Vivienne Westwood x BottleTop Collaboration for Fashion Styling and Photography by Amy_Jones_FashionPortfolio

X 2

Contents

Amy-Louise Jones 201229560 Fashion Photography and Styling

Vivienne Westwood Brand Vivienne Westwood Brand History Vivienne Westwood Past Campaigns Vivienne Westwood Collections BottleTop Brand Competitor Campaign Campaign Idea Primary Research Photographer Inspiration Artist Inspiration Shoot Concept Publication Target Audience Location Models Make Up Hair Hair Accessories: Sculpture of litter Pose Test Shoot Digital Manipulation Practice Final 12 Outcomes and Styling Camera Settings Conclusion Appendices: Proposal Appendices: Worksheets Reference List Figure List

Page 4 Page 6 Page 8 Page 10 Page 12 Page 16 Page 18 Page 20 Page 21 Page 28 Page 30 Page 31 Page 31 Page 32 Page 34 Page 36 Page 38 Page 40 Page 42 Page 46 Page 50 Page 63 Page 64 Page 65 Page 66 Page 72 Page 74

Vivienne Westwood (2018a) is a luxury designer brand, with emphasis on heritage, craftsmanship and rebellion, well known for her past influence on fashion through punk (V and A, 2020). She has developed a very unique fashion style which merges provocation with tradition (V and A, 2020). In the last decade she has shifted her brand towards sustainability with intent to reduce her impact on the environment. Her mantra: “Buy Less, Choose Well, Make it last” highlights her commitment to environmental alleviation and encouraging consumers to think carefully about what they put in their wardrobe (Aviram, No date).

Westwood began designing in the 1970s and has represented lots of different styles, from her punk beginnings to romanticism and her contemporary aesthetic focus on asexual cuts and androgynous designs (Aviram, no date). She was inspired by Saville Row tailoring traditions since the 1980s and works with Italian factories until this day; craft and heritage is such an important aspect to brand image which is featured through many suits and tailoring within her collections (Aviram, No date). The environment is central to Westwood’s designs: her raw materials are selected based on their minimal environmental impact. The brand also reimagines waste and utilises recycling and reuse into their collections; for example, her World’s End collection features off cuts from previous seasons (Vivienne Westwood, 2018a). The brand has ensured that there is no single use plastic in transit and it is working towards swapping plastic hangers to sustainable materials (Vivienne Westwood, 2018a). Westwood is even working towards amalgamating the collections in order to reduce the impact of her label and reduce overconsumption (Aviram, 2020).

History of styles from 1970s t0 90s

1977

1976

1981-2

1982

11 1990

1993

(Vivienne Westwood 2018b) and (V and A, 2020)

“We use our collections, collaborations and catwalk shows as a platform to capture the imagination, promote innovative design and campaign for protecting life on Mother Earth, Gaia.” (Westwood, 2018a).

Vivienne Westwood’s previous campaigns have had an activist intent and send a message. For example, ‘Save the Artic’ with Green Peace in 2013 was designed to raise awareness for the protection of the Artic and the danger of climate change (Vivienne Westwood, 2018c). The exhibition was displayed alongside escalators to London Shell HQ (Vivienne Westwood, 2018c). She also collaborated with ‘The Big Issue’ in 2019 to create a limited edition T-Shirt to attack fast fashions negative environmental impact (The Big Issue Company, 2020). Westwood utilised this campaign to speak out against the injustice of homelessness and called it a “government crime” (Vivienne Westwood, 2019). She demanded quality not quantity for the future of fashion (The Big Issue Company, 2020).

15, 16, 17

SS20 18,19

SS21

Vivienne Westwood uses props in order to bring dramatic effect to the images, such as this naturalist effect of the tree trunk, perfectly selected due to corresponding with the colour of the models dress. The backgrounds of these shots are patterned and the clothes are colourful. I will take inspiration from the positioning of the models and accessories.

20, 21, 22

AW21 Vivienne Westwoodâ&#x20AC;&#x2122;s AW 2021 has vast visual potential for this shoot. There is an abundance of tartan, suits and anrogynous tailoring worn by both male and female models. The main colours are green, red, grey and gold which are unisex and work well with a male or female model. There are a couple of unusual pieces in this collection, including a tartan bralet, which hints towards Westwoodâ&#x20AC;&#x2122;s collection in the 1980s, where she was the first designer to introduce underwear as outerwear (V and A, 2020), as well as braces worn on a female model which emphasises the unisex dressing.

23 11

Bottle Top was was founded by Cameron Saul and Oliver Wayman in 2002, as a luxury British sustainable brand with the mission to “empower people and planet through sustainable design and creative culture” (BOTTLETOP, 2020a). The brand started making handbags from upcycled bottle tops in Kenya and incorporated leather offcuts; they collaborated with Mulberry and sold very successfully. This collection admirably supported Artisans and provided financial aid for youth health education in Africa (BOTTLETOP, 2020a). The brand experimented with different recycled materials sourced through training programs in developing companies such as Brazil and Nepal. Bottletop provides fair employment to these workers in exchange for the recylced materials. BottleTop believes in giving back to communities; their Foundation supports grass roots health, education and skill training projects (BOTTLETOP, 2020a). This BottleTop foundation is funded through the sale of BottleTop products and is designed to “empower(s) young people in Malawi, Mozambique, Rwanda, Kenya and Brazil” (BOTTLETOP, 2020b).

Ethics and sustainability is at the heart of the BottleTop brand. Davis (2019) highlighted that even their store on Regents Street is made of interior from Reflow; waste plastic is broken down into a new filament material and the ceiling is even made out of reused drink cans. The leather is zero-deforestation leather from Brazil and the pull rings are sourced by homeless people in developing countries such as Salvador in Brazil, on the streets or from landfill (Davis, 2019).

â&#x20AC;&#x153;Our planet is more vulnerable than ever before. Sustainability is at the core of everything we do on our product journey; from the raw materials that we use to the moment it reaches your handsâ&#x20AC;? (BOTTLETOP, 2020c)

Stella McCartney is a competitor in Vivienne Westwood’s luxury market, as a well known sustainable fashion designer. It was therefore important to research previous campaigns from McCartney to establish how Vivienne Westwood can compete in this new campaign. Stella McCartney only uses sustainable fabrics in her collections; she encourages people to “take action to protect Mother Earth- together” (Stella McCartney, 2020). Stella McCartney’s AW19 promotion was set on the Welsh Coast and acted as a celebration of the British landscape; “#StellaWinter19 takes a moment to remind us of the beauty of nature and what we need to do to protect it” (Stella McCartney, 2019). Through the filming and photography, nature is shown to be magnificent and wondrous, which sparks an emotive response from the viewer to wish to preserve it.d.

Campaign Idea

Due to Vivienne Westwoodâ&#x20AC;&#x2122;s environmental values and her past demonstrative campaigns, I thought it was important to continue her activist stance within this campaign, so I took inspiration from wider world issues for this shoot. I identified the huge environmental concern for single use plastics and plastic waste. This is very topical due to single use cotton buds and straws recently being banned (GovUK, 2020), which highlights that avoiding single use plastic is on the governments agenda. Plastics are damaging to our ecosystem due to their composition of fossil fuel petrochemicals, as well as the risk of being ingested by animals; this could cause organ blockages and punctures. In order to reduce this damaging effect, plastic must be recycled correctly to avoid it coming into contact with our ecosystem (National Resources Defense Council, 2020). In contemporary society, 300 million tonnes of plastic produced is wasted each year and shockingly, over half of this is single use and designed to be disposed of afterwards (unenvironment, no date). Shockingly, in 2015 only 9% of the plastic produced was recycled: 79% went to landfill and 12% was burnt (Geyer et al, 2017). The fashion industry is highly saturated with plastics: 60% of our clothing is made of plastic and washing these clothes releases 500,000 tonnes of plastic microfibres annually (Ellen McArthur Foundation, 2017). Due to fashions own damaging effect, I believe that a fashion photography campaign would be a very effective promotional tool to rasie awareness for the dangers of single use plastic and litter.

Primary Research II visited Leeds Art Gallery to observe their exhibition: Natural Encounters, which was an exploration of 400 different artistic interpretations that represent nature (Leeds City Council 2020). It also investigated how art can describe the climate crisis (Leeds City Council, 2020), so I would like to take inspiration from this to highlight how our use of plastics is destroying our ecosystems. I was particularly inspired by this sculpture by Brain Griffiths called Some Flowers. The flowers are made from wire, plastic bags and tubberware, with the aim of highlighting the damaging impact of plastic bags, from the length of time they take to decompose and how they can get into the oceans (Griffiths, 2002). I would like to utilise this idea and create similar plastic structures for my models to wear.

David Ralph

David Ralph is a fashion photographer who specialises in both editorial and advertisements. He has worked with Vivienne Westwood before (Wonderland, 2012), which solidifies his style as appropriate for this high calibre brand. David Ralph has photographed for designers featured in Wonderland and Hunger. This photoshoot will be taking particular inspiration from his shoot for Hunger in 2018 Figure 45 was taken as part of Beyond the Sea editorial (David Ralph Photography, 2020). This image is very exciting due to the outside setting. The combination of natural and manmade is inspiring for my own photo-shoot; this juxtaposition adds interest and depth to the image. The ship in the background is unusual as the eye expects to see the sea, so this grabs the viewersâ&#x20AC;&#x2122; attention. The model is central to the image, so despite the busy background the clothing of the model is still in focus so this technique could be used to effectively promote a fashion brand. These images on the following page have been selected from Hunger Magazine Issue 15 Autumn Winter 2018 (Hungertv, 2018). Ralph has used the lighting effectively; the darkness of the image is foreboding but thesubtle light reflecting off the water adds texture and depth to the image. This image is very effectively broken down into the foreground, middle ground and background each with its own focus. The sunlight in the background illuminates the models facial features, whilst keeping the rest of the photo dark. The heavily layered outfit is in keeping with the editorial theme of displaying accessories.

