CIRC_LAR + U Digital Circular Fashion Communication

CIRCULAR FASHION COMMUNICATION IN AN EVER-DIGITISING FASHION WORLD

_ANNABEL_LINDSAY-

PAST

FUTURE

Annabel Lindsay (Read) | 19000613 Preform | MA Fashion + Business Manchester Fashion Institute Manchester Metropolitan University Word Count: 12,407

THE ONL_ THING MISSING FR_M THIS REVOL_TION IS Y O U

BE THERE OR BE

CONTENTS CONTENTS.....................................................................................2

OBJECTIVE 4..............................................................................67

PROJECT TITLE............................................................................3

4A. Content Creation + Promotion......................................67

PROJECT AIM...............................................................................4

4B. Digital Pop-Up Event Breakdown...............................71

PROJECT OBJECTIVES..............................................................4 PROJECT SCOPE.........................................................................4

SUMMARY OF FINDINGS........................................................81 Event Analysis (SWOT)...........................................................81

INTRODUCTION............................................................................5

Personal Reflection...................................................................85

Background + Rationale...........................................................5

Out of Scope..............................................................................86 Future Potential..........................................................................87

OBJECTIVE 1.................................................................................7

Conclusion..................................................................................89

1A. Development of Fashion Communication...................7 1B. Existing Circular Fashion Initiatives..............................17

APPENDIX....................................................................................91

1C. Fashion Experiences + Covid-19’s Impact.............21

Appendix 1.................................................................................91

1D. Project Outputs..................................................................29

Appendix 2.................................................................................92 Appendix 3.................................................................................93

OBJECTIVE 2..............................................................................33

Appendix 4..............................................................................105

2A. Research Documentation Strategies..........................33

Appendix 5..............................................................................106

2B. Core Digital Hub...............................................................37 2C. Personal Public-Facing Research Outcomes.........51

REFERENCES..........................................................................107

2D. Research Promotion........................................................57

IMAGE REFERENCE LIST.....................................................111 CONSENT FORMS..................................................................115

OBJECTIVE 3..............................................................................63 3A. Collaboration.......................................................................63 3B. Collaboration Roadmap..................................................65

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INVESTIGATING DIFFERENT DIGITISED FASHION MEDIUMS EFFECTIVENESS, AT COMMUNICATING CIRCULAR FASHION CONCEPTS AND INITIATIVES TO AN ONLINE AUDIENCE.

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PROJECT AIM To explore the transition of fashion into a digitally consumed outcome and how digitisation can be utilised to communicate initiatives that advance towards a circular fashion economy, through the running of a digital pop-up event and personal research outputs.

OBJECTIVES 1. To understand recent advances in the circular fashion economy and any digital capacities supporting its communications and promotion.

2. Explore personal digital capabilities by creating circular fashion related digital content for social media and to document how my personal outputs are perceived by digital audiences.

3. Investigate how existing circular fashion players are digitally adapting during the Covid-19 pandemic and the effect it is having on fashion events, particularly pop-ups.

4. Collate research to organise a user-centric digital pop-up fashion event under the concept brand name, CIRC_LAR + U, by collaborating with the online fashion community and analysing the digital content’s effectiveness at communicating circular fashion initiatives.

PROJECT SCOPE The primary desired outcome is an omni-channelled digital pop-up event, hosted under the circular concept brand CIRC_LAR + U. Components for achieving this event will comprise of a digital research vlog journal, documented on YouTube, alongside synchronised relevant social media posts and a central website acting as the hosting vehicle for documenting project progression.

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INTRODUCTION BACKGROUND + RATIONALE The circular fashion movement has been gaining traction within the fashion industry over recent years.

Personal advocacy for this movement spawned from an inner self-realisation and concern regarding the environmental damage resulting from the current linear fashion system.

Pursuing aspiration to help realise a circular fashion economy, this project will attempt to bridge the largely unaddressed gap between innovative circular concepts and vital consumer awareness and participation. With the ongoing pandemic crisis, discussion surrounding the fashion industry, which sees one truck of clothing landfilled or incinerated every second, according to the Ellen MacArthur Foundation (2017:online), and for creating ‘a more ethical and less environmentally damaging model...responsible for 10% of global carbon dioxide emissions every year is more relevant than ever’ (Bramley, 2020:online).

