Levi's X WE ARE GEN by Amy Heard

Amy Heard Stacey Machin

Fig 1. (Front Page)WE ARE GEN x Leviâ&#x20AC;&#x2122;s, Own Work. 2018

X WE ARE GEN

Contents

Introduction Introduction 06

Chapter 3 WE ARE GEN

p1-7

The Brief

36-37 Primary Research Insights 38-41 Who is already supplying creative education ? 42-45 The Idea 46-47 Creative Concept 48-51 Consumer Profiles 52-53 The Campaign Imagery 54-55 The Campaign Video 56-57 The Products 58-59 The Platform 60-61 The Customisation Tour 62-63 The Futures Tour 64-65 The Showcase

Promotion 68-69 70-71 72-73 74-75 76-77

Who are Gen Z ? 10-11 12-13 14-15 16-17 18-19 20-23

Chapter 4 p36-65

Chapter 1

p68-77

Campaign Timeline Frequency of Illusion Instagram YouTube Outdoor Advertising

Chapter 2 p10-23

Clicktivist Generation What are Gen Z worried about ? Social Trends Gen Z and Brands Gen Z Influencers Who is engaging with Gen Z ?

Chapter 5 The Future

p80-87

80-81 Creative Calender 82-83 Testing the Idea & Measuring Success 84-85 The Future 86-87 Final Words

Levi’s & The Creative Industry p26-33 28-29 30-31 32-33

Levi’s Consumer Reach The Age of Re-engagement Creative Education

Chapter 6 References 90-91 92-93 94-95 96-101

p90-101

References In essay quote references Figure references Bibliography

“Thanks to the role of technology in our lives today, creative, innovative thoughts sparked by teenagers no longer have to be filtered and processed through another generation’s prism in order to garner public feedback or serve the public interest.” Vivek Pandit, 2015

Introduction: The Brief In response to the brief set by Levi’s, this report has focused on uncovering the inspiration that drives this generation of young people. This report sets out to explore both how the Levi’s brand is perceived by Gen Z, and how they connect to meaningful experiences from brands. WE ARE GEN communicates the Levi’s brand to this generation with an approach that is engaging and authentic.

Who are Gen Z ?

Clicktivist Generation

“Fighting for inclusivity, diversity, and genderneutrality, Generation Z is poised to turn the fashion world on its head.” Erin Cunningham,2016

Being the only generation to have grown up in a completely digital world, Gen Z (born between 1995-2010) have had an influx of information readily available to them from an early age. This has allowed them to process information more efficiently and through their own lenses, without influence from social standpoints and other generational perceptions. In a time of social and political unrest, younger generations are propelled by clicktivism, using digital media to expedite activism and social change (WGSN, 2016). Therefore, this generation increasingly has a mindset grounded in authenticity and being open minded about the world around them. Gen Z have become increasingly proactive in their opinions. This was prevalent in the UK during the 2017 general election, with the Oxford Dictionary coining ‘Youthquake’ as their word of the year. Gen Z continued to use their voice with the March for Our Lives protests, where they have taken the conversation both online, by using social media to put pressure on multi million dollar companies and keeping the conversation going. And through offline, where many students have taken an active approach in both school walkouts and mass protests. Gen Z are making sure their generation makes a change. The empowered mindset of the clicktivist generation has also emboldened their attitude towards education and entrepreneurism. Growing up during the postcrash has left a majority of Gen Z-ers concerned about their financial futures. They are therefore motivated to craft their own futures through higher education and entrepreneurship (WGSN,2015). Gen Z are focused on curating their educational experience, both in and outside of school, and are willing to take risks for a fulfilling career.

Generation Z

How many of them are worries about ? results taken from online survey (see Appendix P.81)

90%

87%

The future

77%

Environment

Equality

81% 54%

Think brands should held them have their voices heard

Politics Fig 2. What are generation Z worried about survey infographic, own work, 2018

Social Trends Shifting trends in technology and social activism have impacted the attitudes of Gen Z. A study into Gen Z values highlighted that 56% consider themselves to be socially conscious (Inc., 2018). When asked in primary research participants had concerns for a number of social issues including Equality (77%), Environment (87%) and politics (54%). According to Futurecast data, 60% of Gen Z consumers will support brands that take a stand on issues they believe in (WGSN, 2017), similarly 81% of participants interviewed agreed that brands should help them have their voices heard. (See Appendix p81)

Environment Gen Z are becoming increasingly concerned about the environment, 87% listed it as a main issue they were concerned about (see appendix p81). Lifestyle trends such as veganism are popular with this generation. Vegannism is not a fad but an entire lifestyle overhaul, demonstrating Gen Zâ&#x20AC;&#x2122;s commitment to environmental welfare for the long term. This also translates into their buying habits as a 85% of Gen Z consumers would choose eco-friendly products over those that are not (WGSN,2017). Brands need to become more transparent by rethinking how sustainable and ethical their practises and products.

Social Gen Z are generally accepting and aware of new gender norms, a study by Brand House found that 56% of Gen Z consumers said they knew someone that used gender neutral pronouns (Brand House, 2018). For Gen Z gender is no longer a defining social construct. Gen Zâ&#x20AC;&#x2122;s openness to gender fluidity are seen through celebrities such as Amanda Stenberg, Jazz Jennings and Jaden Smith. Gen Z want to be seen as individuals and not be social demographic or outdated gender stereotypes. Gender fluidity is the norm and brands must evaluate how they translate this in their marketing and products.

