Brand Zine Summative by Annabelle Knott

â&#x20AC;&#x153;summative Assesmentâ&#x20AC;? Annabella knott N0748874

2Fig. 1, School photo, 2019

CONTENTS INTRO

4-5

TSPTR

6-13

ZINES

14-29

TRENDS

30-41

CONCEPTS

42-46

OUTCOMES

47-59

CONCLUSION

60-61

IN-TEXT REFRENCES

IMAGE REFRENCES

63-64

BIBLOGRAPHY

65-66

APPENDIX

67-70

Fig.2, lined paper, 2019

INTRO

For my summative assessment, I’ve decided to take forward my Brandzine project. For this brief in small groups we had to create, publish and exhibit a printed Brandzine that would connect and grow with the brand TSPTR’s younger female audience. I’ve decided to take the project in particular forward as I thoroughly enjoyed producing a zine and I found the brand to be very interesting as It’s a lot deeper then I initially thought. As well as enjoying this project the most I also received very positive formative feedback and this led me to my final choice.

Fig. 3, black paper, 2019

Fig. 4, School group photo, 2019

The brand ‘TSPTR’

Fig. 5, TSPTR collage 2019

Fig. 6, ripped paper, 2019

P S T . R T P S T . R T P S T . R T P S T . R T P S . T R T P S T . R T P S T . R T P S T . R T P S T . R T P S T . R T P S T TSPTR is an Americana inspired clothing and accessory brand set up by Russ Gater and Daniel Savory. Everything behind the brand has a meaning and a story behind it, they also don’t follow trends they are original with their concepts. The brand quotes on their website that TSPTR delivers “a maelstrom of 20th century American counter culture, military and sports themes with a contemporary lean” (TSPTR, n.d), which is clearly portrayed in their products. What I find particularly interesting about the brand is how they create old from new, they take influence from vintage pieces which are rare and hard to find and recreate them with a modern twist. Examples of Such items include USN shawl collar jackets and helmet bags which are carefully reproduced. This is briefly referenced on their website, as they state that they have a “passion for both great design and a good story” (TSPTR, n.d), combining their experience in “creative backgrounds, and appreciation of vintage objects to create clothing with both a purpose and a narrative” (TSPTR, n.d).

Peanut's Another major part of the brand is their use of Peanuts the comic to convey a story, they feature the comic characters such as snoopy and Charlie brown on various pieces of clothing, from hoodies to shoes. I feel like the brand and Peanuts really fit well together as at first both of the brands seem simplistic and fun but both have deeper meanings behind the image. Peanuts was a platform for change in America throughout the 1960’s/70’s, the comic strip touches on many topics from political issues, civil rights and mental health. The Author Charles M. Schulz was said to of “transformed a comic strip into part of the very essence of American life. […] His characters have become legends in their own comic strip lifetimes” (Berger, 1973). TSPTR sticks to what they believe in and also touch on political and cultural issues which could be seen as controversial, so I believe the pairing of TSPTR and Peanuts match really well as they both convey important messages.

Fig. 7, snoopy , 2019

Fig. 7, TSPTR & Peanuts, 2019

Fig. 9, TSPTR sketchbook scan, 2019

TSPTR STORIES

From looking at the brand in depth, in my group we decided to look at the brand stories and how they could connect to a female consumer. Which is shown above in a mind map I created. The stories we liked in particular was nostalgia, political statements, laid back youths and platform for change.

INTERVIEW For our primary research, we had the opportunity to interview one of the owners of TSPTR Russ Gater. We asked a numerous question relating to these brand stories, Iâ&#x20AC;&#x2122;ve included an Image of the transcript of this below.

Fig. 10,TSPTR interview sketchbook scan, 2019

Fig. 11,TSPTR Lookbook,2017

R T P S T L A N S FI T H G I S IN •Aims to create nostalgia by re -creating and giving stories to shapes and styles from the past. •Uses the concept of protest and “Honesty phrasing” to address important political issues.