The fashion industry’s recent lockdown motivated pause is revealing urgent unsustainable ‘cracks of the industry’, and needs to transform the direction of fashion, from change in consumer attitudes, to slowing down the seasonal model, to recognising the rights of garment workers (Bramley, 2020:online). This is supported by Hirscher (2013:3), whom states that ‘For a more sustainable production system, the general relationship between product–producer and enduser must shift towards slower cycles, more local production and a much more valued product person relationship (Niinimäki and Koskinen, 2011)’.

Fashion has too long thrived from abusing ‘psychological need for individuality and belonging to create an artificial desire for new products, expressed through different forms of planned obsolescence’ (Burns, 2010, cited through Hirscher, 2013:4).

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Now facing increased scrutiny and accountability for the wasteful way in which it operates, consumers are wanting ‘visible and concrete information about circular clothing and how their behaviour has affected the environmental aspects of textile production’ to which this communication ‘should be timed correctly by using multiple communication channels’, according to Vehmas et al. (2018:online).

Covid-19 has also induced a perpetuated need for access to digital communication, to facilitate current restricted human needs, like connectedness, channelling creativity, societal participation, personal growth and development and humanness unification.

To which has seen projects and audiences connecting in new, transformative ways, with many brands taking opportune to either establish or dramatically grow a digital presence.

Lockdown has birthed social media into a new dimension, with a recorded ‘25% increase in engagement on Instagram…and 72% increase on #ad content by influencers’ (Adams, 2020:online).

Articles are emerging on how brands can utilise social media at this time to maximise brand relevance, like: be a force for good, put your audience first, be authentic and interactive and go ‘Live’ (Adams, 2020:online). This advice relevance to circular fashion communication is supported by authors of ‘Waste to Wealth’, Lacy and Rutqvist (2015) whom suggest effective circular ‘ventures require a unique mind-set as information is often shared at levels that many... find uncomfortable’. Brands need to ‘see beyond their core business and respond to trends from consumer demand with a complete separation to existing linear models’. Scenario’s which Covid-19 has arguably brought forward amongst brand and fashion player considerations.

With the fashion industry and the world drastically

linear take, make, waste model, rather than tackling

changing, it is more important than ever to highlight

core industry issues (Ellen MacArthur Foundation,

the connectedness of circular fashion with planetary,

2017:online). Increasing consumer awareness sees

social and mental health. The direction of fashion lies

‘interest towards recycling and sustainable solutions’

in ambitious fashion channels and outputs, and a

and recognition that recycling textiles to produce

new value paradigm of fashion shifting from clothing

circular clothes should become ‘the new normal’

acquisition to experience, community and creativity.

(Vehmas et al., 2018:286).

Nini (2016:online), founder of Eco Warrior Princess, argues that ‘We can’t just consume our way to a more

Emerging in 2014, the term ‘circular fashion’ is

sustainable world’. Instead by championing creativity,

becoming one of industries newly embraced

circular fashion initiatives could become interactive

sustainability concepts (Lissaman, 2019:online).

and user-centric, providing quality meaningful fashion

Ultimately, circular fashion is ‘designed, sourced,

experiences which, through a circular economy,

produced and provided with the intention to be used

centralises valuing people and planet first.

and circulate responsibly and effectively in society, for as long as possible in their most valuable form, and

Therefore, this project will undergo the experiential

hereafter return safely to the biosphere when no longer

digitisation of the ‘CIRC_LAR + U’ circular fashion

of human use’ (Brismar, 2020:online).

concept store, which was developed in the prior Realisation project. The Realisation project explored

This next stage in the CIRC_LAR + U development

how a brick-and-mortar hub could be a catalyst

strives to formulate a digital space and platform that

for climate emergency activism, through experiential

shapes persuasive narratives for circular fashion.

circular fashion advancing initiatives, in an attempt to

With the end of goal of creating a community where

bridge the value-action gap between circular ideas

circular fashion is not an exclusive discussion for just

and action (Effectiviology, 2020:online). This ethos will

those with industry prestige or on the business side

be carried over into this project in the form of a digital

of fashion. By building an online community where

pop-up event, which aims to explore the effectiveness

consumers have opportune to engage with, promote

of digital outputs, at generating interest and desired

and celebrate circular fashion initiatives, it will

engagement in circular fashion conversation and

hopefully inspire increased systemic change away

initiatives across the fashion community.

from linear fashion thinking and practices; towards a new circular era.