Fig 3. Trends impacting Gen Z mood board, own work, 2018

““we are seeing teens today force brands to redirect their messages from aspirational to more realistic. We are seeing a move away from the brand being the hero to the brand playing a more supportive role.”.” FutureCast, 2017

Gen Z and Brands By 2020 Gen Z will account for 40% of all consumers (MNI Targeted Media Inc, 2018), it is therefore paramount that brands understand Gen Z’s needs and wants. Gen Z’s educational and technological exposure sets them apart in terms of what brands can do to offer them tailored experiences that will engage them. Their perception of financial stability means that they require practicality from brands, where they are tailored to as an individual. Subscription based services such as Netflix or Voxi provide this financial flexibility. Non-sales environments also promote an authentic experience from brands that aren’t solely based on product. When asked Gen Z participants shared that they are attracted to brands that offer them fun and educational experiences.

Gen Z influencers Celebrity endorsements fail to interest Gen Z consumers with 67% of them more interested in narratives and content that have realistic endings(WGSN,2016), Gen Z consumers are interesting in following people that they can relate to and who represent the diverse and inclusive nature of this generation.

The Slumflower

Ellen Jones

Loyle Carner

Saffiyah Khan

IGGY LDN

Glacier Girl

Real name Chidera Eggerue is an award winning blogger and author of What A Time to Be Alone. She address the subjects of female empowerment, self love and body positivity.

Ellen Jones is a campaigner and creative who focuses on LGBTQ+, mental health and disabilities. She has spread awareness of LGBTQ+ inequality through her YouTube series Queeries and her podcast Never Read The Comments which focuses on how social media can be used to make positive social changes.

Actor and musician and Mercury price nominee. Set up an initiative to help teach young people with ADHD cooking skills.

Well known for a photo of her confronting a EDL member at a protest. As an activist and artist she focuses on diversity and social inequality Little Founder of Gal-Dem magazine that campaigns for better representation of women of colour.

London based director, writer and public speaker, known for short films Black Boys Donâ&#x20AC;&#x2122;t Cry and Fatherhood that explore masculinity.

Elizabeth Farrell is an environmental activist and artist that goes by the name of Glacier Girl, who uses social media to raise awareness about the effects of climate change. Her work was shown in the V&Aâ&#x20AC;&#x2122;s You Say You Want a Revolution? exhibition.

Fig 4. Gen Z influencers mood board, own work, 2018

Who is engaging with Gen Z? Numerous brands have seen success in engaging with a Gen Z audience by targeting specific Gen Z consumer groups, such as students and creatives.

“One of the first insights we came up against was ‘please don’t stereotype us!’ Young people are tired of brands showing them campaigns filled with skateboarders that second guess their identity. It is something they are now allergic to. We are not trying to second guess what this audience is into or their passion points, our role here is about enabling the things they care about.”

Dan Lambrou, Director of Voxi. 2017

Asos Blank Canvas Tour- Giving a personalised back to school

experience for students by creating an offline and online campaign that creates an outlet for them to showcase their creativity on a local level, supporting and elevating individuality.

Voxi Endless Possibilities - Created a hub for students so that they

could film what â&#x20AC;&#x2DC;Endless Possibilitiesâ&#x20AC;&#x2122; meant to them. They rewarded them with prizes that included bursaries for education and a chance to spend a day with one of the Voxi creators.

Adobe Made By You - Inspired students to develop their skills and

shape their futures with the help of Adobe Creative Cloud. They had inspirational speakers at the events who shared their experiences, as well as Adobe Masterclasses to help students understand the tools.

Spotify 30 Second Rave - Let students have fun and find out about Spotify in a non-sales environment.

See Appendix p33 - 39 for Brand Case Studies

Fig 5. What brands are reaching Gen Z mood board, own work, 2018

Leviâ&#x20AC;&#x2122;s & The Creative Industry

Fig 6. Levi’s 501 Jeans, Andy Warhol, 1984

Fig 7. The Spirit of Levi’s, Downey, Lynch and McDonough, 1995

“I liked the culture in it, that was good to see, it was very Levi’s and the music was good because it makes you remember it.”

Gen Z Focus Group Participant on Levi’s Circle’s commercial (See Appendix p67-71)

Fig 8. Levi’s Circles Advert, Levi’s. 2017

Levi’s Consumer Reach

Fig 9. Byrrrh x Levi’s Skateboarding, Hero Magazine. 2017

Fig 10. Global Pride, Levi’s. 2017

Levi’s are involved in various projects and programmes that appeal to the activist values and social causes that are important to Gen Z. Their worker well-being initiative, Water<Less, Waste<Less and LGBTQ+ pride involvement convey the Levi’s ethos of community and environmental protection. The Levi’s Music project and skateboarding parks also encourage the brand’s commitment to providing young people with education and creative outlets in community focused projects. During a research focus group (Appendix p67-71) Gen Z participants shared that they were not aware of the scope of Levi’s activist involvement. This is due to the brands philosophy of authenticity as they focus on the impacts of their projects, rather than ‘shouting’ about them in advertising. This potentially limits Levi’s reach to this generation because they are unaware of Levi’s social involvement.

Furthermore, Levi’s current advertising has seen credibility with the younger generation. During a focus group activity comparing Levi’s Circles video commercial to Dr Martens ‘A History of Standing for Something’, participants substantially stated their preference for Levi’s because it showcased the celebration of diversity and culture, rather than focusing on brand heritage alone. The advert communicated an authentic approach from Levi’s that is considerably suited to Gen Z’s social attitudes towards community, intersectionality and bringing cultures together.

The Age of Re-engagement The LSN Global briefing in 2017 revealed how cuts to public spending in the UK from 2015-2020 are impacting education. As a result. Brands are increasingly stepping in where governments are failing. Customers also believe that brands now bear a responsibility to communicate their sense of purpose and drive social change (Buchanan, 2017). Leviâ&#x20AC;&#x2122;s participation in community and environmental projects conveys how brands have taken responsibility to tackle social issues.

