! lets all be feminists
twentyfour | concept development
contents | one
the aesthetics of branding pt.2
| concept development |
twentyseven
sheffield, city of steel | concept development | twenty eight
final development | thirtytwo
the pop up store | final development | thirtyfive
the curated shopping experience | final development | thirtysix
5...4...3...2...1... curated, we have lift off | final development | thirty nine
the five year plan | final development | forty
curated & the future | fortyfive
project reflection | fortysix
references & images | forty
two | contents
contents | three
C U R A T E D
four | introduction
david chipperfield architechture with curated logo | fig. 4
INTRODUCTION This MA Fashion Management and Communication project, in its most basic definition is a business proposal, incorporating intensive research, professional writing, creative thinking, design development and prototyping to a high level over three key tasks. To summarise the module project, I proposed to develop a concept and launch proposal for a socially conscious social enterprise.
The project is an extension of the trend prediction project through the evolution of the Anthropological Liberties and Cultured Couture forecasts that I developed. Anthropological Liberties (appendix one) is a short- term trend reflecting an immediate pressing matter in the world. It draws upon the current political unrest and how people are becoming increasingly frustrated with being devalued and disregarded by their government. With multiple protest and marches over the past year in objection to the changes, attitudes and inhumane decisions our world leaders are making. They have made way for the people to become more expressive of their distaste in the regime. Focus particularly on the disaffected youth, who are educating themselves on policy, equality, their rights, the rights of others, political history and political agenda, to protest with knowledge and integrity. Anthropological Liberties questions the role of fashion as a political weapon and aims to define the protestors uniform. When considered in terms of colour and texture the trend is factored down into hard and soft, to reflect the two types of protestor – the armoured angry and the peaceful free love.“Fashion is about illusion and escapism sometimes, but it’s also a platform for the possibility to invite change” (Kim Jenkins ,2017) Developing this trend played an integral part in the development of this project as it greatly inspired me as an agent of change and was a key influencer in the metaphorical store concept. The same can be said for the second shortterm trend that I developed, Cultured Couture (appendix two). With a yearly major fashion retrospective at the V&A (London), Palais Galleria (Paris) and perhaps most famously, the Metropolitan Costume Institute (New York), fashion as art and its place in a museum or gallery is constantly questioned. Exhibitions undoubtedly draw crowds. People are fascinated by to the aesthetics of clothing and to their emotional accessibility. The ‘Savage Beauty’ exhibition at the V&A saw 493,043 (V&A, n.d) guests and’ China Through the Looking Glass’ at the met, 815,992 (Met NY, n.d). The documentary ‘The First Monday In May’ explores the other museum departments uncomfortable relationship with fashion, but are museums not a home for cultural debate? And can fashion be portrayed as a facilitator for it? These are questions I would like to press into the fabric of the store architecture and design, in the form of a museum of purchasable items.
introduction | five
WHY CURATED IS IMPORTANT TO ME I am the daughter of a miner’s daughter, a once rainbow mohawk supporting punk; a freed pharmaceutical monkey babysitter; an ex-member of the national anti-vivisection society + anti-fur activist. activism and political activity in my family spans back decades, it’s almost genetic. (Alysha Emma Davis, 2017)
My final MA Fashion Management and Communication project was born out of a conversation with my partner as we watched over two million (Khomami, 2017) women march against the chauvinistic and bigoted governments that exist around the world (spurred on by Donald Trump’s new presidency). We have always had plans to develop a bar with a joined boutique, combining both of our passions, whilst putting something back into the community. In 2013, I gained a BA (hons) in Fashion and Textile Design, 2014, a Postgraduate Certificate in Education (PGCE) and 2015-2017, worked as a duty manager and volunteer coordinator for a charity retail store. When I evaluated what it is I had studied and worked for it seemed natural to put my experience and skills to use in educating and training people in the workplace. So, when watching the amazing women who walked miles on 21.01.2017 globally for all women’s rights, I felt an overwhelming urge to find a way to benefit women who were struggling in my communities and the little café and boutique suddenly became an outlet for social change.