The CIRC_LAR + U concept store was a proposal to accelerate the circular economy, offering multifunctional spaces for independent designers, brands and services, in a mutually creative environment.

Providing tangible solutions which align fashion with sustainable practices and allowing public access to circular initiatives, challenging norms of linear, volumesales driven retail. Most efforts to reduce fashion’s environmental impact involve slowing down the

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OBJECTIVE 1

1A. DEVELOPMENT OF FASHION COMMUNICATION INTO THE DIGITAL ERA ‘FASHION AT ITS CREATIVE BEST IS ONE OF THE MOST POWERFUL AND DIRECT EXPRESSIONS OF PERSONAL ASPIRATION, INDIVIDUALITY AND BELONGING’ (FLETCHER AND GROSE (2012, 138) CITED THROUGH HIRSCHER (2013)).

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HISTORY + G R O W T H OF FASHION COMMUNICATION FASHION COMMUNICATION Fashion often seeks to decorate and

(Mooallem, 2016:online), all the way to

embellish the fabric of its existence, both

todays democratised digital fashion world,

figuratively and literally. Without conversation

where new communication platforms, like

surrounding the clothes selectively chosen

Instagram and YouTube, have birthed a

by individual consumers, to communicate

‘world of fashion-on-demand consumerism

an identity, fashion falls short of symbolic

by allowing innovation to diffuse quickly

association to the semantics and social

across markets’ (Bendoni, 2017:216).

symbolism clothes can represent. With the unmeasurable success of fast fashion

Once dominated by glossy high-end print

business models, ‘inferior product quality

shoots and exclusive invite-only catwalk

makes consumers more likely to purchase

shows, the communication of fashion in

several similar items, but form no personal

the digital era looks dramatically different.

relationship with them’ (Fletcher and Grose

Social media influencers dominate a social

(2012) cited through Hirscher (2013)). As

autonomy in driving the pace at which

such, consumers, particularly in the Global

fashion is consumed through purchases and

North, are forming increased detachment

the flaunting of micro-trends. That is not to

from the origin stories of their clothes.

discount the value of printed publications; Vogue remains a prestigious fashion force,

Fashion, itself, is a language and the

often driving social conversation as much

communication of fashion is thus arguably

as documenting it within its pages. However,

an organised curation of thoughts, feelings,

in the complexity of a digitally connected

zeitgeist and reality, which make the desire

fashion world with instantaneous content

to capture storytelling through clothes so

exposure, fashion consumers seek new

aspirational. Hence, the success of

value scopes in which to experience fashion.

fashion communication from printed

From exclusivity to accessibility, the phasing

fashion publications such as Harper’s

of fashion into a new era of communication,

Bazaar, founded in 1867 and ‘one of the

is arguably led by the need for community,

first publications dedicated to looking at the

facilitated through technological capabilities.

lives of women through the lens of fashion’

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‘Fashion.net claims to be the first fashion-specific

far from perfect, and the digital is far from its own

website, launched in France in 1995…Around this

potential’ hence ‘an acceptance of a multi-platform

time, weblog platforms, such as blogspot.com, and

hybrid model across all types of publishing’ (Cope

blogger.com, were also launched’ and quickly thrived

and Maloney, 2016:200). Such adoption for this

(Cope and Maloney, 2016:187). In 1999 there were

project could maximise CIRC_LAR + U’s content

believed to be around 60 blogs, increasing to 184

reach and appeal. A hybrid public research output

million by 2008, with over 14 million fashion-specific

approach of both a blog and vlog would allow for

blogs present today. With undeniable reach, printed

personal exploration into the potentials embedded

giants like Vogue are too capitalising on new digital

within both outputs. Overall, digital media channels are

ventures by migrating ‘to where they determine the

perceived as more exciting, progressive and engaging.

largest audience to be- in many cases online’ (Cope

Promotional enhancement possibilities for digital

and Maloney, 2016) Fashion’s digitisation presents

communications against printed counterparts include:

new opportunities ‘for provision of expanded coverage

• Video and audio

through multimedia…Unfettered by space constraints

• Animation

or print deadlines’, and capacities to engage with

• Behind the scenes

an audience on social issues and conversation with

• Embedded hyperlinks

immediate effect (Cope and Maloney, 2016:191).