Fig. 12, ripped paper, 2019

•Californian laidback lifestyle is prevalent in the brand making it aspirational •Peanuts is a vital device to convey deeper meanings

Fig. 13, TSPTR sketchbook page 1, 2019

sketchbook scans

Fig. 14, TSPTR sketchbook page 2, 2019

Fig. 16, TSPTR sketchbook page 4, 2019

Fig. 15, TSPTR sketchbook page 3, 2019

Fig. 17, Zine collage, 2019

S E N ZI

In order to understand zines and the market I firstly looked at the definition of a zine which is â&#x20AC;&#x153;a non-commercial often homemade or online publication usually devoted to specialised and often unconventional subject matterâ&#x20AC;? (Merriam-Webster, n.d). As well as looking at what a zine is I also looked at what brands are creating zines and how they are using print to connect with their consumer.

From firstly researching into what brands had their own zines I realised not a lot of brands are utilising print, but the first brand that sprung to mind was ASOS. The brand uses print really effectively covering lots of current issues as well as featuring upcoming artists and designers, it is a well-established platform. However, I feel that ASOS is more of a magazine then a brand-zine as the brand claims on their website that they are the “UK’s highest circulation fashion magazine” (ASOS, 2018), Whereas a zine is much more lo-fi and niche. I then looked at other brands and I noticed that a lot of streetwear brands are creating limited edition zines, which their consumers are collecting as they are seen as exclusive. Such brands include Stussy, Supreme and Palace, I feel they are using print in a really clever and effective way as they are using print to showcase collaborations and look books but by only creating a limited amount they are making their brand exclusive and very desirable. A quote I found that sums up this exclusivity is the following “These streetwear pieces don’t necessarily have to be expensive to be desirable, though they often are. It’s more important that they’re rare and make a bold statement” (Quartzy, 2018).

Fig. 18, lined paper, 2019

ZINES. ZINES. ZINES. ZINES. ZINES. ZINES. ZINES. ZINES. ZINES. ZINES. ZINES. Fig. 19, Zine collage, 2019

ZINES. ZINES. ZINES. ZINES. ZINES. ZINES. ZINES. ZINES. ZINES. ZINES. ZINES. 19

Away from brands, I decided to look at zineâ&#x20AC;&#x2122;s targeting females and how they appealed to a womenâ&#x20AC;&#x2122;s market and what topics they covered. I selected 3 of the best UK girl zines which I fee are Challenging Traditional Media, these are Mushpit, Ladybeard and Polyester.

Fig. 20, Mushpit, 2017

Firstly Mushpit, they quote that they are an â&#x20AC;&#x153;experimental print magazine for women who want an alternative to the corporatised, mundane mainstreamâ&#x20AC;? (Refinery29, 2016). The zine exists as there needs to be a place where a relatable relevant voice can discuss issues affecting women without selling them something. It does this with humour and experimental editorial; engaging with the reader through honesty and diversity. From politics to breakups the zine covers a variety of relatable topics that women can connect to whilst challenging conventional values. Overall this zine is encouraging the politicisation of young women, and exploring how culture can both challenge our values and be challenged back.

Fig. 21, Ladybeard, 2016

Fig. 22, ripped paper, 2019

My next choice is the zine Ladybeard, the zine takes the form and of format of a glossy magazine but revolutionises the content. They quote on their website that “Mainstream media has created a culture of self-hate: it confines our gender, sexuality, dress-size, pigmentation, imagination and aspirations. Lady beard is an attempt at liberation” (Ladybeard, n.d) It reaches to their audience by using their platform to voice the people who aren’t in typical women’s magazines; “voices of people who live any and every deviation from the straight, white, cis, able-bodied ideal” (Ladybeard, n.d). Each issue is based on a topic, such topics the zine has covered are the mind, sex and beauty. I feel this zine really connects to its audience as its coming from the perspective of someone that people can relate to, and is not a white middle class man dictating to them what ‘sex’ is to them. Overall this zine is a zine for all, substituting all the destructive prescriptions of gender, sexuality and identity.

Fig. 23, Poly ester, 2016

Fig. 24,Pink paper collage, 2019

Lastly, I decided to choose Polyester this is a self -published zine they quote that they are “an intersectional feminist, queer publication aiming to bridge the gap of URL cyber feminism with the IRL world” (Refinery29, 2016). They do this by providing a platform for alternative artists and designers as well as having an alternative agenda from most fashion magazines which have unrealistic expectations of what a woman should be. One of the reasons I like this zine is they aren’t telling who you should be but celebrating differences and uniqueness. I also love the visual of the zine as they are provoking and bright.