50 46

This image is very powerful: the model in the water adds another layer of dimension to the image as the male models feet are submerged. The mountains are awe-inspiring and this landscape effect is similar to that Stella McCartneyâ&#x20AC;&#x2122;s AW2019 Agents of Change Campaign.

51 51

52 52

Tim Walker Tim Walker is an iconic modern fashion photographer. He is well known for his surrealism and unexpected shoots. This particular editorial: Far Far from Land (W Magazine, 2013), is very exciting and relevant to my concept. This shot of the mermaid trapped in plastic could connote to the dangers of manâ&#x20AC;&#x2122;s interference in the oceans ecosystem. This rubbish caught around her neck appears to be restricting her breathing which is very powerful in displaying the dangers of the plastic. The decison to have a woman trapped is thought provoking and helps to bring the message home that man has the power to damage the ocean life. 57

Johnny Dufort

Johnny Dufort is a very successful fashion photographer, well known for his surrealist shots and raw capture. He has shot for fashion publications like Vogue and Dazed and Confused; he has an impressive range of clients from Stella McCartney, Gucci and Balenciaga (Business of Fashion, 2020). He specialise in digital retouching of his images, which adds further surrealism to his work (MA talent, no date).

66 64

The artist Wan Yunfengâ&#x20AC;&#x2122;s Protection of the Ocean project is a strong source of inspiration for this project. The concept is to highlight the dangers of human consumption, and his pained facial expressions are posed in order to reflect the pain the marine animal would feel from human impact (Ko, 2019). The collection features his creations of clothing made from rubbish; as performative garments to raise awareness of the importance of protecting the environment (Ko, 2019). He wants his look to translate an ecological message and his fears that technological advances are destroying the environment (Satenstein, 2018).

Publication

Shoot Concept This shoot is designed to promote an editorial collaboration between Vivienne Westwood and BottleTop; every shot must include a Vivienne Westwood outfit and a BottleTop accessory. The brands are collaborating for this shoot with the aim to raise awareness of the danger of single use plastic and litter to our ecological environment, with particular emphasis on marine wildlife. It will feature Vivienne Westwood’s AW21 collection and a curated selection of BottleTop Bag and accessories. The brands will benefit from the exposure of their environmental principles and the promotion of their products within the magazine.

This campaign shoot will be for Dazed and Confused. I chose this magazine, rather than a sustainability specific publication, due to the vast exposure the issue will reach. This will enable it to have a better chance of converting readers to think more carefully about how they consume and dispose of plastic. Dazed and Confused was created by Jefferson Hack and Rankin in 1991 and it embodied an alternative style magazine, displaying radial youth culture and experimental fashion (Dazed Digital, 2008). The magazine is now very culturally significant; as “the most influential independent fashion and culture title in the world” (Dazed Digital, 2008). It encourages independence and provocative self-expression which is very in line with Westwood’s brand image (Dazed Digital, 2008). This publication will also gain exposure for BottleTop and raise awareness of their admirable brand. Dazed and Confused has featured renowned photographers and designers, meaning it a very appropriate platform for these luxury brands. It has also featured work from Tim Walker in the past so I can be assured that there is an audience for a thought provoking and artistic photoshoot.

The timing of this magazine is significant. The coronavirus pandemic has caused an environmental focus for consumer with 65% of consumers being more “mindful about the impact of their overall consumption in the “new normal” (Internet Retailing Media, no date). There will be litter in the images, wither placed around the model, in their hair or around their necks in order to mirror what could happen to marine wildlife at the hands of single use plastic and waste. This concept is inspired by the artist Wan Yunfeng and photographers Tim Walker and David Ralph. The mood of the shoot will be thought provoking and sombre, however the models will appear strong and beautiful and combined with the visual effect of the sunset scenes, it suggest there is hope if we act now. The plastic will be tasteful and high fashion in order to suggest this ecological message without being over bearing.

67,68,69

Target Audience

This shoot is designed for millennial consumers aged 20-40, an effective target audience due to the fact that 88% of consumers aged 21-34 read magazines (Kirk and Sethi, 2017). These consumers enjoy art and creative photography which is why they reach for alternative and dynamic magazines such as Dazed and Confused above typical fashion magazines such as Vogue. Vivienne Westwood consumers share this passion for nonconformity and self-expression. The consumers are rebellious in their fashion choices, push the boundaries of convention and like to make a statement. They have strong political beliefs and have an awareness of environmental issues. Due to the unisex nature of most of Westwood’s designs, male, female and non-binary consumers are catered for. BottleTop have a similar target audience who are also financially secure due to the luxury price tag of both these designers. BottleTop consumers dress more conventionally, however they aren’t afraid to be brave and expressive with materials due to their choices of bags made out of Bottle Tops. The target audience for this campaign are UK based due to the choice of location being designed to raise awareness for the beauty of the natural landscapes in Britain; topical in current society with travel restrictions due to COVID19.

Location The location of this shoot will bye Kynance Cove and surrounding beaches in Cornwall. It was chosen due to its beach location and unique qualities; it has rocks and caves which will provide vast photographic potential. The cove also has an annual marine clean to establish how much litter is reaching the sea year on year (Lizard and Penrose NT Blog 2015). This is very fitting with the nature of ths shoot, so I thought it would be the pefect location to raise awareness for the importance of preserving our environment against plastic.

Models

Niamh

73 76

This shoot will be using two models, a male and female both 21 years old. They have been selected due to their youthful appearance in order to increase the intensity of the emotive response to the shoot. They also have very strong bone structures and are slim and tall, all of which are idyllic qualities in a model in order to promote the clothes most effectively. The models are good friends so the dynamic will work well between them and they shall look relaxed and natural posed together. Their colouring is also very similar so their aesthetic will look balanced and satisfying. They have been chosen to not draw focus from the clothes, accessories and background. The models will have blank expressions and their body language will be strong. They will work well as 74

Before

Make up

After

I practiced my make up look during a test shoot. I applied concealer, foundation and powder to both of my models to cover their blemishes. I also lightly intensified their eyebrows using brow gel and applied mascara to my female models lashes. I believe this look is very effective in portraying a â&#x20AC;&#x2DC;no-makepâ&#x20AC;&#x2122; makeup look.

Before

After

The make up will be very minimal as there are many different elements in the shoot that I would like to take centre focus, such as the location, plastic props and the clothing and accessories. Therefore, the makeup will be natural so the overall effect is that the model does not seem to be wearing any. I will ensure that I use ecofriendly make up products that have not been testing on animals, such as Glossier, in order to remain consistent with the environmental protection theme of the shoot. I will be using primer and a colourless powder, to ensure that the makeup stays in place all day in any weather condition and foundation to provide a natural and flawless base to the models skin. Concealer will be used to brighten under the eyes and conceal any blemishes. I will not be using any contour on the models as I do not want to achieve an angled and made up look, I want them to appear youthful and natural. I will use black mascara to emphasise their natural lashes and brown eyebrow gel to define their eyebrows to frame the face.

Hair

I used salt spray and curling tongs to achieve messy, beachy waves.

The male models hair will be left natural, with slight hairspray to hold it in place. The female model has mid length hair which will be in beachy waves, created using a metal curling tong and brushed out to give it a messy effect. I will also use some salt spray achieve â&#x20AC;&#x2DC;beachy wavesâ&#x20AC;&#x2122; and give more of a wet-look effect, as if she has recently come out of the sea. I would like to use the female models hair for visual effect and display some plastic props. She will have rubbish placed on and in her hair; in order for her hair to hold the plastic it could be bun using a clear elastic band or the plastic could be secured using hair grips. I have taken inspiration, from the above images, from previous fashion shoots where they have used the models hair for this purpose.

Hair Accessory: Sculpture

100 99

102

101

I created a sculptural hair piece for my model, as an example of one of the ways I would like to utilise rubbish in my shoot. I took inspiration from Brian Griffithâ&#x20AC;&#x2122;s Some Flowers from Leeds Art Gallery (Please see page 20). I upcycled a headband with plastic bags, tape, netting from oranges, as well as cable ties to create this head piece. I believe it was very effective and utilises this recycled plastic in a high fashion way, which will work well alongside other examples of rubbish being restricting in my shoot.

103

I also created a necklace out of plastic 6-pack rings and cable ties, as well as plastic bag bracelets for the models wrists and hair.

Test Shoot

104

105

Examples of contact sheets from 530 shots

106

Test Poses Shoot

111

112

113

107

108 114

115

117

118

116

109

119

110

Before

After

Practice Edit

111

120 Due to COVID isolation, I took this image in my living room which unfortunately meant that the lighting was very yellow. I adjusted the contrast and colour balance in order to remove the yellow lighting and manipulated the exposure, shadows and highlights in order to improve the clarity of the colours. I also adjusted the highlights using the tone curve and further enhanced the details with the clarity and sharpening tools. I would utilise these same techniques when manipulating my actual photoshoot, however with adjustments due to the shoot being in an outdoor location.

Practice Edit

Before

121

After

122

In order to plan my manipulations more effectively, I carried out another test shoot outside. The sky was very overexposed so I used the shadows, highlights and curves to rectify this. I intensified the shadows to add detail to the clouds. I also used adjusted the colour balance, exposure and saturation in order to increase the natural colours in the image and increase the warmth. I increased the highlights and enhanced the clarity and detail so that the features of the model were visible. These adjustments will also be used for my final outcome manipulations; it will also be focusing on enhancing the natural colours of the image, rather than changing the effect of the outcome.

Final 12 For my final 12 outcomes, I chose to digitally draw around my test shots, in order to create an outcome that was as accurate to my vison as possible. I used the poes from figures: 110,109,107,111,112,113,11 4,115,116 (Please see pages 42-45) as well as a few close ups of my models for outcomes 2,10 and 11. The plastic accessories that I have drawn on my final 12 outcomes will either be an enlarged replica of a plastic piece of litter made out of recyled plastic, or it will be an actual piece of litter that has been collected and recycled to be ultlised in this shoot.