Fig 11. The Age of Re-Engagement, Own Image. 2017

“We are a creative and passionate generation who need to use our fresh and positive minds to seize opportunities and encourage others to do the same.” Mohammed Usman, Winner of Life Skills Champion 2015

Creative Education The creative industries are growing at double the rate of the UK economy, with the potential to create 900,000 jobs by 2030. Yet, creative education within schools has come under threat. A BBC Survey from 1200 UK schools revealed that 90% of schools have had to cut back on lesson times, staff and facilities due to spending cuts and the government focus being solely on core subjects (Jeffreys, 2018). Without this access to creative education, young people have a limited outlet for creative expression in schools and their communities.

Fig 12. The UK Creative Economy 2016, The Creative Industries.

As educational systems struggle to sustain art subjects, there will be an impact on the innovative growth of the UK’s creative industries. Creative subjects encourage students to develop an understanding of the vast diversity of cultures (Ewing and Sauders, 2016). Other countries are catering for creative education, South Korea for example devotes 10% of school time to projects that foster creativity (Vincent-Lancrin,2013). This has seen success with students honing skills that will be valuable to their countries’ future workforce, including critical thinking, innovation and character building.

WE ARE GEN

Which platform do you prefer to use?

37 most likely Where are you to see advertisements?

Will you be attending a festival this summer?

Snapchat 29%

Online 50%

Yes 52%

Instagram 71%

Offline 50%

No 48%

Fig 14. Gen Z Survey Infographic, Own Work. 2018 (See Appendix p82)

Primary Research Insights 20 design students were asked what workshops or resources they would find useful. (See appendix p85-104). The majority said that they lacked digital skills in programmes such as Photoshop and website building. This implies the gap in creative resources that Gen Z need better access to. Insights from online surveys found that Instagram was Gen Z’s preferred platform to see advertisements. The way Instagram is predominantly used by Gen Z should be considered when promoting the campaign through posts and story highlights.

Fig 13. Levi’s Tailor Shop, Levi’s, 2016

Another insight from these surveys was that 52% of participants would be attending a festival this summer. If a large number of Gen Z attended music festivals then this is a space in which Levi’s could use to connect and promote the campaign. When asked if they would buy from a brand stall at a festival the majority (60%) stated they were unlikely to purchase. This demands the consideration of providing a free customisable product in a non-sales environment to encourage consumer engagement and memorable experiences. From focus groups conducted with college students in Nottingham and Stoke-onTrent, (see appendix p48-63) found that Gen Z enjoyed experiential experiences when a live act or performer was involved. Therefore, Levi’s programmes such as the music project could be incorporated into the experiential aspect of the WE ARE GEN events.

Who is already supplying creative education? Charities and brands are beginning to support creative youths by providing resources and funding.

â&#x20AC;&#x153;We believe everyone can find their voice through creativity. Our creative courses can help those to realise their own artistic vision, giving them the skills, tools and networks to develop your creativity and turn their passions into professional success.â&#x20AC;? Creative Youth Network, 2015

Creative Youth Network

The creative youth network is a Bristol based charity that focused on providing at risk or disadvantage young people to access to creative resources and safe spaces. They do this through offering creative courses that ‘empower young people to find their own artistic vision and give them the tools and networks to develop their creativity. They support creative youths through their creative futures project which works with artists by developing their networking and self-promotion skills as well as providing studio space and professional business support.

Mighty creatives

Based in the East Midlands, Mighty Creatives works with education providers and cultural organisations to support and develop ways of tackling inequality of access for young people. They have created a community of ChangeMakers, through a process of exploration, reflection and action that uses creativity and collaboration to affect social problems young people care about and activate their own talent. Has set up the Emerge festival which is set up, run and designed by young people to showcase their creative talents.

Asos

Asos have a range of platforms, competitions and projects that work with local and global charities to engage with young creatives. Their Fashion With Integrity foundation provides infrastructure and education to support and enable disadvantage young adults reach their potential through focused projects. Asos also supports young creatives through their Fashion Discovery scheme which gives young designers the chance to win an investment of &50,000 and mentoring from industry experts as well as the opportunity to have their collections stocked on Asos.

Barclay’s Life Skills

Launched in 2013 with the aim of giving young people access to skills, information and opportunities they need to transition into the working world. Barclay’s do this by providing online content, school workshops, networking events, work placements and apprenticeships. Participants of the programme receive a recognised award and can enter the life skills champion award which celebrates the achievements of the programme. See Appendix p21- 31 for Brand Case Studies

Fig 15. Who is supplying creative education mood board, own work, 2018

The Idea

Giving generation Z the resources and tools through Leviâ&#x20AC;&#x2122;s to bridge the gap in creative education.

The Problem Cuts in public funding and education curriculum have impacted the creative outlets of young people, and are limiting possibilities to pursue a creative career throughout UK communities.

The Idea Aim By bridging the gap between creative education and Gen Z, Leviâ&#x20AC;&#x2122;s will enable young people to pursue an aspirational and fulfilling career, by providing the resources required to realistically pursue their interests in the creative industry.

Fig 16. We Are Urban, n.d

What does the product do for me?

How would I describe the brand ? self expression

self confidence

WE ARE GEN WE ARE GEN is a Levi's supported project that aims to enable, inspire and support the next generation of creatives.

educational

Symbols

WE ARE GEN

supports

inspirational

educates

celebratory

enables Limited edition merchandise

The space after the WE ARE GEN is let blank so that it can be interchangeable and leaves it open for Gen Z to decided how they want to be portrayed, avoiding the risk of stereotyping. Where appropriate a yellow version of the Levi’s batwing logo will be used on limited edition items and campaign imagery to distingish the WE ARE GEN platform from ordinary Levi’s campaigns.

investment

‘take a stand’ strong

Brand Aim To bridge the gap between creative education and Gen Z. Enable young people to pursue an aspirational and fulfilling career. providing resources required to pursue their interests in the creative industry

authentic/ realistic casting positive

authentic

encouraging cares about the future

aspirational

connected

Brand Personality

confident

creative part of a community/ movement

How does the brand make me look?

motivated inspired

How the brand makes me feel?