I N S I G H T

INSIGHTS.I NSIGHTS.IN SIGHTS.INS IGHTS.INSI GHTS.INSIG HTS.INSIGH TS.INSIGH ZINE INSIGHTS

•In relation to Brand zines there are not too many. E.g Asos is the key brand zine that comes to mind.

•Instead of Brand Zines many brands use Look Books which tend to be digital. •Brands who do tend to have a physical paper Product are often street Brands due to the fact they want to be more tangible and in touch with the consumer on a personal level. •A zine can help brands such as Supreme to stay as a desirable limited addition collectable brand.

• In order to connect to a female audience a zine needs to voice and discuss relevant and relatable topics which are stimulating and not just about fashion and beauty ‘ideals’ •Successful zines are inclusive

Fig. 25, Zine sketchbook page 1, 2019

sketchbook scans

Fig. 26, Zine sketchbook page 2, 2019

Fig. 28, Zine sketchbook page 4, 2019

Fig. 27, Zine sketchbook page 3, 2019

30 Fig. 29, Blue paper and newspaper, 2019

S D N E R

Fig. 30, 19990’S collage, 2019

To finalise my research, I’ve looked into some trends for 2018/19 which are relevant to the brand and that I found particularly interesting. The first trend I found was 80/90’s revival. 2017/ 2018 saw milestones for many cultural phenomena from the past for example Star Wars. The anniversaries of such things have inspired a wave of nostalgia and shown a whole new generation to love them, this has inspired things such as the TV series Stranger things. This has meant that the styles from the past are being seen by fresh eyes and being adopted with a feeling of humour and nostalgia in mind. As well as this Brands have tapped into a sense of nostalgia by repurposing past works. This can be seen with designers such as, Calvin Klein, Tommy Hilfiger, and Guess who have experienced success with 1990s-inspired capsules consisting of familiar logos.

Furthermore, a desire for vintage is increasingly desirable, these prescient designer pieces possess a sense of authenticity that appeals to younger consumers eager to wear things that feel “real.” This trend really intrigued me as I feel like history is repeating itself through fashion and culture so I really like the idea of using this trend within my concepts. From this is trend it made me think about if we could link this with the connections to our family and females close to us?

Me and search looked looked

my to at at

group mate Ellie decided to conduct some primary resee if trends are repeating themselves. To do this we photos of our mumâ&#x20AC;&#x2122;s when they were around our age and the items of clothing they were wearing.

Fig. 31, Mum and bike, 2019 32

Fig. 32, Mum on sofa, 2019

‘MICHELLE’

34 Fig. 33, Mum Collage, 2019

From this we compared it to fashion trends today and looked at if we would wear them. We found that many of them items which were fashionable back then are fashionable now, items such as bum-bags, cycling shorts and blazers. Such items they were wearing I would wear today, Thus, answers our question of â&#x20AC;&#x2DC;is history repeating itself?â&#x20AC;&#x2122;

Fig. 34, Blue paper, 2019

‘HAZEL’

Fig. 35, Hazel collage, 2019

We noticed from presenting this research in our tutorial, that a lot of people loved the fact Me and Ellie looked so similar to our mums. This made us think about the idea of making our Zine really personal and full of stories as I feel that it forms a strong connection for the reader.

2 d ren

mie in fe s i r e h st; was t f prote ook at o l e o s t u g d decide n TSPTR e (youn o c I n e e d k i n a d e t u r a t t get n day The nex the tar a moder h s t â&#x20AC;&#x2122; i t w i s s nnect nism, a ally co c fi i c e p rate that s demonst o t . ) r s e e d l r fema in o ng on forces dictati g s onn i i n h i c o i wh ainst D e j g r y a a h c p s r u e a l i ma n patr aming Many fe electio omen te te male w S i U h h w t e i h a w T oo. seen n to against as #met can be of wome h s c t i u n h s e T m s e n them. fear de ots mov campaig o f r o d s n s s a a c r i p g t m poli umpâ&#x20AC;&#x2122;s or a ald Tru at the nald Tr alyst f h o t t D a c s f e o a u ts, l y a proved ticipan first da r itive v a s e p o h p t l l e , a h t ingming 21 2017 assert in Wash , welco s t anuary e s J h e c g n r r O a a d on the l -led m nies. , calle , with h , women d c y l r c r a n o m e w d n n ini e Pres e Londo rt of a ross th h a c t p a f s e o a c l a s n er is stil took pl n Londo i t organis s h e e c t h r o t a r . to m y. p with ton D.C lidarit cially genders o e s p l s l n e a i d f n l o wor R inactio people in. the he TSPT day of t e l c h a i t n t i o c w i a fits ve pr ternat p. This an acti m u h r c T u m d l st. very of Dona d prote n n a o i e t r c u e n cult the el America f o e c fluen