Camera settings Images 1,2,3,4 and 9 will be taken in cloudy conditions, so will be shot with a wider aperture and smaller shutter speed. The sunset images: 10,11 and 12, will be shot with a long aperture for a shallow depth of field, so that the focus is on the models in the front of the image and the background is slightly blurred to make sure that the models stand out against the vivid sky. Images 5,6,8 are set at midday where the beach will be at its brightest so they will need a low ISO and a narrow aperture for a fast shutter speed. For image 7 a soft flash could be used to ensure the models face and outfit is visible.

DESN 3582 Fashion Styling and Photography Proposal for independent project

Conclusion Due to COVID19 I was not be able to take the physical photographs, which was very disappointing, however I feel my planned outcomes are effective in communicating what I would have liked to achieve. Overall, I chose to focus this shoot on raising awareness of the dangers of plastic on marine life as it is an issue close to my heart, and I believe that fashion, with its huge societal influence, has the power to provoke change in consumers. Despite this, I understand the limitations of fashion photography as a promotional vessel, however I believe that if it is utilised to send a message it can do so in an artistic and thoughtful way ,which may engage more consumers and encourage change more effectively than direct and traditional routes. I believe my shoot effectively overrides potential cognitive dissonance with consumers; as it creates a tangible link between their actions and consequences which could help to deter this behaviour in the future If I was to plan the shoot again, I would have incorporated masks into the shoot. The shoot would include Vivienne Westwood and BottleTop designs, with the models still wearing plastic; however I would have designed the plastic elements to be masks in order to represent our current society. I believe this would have been equally effective as the outcomes I have received, but perhaps more appropriate for these times.

Please outline your intentions of study. Please consider carefully how and why the different aspects relate and give a meaningful explanation of your intentions. General Information How does it relate? Brand Vivienne Westwood- Established in 1970s, well Vast photographic and visual potential known for punk and rebellion due to the creative and exciting luxury Very aligned to political and environmental clothes activism Target Millennials and individuals aged 20-35, who This target audience is also very customer enjoy self-expression and are not afraid to break interested in purchasing fashion conformity with fashion. magazines. They will have a secure income to allow them to purpose luxury items. Advertising Dazed and Confused media

Provides an audience for thoughtprovoking and exciting shoots as it is a photography magazine which encourages self-expression.

Aim

It aligns with Vivienne Westwood’s and BottleTop’s sustainable and recycling values.

Season

Trends

Inspiration

To raise awareness of the dangers of litter and single use plastic on the oceans/ marine life- to use fashion to encourage the consumers to think about this through a high fashion editorial shoot.

Vivienne Westwood has created environmental activist campaigns in the past so it suits the brand.

AW21

To act as a promotion for Vivienne Westwood’s new collection, as well as to achieve the visual effect of the moody and sombre sky in the shoot- to set a sombre mood for the images, to highlight the potential danger of human actions. Reflects the macro trend of society’s concern for Vivienne Westwood’s brand has many the environment. It is contemporary and androgynous and unisex designs, as well considers the pandemic as well as recent as hints to the 1980s in the suiting and her government action. bra style top (similar to one she designed in 19820 Unisex and androgynous designs. Vivienne Westwood’s collection is subtly reminiscent of 1980s fashion. Tim Walker- ‘Far Far from Land’ Wan Funfeng- ‘Protection of the Ocean’ David Ralph- editorial of Hunger in 2018

Walker and Funfeng, highlight the dangers of man on the environment. Ralph shows nature to be powerful and something that should be protected.

Mood

Thought provoking and sombre, yet strongthere is still hope to save the oceans.

It merges a strong activist campaign, with high fashion editorial shoot- the clothes are still promoted, however the consumers will be forced to think as they admire them.

Location

Beach

In order to follow the theme of raising awareness of the dangers of plastic on marine life.

Models

A male and female model, Stepan and Niamh.

To highlight that many of the clothes from the collection are unisex and androgynous.

Make-up

Natural make up- ‘no makeup look’.

To not draw attention away from the rest of the shoot, there will be many different elements.

Styling

The shoot will include Vivienne Westwood AW21 collection. It focuses on tartan, red, green, blue and gold.

It will act as a promotion for this collection.

It will also include BottleTop accessories, such as bags and belts. Why / How would your shoot be different? What would make it special?

My shoot is in collaboration with the brand BottleTop, as an editorial to raise awareness of the dangers of single use plastic and litter on marine life.

Both BottleTop and Vivienne Westwood are both sustainable luxury brands who wish to preserve the environment.

Other The shoot will have replicas of plastic rubbish It works well with Vivienne Westwood’s Information (made out of recycled plastic) around the past strong, activist campaigns. models neck/ on their body. This is so the viewer can subconsciously draw parallels from the model wearing the plastic- to the marine animals that could get stuck in it.

Appendices WEEKLY PERSONAL FEEDBACK SHEETS Module: Fashion Styling and Photography Module Status: 20 Credits Date work issued: 29th September 2020 Hand in Date: 10th December 2020, 2.00pm

Code: DESN3582 Level: 3

Week No: 1 Date: 29th September Staff Comments: Student Action:  Introduction to module  I was firstly disappointed that I would not be able to take the photographs as I am keen for this project to act as a portfolio  Explanation of the task to of my skills to show to employers; but I then identified that be completed- established actually, this is more aligned to industry work as I may have to that we were required to create a similar journal for a brand to plan promotions and plan the shoot rather than campaigns take the photos as COVID19 regulations mean  I also began looking at the positives of this and decided that that we cannot get close due to the fact it was a plan rather than an actual shoot I enough to our models to could be very creative and original with my ideas, location and apply makeup and message behind the shoot photograph them efficiently.  I decided that I wanted this shoot to raise awareness of an issue, as I believe that the fashion industry and the arts can be a great means of encouraging change. I researched current and contemporary issues and came across the dangers of single use plastic and litter, and how easily this can contaminate our seas and marine life. I decided to focus on this issue and explored environmentally driven fashion brands.  I originally researched Stella McCartney, but then I thought harder about my concept and decided I could think of more unique designers. Stella McCartney is the first luxury sustainable brand I think of, so I wanted to challenge myself to think of another. Through research I discovered how Vivienne Westwood has very strong environmental views and her collections have great visual potential for a photographic shoot.  In order to think of a ‘difference’ for this brand, I decided to go down the route of collaboration. I researched sustainable luxury accessory brands and discovered Bottle Top which I thought would be perfect for this focus and brand as they create bags and accessories from recycled bottle tops! Week No: 2 Date: 6th October Staff Comments: Student Action: Mike seemed happy with my ideas and said that my collaboration was suitable and very effective for my brand. I had images of Peta advertisements on my slides and we decided that this was too intense and gory for the purpose of this assignment.

I did some further thinking in how to promote my idea of raising awareness for the dangers of plastic to our ecology and marine life in a less intense and upsetting way. I decided that I could have plastic accessories for just the model and not include any animals in the shoot to ensure I did not upset the viewers. I took Mike’s advice and did some further research into which magazine would be most suitable. Due to the editorial focus of my shoot I went for Dazed and Confused as they have published some very exciting and thought-provoking images before, so I

He gave me advice to think carefully about which publication my shoot would be designed for.

could be certain there is an audience for my imagess. They have worked with Tim Walker previously and I would like my images to be thought-provoking to a similar level to his.

He empathised that we need to ensure our portfolio represents the visual presence of our designers and photographer inspirationthat it is meant to be a visual document.

Week No: 3 Date: 13 October Staff Comments: Student Action: This week we had a lecture on styling from Kevin and it was very inspiring to see some of his own work. It made me excited to start thinking about the outcome of my shoots!

I began thinking about what clothes I wanted to choose from Vivienne Westwood’s collection for the shoots in order to promote her brand image as well as ensure the images would have the most visual potential- I choose tartan and bright colours as I wanted the clothes to stand out and capture the attention of the magazine consumer.

Kevin and Mike suggested that, if possible with COVID19, we could take practice test shots of make-up and styling from our own homes to help demonstrate our plans in our journals.

Through exploring a Hunger magazine I came across David Ralph who photographed models outside, in moody lighting which created a sense of awe of the environment looming behind the models.

Kevin suggested exploring art galleries and museums, if possible, in order to train our eye to put together great styles and visual imagery. They suggested a few different models and photographers to research.

I also discovered Tim Walker’s ‘Mermaid’ shoot as well as Johnny Dufort who shot Stella McCartney’s Aw2019 Agents for Change campaign; this had the aim to encourage consumers to preserve our earth. Both of this shoots tie into my concept very well. I also took Kevin’s advice and visited Leeds Art Gallery and observed the exhibition: Natural Encounters. It had many different artistic interpretations of nature, taking into account the climate crisis and the global pandemic. I took particular inspiration from the way the artists had made nature so powerful and beautiful, with the human population seeming inferior in comparison to our natural world. I also really liked the work of Brian Griffiths and would like to take inspiration from his use of recycling plastic to recreate art.

Week No: 5 Date: 27th October Staff Comments: Student Action: I started thinking how I would be using make-up and hair in This week Kevin presented to us my shoot, and concluded that it would have to be very subtle about hair and make-up in fashion due to the amount that is already going on in my images. I photography. want the viewer attention to be on the clothing, accessories, plastic litter as well as the landscape in the background. I was particularly interested when he explained that even though the I listed all the potential products I would need for a subtle makeup may be to achieve a natural make up look- e.g. primer, concealer, powder and foundation look, many products need to be for the base and mascara and eyebrow gel to frame the eyes. used to achieve this effect. I hadn’t really considered this yet so I found For the hair I would like to create messy beachy waves, this very helpful- I assumed that a which I think would work well due to the beach location. I ‘no-make up’ look would not use also researched designer’s use of hair and Vivienne many products at all. Westwood often uses it as a feature of her catwalks so I decided that I could also use it for visual effect. This helped me develop an idea to have plastic rubbish and litter in the models hair as well as on her body. To achieve this I will need lots of hair grips and hairspray!