Fig 17. WE ARE GEN brand onion model, own work, 2018

Creative Concept The Creative concept combines the visuals of young people and creativity, with the messages of positivity and empowerment about their futures. This is emphasised with positive, thought provoking statements showcased in campaign imagery. Pantone’s Gen Z yellow is incorporated into the campaign because of it is current and represents this generation’s optimistic attitude. The use of yellow throughout the campaign is integrable with Levi’s batwing logo on limited edition merchandise. The duo toned styled imagery for the campaign was inspired by Andy Warhol’s 1984 Levi’s 501 jeans print with the intent of showcasing Levi’s historical connection to creatives and using this as a foundation for the creative futures of Gen Z.

Fig 18. Creative Concept Moodboard, Own Work. 2018

Consumer profile

The Activist embodies the consumer that WE ARE GEN will target as an enabler of positive change. This consumer fits into the early adopter on the Diffusion of Innovation scale because they are seen as points of wisdom amongst their peers due to their interest and engagement in social, political and environmental causes. Although they are concerned about the future they remain positive that their generation can make a change. One person who embodies this consumer profile is Alex 23 an NHS Nurse from Bristol, when interviewed he stated that his passions for causes “went beyond that of a screen” representing the engaging and positive attitudes of Gen Z. See Appendix p106-107

“I tweet... I sign petitions, I talk to people about my passions.. If an NHS protest is on a day off, I’ll go to it, my interests and concerns for things go beyond that of a screen.”

Alex, 23

Fig 19. The Activist Consumer profile, Own Work, 2018

Consumer profile

The second consumer is a creative and aspires to work in the creative industry. This is seen with Princess, who is 22 and a fashion film student in London. Our idea connects to this consumer group because of her aims to be independent and start her own brands after university. However, she struggles to see how she can realistically achieve this due to limited connections once she has finishes education. She also shared her concerns of having to stay in cities such as London after graduation as her hometown is without a creative industry. The Creative consumer lies within the Early Majority category on the Diffusion of Innovation, as they take inspiration from wider cultural trends and social media for their creative work..

“It is hard to get yourself out there. It is a competitive industry to be in, it’s not just designing buy you also have to think about how you are going to make a living out of it.” Princess, 22

See Appendix p106-107

Fig 20. The Creative Consumer profile, Own Work, 2018

The Campaign imagery

The aim

What ?

The aim of the campaign imagery is to promote the WE ARE GEN launch, and to portray positive portrayals of Gen Z.

Positive imagery that showcasing authentic castings of Gen Z as engaging will be use to encourage aspiring attitudes in Gen Z consumers. Each poster will have a different statement that enforces this positive stance. Taking inspiration from the previous Leviâ&#x20AC;&#x2122;s campaigns (see creative concept on p47), a duo toned effect has been used.

Where ?

When ?

The campaign imagery will be used offline - as billboard and posters. and online- through social media posts and online adverts.

The campaign imagery will be released offline and online at the beginning of the campaign in Sept 2018.

Fig 21. campaign imagery,own work,2018

Fig 22. campaign imagery,own work,2018

Fig 23. campaign imagery,own work,2018

Fig 24. campaign imagery,own work,2018

The Campaign video

The aim

What ?

The aim of the campaign is to showcase the positive and engaging attitudes of Gen Z and challenge negative ‘snowflake’ perceptions held by older generations and the media

The campaign showcases the positive and engaging attitudes of Gen Z using the tagline WE ARE GEN, this is left blank so that it can be interchangeable and doesn’t risk stereotyping Gen Z by leaving it up to them on how they want to be portrayed.

Where ?

When ?

The campaign will be released across all Levi’s social media platforms to promote and change perceptions among the target audience.

The beginning of the campaign timeline, in Sept 2018.

Fig 25. WE ARE GEN campaign stills, own work, 2018

The Products

The aim

What ?

The aim of the products is to raise awareness of the project and use the proceeds to fund the future of the WE ARE GEN project.

A selection of products will be released such as tote bags and patches with the WE ARE GEN tagline, as well as collaborations with young creatives such as textile designer and illustrator, Kay Davis to design special edition T-shirts

Where ?

When ?

WE ARE GEN patches and tote bags, as well as limited edition Batwing T-shirts will be sold in store and online.

Products will be available online and instore from Nov 2018.

Fig 26. limited edition patches, own work, 2018

Fig 27. limited edition T-shirt, own work, 2018

Fig 28. limited edition tote bag, own work, 2018

Fig 29. limited edition patch, own work, 2018

The Platform The aim

What ?

It was important to consider the authenticity of the campaign by including a platform that would help local communities, in fitting with Leviâ&#x20AC;&#x2122;s existing charity projects and community spirit. The aim is to bridge the gap in creative education with tailored workshops for young people and mentoring with industry experts.

The project will work with Bristol based charity Creative Youth Network that provides creative resources to underprivileged kids. A selection of 12 young people will work with Creative Youth Network and Leviâ&#x20AC;&#x2122;s as well as local creatives such as People of Print to provide a selection of workshops covering selfpromotion, communication and marketing skills , creative development and business skills. They will then use these skills to create promotional content and market the WE ARE GEN showcase.

Where ?

When ?

Bristol has been identified as an emerging creative hub and therefore the first WE ARE GEN will be based there.

An 8 month project starting in Oct 2018 and ending in May 2019 with the WE ARE GEN showcase. Fig 30. Bristol Paintworks,own image, 2018

The Customisation Tour The aim

What ?

To generate interest the project in a non-sales focused experience.

A customisation van touring the UK, where consumers can personalise their WE ARE GEN merchandise and learn about the project.