Fig. 36, Pink paper, 2019

Fig. 37, Donald Trump, 2016

sketchbook scan

Fig. 38, Trends Mindmap, 2019

FORWARD. FORWARD. FORWARD. FORWARD. FORWARD. FORWARD. FORWARD. Taking forward to concepts

•Idea of nostalgia through history repeating itself with the use of personal connections •Idea of new wave of feminism and protest

Fig. 39, Lined paper, 2019

CONCEPT 1

Fig. 40, Concept 1, 2019

Based off TSPTR’s themes of nostalgia and our feedback from seminars, my first concept is based around personal connection between mother and daughter and their bond. This concept will use photos of our mums from the past and these will be recreated by us in a lo-fi style. This will be accompanied with an interview from both mother and daughter questioning if in fact history is repeating itself through fashion and culture. To keep within the theme of nostalgia, the design will be in the style of 90’s journals/school books as its reinforces this sense of memory in a playful way forming immediate personal connection.

Fig. 41, Concept 2, 2019

CONCEPT 2

My second concept is also in relation to nostalgia and mother and daughter relationships but in a different direction. My main influence for this zine is Martin Parr love cubes; a photo series established in the form of a game where you match couples together based on who you think are attracted to one another. Taking influence from this, our zine will feature us and our aim is to match mother to daughter with the answers at the back. The layout of the zine will be clean cut in the style of a gallery with a retro ambiance.

CONCEPT 3

Fig. 42, Concept 3, 2019 My third concept is based on the rise of feminism and hashtag #metoo. This zine will focus on voicing women who are not heard from mothers to university students. the zine will feature illustrations as well as interviews with people who have been victims of sexual assault. The design will be graphically based and playful to contrast with harsh brutality of the everyday sexual assault.

CONCEPT

Fig. 42, Concept 4, 2019 My last concept stems from the theme of rising feminism, but explores the concern of how Brexit will affect women in the UK. The zineâ&#x20AC;&#x2122;s aim is to educate and inform in an exciting way through humorous graphics and collage. It connects to TSPTR through the use of protest and politics whilst connecting with women as our generation is becoming more politically aware and wanting to educate themselves further.

T P E C N O C L A N FI

Fig. 44, Final Concept, 2019 Bringing together factors from my concepts, my final idea is a combination of concept 1 and 2. The main theme Iâ&#x20AC;&#x2122;m bringing forward is the idea of nostalgia, Iâ&#x20AC;&#x2122;m creating this through the mother and daughter relationship. From concept 1, I have taken the idea of recreating old photos of our mothers, interviewing them regarding arts, politics and feminism as well as using my own thoughts to explore the question; is fashion repeating itself? From our feedback, we found that using a personal perspective made our consumer connect with the zine relating to the mother and daughter concept. However, regarding the layout we decided to make the design cleaner and like an art gallery, as from feedback we found that the stickers and journal format took away from the main focus of the photos. Despite this we still wanted to incorporate a school exercise book somehow so we made the front cover the same colours as school books. Lastly, we decided we wanted to include a separate interview booklet as we didnâ&#x20AC;&#x2122;t want to take attention of the photos and we thought it would look more aesthetically pleasing.

OUTCOMES .OUTCOME S.OUTCOM ES.OUTCO MES.OUTC OMES.OUT COMES.OU Fig. 45, School photo 2, 2019

Fig. 46, Concetina, 2019

Fig. 47, Beak book 2019

Fig. 48, Graph paper, 2019

We decided that the best way to display our photo shoot images and allow them to be side by side with the mum photos would be to create a mini gallery in the form of a â&#x20AC;&#x153;three-hole pamphletâ&#x20AC;?. We also liked the idea of having some sort of visually contrasting cover/insert book. And a three-hole pamphlet allows us to mix and match paper types with no gluing involved, also allows us to have no limit on pages.