Week No: 6 Date: 3rd November Staff Comments: Unfortunately, I was unwell this week so was unable to attend the lecture; however I emailed Mike in advance and sent my work over to Mike to review.

Week No: 4 Date: 20th October Staff Comments: This week Mike gave a lecture on fashion photography, and it was really interested to see how the role of fashion photography changed throughout the years. Mike introduced us to a variety of influential photographers, including Cecil Beaton, David Bailey and Stephen Meisel.

I started working on my InDesign layout to ensure that my journal would look visually effective.

Student Action: As I was unwell I didn’t get as much done as I hoped this week, however I continued to update my InDesign document with all my research so far, working hard to ensure it would be ready to discuss in my one-to-one tutorial next week

Student Action: This week I focused on writing up in my journal all my research so far. I completed my brand sections, initial photographer research as well as my research from the Leeds Art Gallery last week.

Week No: 7 Date: 10th November Staff Comments: This week I attended my one-one tutorial with Mike and asked some questions I developed whilst completing my research. Mike said it was okay to have a variety of photographers for inspiration which works well for my concept as I am taking inspiration from a variety of areas. I also asked how we select the items to be styled in the shoot, and established that I could choose from any season, not just the most recent collections from Vivienne Westwood. I wanted to confirm the target market for our brand should be the same as the magazine audience of which Mike agreed. Mike helped me narrow down my location ideas to just a beach, as it was relevant to my concept and is more accurate to how a professional photoshoot would work with just one locationhe suggested I researched beaches on the West Coast and Spurnhead in Yorkshire.

Week No: 8 Date: 17th November Staff Comments: This week Mike took us through a Photoshop tutorial, so we could understand the manipulations that take place after an image is captured. Unfortunately, I will not be taking the actual images, but it gave me some guidance to take forward when I manipulate a test shoot image later in the term. He also taught us how to create a contact sheet which will be very useful when I take my test shots. He went through useful tools, including ones particular relevant to my concept where not much manipulation is needed- more tweaking of the images to ensure they are at the

best visual potential, like cropping, levels, exposure, saturation, etc.

Student Action: I used Mike’s advice to further my research journal. I wrote about my target audience and arranged this on InDesign with my updated location research. I researched the beach that Mike suggested and planned to go here to take some test shoots, but unfortunately I could not leave the house due to isolating with COVID- as well as there being a national lockdown. I did more research into beaches in the UK with vast visual potential and came across Kynance Cove- I have actually visited here before with my family so can confirm it would be a beautiful place to photograph. It is well known for its vast scenery of rocks, caves, sandy beaches and turquoise waters. Furthermore, there is also a marine clean once a year which I thought perfectly ties into the concept I am raising awareness for. It is also a very popular holiday destination for tourists so I hope that this shoot could potentially raise awareness of the damage of leaving litter before the holiday season begins to try and deter any future damage. I also established that I would like the shoot to promote Vivienne Westwood’s AW19 collection as I am setting the shoot in the autumn to have the visual potential of moody skies to add to the severity of the issues being displayed in the shoot. This collection also has very strong colours which will work well on camera and capture the light effectively. Student Action: This week I began thinking carefully about how I wanted to display my final 12 images, My flatmate has an IPad with a digital drawing software so I thought this could be an excellent way of collaging images together and drawing on top to specify how my models will be posed and what the background of the images will be.

Week No: 9 Date: 24th November Staff Comments: This week I had another one-to-one meeting with Mike, I had been making lots of progress with my work so I had lots of questions to ask this week! Mike agreed that my idea of presenting my images would be effective, which was a relief as I was worrying about how to promote them in a way that was visually appealing yet also clearly planned the shoot. Mike confirmed this part of the assignment is weighted 40% and the research 60%. I checked what was required of brand and photographer details again, that it was not about theories or history and more about how the brand is visually represented the style history and how the photographers work is portrayed. I asked Mike how I could improve my project and explained that I could not get to the location (due to COVID19) that I was planning for test shoots. We decided it would still be effective for me to photograph my models within my house to plan the poses the actual shot would have included.

Student Action: This week I carried out a test shoot of model poses. I had to complete this in my living room as it had a blank wall and the most light. I used one of my own bags as a prop to determine where I would position the Bottle Top Bag in the actual shoot outcome. I also used two chairs and a grey blanket to represent a rock that would be used on the beach. The shoot went very well as the models had great chemistry. I tried a variety of poses and achieved many positive outcomes which I have included in my journal. I also began to create a collage for each final outcome using my flatmates IPad and a software called Procreate to digitally draw around the models from my test shoot and layer them onto a beach background- (I wanted the outcomes to be as realistic as possible so I choose to use my own images of the models) and drew plastic on top of them and added the clothes and accessories.

This week I focused on ensuring the rest of my journal was written and I was up to date with the write up of the project, ready to speak to Mike next week and gain more feedback on what I’ve done so far. 4

Week No: 10 Date: 31st November Staff Comments:

Student Action: 5

Reference List

Week No: 10 Date: 31 November Staff Comments: During this one-to-one tutorial with Mike I showed him the outcomes I had created so far to check I was on the right track. He was happy with them and suggested that I could also include the time of the day the image would be taken, as well as the direction of the light. I had a couple of questions regarding referencing which Mike answered over email and during my tutorial I clarified what needed to be included in our conclusion. Mike elaborated on what was required in terms of photographic settings, and emphasised that the visual plan is the most important and knowing why we would choose certain techniques. Mike also suggested that even though I could not take any images outside at the beach which my shoot is set at, I could take an image outside around Hyde Park to highlight what photographic manipulation techniques I would use.

Student Action: This week, my main focus was completing my 12 outcomes. This was very very time consuming, 5 as I was getting used to a new technology at the same time as creating these designs. I draw around and bordered all of the images I used to enhance their visual appearance on the collage and layered different images together in order to most effectively highlight how I wanted my final outcomes to look. I also worked on finishing and then cutting down the written part of my document, I completed very thorough research so I was 1000 over this word count already! I spent a few days working in the library cutting down my words and focusing on being as precise and concise as possible. I also took an image of Hype Park so I could include in my journal how I would manipulate this image- comparing how I would have manipulated the actual image on the beach. I also manipulated one of the test shoots of my models for extra practice using lightroom to practice enhancing the models natural features. I also conducted a second test shoot of my female model’s hair and makeup and created a plastic sculpture to put in the models hair.

Week No: 11 Date: 8th January Staff Comments: Final one-to-one! This week I showed Mike and Kevin my work and asked final questions about referencing and for advice with final improvements.

Aviram, D-K.[No date]. Vivienne Westwood, the first political and climate change luxury brand. [Date accessed 05/10/2020]. Available from: https://luxiders.com/vivienne-westwood/ BOTTLETOP. 2020a. Our story. [Online]. [Date accessed 05/10/2020]. Available from: https://bottletop.org/pages/ our-story BOTTLETOP. 2020b. Together for a sustainable world. [Online]. [Date accessed 10/11/2020]. Available from: https:// togetherband.org/pages/our-story-old BOTTLETOP. 2020C. Sustainability.[Online]. [Date accessed 20/11/2020]. Available from: https://bottletop.org/pages/ sustainability Business of Fashion. 2020. Johnny Dufort: Biography. [Online]. [Date accessed 20/11/2020]. Available from: https:// www.businessoffashion.com/community/people/johnny-dufort David Ralph Photography. 2020. Beyond the Sae Editorial. [Online]. [Date accessed 15/11/2020]. Available from: http://davidralphstudio.com/projects/editorial/beyond-the-sea/ Davis, G. 2019. Innovative Retailer: BottleTop. [Online]. [Date accessed 10/11/2020]. Available from: https://www. retailinsider.com/2019/05/innovative-retailer-bottletop/ Dazed Digital. 2018. Dazed and Confused, A state of Independence. [Online]. [Date accessed 25/11/2020]. Available from: https://www.dazeddigital.com/info/article/824/1/dazed-confused Ellen MacArthur Foundation. 2017. A new textiles economy: Redesigning fashion’s future Report. [Online]. [Date accessed 01/12/2020]. Available from: http://www.ellenmacarthurfoundation.org/publications Geyer, R., Jambeck, J. and Law, K. 2017. Production, use, and fate of all plastics ever made. Science Advances. 3(7), e1700782.. [No pagination] GOVUK. 2020. Start of ban on plastic straws, stirrers and cotton buds. [Online]. [Date accessed 23/11/2020]. Available from: https://www.gov.uk/government/news/start-of-ban-on-plastic-straws-stirrers-and-cotton-buds

Student Action:

Griffiths, B. 2002. Some Flowers. [sculpture made out of plastic]. At: Leeds: Art Gallery, Natural Encounters Exhibition. [b. 1968]

I ensured my final 12 outcomes were arranged effectively in my document, completed Mike’s recommendations and referenced and figured my entire document so it is all ready to be submitted!

Hungertv. 2018. The Hunger Magazine. [Online]. [Date accessed 15/11/2020]. Available from: https://models.com/ work/the-hunger-magazine-accessories-shoot

I had one last look over the visual document and tidied it up a little bit to ensure that it looked the most visually appealing and professional that it could. I really enjoyed this project, thank you to Mike and Kevin for the help along the way!