Where ?

When ?

Visiting the 8 city centres across the UK (Glasgow, Newcastle,Sheffield, Liverpool, Manchester, Cardiff Stoke, Birmingham,Nottingham, Bournemouth, Bristol), 4 of which do not currently have Leviâ&#x20AC;&#x2122;s stores, to expand the visibility of the campaign.

The van tour will start in Jan 2019.

Fig 31. Customisation tour van, own work, 2018

Fig 32. Customisation van tour poster, own work, 2018

The Futures Tour The aim To provide young people with an educational experience and creative networking space.

Where ? The WE ARE GEN futures tour will be a networking and educational tour that will be visiting Bristol (The Paintworks), Nottingham (The Contemporary), Manchester (Islington Mill) and Birmingham (Custard Factory).

Who ? Kay Davis - Illustartor Liv Little- Founder of GalDem magazaine Jim Chapman- Blogger & journalist IGGY LDN- director & writer Glacier Girl aka Elizabeth Farrell- creative & activist

What ? The event will have a mixed panel of creative and industry experts to offer advice on their experiences in the industry. The tour will work in collaboration with Adobe to provide digital workshops on creative cloud programmes and website building. The local creative community will also be invited, for example DIZZY INK in Nottingham to provide creative workshops on riso printing and zine making.

Fig 33. Futures Tour poster, own work, 2018

When ? The Futures tour will start in March 2019.

Fig 34. Futures Tour workshop own work, 2018

The Showcase

The aim

What ?

The Showcase will be the final event that celebrates Gen Zâ&#x20AC;&#x2122;s creativity by showing the outcomes produced from previous workshops and to promote the work of the platform.

The event will connect to Leviâ&#x20AC;&#x2122;s music project by using acts from the Manchester, Birmingham and London based projects to perform at the event. The showcase will also work in collaboration with local colleges and universities in courses such as sound and lighting to help with the setup of the show, making sure that Gen Z is included at every stage of this event, being provided valuable work experience.

Where ?

When ?

This event will happen at Islington Mill in Manchester.

In May 2019 during the final stage of the promotional timeline.

Fig 35. WE ARE GEN The Showcase poster, own work, 2018

WE ARE GEN Promotion

Campaign Timeline

Consumer touch point key: Offline:

The first campaign for the ongoing WE ARE GEN platform will run for 9 months starting in September 2018 till May 2019, and aims to position Levi's as an enabler of creative education through the perception of Gen Z.

Campaign launch: Tease the announcement of the campaign at the start of the month through small clips on Instagram. Release campaign video on social media and outdoor advertising.

Online:

Limited edition T-Shirts, tote bags and patches released in store and online.

Customisation van tour starts

2018 Sep

Zine produced that promotes and celebrates young creatives released in store and on promotional events.

WE ARE GEN Showcase live event, live stream of the event online.

2019 Oct

Start of project in collaboration with Creative Youth Network. Industry collaborations and social media coverage.

Nov

Dec

Start of behind the scenes footage from the project, as well as tutorials and interviews with industry experts on YouTube.

Jan

Feb

Open graduate fashion week competition

Mar

Apr

WE ARE GEN Futures tour starts.

May

Frequency of Illusion Frequency of Illusion is the theory that once a consumer has been exposed to something, they are more likely to notice it in multiple places. This then leads onto the Mere Exposure theory in that once the consumer has achieve heightened awareness of the ting they were exposure to it gradually instils comfort and the consumer is primed to be more trusting or accepting of the message (Crowl, 2018). In this instance the Frequency of Illusion applied to WE ARE GEN is to provide content that sparks familiarity or is relatable to the audience. For example, the campaign imagery connects and engages with the passions of Gen Z, through a positive message that is shared constantly through the interchangeable WE ARE GEN tagline that features throughout the entire campaign.

Fig 36. Van Tour Instagram story, own work,2018

Fig 37. instagram story, own work,2018

Fig 38. Van Tour Instagram post, own work,2018

Fig 39. Van tour workshop poster, own work, 2018

Instagram Insights from surveys and focus groups found that Instagram was one of the most popular platform with the consumer group. A popular theory about Gen Z indicates that brands have less than 8 seconds to capture their attention, by using Instagrams story feature information can be delivered in a short and concise format. Overall Instagram will be used to promote targeted posts, regular stories and feed posts on the Leviâ&#x20AC;&#x2122;s page to reach them.

Fig 40. Leviâ&#x20AC;&#x2122;s Instagram homepage mockup, own work, 2018

Fig 41. Leviâ&#x20AC;&#x2122;s Instagram post mockup, own work, 2018

YouTube A study by Deep Focus found that 55% of Gen Z would rather create what they want than buy it , and YouTube tutorials are their main teachers(WGSN,2016). The same study also found out that 85% of Gen Z are more likely to visit YouTube than any other social site(WGSN,2016). In a Google study 80% of Gen Z said that YouTube had helped them become more knowledgeable about something (Think with Google, 2018). With YouTube being the most influential educational tool available to Gen Z, the WE ARE GEN platform will use this as a place to share tutorials on a range of creative and digital skills and informative interviews with industry experts, as well as behind the scene footage of WE ARE GEN’s progress (in a similar way to how Levi’s music project was shared). With Levi’s YouTube page currently lacking regular content this is one of the best platforms to engage with Gen Z.

Fig 42. Levi’s YouTube homepage mockup,2018

Fig 43. Levi’s YouTube video mockup,2018

Outdoor Advertising Offline the campaign will be distributed through promotional posters in the cites that WE ARE GEN will be visiting to generate a local awareness of the campaign and events.