Fig. 49, Blue paper, 2019

‘MOTHERS’

Fig. 50, Mothers collage, 2019

We used our own mums and ourselves in our zine because from our research and from feedback we found it to be a great way to create detailed content but also is an amazing way to be engaged in the project as you are so emotionally invested. We tried to re-create the images we had gathered of our mums in a low-fi , modern style as we didn’t want it to look corny. We decided to add a subtle nod to the 80/90 photography quality by adding a red/yellow hue using lighting gels. This is also a subtle nod to the “Authentic” photography style used in the TSPTR look books.

‘Daughters’ Fig. 51, Daughters collage, 2019

We noticed a lot of commonalities between answers within the mother daughter answers from our interviews, we agreed that these similarities and differences went along side our images nicely so an interview book was born.

Fig. 52, Interview booklet, 2019

We started out by printing our images side by side to just see how similar they were. We got a great response to the images side by side so we decided to keep our zine layout pretty clean and let the images speak for themselves as a side by side comparison. To stay in the simplistic style, we wanted a block colour with gallery style title. We decided on primary colours in sugar paper as it hints to retro school books that both mother and daughter can relate to. Because we decided to let our images do the talking in a gallery style we needed somewhere to add our Interviews with the mothers and daughters. We decided to do this in the form of a simple smaller pamphlet slipped inside the pamphlet as sort of a gallery write up board.

Fig. 53, White paper, 2019

EXPE

RIME

Fig. 54, Process collage, 2019

L A N I F E N I Z

Fig. 55, Final zine collage, 2019

The final name of out zine is called “when I was your age”, “when you were my age”. We chose this as it adds a personal touch and touches on our nostalgia element. We decided on an old school computer programming font as a nod to the decades we were referring too but also as a way to stay consistent throughout the zine with our simplistic gallery style.

Fig. 56, Inside zine

1, 2019

We decided when picking paper that we would create three different coloured covers, this is to add to the personal aspect of the zine. It also helps to hint to the idea of the zines being like school work books which often came in a variety of colours. We decided to make the interview a separate item because we didnâ&#x20AC;&#x2122;tâ&#x20AC;&#x2122;t want the fact it was sew in to distract from the images or cut them in half and run the flow.

Fig. 57, Inside zine

2, 2019

c n o c

n o i lus

Overall, Iâ&#x20AC;&#x2122;m really happy with how the zine came out, I feel the simplistic design makes it stand out and tells you a lot without overloading it with information. I think our zine was very successful in fulfilling the brief as it references TSPTR through the use of nostalgia and protest themes which are prominent within the brand. It also connects to a female consumer through the mother and daughter relationship and bond. If I had more time and could change anything about the zine, id make it more diverse and add more people into it so a wider range of people could connect to the zine.

Fig. 58, Pink paper, 2019

Reflecting on my individual and team working process, I found that I worked really well with Ellie as our skills and working style really complimented each other, for example my strengths lie in visual communication and Ellieâ&#x20AC;&#x2122;s lie in written so working together is perfect combination. As well as having a balanced set of skills within our team, I feel together we really plan effectively which enabled us to be the most efficient. At first, I was apprehensive about working in a pair as other groups had 4 people, so I thought they would produce more and it be better. However, working in a pair was more beneficial as we were able to communicate our ideas easier and there were less disagreements. Moving forward to my next projects I will take forward what Iâ&#x20AC;&#x2122;ve learnt from this project and my team working skills in order to produce my best work effectively in future projects.

IN TEXT REFRENCES 1. TSPTR. (n.d.). About. [online] Available at: https://tsptr. com/pages/about [Accessed 18 Dec. 2018]. 2. TSPTR. (n.d.). About. [online] Available at: https://tsptr. com/pages/about [Accessed 18 Dec. 2018]. 3. TSPTR. (n.d.). About. [online] Available at: https://tsptr. com/pages/about [Accessed 18 Dec. 2018]. 4. Berger, A. (1974). `The comic-stripped American. Baltimore, Maryland: Penguin Books. 5. Merriam-webster. (n.d.) Definition of ZINE. [online[ Available at: https://www.merriam-webster.com/dictionary/zine 6. Quartzy. (2018). Why isn’t streetwear just called “fashion”? [online] Available at: https://qz.com/quartzy/1160897/why-isntstreetwear-just-called-fashion/ [Accessed 20 Dec. 2018]. 7. Refinery29. (2016). The best girls zines changing print in the UK. [online] Available at: https://www.refinery29.com/en-gb/girlzines-changing-publishing-uk#slide-1 [Accessed 20 Dec. 2018]. 8. Ladybeard. (n.d.). About- Ladybeard. [online] Available at: http://www.ladybeardmagazine.co.uk/about/ [Accessed 20 Dec. 2018]. 9. Ladybeard. (n.d.). About- Ladybeard. [online] Available at: http://www.ladybeardmagazine.co.uk/about/ [Accessed 20 Dec. 2018]. 10. Refinery29. (2016). The best girls zines changing print in the UK. [online] Available at: https://www.refinery29.com/en-gb/girlzines-changing-publishing-uk#slide-1 [Accessed 20 Dec. 2018].