Internet Retailing Media. [No Date].It’s not just coronavirus, consumers are changing purchase preferences based on social responsibility, inclusiveness, or environmental impact. [Online]. [Date accessed 07/12/2020]. Available from: https://internetretailing.net/sustainability/sustainability/its-not-just-coronavirus-consumers-are-changing-purchase-preferences-based-on-social-responsibility-inclusiveness-or-environmental-impact-21676 Kirk, T. and Sethi, R. 2017. 7 ways millennials and boomers read news differently. [Online]. [Date accessed 29/11/2020]. Available from: https://magnetic.media/research/studies/canadian-millennials-boomers-insight#:~:text=Eighty%2Deight%20percent%20of%20Millennials,77%25%20read%20a%20printed%20copy.&text=More%20 than%20one%2Dthird%20read%20a%20newspaper%20on%20their%20mobile Ko, S. 2019. Chinese Artist Wan Yunfeng is turning trash into high fashion. [Online]. [Date accessed 20/11/2020]. Available from: https://edition.cnn.com/style/article/wan-yunfeng-environment-artist-intl-hnk/index.html Leeds City Council. 2020. Natural Encounters. [Online]. [Date accessed 23/11/2020]. Available from: https://museumsandgalleries.leeds.gov.uk/events/leeds-art-gallery/natural-encounters/

Lizard and Penrose NT Blog. 2015. Deep Clean for Carleon and Kynance coves. [Online]. [Date accessed 29/11/2020]. Available from: http://lizardandpenrose.blogspot.com/2015/10/deep-clean-for-carleon-and-kynancecoves.html

MA Talent. [No Date]. Johnny Dufort: Biography. [Online]. [Date accessed 20/11/2020]. Available from: https://talent.maworldgroup.com/photo-fashion/johnny-dufort National Resources Defense Council. 2020. Single use plastics 101. [Online]. [Date accessed 25/11/2020]. Available from: https://www.nrdc.org/stories/single-use-plastics-101 Satenstein, L. 2018. How Beijing’s secret fashion superstar takes street style to the (Eco-Friendly!) extreme! [Online]. [Date acceded 06/11/2020]. Available from: https://www.vogue.com/vogueworld/article/vogue-world-100-yunfeng-wan-beijing-runway-superstar Stella McCartney. 2019. Agents of change: the winter 2019 campaign. [Online]. [Date accessed 06/10/2020]. Available from: https://www.stellamccartney.com/experience/en/agents-of-change-the-winter-19-campaign/ Stella McCartney. 2020. For us, every day is Earth Day. [Online]. [Date accessed 26/11/2020]. Available from: https://www.stellamccartney.com/experience/en/for-us-every-day-is-earth-day/ The Big Issue. 2019. Vivienne Westwood: We must disrupt corrupt systems if we want to make change. [Online]. [Date accessed 06/ 10/2020]. Available from: https://www.bigissue.com/interviews/vivienne-westwood-we-mustdisrupt-corrupt-systems-if-we-want-to-make-change/#:~:text=make%20real%20changes.-,%E2%80%9CHomelessness%20is%20a%20government%20crime.,World%20Rent.%E2%80%9D%20%2DVivienne. Unenvironment. No Date. Our planet is drowning in plastic production. [Online]. [Date accessed 20/11/2020]. Available from: https://www.unenvironment.org/interactive/beat-plastic-pollution/ Victoria and Albert Museum. 2020. Vivienne Westwood: punk, new romantic and beyond. [Date accessed 26/11/2020]. Available from: https://www.vam.ac.uk/articles/vivienne-westwood-punk-new-romantic-and-beyond Vivienne Westwood. 2018a. Vivienne Westwood: Our Approach. [Online]. [Date accessed 05/10/2020]. Available from: https://www.viviennewestwood.com/en/our-approach/ Vivienne Westwood. 2018b. The story so far. [Online] .[Date accessed 01/11/2020}]. Available from: https://blog. viviennewestwood.com/the-story-so-far/ Vivienne Westwood. 2018c. Save the Artic Campaign. [Online]. [Date accessed 06/10/2020]. Available from: https://www.viviennewestwood.com/en/westwood-world/save-the-artic-campaign/ Vivienne Westwood. 2019. Instagram Post. Available from: https://www.instagram.com/p/B1WUrX3pwVr/?utm_ source=ig_embed Walker, T. 2013. Far Far from Land slideshow. [Online]. [Date accessed 10/11/2020]. Available from: https://www. wmagazine.com/gallery/tim-walker-mermaids/ Wonderland. 2012. Watch: Vivienne Westwood’s Red Carpet Capsule Collection. [Online]. [Date accessed 20/11/2020]. Available from: https://www.wonderlandmagazine.com/2012/05/17/watch-vivienne-westwoods-red-carpet-capsule-collection/

Figure List 1. 1000logos. 2016-2019. Vivienne Westwood Logo. [Online]. [Date accessed 05/10/2020]. Available from: https://1000logos.net/vivienne-westwood-logo/ 2. BOTTLETOP.2020. Logo. [Online]. [Date accessed 05/10/2020]. Available from: https://bottletop. org/ 3. Vivienne Westwood. 2018. Worlds End Campaign. [Online]. [Date accessed 15/11/2020]. Available from: https://www.viviennewestwood.com/en/collections/worlds-end-campaign/ 4. Vivienne Westwood. 2018. Worlds End Campaign. [Online]. [Date accessed 15/11/2020]. Available from: https://www.viviennewestwood.com/en/collections/worlds-end-campaign/ 5. Vivienne Westwood. 2018. The Story so Far. [Online]. [Date accessed 30/11/2020]. Available from: https://blog.viviennewestwood.com/the-story-so-far/ 6. Vivienne Westwood. 2018. The Story so Far. [Online]. [Date accessed 30/11/2020]. Available from: https://blog.viviennewestwood.com/the-story-so-far/ 7. Vivienne Westwood and Victoria and Albert Museum. 1976. Vivienne Westwood and Malcolm McLaren, 1976, England. Museum no. T.90-2002. [Online]. [Date accessed 01/12/2020]. Available from: https://www.vam.ac.uk/articles/vivienne-westwood-punk-new-romantic-and-beyond 8. Vivienne Westwood and Victoria and Albert Museum. 1981-2. Pirate ensemble, Vivienne Westwood, 1981 – 2, England. Museum no. T.334 to I-1982. [Online]. [Date accessed 01/12/2020]. Available from: https://www.vam.ac.uk/articles/vivienne-westwood-punk-new-romantic-and-beyond 9. Vivienne Westwood and Victoria and Albert Museum. 1990. Cut, Slash & Pull ensemble, Vivienne Westwood, 1990, England. Museum no. T229:2 to 3-2002. [Online]. [Date accessed 01/12/2020]. Available from: https://www.vam.ac.uk/articles/vivienne-westwood-punk-new-romantic-and-beyond 10. Vivienne Westwood and Victoria and Albert Museum. 1982. Mud bra, Vivienne Westwood and Malcolm McLaren, 1982, England. Museum no. T.238-1985. [Online]. [Date accessed 01/12/2020]. Available from: https://www.vam.ac.uk/articles/vivienne-westwood-punk-new-romantic-and-beyond 11. Vivienne Westwood. 2018. The Story so Far. [Online]. [Date accessed 30/11/2020]. Available from: https://blog.viviennewestwood.com/the-story-so-far/ 12. Vivienne Westwood. 2018. SS20 Look book. [Online]. [Date accessed 06/10/2020]. Available from: https://www.viviennewestwood.com/en/collections/vivienne-westwood/ss20-lookbook/ 13. Vivienne Westwood. 2018. Save the Artic Campaign. [Online]. [Date accessed 05/10/2020]. Available from: https://www.viviennewestwood.com/en/westwood-world/save-the-artic-campaign/ 14. The Big Issue Company Ltd. 2020. ISSUE 1372. [Online]. [Date accessed 05/10/2020]. Available from: https://www.bigissue.com/magazines/vivienne-westwood-is-making-a-fashion-statement-with-thebig-issue/ 15. Vivienne Westwood. 2018. SS20 Look Book. [Online]. [Date accessed 25/11/2020]. Available from: https://www.viviennewestwood.com/en/collections/vivienne-westwood/ss20-lookbook/ 16. Vivienne Westwood. 2018. SS20 Look Book. [Online]. [Date accessed 25/11/2020]. Available from: https://www.viviennewestwood.com/en/collections/vivienne-westwood/ss20-lookbook/ 17. Vivienne Westwood. 2018. SS20 Look Book. [Online]. [Date accessed 25/11/2020]. Available from: https://www.viviennewestwood.com/en/collections/vivienne-westwood/ss20-lookbook/ 18. Vivienne Westwood. 2018. SS21 Look Book. [Online]. [Date accessed 25/11/2020]. Available from: https://www.viviennewestwood.com/en/collections/vivienne-westwood/ss21-lookbook/ 19. Vivienne Westwood. 2018. SS21 Look Book. [Online]. [Date accessed 25/11/2020]. Available from: https://www.viviennewestwood.com/en/collections/vivienne-westwood/ss21-lookbook/ 20. Vivienne Westwood. 2018. AW21 Look Book. [Online]. [Date accessed 25/11/2020]. Available from: https://www.viviennewestwood.com/en/collections/vivienne-westwood/aw2021-lookbook/ 21. Vivienne Westwood. 2018. AW21 Look Book. [Online]. [Date accessed 25/11/2020]. Available from: https://www.viviennewestwood.com/en/collections/vivienne-westwood/aw2021-lookbook/ 22. Vivienne Westwood. 2018. AW21 Look Book. [Online]. [Date accessed 25/11/2020]. Available from: https://www.viviennewestwood.com/en/collections/vivienne-westwood/aw2021-lookbook/ 23. Vivienne Westwood. 2018. SS20 Look Book. [Online]. [Date accessed 25/11/2020]. Available from: https://www.viviennewestwood.com/en/collections/vivienne-westwood/ss20-lookbook/ 24. BOTTLETOP. 2020. Our Story. [Online]. [Date accessed 20/11/2020]. Available from: https://bottletop.org/pages/our-story