Fig 44-47 WE ARE GEN campaign outdoor advertising own work, 2018

WE ARE GEN The Future

Graduate Fashion Week

Creative Calender

2nd-5th June 2019

Birmingham Design Festival 6th-8th June 2019

The creative calendar highlights the events that WE ARE GEN will use to connect the project and consumers to opportunities with the creative industry. Design and graduate festivals taking place across the UK will be ideal industry events to showcase the works of young creatives involved in the project. In March 2019 the WE ARE GEN will released a competition brief surrounding the portrayals of Gen Z. The platform will then work with the winners of the competition by providing paid internships.

New Designers 3rd-6th July 2019

D&AD New Blood Festival 10th-13th July 2019

London Design Festival 14th-22nd September 2019

Freshers & Career fairs

Late Sept/ Early Oct 2019 visting universities with a creative background such as Nottingham Trent, Manchester Metropolitan, Sheffield Hallam and Birmingham City.

Testing the Idea To make sure the campaign fits with Levi’s brand values, the campaign aims are tested against Levi’s brand soul model. For the authentic self, the idea celebrates the diversity of Gen Z in a non-sales focused platform, which shows Levi’s genuine passion for engagement. Secondly for the centre of culture Levi’s will be a facilitator for the future of Gen Z, working with local creative communities and youth organisations. Thirdly, WE ARE GEN’s design stays true to the Levi’s style and does not take away from Levi’s denim authority.

Measuring Success The aim of WE ARE GEN is to reach as many creative youths and challenge negative perceptions of Gen Z. Success of the campaign will be measured by monitoring the hashtag responses from the campaign released on social media to see how the campaign was received. Google search terms will also be used to measure the popularity of the campaign. Attendance to events will be monitored as well as feedback from visitors on how they found the event in order to improve further events.

Fig 48. Levi’s Brand soul model, own work, 2018

Feedback See Appendix p141

“This isn’t just for students, it’s also for people that are doing apprenticeships or people that don’t really know what they want to do at that time but they want to learn new skills, which I think in this day and age, and especially in this country is very important.” Molly McGarry, Marketing Coordinator North Europe

“Creative education is under threat and this very much links into what we do with the music project.” Yasmin Sinfield, Marketing Director North Europe

“We have an internal mechanism for investing in education, We give out grants to families to help further education... So I think it sits in really well with us as a context and concept.” Richard Hurren, VP North Europe

The Future A possible future for the WE ARE GEN platform could be that the project is moved to a city that doesn’t necessarily have a Levi’s store present, but has a need for funding and resources. In Stoke-on-Trend for example, Levi’s could work with a local charity The Creative Communities Unit that offer educational resources for non-traditional students. Another possible future for WE ARE GEN is that it could fit under a larger banner of Levi’s Future, a focus on legacy left by Levi’s and the future of younger generations, that other Levi’s initiatives such as the music project would fit under.

Final Words WE ARE GEN is a chance for Leviâ&#x20AC;&#x2122;s to engage with Gen Z y providing much needed resources and education. WE ARE GEN cements Leviâ&#x20AC;&#x2122;s position among the future generations as an authentic brand that genuinely cares, it promote longevity and social change by building communities. This is not a sales pitch or a one off experience but about the future of Gen Z.

Fig 49. Still from campaign video, own work, 2018

References

References (Brand House, 2018) Report The New Gender Rules Brand House (2018). The New Gender Rules. [online] Brand House. Available at: https://www.brandhouse. co.uk/thinking/the-new-gender-rules/ [Accessed 7 May 2018]. Quote: “56% of consumers 13-20 years old say someone they know uses gender neutral pronouns” (Crowl,2018) Website Content Standard The Consumer Psychology Trick Behind Repetition in Brand Storytelling The Consumer Psychology Trick Behind Repetition in Brand Storytelling Crowl, J. (2018). The Consumer Psychology Trick Behind Repetition in Brand Storytelling. [online] The Content Standard by Skyword. Available at: https://www.skyword.com/contentstandard/ marketing/the-consumerpsychologytrick-behind-repetition-in-brandstorytelling/ [Accessed 29 Apr. 2018]. (Ewing and Saunders, 2016) Online article Robyn Ewing AM and John Nicholas Saunders Why pushing creativity out of classrooms will stop children succeeding in the 21st century Ewing, R. and Saunders, J. (2016). Why pushing creativity out of classrooms will stop children succeeding in the 21st century. [online] the Guardian. Available at: https://www.theguardian.com/stage/2016/nov/17/ why-pushing-creativity-out-of-classrooms-will-stopchildren-succeeding-in-the-21st-century [Accessed 18 Apr. 2018]. (Jeffreys, 2018) Online article Branwen Jeffreys Creative subjects being squeezed, schools tell BBC Jeffreys, B. (2018). Creative subjects squeezed, say schools. [online] BBC News. Available at: https:// www.bbc.co.uk/news/education-42862996 [Accessed 6 Apr. 2018].

(MNI Targeted Media Inc, 2018) Report MNI Targeted Media Inc Generation Z: Unique and Powerful MNI Targeted Media Inc (2018). Generation Z: Unique and Powerful. [online] MNI Targeted Media Inc. Available at: https://globenewswire.com/newsrelease/2018/05/08/1498624/0/en/MNI-TargetedMedia-Releases-Data-to-Help-Marketers-Win-Gen-Zers.html [Accessed 9 May 2018]. Quote: “56 percent consider themselves to be socially conscious.” “By 2020 they will account for 40 percent of all consumers” (Think with Google, 2018) report Think with Google Understanding Gen Z through the lens of YouTube Think with Google (2018). Understanding Gen Z through the lens of YouTube. Consumer Insights. [online] Google. Available at: https://www. thinkwithgoogle.com/advertising-channels/video/ gen-z-and-youtube/ [Accessed 2 Oct. 2018]. Quote: “80% of Gen Z teens say YouTube has helped them become more knowledgeable about something.” (Victoria Buchanan, 2017) Lecture Victoria Buchanan LSN Global Trend Briefing 2017 Buchanan, V. (2017). Trend Briefing 2017. (Vincent-Lancrin,2013) Online article Vincent-Lancrin Creativity in schools: what countries do (or could do). Vincent-Lancrin, S. (2013). Creativity in schoolswhat countries do (or could do). [online] Oecdeducationtoday.blogspot.co.uk. Available at: http://oecdeducationtoday.blogspot.co.uk/2013/01/ creativity-in-schools-whatcountries-do.html [Acessed May 2018]. (WGSN, 2015) Report WGSN Generation Z WGSN (2015). Generation Z. Consumer Insight. WGSN, p.10.