• Exclusive bonus material • Live or near-new updates

Research into blogs is said to be crucial for

• Direct consumer/reader engagement

optimising opportunities. Fandrich (2007) suggests

• Size and amount/length of imagery/content

four components constituting a “legitimate” blog: its

• Opportunities to seamlessly “cross” from one portal

motivations, content focus, originality and immediacy,

title to another

to which an optimum blend of ‘content, ethos

• Physical reader interactivity (swipe, pinch, zoom)

and philosophy’ can equate impactful reach and

(Cope and Maloney, 2016:203)

engagement (Cope and Maloney, 2016:195). In 2017, Fashionista reported that big-time fashion bloggers

With the digital democratisation of fashion, some

were shifting their efforts over to YouTube to trial their

companies are attempting to facilitate creative talent

hands at Vlogging (video blogging) and ‘directing

growth, as to enhance digital skillsets, of the workforce

resources towards producing shopping hauls, travel

responsible for creating and communicating responsive

diaries, intimate day-to-day vlogs, and beauty tutorials,

content which reflects real world issues, including

in response to…a shift in what both brands and

challenging the linear fashion system. Simultaneously

audiences want from content creators’ (George-Parkin,

recognising the sentiment of more traditional media,

2017:online). This phenomenon has exponentially

It’s Nice That (n,d.) state ‘creative inspiration is for

exploded in the last decade with many vloggers

everyone and by championing the most exciting

streamlining their Instagram accounts for personal

and engaging work online, in print and through our

promotion and adopting the status title ‘Influencer’.

events programme, we want to open up this world to

There are 17.2 million Instagram users in the UK and

the widest possible audience…[by]…helping the next

‘70% of teenage YouTube subscribers trust influencer

generation of creatives make better career decisions

opinions over traditional celebrities’ (StarNgage,

by inspiring and informing them of the breadth of

2017:online).

opportunities that exist in the creative industry’. This re-enforces the importance of practiced adoption

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Despite growing desirability of digital content creation

of omni-channelled communicative approaches to

and consumption, ‘Print is far from dead, online is

tackling important social issues.

Promotional enhancement possibilities for digital communications against printed counterparts include: Video and audio Animation Behind the scenes Embedded hyperlinks Exclusive bonus material Live or near-new updates Direct consumer/reader engagement Size and amount/length of imagery/content Opportunities to seamlessly “cross� from one portal title to another Physical reader interactivity (swipe, pinch, zoom) (Cope and Maloney, 2016:203)

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FASHION ACTIVISM In a fashion context, consumers today seek not just visually and contextually indulgent visuals from the brands they engage with, but younger generations expect brands to pro-actively engage with global and social issues. Forbes note that 81% of millennials expect companies ‘to make public declarations of their corporate citizenship’ (Landrum, 2017:online). 2020 has contained unprecedented challenges including a global pandemic, economic struggles as a direct result, an amplification of the issues regarding societal systemic racism and elevated threats from the climate emergency- inducing extreme weather. Therefore, fashion activism is no longer merely desirable but fundamental to how fashion players communicate with audiences. Collectively fashion must seek necessary meaningful solutions, which facilitate social and environmental justice, whilst permitting self-expression, resonant to modern consumers independently and collectively.

Making space for these conversations is an ongoing and ever-changing dynamic. Smaller profile Instagram accounts like Entry Level Activist (@entrylevelactivist) are key thought-leaders in driving this shift in fashion interaction, whom aim to ‘encourage more people to engage beyond the massive amount of entry points for positive change in the fashion + lifestyle industries by supporting continued action’ (Robinson, 2019:online). ‘With the ever-growing list of companies weaving brand activism and purpose-driven points of view into their strategies’, Entry-Level Activist speculate how relatable real activism really is ‘And if that number is as small as we think it is, what kind of negative effect could this new kind of branded language have on the work and endeavours of real campaigners?’ (Robinson, 2019:online). Activism roles change alongside growing public engagement with social and environmental issues. But maintaining its sentiment proves challenging in the age of fast fashion consumerism, as buying into a movement via sustainable brands or simply engaging with social media posts is not enough.