25. BOTTLETOP. 2020. Rosa Enamel Purse. [Online]. [Date accessed 05/11/2020]. Available from: https://bottletop.org/products/rosa-enamel-purse?variant=33255849066631 26. BOTTLETOP. 2020. Bellani Mini. [Online]. [Date accessed 05/11/2020]. Available from: https:// bottletop.org/products/bellani-mini?variant=29207229628461 27. BOTTLETOP. 2020. Sara Maxi Enamel. [Online]. [date accessed 05/11/2020]. Available from: https://bottletop.org/products/sara-maxi-enamel?variant=34646357016711 28. BOTTLETOP. 2020. Flowers. [Online]. [Date accessed 10/11/2020]. Available from: https://bottletop.org/collections/flowers-1 29. BOTTLETOP. 2020. Luciana Maxi Enamel. [Online]. [Date accessed 28/11/2020]. Available from: https://bottletop.org/products/luciana-maxi-enamel?variant=34646347513991 30. BOTTLETOP. 2020. KibĂŠ Fino Enamel Belt. [Online]. [Date accessed 28/11/2020]. Available from: https://bottletop.org/products/kibe-fino-enamel-belt?variant=31305643327623 31. Stella McCartney. Twitter Logo. [Online]. [Date accessed 24/11/2020]. Available from: https:// twitter.com/stellamccartney 32. Dufort, J. 2019. Stella McCartney Agents for Change AW19 Campaign image. [Online]. [Date accessed 20/1/2020]. Available from: https://www.teenvogue.com/story/stella-mccartney-winter-2019-campaign-extinction-rebellion 33. Dufort, J. 2019. Stella McCartney Agents of Change AW19 campaign. [Online]. [Date accessed 20/10/2020]. Available from: https://www.stellamccartney.com/experience/en/agents-of-change-thewinter-19-campaign/ 34. Dufort, J. 2019. Stella McCartney Agents of Change AW19 campaign. [Online]. [Date accessed 20/10/2020]. Available from: https://www.stellamccartney.com/experience/en/agents-of-change-thewinter-19-campaign/ 35. Shutterstock. [No date]. Plastic waste. [Online]. Date accessed 30/11/2020]. Available from: https://www.eco-business.com/news/plastic-waste-causes-us13-billion-damage-marine-ecosystems-unep/ 36. Forge Waste & Recycling. 2020. How little harms our wildlife. [Online]. [Date accessed 08/12/2020]. Available from: https://www.forgerecycling.co.uk/blog/how-litter-harms-our-wildlife/ 37. GreenPeace.[No Date]. Beach polluted by single use plastic. [Online]. [Date accessed 30/11/2020]. Available from: https://www.greenpeace.org/usa/oceans/preventing-plastic-pollution/ 38. Souders, P (Worldfoto). No Date. Antarctic fur seal with a deadly necklace of fish netting. [Online]. [Date accessed 30/11/2020]. Available from: https://www.nwf.org/Home/Magazines/National-Wildlife/2019/June-July/Conservation/Ocean-Plastic 39. Richard, C (stock.adobe.com). [No Date]. Litter in Ocean. [Online]. [Date accessed 30/11/2020]. Available from: https://blogs.biomedcentral.com/on-biology/2018/04/18/is-plastic-wastethe-next-global-environmental-crisis-earth-day/ 40. Cole, B. [No Date]. Plastic Trash Taints a Remote Beach on Aiduma Island. [Online]. [Date accessed 30/11/2020]. Available from: https://www.nwf.org/Home/Magazines/National-Wildlife/2019/ June-July/Conservation/Ocean-Plastic 41. Yurasits, B. [No Date]. The five-year programme will not increase the 9% plastics recycling rate in the US in the short or medium term. [Online]. [Date accessed 30/11/2020]. Available from: https:// www.packaging-gateway.com/features/potential-us-plastic-waste-act-falls-short-eunomia-interview/ attachment/screen-shot-2020-08-05-at-16-53-55/ 42. Eco & Beyond. 2020. Littered beach. [Online]. [Date accessed 30/11/2020]. Available from: https://www.ecoandbeyond.co/articles/plastic-patrol-cleaning-up-britains-beaches/ 43. Jones, A. 2020. Photograph of Leeds Art Gallery Natural Encounters for this study [Photograph]. At: Leeds: Leeds Art Gallery 44. Jones, A. 2020. Photograph of Brian Griffiths Some Flowers at Leeds Art Gallery Natural Encounters Exhibition for this study [Photograph]. At: Leeds: Leeds Art Gallery 45. Ralph, D. 2020. Beyond the Sea 4/4. [Online]. [Date accessed 25/10/2020]. Available from: http://davidralphstudio.com/projects/editorial/beyond-the-sea/ 46. Ralph, D. 2018. Accessories for Hunger. [Online]. [Date accessed 15/11/2020]. Available from: https://i.mdel.net/i/db/2018/10/984170/984170-800w.jpg 47. Ralph, D. 2018. Accessories for Hunger. [Online]. [Date accessed 15/11/2020]. Available from: https://i.mdel.net/i/db/2018/10/984170/984170-800w.jpg

48. Ralph, D. 2018. Accessories for Hunger. [Online]. [Date accessed 15/11/2020]. Available from: https://i.mdel.net/i/db/2018/10/984169/984169-800w.jpg 49. Ralph, D. 2018. Accessories for Hunger. [Online]. [Date accessed 15/11/2020]. Available from: https://i.mdel.net/i/db/2018/10/984167/984167-800w.jpg 50. Ralph, D. 2018. Accessories for Hunger. [Online]. [Date accessed 15/11/2020]. Available from: https://i.mdel.net/i/db/2018/10/984168/984168-800w.jpg 51. Dufort, J. [No date]. T Magazine. [Online]. [Date accessed 15/11/2020]. Available from: https://talent.maworldgroup.com/photo-fashion/johnny-dufort#portfolio/t-magazine-39/5e569a2b30c0-46bd-b8b7-41f7ac110002 52. Dufort, J. [No date]. T Magazine. [Online]. [Date accessed 15/11/2020]. Available from: https://talent.maworldgroup.com/photo-fashion/johnny-dufort#portfolio/t-magazine-39/5e569a2b30c0-46bd-b8b7-41f7ac110002 53. Dufort, J. [No Date]. Another. [Online]. [Date accessed 15/11/2020]. Available from: https:// talent.maworldgroup.com/photo-fashion/johnny-dufort#portfolio/another-80/5f75a501-9a54-4212846c-193eac110004 54. Dufort, J. [No date]. T Magazine. [Online]. [Date accessed 15/11/2020]. Available from: https://talent.maworldgroup.com/photo-fashion/johnny-dufort#portfolio/t-magazine-39/5e569a2b30c0-46bd-b8b7-41f7ac110002 55. Dufort, J. [No date]. Self Service. [Online]. [Date accessed 15/11/2020]. Available from: https://talent.maworldgroup.com/photo-fashion/johnny-dufort#portfolio/self-service-136/5fa42b48d494-41e7-820b-5b6bac110003 56. Dufort, J. [No date]. T Magazine. [Online]. [Date accessed 15/11/2020]. Available from: https://talent.maworldgroup.com/photo-fashion/johnny-dufort#portfolio/t-magazine-39/5e569a2b30c0-46bd-b8b7-41f7ac110002 57. Walker, T. 2013. #2 Far Far Land for W Magazine. [Online]. [Date accessed 10/11/2020]. Available from: https://www.wmagazine.com/gallery/tim-walker-mermaids/#2 58. Walker, T. 2013. #4 Far Far Land for W Magazine. [Online]. [Date accessed 10/11/2020]. Available from: https://www.wmagazine.com/gallery/tim-walker-mermaids/#4 59. Walker, T. 2013. #3 Far Far Land for W Magazine. [Online]. [Date accessed 10/11/2020]. Available from: https://www.wmagazine.com/gallery/tim-walker-mermaids/#3 60. Walker, T. 2013. #5 Far Far Land for W Magazine. [Online]. [Date accessed 10/11/2020]. Available from: https://www.wmagazine.com/gallery/tim-walker-mermaids/#5 61. Walker, T. 2013. #11 Far Far Land for W Magazine. [Online]. [Date accessed 10/11/2020]. Available from: https://www.wmagazine.com/gallery/tim-walker-mermaids/#11 62. Walker, T. 2013. #6 Far Far Land for W Magazine. [Online]. [Date accessed 10/11/2020]. Available from: https://www.wmagazine.com/gallery/tim-walker-mermaids/#6 63. Walker, T. 2013. #8 Far Far Land for W Magazine. [Online]. [Date accessed 10/11/2020]. Available from: https://www.wmagazine.com/gallery/tim-walker-mermaids/#8 64. Chong, C. [No Date]. Protection of the Ocean. [Online]. [Date accessed 20/11/2020]. Available from: https://edition.cnn.com/style/article/wan-yunfeng-environment-artist-intl-hnk/index.html 65. Chong, C. [No Date]. Protection of the Ocean. [Online]. [Date accessed 20/11/2020]. Available from: https://edition.cnn.com/style/article/wan-yunfeng-environment-artist-intl-hnk/index.html 66. Chong, C. [No Date]. Protection of the Ocean. [Online]. [Date accessed 20/11/2020]. Available from: https://edition.cnn.com/style/article/wan-yunfeng-environment-artist-intl-hnk/index.html 67. Parsons, L. [No Date]. Dazed and Confused magazine cover. [Online]. [Date accessed 07/12/2020]. Available from: https://www.artpartner.com/artists/beauty/lauren-parsons/archive/ story/dazed-confused-magazine-for-love-is-a-duel/ 68. Dazed & Confused. 2008. Smile cover. [Online]. [Date accessed 07/12/2020]. Available from: https://www.trendhunter.com/trends/financial-crisis-dazed-confused-cover-smile 69. Ethridge, R. 2015. Dazed & Confused Cover. [Online]. [Date accessed 07/12/2020]. Available from: https://coverjunkie.com/cover-categories/best-of-the-rest/dazed-confused/ 70. Miller, J (National Trust Images). [No Date]. Kynance Cove. [Online]. [Date accessed 29/11/2020]. Available from: https://www.nationaltrust.org.uk/kynance-cove 71. Miller, J (National Trust Images). [No Date]. Enjoying the white sand at Kynance Cove. [Online]. [Date accessed 29/11/2020]. Available from: https://www.nationaltrust.org.uk/kynance-