In the current political situations, we face, women are still a particularly disadvantaged demographic worldwide. Gender equality is still a very pressing issue, with constant barriers being put in place preventing us from having the same advantages as men, and discounting female only issues (such as periods and abortion). It is imperative we attempt to have an impact on these issues and force change for a better standard of existence. six | why curated is important to me
why curated is important to me | seven
The research process began secondary exploration
I am interested in developing a social-enterprise for
into social enterprise. It was important to fully
two key reasons. Number one is that it fits in with
understand what kind of business a ‘social enter-
my own philosophy, morals and lifestyle ideals. And
prise’ was and how to use it with this concept. I also
two is that there is clearly a gap in the market for
explored which target markets were most socially
this kind of business to sweep into the mainstream
conscious and more likely to engage with this kind
when looking at the current political climate and
of business. As this is an incredibly visual venture, I
how key markets are reacting. Issues such as equal-
also spent a great quantity of time gathering image-
ity, education and the environment are dramatically
ry from amazing architectural endeavours in fashion
on trend with this philanthropic generation. Many
and understanding the concept store.
conscious consumers will not only purchase from socially responsible brands but will volunteer time and
A social enterprise is a business that trades to tackle
lend the force of their social networks to a cause
social problems, improve communities and people’s
that they believe in. Millennials interest in social
life chances or the environment. Social enterprise
responsibility and political causes, it was clear this is
in the UK contributes £24 billion to the economy
the market to aim for. Aged 20 to 37, millennials cur-
through almost 74,100 altruistic businesses, ac-
rently account for about 15 million people in the UK
counting for over two million employees. 24.7% of
(75 million in the USA). It is the largest generation of
all social enterprise perform as retail, 8.7% operate
its time. Millennials have come of age during a time
in Yorkshire and The Humber & 13.9% are wom-
of technological change, globalization and economic
en-led (bmg research, 2017)
disruption. That’s given them a different set of behaviours and experiences than their parents.
eight | key research
KEY RESEARCH Millennials are not overly influence by adverts
They provide an incentive to attend the store even
believing most of it to be spin. They are becoming
when the consumer does not intend to shop. The
more inclined to rent and subscribe rather than buy
head of market intelligence at WGSN (trend fore-
outright. They are more interested in buying qual-
casting agency), Lorna Hall (Allen & Butler, 2016),
ity over quantity, preferring products with lasting
suggests that patterns such as the average week-
value that might cost more to cheap items that end
ly household spending on clothing and food has
up becoming part of the ‘throw away culture’. Most
decreased since 2010, whereas spending on recre-
review blogs before purchasing. They connect more
ation and culture has risen – the office for national
with people over logos. They value authenticity over
statistics reflect the changing priorities of consum-
content. They want to engage personally with brands
ers, stating “people are interested in servicing a
via social outlets. The want to co-create products.
lifestyle rather than buying stuff.” Interestingly she
They use multiple tech products. They are brand
also foresees that this trend is likely to continue as
loyal. They expect brands to give back.
younger people (millennials) have different attitudes
Concept stores are becoming more and more main-
to owning things, partially due to growing up with
stream in the fashion and ‘lifestyle’ industry but re-
the idea of renting (they are less likely to become
main niche. How? Each store is specifically designed
home owners) and subscribing to services such as
to its surroundings. The idea of the concept store
iTunes, Spotify & Amazon Prime, and subscription
is to resonate with a consumer through attitude
boxes such as Birch Box, Loot Crate, Bark Box.
and style -providing them with a one-stop venue for fashion, music, film, art, accessories and more. Drawing on magazines, museum and hospitality for inspiration, it merges the business of selling with culture. As more of us shop online it is becoming increasingly more important that the brick and mortar store evolves and takes on new relevance. Some incorporate cafes, bars, restaurants, performance areas and gallery spaces. Creating a dynamic and engaging over-all experience as opposed to a generic shopping trip.