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Simultaneously, global platforms, like Fashion Revolution (2017:online) produce accessible digital content and guides to inform how individuals can practice fashion activism, including their ‘#Haulaternative: A Guide For Fashion Lovers’ handbook. Encouraging aspiring influencers to challenge the widely critiqued YouTube ‘haul videos’, where influencers buy large quantities of fast fashion to showcase to their audience.

Highlighting how fashion players of all sizes, experience and knowledge levels have the capacity, upon willing, to participate in challenging linear fashion through personal activism.

In contrast, the relative newness specifically of circular fashion’s concept coinage, by Dr Brismar in 2014, could partially explain why a circular fashion movement has not fully transcended throughout the industry or society (Brismar, n,d.:online). Circular fashion activism may lack relatability with brands possibly struggling or refusing to solidify a narrative or stance towards circular integration and marketing approaches. For example, aspiring circular fashion brands may adopt a highly specified; technical stance which potentially alienates consumers from the conversation, whom are not as well versed in areas of circular discussion.

Alternatively, opting-out from taking circular stances, preferring more familiar terms like ‘sustainable’ and ‘eco’; confident that such marketing lexicon already permits greater understanding and resonance with their audience. The solution, therefore, is to optimise elements combining processable levels of circular fashion information through channels or mediums that are perhaps already familiar to consumers, in a mutually beneficial way inducing exchanged knowledge that grows with the circular movement.

Studies are arising which seek to understand fashion activism through three core questions: ‘how effective is fashion activism as a tool in raising awareness for sustainability issues in the fashion industry?’; ‘do participatory design processes and enabling solutions help the consumer gain new skills and develop a greater appreciation towards his/her products…through a deeper understanding of the production process’ and ‘can fashion activism ease the transition towards sustainable consumption?’ (Hirscher, 2013). With the case for circular fashion conversation through CIRC_LAR + U, much can be said for highlighting the importance of circular thinking and habits that commence with the existing wardrobes of individual consumers. Before discourse expansion into technical and mechanical systems that maximise recycling, product life-extension, re-purposing or biodegradable fashion qualities. ‘People need to develop a valued relationship with their possessions if they are to decrease the desire for the new’ (Hirscher, 2013).

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OBJECTIVE 1

1B. EXISTING CIRCULAR FASHION INITIATIVES PAUL FRITIJERS’ (1998) ANALYSIS OF FASHION CYCLES ILLUSTRATES AN ECONOMIC MODEL BASED UPON ASSUMPTIONS DRAWN FROM COLLECTIVE BEHAVIOUR-STATUS THEORIES, WHILST GEORGE SPROLES (1981) SUGGESTS CONSTANT INTRODUCTION OF NEW STYLES IS THE ‘LIFEBLOOD OF THE FASHION INDUSTRY’ (LYNCH AND STRAUSS, 2007:136).

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To sustain trend-cycles, intentional obsolescence is increasingly accepted on mass-scale, by consumers, as a component of on demand fast fashion. To change linear fast fashion, there must be a separation from a modernised infatuation with needing newness as a component of identity. Psychological obsolescence manipulates consumer desire for needing newness and perpetuates continued consumption and disposal of fashion, regardless of garment quality. The other brand of fashion theory regarding cyclic behaviour focuses on long-term cycles, which would be trend cycles extending decades or even centuries in wavelength (Lynch and Strauss, 2007:137). Without initially addressing and attempting to resolve the problem of overconsumption, the true benefits of circular fashion solutions, for when legitimate needs for clothing acquisition arise, will be undermined.

Regardless, circular principled fashion designers are emerging; recognised and celebrated through the Redress Design Award (2020:online), ‘the world’s largest sustainable fashion design competition’ which ‘works to educate emerging fashion designers around the world about sustainable design theories and techniques in order to drive growth towards a circular fashion system’. Circular fashion pioneers typically engage ‘in five essential areas of intervention: design for longevity, design for reduced impacts, design for recycling, end-of-life systems and alternative business models.’, although the field is open to innovations from anyone wanting to extend clothing lifespans ‘through quality, design, mindset change and repair services’ (Greenpeace International, 2017:online).