(WGSN,2016) Report WGSN Pride & Politics WGSN (2016). Pride & Politics. Consumer Insight. WGSN, p.2. Quote: “In a time of social and political unrest, younger generations are propelled by clicktivism, using digital media to expedite activism and social change.” (WGSN,2017) Report WGSN Gen Z: Ethical Retail Strategies WGSN (2017). Gen Z: Ethical Retail Strategies. Business & Strategies. WGSN, p.2. Quote: “According to Futurecast data, 60% of US Gen Z consumers will support brands that take a stand on issues they believe in.” “85% of Gen Z customers will choose eco-friendly products over those that are not.” (WGSN,2016) Report WGSN Marketing to Generation Z WGSN (2016). Marketing to Generation Z. Communication Strategy. WGSN, p.2. Quote:”67% of Gen Z are more interested in narratives and content that have realistic endings, reinforcing their need for authenticity, Deep Focus finds.” “According to Deep Focus’s 2015 Cassandra Report, 55% of Gen Z members would rather create what they want than buy it, and YouTube tutorials are their main teachers. Deep Focus insights shows marketers should be aware that 85% of Gen Z are more likely to visit YouTube than any other social site, and 40% would prefer their favourite brands communicate with them there rather than on any other platform.”

In essay quote references 92

“We believe everyone can find their voice through creativity. Our creative courses can help those to realise their own artistic vision, giving them the skills, tools and networks to develop their creativity and turn their passions into professional success.” The Creative Youth Network 2015) Creative Youth Network. (2015). Who we are. [online] Available at: https://www.creativeyouthnetwork.org.uk/who-weare[Accessed 7 May 2018]

“We are a creative and passionate generation who need to use our fresh and positive minds to seize opportunities and encourage others to do the same.” Mohammed Usman winner of the first LifeSkills Champion (Usman,2015) Usman, M. (2015). In conversation with the first LifeSkills Champion. [online] LifeSkills, created with Barclays. Available at: https://www.barclayslifeskills.com/blog/inconversation-with-mohammed-the-first-lifeskillschampion/ [Accessed 6 May 2018].

“fighting for inclusivity, diversity, and genderneautrality, generation z is poised to turn the fashion world on its head” Cunningham, E. (2016). The Difference Between Minimalism & Meh-nimalism. [online] Refinery29. com. Available at: https://www.refinery29. com/2016/08/119075/isabelle-fuhrman-simple-style [Accessed 10 Mar. 2018].

“we are seeing teens today force brands to redirect their messages from aspirational to more realistic. We are seeing a move away from the brand being the hero to the brand playing a more supportive role.” GETTING TO KNOW GEN Z: HOW THE PIVOTAL GENERATION IS DIFFERENT FROM MILLENNIALS (2017). (FutureCast, 2017) FutureCast. p.25 ‘One of the first insights we came up against was “please don’t stereotype us!” Young people are tired of brands showing them campaigns filled with skateboarders that second guess their identity. It is something they are now allergic too. We are not trying to second guess what this audience is into or their passion points, our role here is about enabling the things they care about. Making life easier.” Dan Lambrou, Voxi (Lambrou, 2017) Lambrou, D. (2017). Vodafone says it isn’t stereotyping’ millennials with youth brand Voxi. [online] Marketing Week. Available at: https://www.marketingweek.com/2017/09/06/ vodafone-defends-voxi-launch/ [Accessed 10 Mar. 2018].

Figure references 94

Fig 1. (Front Page) WE ARE GEN x Levi’s, Own Work. 2018 Fig 2. What are generation Z worried about survey infographic, own work, 2018 Fig 3. Trends impacting Gen Z mood board, own work, 2018 Fig 4. Gen Z influencers mood board, own work, 2018 Fig 5. What brands are reaching Gen Z mood board, own work, 2018 Fig 6. Levi’s 501 Jeans, Andy Warhol, 1984 Levi’s Jeans, Downey, Lynch and McDonough, 1995 [scanned image] from This is a Pair of Levi’s Jeans Fig 7. The Spirit of Levi’s, Downey, Lynch and McDonough, 1995 Levi’s Jeans, Downey, Lynch and McDonough, 1995 [scanned image] from This is a Pair of Levi’s Jeans

Fig 13. Levi’s Tailor Shop, Levi’s, 2016 Levi’s (2016). Levi’s Tailor Shop. [Online image] Available at: https://lsco1.scene7.com/is/image/ lsco/18_H1_Zen_TailorShop_LP_About_01_ Desktop?$zendynamicjpeg$&fmt=pjpeg [Accessed 2 Oct. 2017].

Fig 34. Futures Tour workshop own work, 2018

Fig 14. Gen Z Survey Infographic, Own Work. 2018 (See Appendix p82)

Fig 37. instagram story, own work,2018

Fig 15. Who is supplying creative education mood board, own work, 2018

Fig 35. WE ARE GEN The Showcase poster, own work, 2018 Fig 36. Van Tour Instagram story, own work,2018

Fig 38. Van Tour Instagram post, own work,2018 Fig 39. Van tour workshop poster, own work, 2018

Fig 16. We Are Urban, n.d We Are Urban (n.d.). We Are Urban. [Online image].