key research | nine
ten |
| eleven
CONCEPT GENERATION Initial concept generation began with a brain storm (appendix three) of everything I was hoping to gain from the business. This also ended up serving as a list of things that could not be compromised. The business must be run with the intention of donating a percentage of the profits to social causes. These kind of ‘charitable’ businesses can have negative connotations to the consumer; charity store are viewed as messy and cheap jumble sales. Curated aims to move away from these preconceived notions. The store aims to provide an experience rather than a chore and must be presented in a way this. It intends to engage and educate women from disadvantaged backgrounds into the workplace to gain skills and qualifications.
twelve | concept generation
concept generation | thirteen
EXPERIENCE AS THE PRODUCT “Design is a funny word. Some people think that design means how it looks. But of course if you dig deeper, it’s really how it works.” Steve Jobs (Stephens, 2017). This concept, the idea that design transcends aesthetics and is about the function, is what drives innovation at Apple. The products didn’t just look different to the others on the market, they behaved differently to. This is essentially the ethos behind Curated, valuing the customer experience by acting differently to the high street regime. Doug Stephens, retail industry futurist (2017) argues that experiences won’t just be there to sell the product, they will be the product. The high street has misconstrued customer experience as aesthetic and spend valuable time and money renovating their logos and branding. Retailers must start to realise that we are not entering, but have already entered the experience economy. With more people shopping online, stores will begin to act as a showcase for the items that they purchase online. A place to experience the product, but not necessarily to buy… GlobalData Retail (Lacy, 2017) state that 70.7 percent of consumers think the stores they visit are uninspiring and 72.7 percent thinks the experience as a whole is dull. So what’s the answer? Deconstruct the customer experience in its entirety and reengineer each element to operate in a completely new way to anything before. You must take the time to understand the customers deepest need and weave the right combination of the 7ps (appendix four) of the marketing mix to deliver joy in every micro-moment of the consumers experience. Stephens (2017) suggests there are five elements of a remarkable experience: engage, unique, personalised, surprise and repeatable. This is essentially; engaging the senses, do something nobody else is, make the customer feel like the experience was tailored for them, incorporate the unexpected and use tested methods that appear spontaneous through staff personality. I want the consumers to feel differently before they even enter the store, because the ethos of the brand transcends the store alone. By providing educational experiences, not only is a brand creating value for consumers, but they are also learning new ways in which they can use the product. Burberry’s Maker’s House recently transformed into a space where visitors could learn about the inspiration behind the designs and participate in free events connected to the collection. The second edition (Lacy, 2017) saw 30,000 visitors and 3.8 million social media impressions with an exhibition of works by sculptor Henry Moore (the inspiration behind the February 2017 collection).