Even if brands and designers begin incorporating circular considerations into their designing and manufacturing processes, without understanding circular fashion, consumers may be reluctant to shift their mindsets to engage in new circular initiatives, like clothing take-back schemes or repair workshops, which are fundamental to closing the loop on supply chains and thus the realisation of a true circular fashion system.

There are several driving players in the circular economy and in circular fashion whom dedicate 19

their work to raising such awareness, including

the Ellen MacArthur Foundation, Circular.fashion, and Circular Fashion System, whom recently hosted ‘the first ever fashion summit completely happening in Virtual Reality, for Paris Fashion Week’ (Circular Fashion Summit, 2020:online).

A prime example of how digitisation is already being used to communicate circular initiatives.

For circular fashion ‘the challenge is to share the message related to the reduction of consumption impacts and change consumer behaviour, but at the same time sell the products’ (Black, 2011).

The communication should be concise, ‘include creative messages to be delivered through a wide variety of media, by using highly engaging visual or non-verbal forms’, according to Han et al (2017)’ (Vehmas et al., 2018:289). When imagining the core narratives for CIRC_LAR + U’s digitisation, inspiration ignited from the YouTube video ‘John Jordan on Creative Activism’ (Fossil Free Culture, 2016:online), highlighting scopes of communicating circular initiatives to the public in ways that motivate behavioural change, without feeling overly dictated or alienating in terms of contextual relatability. In the video John Jordan warned that ‘100 million people will die due to climate change in the next 17 years’ and a belief that people are not motivated to act by truth but by desire. From this followed Stephen Duncombe (2008), expressing that ‘people are rarely moved to action, support or even consent by realistic proposals; they are motivated by dreams of what could be’ (Fossil Free Culture, 2016:online).

Inferring consumers may act more urgently when exposed to the prospects of what a realised circular fashion economy could entail, in terms of planetary and social health, as well as the optimisation of completely innovative, engaging and new fashion experiences.

Suggesting the need for the CIRC_LAR + U project to go beyond just information sharing, but to truly captivate and inspire toward circular possibilities. Therefore, content narratives should not be confined to the reality of the issues surrounding the fashion industry at present, as this alone, will not motivate widespread societal shift in attitudes and behavioural changes, regarding how fashion is consumed and perceived.

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OBJECTIVE 1

1C. FASHION EXPERIENCES + THE IMPACT OF COVID-19 ‘EACH YEAR, THOUSANDS OF STUNTS, INSTALLATIONS, AND “EXPERIENTIAL” EVENTS TAKE PLACE, WHICH ALLOWS CONSUMERS TO INTERACT PHYSICALLY WITH BRANDS, OFFERING BRANDS FACE-TO-FACE OPPORTUNITIES TO COMMUNICATE THEIR MESSAGES AND HELP CREATE SHAREABLE ONLINE CONTENT’. SMALLER, NICHE EVENTS APPEALING TO CORE BRAND TARGETS ARE ‘LIKELY TO WIELD SIGNIFICANT INFLUENCE AS THIRD-PARTY ENDORSERS VIA SOCIAL MEDIA’ (COPE AND MALONEY, 2016:151).

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THE POP-UP PHENOMENON When discussing making space to amplify a conversation or message, it is arguably natural to envision brick-and-

In a fashion context, pop-ups have been popular

mortar scenarios. ‘Make Space (John Wiley & Sons,

marketing tactics for generating buzz and excitement

2012) is a book by Scott Doorley & Scott Witthoft based

around a brand or designer. ‘The concept of pop-up

on the work of our Environments Collaborative…It is a tool

stores also known as the guerrilla store’ was popularized

for helping people intentionally manipulate space to ignite

by the founder of Japanese fashion label Comme des

creativity’ (d.school, n,d.:online). Fashion as an experience

Garçons, Rei Kawakubo, whom opened the label’s first

has commonly been explored through the phenomenon

pop-up store in Berlin, 2004 (Bernard, 2015:online).

of the pop-up as an efficient, conversation-inducing

In more recent years there has come to be critique

tool. Pop-up events often incur creative, communal,

that desired elements of shock and surprise are no

in-the-moment responses, to a societal desire or need,

longer guaranteed by a fashion pop-up. Across ‘major

capturing and cultivating a message or service explored

metropolitan areas, these temporary retail spaces

through an element of spontaneity.