cove 72. Jones, A. 2020. Photograph of models for this study. [Photograph]. At: Leeds: Leeds University 73. Jones, A. 2020. Photograph of models for this study. [Photograph]. At: Leeds: Leeds University 74. Jones, A. 2020. Photograph of models for this study. [Photograph]. At: Leeds: Leeds University 75. Jones, A. 2020. Photograph of models for this study. [Photograph]. At: Leeds: Leeds University 76. Jones, A. 2020. Photograph of models for this study. [Photograph]. At: Leeds: Leeds University 77. Jones, A. 2020. Photograph of models for this study. [Photograph]. At: Leeds: Leeds University 78. Jones, A. 2020. Photograph of models for this study. [Photograph]. At: Leeds: Leeds University 79. Jones, A. 2020. Photograph of models for this study. [Photograph]. At: Leeds: Leeds University 80. Glossier. 2020. Boy Brow. [Online]. [Date accessed 08/12/2020]. Available from: https://www. glossier.com/products/boy-brow 81. Dogru, D. 2014. 33 examples of everyday natural makeup looks. [Online]. [Date accessed 07/12/2020]. Available from: https://www.sortra.com/33-examples-of-everyday-natural-makeup-look/ 82. Dogru, D. 2014. 33 examples of everyday natural makeup looks. [Online]. [Date accessed 07/12/2020]. Available from: https://www.sortra.com/33-examples-of-everyday-natural-makeup-look/ 83. Ralph, D. 2020. Glass Magazine. [Online]. [Date accessed 23/11/2020]. Available from: http:// davidralphstudio.com/projects/editorial/glass-magazine/ 84. Jones, A. 2020. Photograph of models for this study. [Photograph]. At: Leeds: Leeds University 85. Jones, A. 2020. Photograph of models for this study. [Photograph]. At: Leeds: Leeds University 86. Jones, A. 2020. Photograph of models for this study. [Photograph]. At: Leeds: Leeds University 87. Jones, A. 2020. Photograph of models for this study. [Photograph]. At: Leeds: Leeds University 88. Jones, A. 2020. Photograph of models for this study. [Photograph]. At: Leeds: Leeds University 89. Imaxtree. [No Date]. A look from Moschino Fall 2017 collection.[Online]. [Date accessed 08/12/2020]. Available from: https://fashionista.com/2017/02/moschino-fall-2017-collection 90. Walker, T. 2013. #8 Far Far Land for W Magazine. [Online]. [Date accessed 10/11/2020]. Available from: https://www.wmagazine.com/gallery/tim-walker-mermaids/#8 91. The Fall Media Group. 2020. Vivienne Westwood and Andreas Kronthalers AW 2020 Campaign. [Online]. [Date accessed 30/11/2020]. Available from: https://thefallmag.com/vivienne-westwood-autumn-winter-2020-campaign/ 92. Chong, C. [No Date]. Protection of the Ocean. [Online]. [Date accessed 20/11/2020]. Available from: https://edition.cnn.com/style/article/wan-yunfeng-environment-artist-intl-hnk/index.html 93. Jones, A. 2020. Photograph of models for this study. [Photograph]. At: Leeds: Leeds University 94. Jones, A. 2020. Photograph of models for this study. [Photograph]. At: Leeds: Leeds University 95. Jones, A. 2020. Photograph of models for this study. [Photograph]. At: Leeds: Leeds University 96. Jones, A. 2020. Photograph of model for this study wearing sculpture. [Photograph]. At: Leeds: Leeds University 97. Jones, A. 2020. Photograph of model for this study wearing sculpture. [Photograph]. At: Leeds: Leeds University

98. Jones, A. 2020. Photograph of model for this study wearing sculpture. [Photograph]. At: Leeds: Leeds University 99. Jones, A. 2020. Photograph of model for this study wearing sculpture. [Photograph]. At: Leeds: Leeds University 100. Jones, A. 2020. Photograph of model for this study wearing sculpture. [Photograph]. At: Leeds: Leeds University 101. Jones, A. 2020. Photograph of model for this study wearing sculpture. [Photograph]. At: Leeds: Leeds University 102. Jones, A. 2020. Photograph of model for this study wearing sculpture. [Photograph]. At: Leeds: Leeds University 103. Jones, A. 2020. Photograph of model for this study wearing sculpture. [Photograph]. At: Leeds: Leeds University 104. Jones, A. 2020. Contact sheets of test shoot for this study. [PDF]. At: Leeds: Leeds University 105. Jones, A. 2020. Contact sheets of test shoot for this study. [PDF]. At: Leeds: Leeds University 106. Jones, A. 2020. Contact sheets of test shoot for this study. [PDF]. At: Leeds: Leeds University 107. Jones, A. 2020. Poses test shoot for this study.[Photograph]. At: Leeds: Leeds University 108. Jones, A. 2020. Poses test shoot for this study.[Photograph]. At: Leeds: Leeds University 109. Jones, A. 2020. Poses test shoot for this study.[Photograph]. At: Leeds: Leeds University 110. Jones, A. 2020. Poses test shoot for this study.[Photograph]. At: Leeds: Leeds University 111. Jones, A. 2020. Poses test shoot for this study.[Photograph]. At: Leeds: Leeds University 112. Jones, A. 2020. Poses test shoot for this study.[Photograph]. At: Leeds: Leeds University 113. Jones, A. 2020. Poses test shoot for this study.[Photograph]. At: Leeds: Leeds University 114. Jones, A. 2020. Poses test shoot for this study.[Photograph]. At: Leeds: Leeds University 115. Jones, A. 2020. Poses test shoot for this study.[Photograph]. At: Leeds: Leeds University 116. Jones, A. 2020. Poses test shoot for this study.[Photograph]. At: Leeds: Leeds University 117. Jones, A. 2020. Poses test shoot for this study.[Photograph]. At: Leeds: Leeds University 118. Jones, A. 2020. Poses test shoot for this study.[Photograph]. At: Leeds: Leeds University 119. Jones, A. 2020. Poses test shoot for this study.[Photograph]. At: Leeds: Leeds University 120. Jones, A. 2020. Edited pose from test shoot for this study.[Photograph]. At: Leeds: Leeds University 121. Jones, A. 2020. Outdoor test shoot for this study.[Photograph]. At: Leeds: Leeds University 122. Jones, A. 2020. Manipulated from outdoor test shoot for this study.[Photograph]. At: Leeds: Leeds University Figures from final 12 outcomes: Outcome 1: • Vivienne Westwood. 2018. AW21 Look Book. [Online]. [Date accessed 30/11/2020]. Available from: https://www.viviennewestwood.com/en/collections/vivienne-westwood/aw2021-lookbook/ • BOTTLETOP. 2020. Margot Enamel. [Online]. [Date accessed 30/11/2020]. Available from: https://bottletop.org/products/margot-enamel?variant=30008791498797 • Rapid Packaging. 2019. Oranges in mesh bag. [Online]. [Date accessed 30/11/2020]. Available from: https://www.rapidpackaging.com/packaging-bags/netting-bags/oranges-in-mesh-bag/ • Henry, C. 2020. Image of Cape Kiwanda. [Online]. [Date accessed 01/12/2020]. Available from: https://unsplash.com/photos/rfUNSsGPXFM Outcome 2: • Rapid Packaging. 2019. Oranges in mesh bag. [Online]. [Date accessed 30/11/2020]. Available from: https://www.rapidpackaging.com/packaging-bags/netting-bags/oranges-in-mesh-bag/ • BOTTLETOP. 2020. Kibé Fino Belt. [Online]. [Date accessed 05/12/2020]. Available from:

https://bottletop.org/products/kibe-fino-belt?variant=30299886485639 • Vivienne Westwood. 2018. AW21 Look Book. [Online]. [Date accessed 30/11/2020]. Available from: https://www.viviennewestwood.com/en/collections/vivienne-westwood/aw2021-lookbook/ • Sketch the Sun. 2016. Fog on the seaside. [Online]. [Date accessed 08/12/2020]. Available from: https://unsplash.com/photos/eW8d0a0hd6I Outcome 3: • Vivienne Westwood. 2018. AW21 Look Book. [Online]. [Date accessed 30/11/2020]. Available from: https://www.viviennewestwood.com/en/collections/vivienne-westwood/aw2021-lookbook/ • Vivienne Westwood. 2018. AW21 Look Book. [Online]. [Date accessed 30/11/2020]. Available from: https://www.viviennewestwood.com/en/collections/vivienne-westwood/aw2021-lookbook/ • Sketch the Sun. 2016. Fog on the seaside. [Online]. [Date accessed 08/12/2020]. Available from: https://unsplash.com/photos/eW8d0a0hd6I • Haymarket Media Group Ltd. [No date]. Sainsburys bag. [Online]. [Date accessed 30/11/2020]. Available from: thirdsector.co.uk/plastic-bag-toll-raised-58m-good-causes-last-year/fundraising/article/1489024 • Gourmandize.com. 2014. Plastic bottle. [Online]. [Date accessed 30/11/2020]. Available from: https://www.gourmandize.com/article-6161-ok-so-that-s-what-that-plastic-ring-is-for.htm • BOTTLETOP. 2020. Amazona Mini Enamel. [Online]. [Date accessed 30/11/2020]. Available from: https://bottletop.org/products/amazona-mini-enamel?variant=34728209547399 Outcome 4: • Vivienne Westwood. 2018. AW21 Look Book. [Online]. [Date accessed 30/11/2020]. Available from: https://www.viviennewestwood.com/en/collections/vivienne-westwood/aw2021-lookbook/ • Rapid Packaging. 2019. Oranges in mesh bag. [Online]. [Date accessed 30/11/2020]. Available from: https://www.rapidpackaging.com/packaging-bags/netting-bags/oranges-in-mesh-bag/ • Saltwater Brewery/ We Believers. [No date]. A turtle mutilated by plastic six-pack ring. [Online]. [Date accessed 03/12/2020]. Available from: https://www.latimes.com/food/la-dd-edible-six-packrings-20160524-snap-story.html • BOTTLETOP. 2020. Anja Enamel. [Online]. [Date accessed 04/12/2020]. Available from: https://bottletop.org/products/anja-enamel?variant=34646178922631 • BOTTLETOP. 2020. Kibé Belt. [Online]. [Date accessed 03/12/2020]. Available from: https:// bottletop.org/products/kibe?variant=1184783596 • The MissMyGroup. 2015. Walkers prawn cocktail crisps 6 x 25g. [Online]. [Date accessed 06/12/2020]. available from: https://www.missmysupermarket.com/walkers-prawn-cocktail-crisps6x25g.html • Rosemary and Pork Belly. 2013-2020. 11 of the best winter beaches in the UK: Cornwall. [Online]. [Date accessed 01/12/2020]. Available from: https://rosemaryandporkbelly.co.uk/best-winterbeaches-uk/ Outcome 5: • Vivienne Westwood. 2018. AW21 Look Book. [Online]. [Date accessed 30/11/2020]. Available from: https://www.viviennewestwood.com/en/collections/vivienne-westwood/aw2021-lookbook/ • The MissMyGroup. 2015. Walkers prawn cocktail crisps 6 x 25g. [Online]. [Date accessed 06/12/2020]. available from: https://www.missmysupermarket.com/walkers-prawn-cocktail-crisps6x25g.html • Gourmandize.com. 2014. Plastic bottle. [Online]. [Date accessed 30/11/2020]. Available from: https://www.gourmandize.com/article-6161-ok-so-that-s-what-that-plastic-ring-is-for.htm • IndiaMARKT. 1996-2020. Food Tin Can OTS. [Online]. [Date Accessed 30/11/2020]. Available from: https://www.indiamart.com/seahath-canningcomp/ots-cans.html • BOTTLETOP. 2020. Helena Enamel. [Online]. [Date accessed 04/12/2020]. available from: https://bottletop.org/products/helena-enamel?variant=34587578302599 • Wearecornwall. [No Date]. Kynance Cove. [Online]. [Date accessed 30/11/2020]. Available