fourteen | concept generation | experience as the product
experience as the product | concept generation | fifteen
sixteen | concept generation | the cost of being conscious pt.2
THE COST OF BEING CONSCIOUS PT.2 Crowdfunding allows the customer to become an investor. I’ve chosen to explore kickstarter as a platform to raise money in stages in order to support the brand and help it launch. Rewards relating to the brand and brand ethos will be offered to incentivise the customer to part with their money – ultimately for a good cause. “Kickstarter helps artists, musicians, filmmakers, designers, and other creators find the resources and support they need to make their ideas a reality. To date, tens of thousands of creative projects — big and small — have come to life with the support of the Kickstarter community.” (Kickstarter, 2017)
the cost of being conscious pt.2 | concept generation | seventeen
THE SOCIALLY CONSCIOUS CONSUMER More risk-averse spenders money unnecessarily that previous generations (Landrum, 2017) are the millennials, but when they do decide to shop, there is one key trend; millennials prefer to do business with corporations and brands with pro-social messages, sustainable manufacturing and ethical business standards. They saying ‘think globally, act locally’ is a mantra for this generation. Millennials are passionate about social cause for the greater good, be it charity or altruistic brand
eighteen | concept generation | the socially conscious consumer
the socially conscious consumer | concept generation | nineteen
twenty | concept generation | fuck it! lets all be feminists
FUCK IT! LETS ALL BE FEMINISTS In our modern society, even though pressure exists on both genders, women are still given the harder time. This comes on an array of form, whether its questioning a women’s capability to lead or being sexualised in the media (Pulptastic, 2017). Women are still expected to dress up and perform, they are still catcalled in the street and paid less than male equivalents, Women also face major exploitation through forced prostitution, sexual harassment in the workplace, rape, homelessness. In China, baby girls are killed in favour of a boy due to the enforced ‘family planning policy’ – more commonly referred to as the ‘one child rule’. Child and arranged marriages are still common. Everyday nearly 40,000 girls are made to marry before they are sixteen (ibid). In India and Pakistan, 2000 women are killed yearly to protect or restore the family honour. The plight of women is global. “I am not interested in the old stereotypes, of what a feminist looks like or doesn’t look like. I don’t think there is one way to be a feminist.” Maria Grazia Chiuri (Cartner-Morley, 2017) We must all take on the role of a feminist activist in order to stop these issues occurring in our communities and the wider world.
fuck it! let all be feminists | concept generation | twentyone
twentytwo |
| twentythree
CONCEPT DEVELOPMENT Concept development explores the branding and location decisions made. Branding should be considered from the initial conception of the idea; from the appearance of the product, to the consumer experience in the store. In this section we are looking at the aesthetics of branding,
twentyfour | concept development
concept development | twentyfive
twentysix | concept development | the aesthetics of branding pt.2
THE AESTHETICS OF BRANDING PT.2 Branding is part of the statement you make from the moment you wake in the morning. It considers the look, style, colour and how people react and interact with it – consumers today want to buy much more than just the product (Winter, 2017) Curated is a social enterprise named as such to reflect
Now it’s about craftsmanship and decoration — a brand can be recognised just as much for that.” ‘ed’ is a global acronym for education and by underlining these simple two letters should signify a portion of what the business is about, educating. Educating women and education consumers about women’s issues.
the idea of a museum of things that have each spe-
I’ve chosen to use millennial pink – pantones 2016
cifically been picked to sit in the place they are say.
colour of the year) as the key highlight colour. It is a
Everything has a place. The logo font is thin and very
timeless shade that surpasses the current trend and
clean: this is to reflect the clean and curated nature of
follows the passing trend for rose gold. Rose quartz
the brand, stepping away from the overarching precon-
is millennial pinks official name, and for 2017 pale
ceived idea people have of charity retail.
dogwood, a slightly dustier version of rose quartz is
In the logo. Curated has the ‘ed’ underline. This simple
tipped to be a key colour (Guardian Arts, 2017). Pink
line reflects the educational aspect of the program in
is the most gender-loaded of colours, interlaced with
its entirety as in. The benefits of a logo, is the instant
femininity in everything from toy-store branding to the
recognisability of a brand. Jonathan Saunders (Ahmed,
pink pussy hats of January’s Women’s March in Wash-
2017) states that “People need to be able to recog-
ington (Cartner-Morley, 2017)
nise the brand through the work, rather than purely through a T-shirt with a logo, which was happening a lot in the ’90s
t h e a e s t h e t i c s o f b r a n d i n g p t . 2 |c o n c e p t d e v e l o p m e n t | t w e n t y s e v e n
SHEFFIELD, CITY OF STEEL
The original ‘Steel City’, Sheffield’s influence can be felt around the world due to the steelworks. although there are 17 other towns globally (made in Sheffield, 2017) ‘made in Sheffield’ means it was made here in humble Yorkshire. Despite its industrial name and concrete jungle around the Forgemasters, Sheffield is the greenest city in England, with four trees to every one person (iteam, 2017). It is a city full of culture, with a great collection of museums, galleries & theatres as well as hosting an array of festivals, including upcoming music festival ‘tramlines’. Sheffield also houses some amazing, architecture and inspiring street art and is the birth place of some of the greatest music ever made.