IMAGE REFRENCES Fig 1. School photo collage I created, (2019). Fig 2. Lined paper I scanned, (2019). Fig 3. Black paper I scanned, (2019). Fig 4. Group school photo I created, (2019). Fig 5. TSPTR collage I created, (2019). Fig 6. Ripped paper I scanned, (2019). Fig 7. Snoopy on lined paper I created, (2019). Fig 8. Peanuts and TSPTR collage I created, (2019). Fig. 9, TSPTR sketchbook mind map I scanned, (2019). Fig. 10. TSPTR interview sketchbook page that I scanned, (2019). Fig 11. TSPTR Look-book. (2017). [image] Available at: https:// tsptr.com/pages/lookbook [Accessed 28 Dec. 2018] Fig 12. Lined paper I scanned, (2019). Fig 13. TSPTR sketchbook page 1 I scanned, (2019). Fig 14. TSPTR sketchbook page 2 I scanned, (2019). Fig 15. TSPTR sketchbook page 3 I scanned, (2019). Fig 16. TSPTR sketchbook page 4 I scanned, (2019). Fig 17. Zine collage I created, (2019). Fig 18. Lined paper I scanned, (2019). Fig 19. Zine collage I created, (2019). Fig 20. Mushpit magazine. (2017). [image] Available at: https://magculture.com/mushpit-10/ [Accessed 28 Dec. 2018] Fig 21. Ladybeard. (2016). [image] Available at: https://www.stackmagazines.com/women/behind-scenes-ladybeard-magazine/ [Accessed 28 Dec. 2018] Fig 22. Ripped paper I scanned, (2019). Fig 23. Polyester. (2016). [image] Available at: http://polyesterzine.com/product/issue-five-download/ [Accessed 28 Dec. 2018] Fig 24. Pink paper collage I created, (2019). Fig 25. Zine sketchbook page 1 I scanned, (2019). Fig 26. Zine sketchbook page 2 I scanned, (2019). Fig 27. Zine sketchbook page 3 I scanned, (2019). Fig 28. Zine sketchbook page 4 I scanned, (2019). Fig 29. Blue ripped paper and newspaper Image I created, (2019). Fig 30. 19990â&#x20AC;&#x2122;s collage I created, (2019).

IMAGE REFRENCES Fig 31. Mum and bike photo, I scanned, (2019). Fig 32. Mum on sofa photo I scanned, (2019). Fig 33. Mum collage I created, (2019). Fig 34. Blue paper I scanned, (2019). Fig 35. Hazel collage I created, (2019). Fig 36. Pink paper I scanned, (2019). Fig 37. Donald Trump. (2016). [image] Available at: https:// www.itsnicethat.com/articles/sarah-tanat-jones-women-rituals-300316?utm_source=twitter&utm_medium=social&utm_campaign=intsocial [Accessed 31 Dec. 2018] Fig 38. Trends Mindmap from sketchbook that I scanned, (2019). Fig 39. Lined paper I scanned, (2019). Fig 40. Concept 1 mood board I created, (2019). Fig 41. Concept 2 mood board I created, (2019). Fig 42. Concept 3 mood board I created, (2019). Fig 43. Concept 4 mood board I created, (2019). Fig 44. Final concept mood board I created, (2019). Fig 45. School photo 2 I scanned, (2019). Fig 46. Concertina Book photo I took, (2019). Fig 47. Beak Book photo I took, (2019). Fig 48. Graph paper I scanned, (2019). Fig 49. Blue paper I scanned, (2019). Fig 50. Motherâ&#x20AC;&#x2122;s collage I created, (2019). Fig 51. Daughterâ&#x20AC;&#x2122;s collage I created, (2019). Fig 52. Interview booklet photo that I took, (2019). Fig 53, Lined paper I scanned, (2019). Fig 54. Process collage I created, (2019). Fig 55. Final zine collage I created, (2019). Fig 56. Inside of zine 1, Photo I took, (2019). Fig 57. Inside of zine 2 collage I created, (2019). Fig 58. Pink paper I scanned, (2019).