Fig 40. Levi’s Instagram homepage mockup, own work, 2018

Fig 17. WE ARE GEN brand onion model, own work, 2018

Fig 41. Levi’s Instagram post mockup, own work, 2018

Fig 18. Creative Concept Moodboard, Own Work. 2018 Fig 19. The Activist Consumer profile, Own Work, 2018

Fig 42. Levi’s YouTube homepage mockup,2018 Fig 43. Levi’s YouTube video mockup,2018

Fig 8. Levi’s Circles Advert, Levi’s. 2017 Levi’s, 2017 [online video still] Available at: //www. levistrauss.com/unzipped-blog/2017/12/19/leviscircles-one-watched-ads-2017/ [Accessed March 2018]

Fig 20. The Creative Consumer profile, Own Work, 2018

Fig 44. WE ARE GEN campaign outdoor advertising own work, 2018

Fig 21. campaign imagery ‘We Take A Stand’, own work,2018

Fig 45. WE ARE GEN campaign outdoor advertising own work, 2018

Fig 9. Byrrrh x Levi’s Skateboarding, Hero Magazine. 2017 Hero Magazine, 2017 [Online Image] Available at: http://hero-magazine.com/article/96580/howlevis-rescued-belgiums-legendary-diy-skate-park/ [Accessed March 2018]

Fig 22. campaign imagery ‘We Are The Change’ ,own work,2018

Fig 46. WE ARE GEN campaign outdoor advertising own work, 2018

Fig 23. campaign imagery ‘We Are The Creatives’ ,own work,2018

Fig 47. WE ARE GEN campaign outdoor advertising own work, 2018

Fig 24. campaign imagery ‘We Are The Future’ ,own work,2018

Fig 48. Levi’s Brand soul model, own work, 2018

Fig 10. Global Pride, Levi’s. 2017 Levi’s, 2017 [Online Image] Available at: http:// levistrauss.com/unzipped-blog/2017/08/14/goingglobal-with-our-pride/ [Accessed March 2018] Fig 11. The Age of Re-Engagement, Own Photograph. 2017 Fig 12. The UK Creative Economy 2016, The Creative Industries. The UK Creative Economy 2016, [Online Image] Available at: http://www. thecreativeindustries.co.uk/uk-creative-overview/ facts-and-figures/employment-figures [Accessed May 2018]

Fig 25. WE ARE GEN campaign stills, own work, 2018 Fig 26. limited edition patches, own work, 2018 Fig 27. limited edition T-shirt, own work, 2018 Fig 28. limited edition tote bag, own work, 2018 Fig 29. limited edition patch, own work, 2018 Fig 30. Bristol Paintworks,own image, 2018 Fig 31. Customisation tour van, own work, 2018 Fig 32. Customisation van tour poster, own work, 2018 Fig 33. Futures Tour poster, own work, 2018

Fig 49. Still from campaign video, own work, 2018

Bibliography 96

Books Generation Z: their voices, their lives Combi, C. (2015). Generation Z: their voices, their lives. Windmill Books This is a pair of Levi’s jeans Downey L, Lynch, J. and McDonough, K. (1995). This is a pair of Levi’s jeans… San Francisco, Calif.:Levi Strauss & Co. Pub. We Are Generation Z Pandit, V. (2015). We Are Generation Z. Dallas: Bookbaby IGEN Twenge, J. (2017). IGEN. New York: Atria Books, Chapters 2,3,6

Events LSN Global: The Future Laboratory: Trend Briefing 2017 Buchanan, V. (2017). LSN Global

Videos

Reports

Girlgaze x Levi’s #IShapeMyWorld Campaign Levi’s (2018). Girlgaze x Levi’s #IShapeMyWorld Campaign. [video] Available at: https://www.youtube. com/watch?v=9NyCTAXNhVE [Accessed 21 Mar. 2018].

Progression in Student Creativity in School Lucas, B., Claxton, G. and Spencer, E. (2013). Progression in Student Creativity in School. [online] Available at: https://www.oecdilibrary. org/education/progression-instudentcreativity-in-school_5k4dp59msdwken [Accessed 9 May 2018].

Levi’s Circles Commercial Levi’s (2017). Levi’s Circles Commercial. [video] Available at: https://www.youtube.com/ watch?v=ZgcgFP9nGqY [Accessed 24 Oct. 2017]. Made in Stoke-on-Trent Documentary series The Guardian (2017). Made in Stoke-on-Trent. [video] Available at: https://www.theguardian. com/cities/ng-interactive/2018/jan/08/madeinstoke-on-trent-episode-1-we-have-lift-off [Accessed 15 Apr. 2018]. UK Creative Industries - Promotional video. (2014). [video] Available at: https://www.youtube. com/watch?v=iroD_a-bMFU [Accessed 16 May 2018].

Feminism Society Intersectionality Discussion The Feminism Society Discussion Panel NTU. (2018).

Voxi UK launch Voxi (2017). Voxi UK launch. [video] Available at: https://youtu.be/pl74Vlj-DRM [Accessed 3 Mar. 2018].

Exhibitions

Dr. Martens - A History of Standing For Something (Dr. Martens, 2013) Dr. Martens (2013). Dr. Martens - A History of Standing For Something. [video] Available at: https://www.youtube.com/watch?v=Dkv1UVKF608 [Accessed 19 Jan. 2018].

T-Shirt: Cult- Culture-Subversion T-Shirt: CultCulture- Subversion (2018) Exhibition]. Fashion and Textiles museum, London. 9 February 2018 – 6 May 2018 Hope to Nope: Graphics and Politics 2008-18 Hope to Nope: Graphics and Politics 2008-18 (2018) [Exhibition]. Design museum, London. 17 April 2018 12 August 2018

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