For Curated I feel that an area such as Kelham Arcade and Peddler’s Night Market is ideal for exploring the permanent residence of the business. It promotes individuality, art, creativity and socialising. Kelham Arcade during the day is a trendy area for consumer to seek art, shop and express their individuality; this is ideal for launching a galleresque store. In the evenings on the first Friday and Saturday of the month Kelham Island is also host to Peddlers Night Market, a social affair of music, arts and food. This is a great fit for the café side of the business to shine and continually promotes the brand.
twentyeight | concept development | sheffield, city of steel
s h e f f i e l d , c i t y o f s t e e l |c o n c e p t d e v e l o p m e n t | t w e n t y n i n e
thirty |
| thirtyone
FINAL DEVELOPMENT This section sees the previous development drawn together with architectural influence to produce a pop up store concept for data collection purposes; the curated shopping experience in visual and the launch plan for the business.
thirtytwo | final development
final develpoment | thirtythree
thirtytfour | final development | the pop up store
THE POP UP STORE Over the past year, pop up shops have exploded onto the fashion scene on a massive scale. Having once been a guerrilla marketing strategy that allowed emerging brands to level the playing field, pop-ups are now a mainstream tool (Jiang, 2017). The rise in popularity can be attributed to the rising costs of real estate. London’s Centre of Economics and Business Research (ibid), states that £2.3 billion was contributed to the UK economy that’s to pop-up store, and this has increased 12.3 percent per year since. 44 percent of consumers declared they had visited a pop up store, and the majority of those were aged eighteen to thirty four (our key millennial market). Euromonitor (ibid) predicts that in 2017 and increasing amount of brands will use temporary stores to supplement online platforms with a physical point of interaction with consumers. For curated, the idea of a pop-up store/event is to raise awareness of the brand, crowdfund the business and data collect for potential customers. Data collection helps to find the right product, at the right price, at the right time. The idea for the pop up is a collection of cement blocks and wire mesh that are moveable. A set of modular pieces that can travel to different locations and adapt to the surroundings. These are to be in the colours of grey, white and gold, with items of clothing in the highlighted rose quartz colour.
the pop up store | final develpoment | thirtyfive
THE CURATED SHOPPING EXPERIENCE Similarly to the pop up the curated store will be modular with moving parts. Key pieces of art work, garments and lifestyle items will be displayed for purchase in a manner that reflects a gallery space. Interactive points will allow the consumer to dig into and interact with the brand. Music and film will also play a key factor in the venue as will scent. Everything is designed to engage at least one of the sense at all times.
thirtytsix | final development | the curated shopping experience
the curated shopping experience | final develpoment | thirtyseven
thirtyteight | final development | 5...4...3...2...1... curated, we have lift off
5 . . . 4 . . . 3 . . . 2 . . . 1 . . . C U R A T E D , W E H A V E L I F T OFF January 2018 – March 2018: travelling pop-up store within trendy retail and arts spaces March 2018 – Launch of capsule womenswear collection April 2018 – September 2018: festival marketing with a pop up food van September 2018 – Launch of capsule lifestyle items October 2018 to December 2018 – travelling pop-up store within trend retail and arts spaces Throughout the year continually preparing for the permanent business structure to open 2018.