biblography -19990’s collage I created, (2019). -Beak Book photo I took, (2019). -Berger, A. (1974). `The comic-stripped American. Baltimore, Maryland: Penguin Books. -Black paper I scanned, (2019). -Blue paper I scanned, (2019). -Blue ripped paper and newspaper Image I created, (2019). -Concept 1 mood board I created, (2019). -Concept 2 mood board I created, (2019). -Concept 3 mood board I created, (2019). -Concept 4 mood board I created, (2019). -Concertina Book photo I took, (2019). -Daughter’s collage I created, (2019). -Donald Trump. (2016). [image] Available at: https://www. itsnicethat.com/articles/sarah-tanat-jones-women-rituals-300316?utm_source=twitter&utm_medium=social&utm_campaign=intsocial [Accessed 31 Dec. 2018] -Final concept mood board I created, (2019). -Final zine collage I created, (2019). -Graph paper I scanned, (2019). -Group school photo I created, (2019). -Hazel collage I created, (2019). -Inside of zine 1, Photo I took, (2019). -Inside of zine 2 collage I created, (2019). -Interview booklet photo that I took, (2019). -Ladybeard. (2016). [image] Available at: https://www.stackmagazines.com/women/behind-scenes-ladybeard-magazine/ [Accessed 28 Dec. 2018] -Ladybeard. (n.d.). About- Ladybeard. [online] Available at: http://www.ladybeardmagazine.co.uk/about/ [Accessed 20 Dec. 2018]. -Lined paper I scanned, (2019). -Merriam-webster. (n.d.) Definition of ZINE. [online[ Available at: https://www.merriam-webster.com/dictionary/zine -Mother’s collage I created, (2019). -Mum and bike photo, I scanned, (2019). -Mum collage I created, (2019). -Mum on sofa photo I scanned, (2019). -Mushpit magazine. (2017). [image] Available at: https://magculture.com/mushpit-10/ [Accessed 28 Dec. 2018]

-Peanuts and TSPTR collage I created, (2019). -Pink paper collage I created, (2019). -Polyester. (2016). [image] Available at: http://polyesterzine.com/product/issue-five-download/ [Accessed 28 Dec. 2018] -Process collage I created, (2019). -Quartzy. (2018). Why isn’t streetwear just called “fashion”? [online] Available at: https://qz.com/quartzy/1160897/why-isnt-streetwear-justcalled-fashion/ [Accessed 20 Dec. 2018]. -Refinery29. (2016). The best girls zines changing print in the UK. [online] Available at: https://www.refinery29.com/en-gb/girl-zines-changingpublishing-uk#slide-1 [Accessed 20 Dec. 2018]. -Ripped paper I scanned, (2019). -School photo 2 I scanned, (2019). -School photo collage I created, (2019). -Snoopy on lined paper I created, (2019). -Trends Mindmap from sketchbook that I scanned, (2019). -TSPTR collage I created, (2019). -TSPTR interview sketchbook page that I scanned, (2019). -TSPTR Look-book. (2017). [image] Available at: https://tsptr.com/pages/ lookbook [Accessed 28 Dec. 2018] -TSPTR sketchbook mind map I scanned, (2019). -TSPTR sketchbook page 1 I scanned, (2019). -TSPTR sketchbook page 2 I scanned, (2019). -TSPTR sketchbook page 3 I scanned, (2019). -TSPTR sketchbook page 4 I scanned, (2019). -TSPTR. (n.d). About. [online] Available at: https://tsptr.com/pages/ about [Accessed 18 Dec. 2018]. -Zine collage I created, (2019). -Zine collage I created, (2019). -Zine sketchbook page 1 I scanned, (2019). -Zine sketchbook page 2 I scanned, (2019). -Zine sketchbook page 3 I scanned, (2019). -Zine sketchbook page 4 I scanned, (2019).

Appendix A ‘Research Methodology’

Appendix b ‘Consent forms’