from: https://wearecornwall.com/listings/kynance-cove/ Outcome 6: • Wearecornwall. [No Date]. Kynance Cove. [Online]. [Date accessed 30/11/2020]. Available from: https://wearecornwall.com/listings/kynance-cove/ • Vivienne Westwood. 2018. AW21 Look Book. [Online]. [Date accessed 30/11/2020]. Available from: https://www.viviennewestwood.com/en/collections/vivienne-westwood/ aw2021-lookbook/ • BOTTLETOP. 2020. Bellani Enamel. [Online]. [Date accessed 30/11/2020]. Available from: https://bottletop.org/products/bellani-enamel?variant=30287760294023 • BOTTLETOP. 2020. Kibé Belt Enamel. [Online]. [Date accessed 30/11/2020]. Available from: https://bottletop.org/products/kibe-belt-enamel?variant=31305785933959 Outcome 7: • BOTTLETOP. 2020. Luciana Enamel. [Online]. [Date accessed 01/12/2020]. Available from: https://bottletop.org/products/luciana-enamel?variant=33255323041927 • Vivienne Westwood. 2018. AW21 Look Book. [Online]. [Date accessed 30/11/2020]. Available from: https://www.viviennewestwood.com/en/collections/vivienne-westwood/ aw2021-lookbook/ • Packari.com. 2020. PET plastic bottle. [Online]. [Date accessed 01/12/2020]. Available from: https://www.packari.com/en/Products/Food-packaging/PET-plastic-beverage-bottles/PETplastic-bottle-for-beverage-500-ml-clear-incl-Screw-cap-PCO-28-white-for-PET-beverage.html • ThatPhotoGuyNL. 2018. Sunrise at Cathedral Cove. [Online]. [Date accessed 02/12/2020]. Available from: https://unsplash.com/photos/-TsNjhAkCbY Outcome 8: • Vivienne Westwood. 2018. AW21 Look Book. [Online]. [Date accessed 30/11/2020]. Available from: https://www.viviennewestwood.com/en/collections/vivienne-westwood/ aw2021-lookbook/ • Vivienne Westwood. 2018. AW21 Look Book. [Online]. [Date accessed 30/11/2020]. Available from: https://www.viviennewestwood.com/en/collections/vivienne-westwood/ aw2021-lookbook/ • BOTTLETOP. 2020. Morela. [Online]. [Date accesed 04/12/2020]. Available from: https:// bottletop.org/products/morela?variant=28366364616 • Gourmandize.com. 2014. Plastic bottle. [Online]. [Date accessed 30/11/2020]. Available from: https://www.gourmandize.com/article-6161-ok-so-that-s-what-that-plastic-ring-is-for.htm • Rapid Packaging. 2019. Oranges in mesh bag. [Online]. [Date accessed 30/11/2020]. Available from: https://www.rapidpackaging.com/packaging-bags/netting-bags/oranges-inmesh-bag/ • Ward, E. 2017. Interesting beach lighting. [Online]. [Date accessed 07/12/2020]. Available from: https://unsplash.com/photos/LsPw-DE_GAs Outcome 9: • Vivienne Westwood. 2018. AW21 Look Book. [Online]. [Date accessed 30/11/2020]. Available from: https://www.viviennewestwood.com/en/collections/vivienne-westwood/ aw2021-lookbook/ • Gourmandize.com. 2014. Plastic bottle. [Online]. [Date accessed 30/11/2020]. Available from: https://www.gourmandize.com/article-6161-ok-so-that-s-what-that-plastic-ring-is-for.htm • Lamb, C. 2020. Down the coastline. [Online]. [Date accessed 02/12/2020]. Available from: https://unsplash.com/photos/nYzSYb1YSPg • BOTTLETOP. 2020. Luciana Fino Enamel. [Online]. [Date accessed 05/12/2020]. Available from: https://bottletop.org/products/luciana-fino-enamel?variant=34728286355591

Declaration of Academic Integrity

Outcome 10: • Vivienne Westwood. 2018. AW21 Look Book. [Online]. [Date accessed 30/11/2020]. Available from: https://www.viviennewestwood.com/en/collections/vivienne-westwood/aw2021-lookbook/ • Gourmandize.com. 2014. Plastic bottle. [Online]. [Date accessed 30/11/2020]. Available from: https://www.gourmandize.com/article-6161-ok-so-that-s-what-that-plastic-ring-is-for.htm • Rapid Packaging. 2019. Oranges in mesh bag. [Online]. [Date accessed 30/11/2020]. Available from: https://www.rapidpackaging.com/packaging-bags/netting-bags/oranges-in-meshbag/ • BOTTLETOP. 2020. Sara Enamel. [Online]. [Date accessed 03/12/2020]. Available from: https://bottletop.org/products/sara-enamel?variant=30748707618951 • Brooks, S. 2016. Hayle, Cornwall. [Online]. [Date accessed 05/12/2020]. Available from: https://www.flickr.com/photos/moonfruitphotography/37527563721/

Student name Student Id number Programme of study Module code Module title Lecturer/Tutor Mark deduction for late hand in

Outcome 11: • Haymarket Media Group Ltd. [No date]. Sainsburys bag. [Online]. [Date accessed 30/11/2020]. Available from: thirdsector.co.uk/plastic-bag-toll-raised-58m-good-causes-last-year/ fundraising/article/1489024 • Toolstation. 2020. Cable Tie Black 300mm x 4.8. [Online]. [Date accessed 01/12/2020]. Available from: https://www.toolstation.com/cable-tie-black/p83850 • BOTTLETOP. 2020. Red Rose. [Online]. [Date accessed 04/12/2020]. Available from: https://bottletop.org/products/womens-day-red-rose • Horner, C. 2018. Better than coffee. [Online]. [Date accessed 29/11/2020]. Available from: https://unsplash.com/photos/r2uWDUgOXd0

Amy-Louise Jones 201229560 Fashion Marketing DESN3582 Fashion, Styling and Photography Mr Mike Anderson

For individual pieces of work I promise that in the attached submission I have not presented or attempted to present anyone else’s work as my own except where I have explicitly indicated. I understand that to do so would mean that I have committed plagiarism, the University’s definition of which is published. I realise that if I commit plagiarism I can be expelled from the University and that it is my responsibility to be aware of the University’s regulations on plagiarism and their importance. I reconfirm my consent to the University copying and distributing any or all of my work in any form and using third parties (who may be based outside the EU/EEA) to monitor breaches of regulations, to verify whether my work contains plagiarised material and for quality assurance purposes.

Outcome 12: • Horner, C. 2018. Better than coffee. [Online]. [Date accessed 29/11/2020]. Available from: https://unsplash.com/photos/r2uWDUgOXd0 • Vivienne Westwood. 2018. AW21 Look Book. [Online]. [Date accessed 30/11/2020]. Available from: https://www.viviennewestwood.com/en/collections/vivienne-westwood/aw2021-lookbook/ • Vivienne Westwood. 2018. AW21 Look Book. [Online]. [Date accessed 30/11/2020]. Available from: https://www.viviennewestwood.com/en/collections/vivienne-westwood/aw2021-lookbook/ • Haymarket Media Group Ltd. [No date]. Sainsbury’s bag. [Online]. [Date accessed 30/11/2020]. Available from: thirdsector.co.uk/plastic-bag-toll-raised-58m-good-causes-last-year/ fundraising/article/1489024 • BOTTLETOP. 2020. Anja. [Online]. [Date accessed 03/12/2020]. Available from: https:// bottletop.org/products/anja

I confirm that I have declared, in writing with supporting evidence, all mitigating circumstances to the Module Manager and the School General Office that may be relevant to the assessment of this piece of work and that I wish to have taken into account. I am aware of the school’s policy on mitigation, and procedures for the submission of statements and evidence of mitigation. I am aware of the penalties imposed for the late submission of coursework. Signature

Date

08/12/2020

Confirmation of the receipt of work Module Code Hand in date Student’s name

Receipt not valid unless dated and either signed or stamped by school staff