5...4...3...2...1... curated, we have lift off | final develpoment | thirtynine
THE FIVE YEAR PLAN Year One: year one sees the pop up store venturing around the UK raising awareness of the brand, crowdfunding for the business and data collection. It also see the launch of two small capsule collections. Year Two: developing on the pop-up store a permanent structure will be rented for the business, initially rolling out the boutique with a new larger collection & the cafÊ/ bar launch with an arts and music event. Year Three: development to begin on the education program that can be offered, connections with charities and launch of the gallery space, launch online store Year Four: launch education program, launch subscription boxes Year Five: continual growth and development – considerations to open more curated concept stores nationally
forty | final development | the five year plan
the five year plan | final develpoment | fortyone
fortytwo |
| fortythree
fortyfour | c urated & the future
CURATED & THE FUTURE I am excited about the prospect of Curated and developing a sustainable, socially conscious brand. There are many exciting ventures that I predict for this business. Initially developing and launching the pop up space and brand. I also look to develop relationships with local artists and designers to impact on the space and stock items in the store. In-line the millennials relationship with subscribing to services I feel it would be a great idea to launch a subscription box that encompasses the curated experience in minuscule to be enjoyed at home. Considerations have been given to what would be included; for example, accessories, branded stationary, independent music from developing artists, one of a kind prints and edible treat. For each subscription box purchased we would also provide a box for a homeless woman that had monthly staples to support her plight i.e. tampons/pads, sanitary wipes, vouchers for bottle water and food, hand sanitiser, breakfast bars, deodorant. It is important to me that as curated grows so does its social conscious.
curated & the future | fortyfive
PROJECT REFLECTION In summary, given my personal circumstances through this year I am proud of my project and its progress. I feel that I have made my business proposal very clear and outlined all the necessary areas to convey Curated’s values and ethics and what the product is. It is aesthetically pleasing and I think my graphic work has been successful. The format of a magazine I think is contemporary and reaches the intended audience, with the sections portrayed in the way of an article and could be evolved for distributional and launch purposes. Keeping the layout minimal yet visual I have kept within the branding for Curated by reflecting the clean and luxury look that escapes the jumble of the charity store. There is undeniably a gap in the market for this kind of social enterprise, particularly in the North, during this period of social conscious and with Sheffield being an amazing multi-cultural and diverse city, there is no better place to launch. The purpose of the MA project was to be provided with the opportunity to develop, achieve and present a personalised design and management agenda that incorporates intensive research, professional writing, creative thinking, design development and prototyping to a high level. Through this report and the development concept report I feel this has been about achieved.
This MA has contributed greatly to my professional development and career aspirations. It has allowed me to draw upon my previous experience to develop my knowledge and industry skills and create a viable business opportunity. I hope that this project highlight the passion and drive I have to succeed in a career in fashion and to make a change in my local community and beyond.
fortysix | project reflection
project reflection | fortyseven
REFERENCES Ahmed, O. (2017). As Branding Evolves, What’s a Logo Worth?. The Business of Fashion. Retrieved 25 September 2017, from https://www.businessoffashion.com/articles/intelligence/as-branding-evolves-whats-a-logo-worth Allen, K., & Butler, S. (2017). The way we shop now: the revolution in British spending habits. the Guardian. Retrieved 24 September 2017, from https://www.theguardian.com/business/2016/may/06/the-way-we-shop-now-the-revolution-in-british-spendinghabits bmg research. (2013). social enterprise: market trends. www.gov.uk. retrieved 21 september 2017, from https://www.gov.uk/ gov-ernment/uploads/system/uploads/attachment_data/file/205291/social_enterprises_market_trends_-_report_v1.pdf Cartner-Morley, J. (2017). Gritty in pink: reclaiming fashion’s most controversial colour. the Guardian. Retrieved 25 September 2017, from https://www.theguardian.com/fashion/2017/mar/15/gritty-in-pink-reclaiming-fashions-most-controversial-colour Cartner-Morley, J. (2017). Maria Grazia Chiuri on fashion, feminism and Dior: ‘You must fight for your ideas’. the Guardian. Retrieved 25 September 2017, from https://www.theguardian.com/fashion/2017/mar/18/maria-grazia-chiuri-fashion-feminism-fight-for-ideas Guardian Arts. (2017). ‘Millennial pink’ is the colour of now – but what exactly is it?. the Guardian. Retrieved 25 September 2017, from https://www.theguardian.com/artanddesign/shortcuts/2017/mar/22/millennial-pink-is-the-colour-of-now-but-what-exactlyis-it Jenkins,K.(2017).FromHoodiesToBras:AHistoryOfClothesAsPoliticalWeapons.Refinery29.uk. Jiang, E. (2017). Has the Pop-Up Shop Bubble Popped?. The Business of Fashion. Retrieved 25 September 2017, from https://www. businessoffashion.com/articles/intelligence/has-the-pop-up-shop-bubble-popped Khomami, N. (2017). Protests around world show solidarity with Women’s March on Washington. the Guardian. Retrieved 24 September 2017, from https://www.theguardian.com/us-news/2017/jan/21/protests-around-world-show-solidarity-with-womensmarch-on-washington Kickstarter. (2017). About — Kickstarter. Kickstarter.com. Retrieved 24 September 2017, from https://www.kickstarter.com/ about?ref=footer Lacy, G. (2017). Op-Ed | The Formula For Brand Experience. The Business of Fashion. Retrieved 24 September 2017, from https:// www.businessoffashion.com/articles/opinion/op-ed-the-formula-for-brand-experience Landrum, S. (2017). Forbes Welcome. Forbes.com. Retrieved 24 September 2017, from https://www.forbes.com/sites/sarahlandrum/2017/03/17/millennials-driving-brands-to-practice-socially-responsible-marketing/#1ed9ea514990 MetFifthAvenue,(n.d).815,992VisitorstoCostumeInstitute’sChinaExhibitionMakeItFifthMostVisitedExhibitioninMetropolitanMuseum’sHistory|TheMetropolitanMuseumofArt.Metmuseum.org.Retrieved12March2017,fromhttp://www.metmuseum.org/press/ news/2015/china-exhibition-breaks-records Phelan, H. (2017). How to Brand Yourself in Fashion: A Guide. Fashionista. Retrieved 25 September 2017, from https://fashionista. com/2013/05/how-to-brand-yourself-fashion-guide Pulptastic. (2017). 11 Important Reasons We Still Need Feminism. Pulptastic. Retrieved 25 September 2017, from https://pulptastic.com/11-important-reasons-still-need-feminism/ Stephens, D. (2017). Why Retail Is Getting ‘Experience’ Wrong. The Business of Fashion. Retrieved 24 September 2017, from https://www.businessoffashion.com/articles/opinion/op-ed-why-retail-is-getting-experience-wrong V&A,(n.d).SavageBeautyinNumbers-VictoriaandAlbertMuseum.Vam.ac.uk.Retrieved12March2017,fromhttp://www.vam.ac.uk/content/exhibitions/exhibition-alexander-mcqueen-savage-beauty/video-savage-beauty-in-numbers/ Wessley, t. (2015). why millennials’ socially conscious mindset is crucial to your innovation strategy. blog.spencerhall.com. re¬trieved 24 june 2017, from http://blog.spencerhall.com/blog/bid/404033/why-millen¬nials-socially-conscious-mindset-is-cru¬cial-to-your-innovation-strategy Winter, d. (2017). branding secrets from 14 fashion industry experts – shopify. shopify’s ecommerce blog - ecommerce news, online store tips & more. retrieved 23 september 2017, from https://www.shopify.co.uk/blog/121012741-fashion-branding-se¬crets-from-industry-experts
fortyeight | references & images
IMAGES
references & images | fortynine
APPENDIX ONE anthropological liberties
fifty | appendix
APPENDIX TWO cultured couture
appendix | fiftyone
CONTACT alysha emma davis @alyshaemmadavis | instagram @missalyshadavis | twitter alyshadavis@icloud.com http://alyshaemmadavis6.wixsite.com/aedavis/curated