appear each year in their dozens, used by brands from mainstream to high end’, developing into such a

For example, CultureHouse, is a U.S based non-

desirable promotional phenomenon ‘numerous websites

profit company turning vacant storefronts into pop-up

exist solely to list new openings’ (Cope and Maloney,

communal spaces…anyone can use to work, meet friends,

2016:151). Other pop-ups whose popularity and success

or watch live events (Peters, 2020:online). Designed to

has since seen them inherit a permeance in the retail

bring new social infrastructure to communities where

landscape include ‘London’s first pop-up mall, BOXPARK,

people can connect in new ways, Greiner argues ‘that

and Kawakubo’s own permeant but guerrilla-style high-

it’s critical to have social infrastructure in cities to combat

end department store Dover Street Market’ (Cope and

loneliness, and to create more connections across

Maloney, 2016:151). Despite maybe losing an element

socioeconomic status, across race, across all of these

of surprise, fashion pop-up’s enable brands to visually

boundaries that have been put up’ (Peters, 2020:online).

merchandise products through exploratory, art-like

Greiner also critiques the struggles of forming social

installations, creating an experiential retail environment that

connections online, emphasising the importance of

caters to multi-sensory disciplinaries, with features like live

‘physical, in-person spaces that help people actually

music and artisanal eateries. The pop-up has cemented

form those networks’ (Peters, 2020:online). From this,

itself as a fashion cult-like experience, often attracting

it can be inferred that whilst a pop-up is an effective

a fashion-conscious audience and generating publicity;

way to unite communities through a social cause or

providing media with fresh angles to cover on a brand.

activity that creates persuasive narratives, the physicality of its presence is an important component of that social interaction, which is harder to achieve in online spaces.

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FASHION EXPERIENCES IN A PANDEMIC Referred to as Fashion + The Global Crisis, by online fashion storytelling platform, Mindless Mag (2020:online), Covid-19 has had a profound effect on both dramatically halting and shedding light on the economic, environmental and systemic fashion instabilities, which threaten planetary and human welfare. Mindless Mag (2020:online) raises questions such as ‘What is the role of mainstream media in the global crisis and is it a positive one?’, and ‘How is the impact on fashion being portrayed?’. Applying a critical framework adopted from ‘Fashion Promotion in Practice’ (2016), the following is an analysis of Covid-19’s impact upon fashion through which encouraged to consider how the recent crisis has affected fashion, outlining the crisis cause, development and potential resolution or consequences (Cope and Maloney, 2016:49). Covid-19’s industry impacts include mass rise in unemployment and increased furlough (King, 2020:online), to brands cancelling orders and refusing to pay manufacturers (Bloomer, 2020:online), inducing further mass job losses amongst garment factory workers, to brands facing scrutiny for capitalising on the pandemic through the selling of fashionable face masks (Stevens, 2020:online).

Linear fashion’s performative ethos of excess, historically symbolising aspiration and glamour, is being challenged by groups which deem such behaviours in Covid-19 contexts to be inauthentic, unnecessary and unjustifiable.

In-light of the pandemic, a need for access to digital communities and experiences is more prevalent than ever. New digital scopes for fashion experiences that shift conversation away from mere clothing acquisition is being realised by creative industries, recognising needs for spaces which adopt transparency, authenticity, meaningful conversation and creative expression embedded as priorities. Prior to Covid-19, creating spaces for facilitating meaningful conversations and fashion innovation could often be accessed through the notion of fashion events like the pop-up. Katie Baron, author and Head of Retail for global innovation research and advisory business Stylus, explains the importance of events in the digital era: ‘They are the ultimate conversation-starts in an era where consumers increasingly feelentitled to multiple-brand access points, particularly the ability to explore behind the scenes…while online communications are thriving, there seems little chance that our human instinct for physical communities where we can talk, touch and interact in real life will ever go away’ (Cope and Maloney, 2016:154).

This poses questions of whether there may be a boom of fashion events post-Covid-19 lockdown as brands attempt to re-establish rapport with consumers whom have experienced extended, restricted brand access. Alternatively, the lockdown may have been a catalyst for new digital-first fashion era.

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FASHION DIGITISED

COMPELLED TO CREATE

The role of virtual events in serving linear fashion

Covid-19 has undoubtedly affected real life pop-

enables buyers world over to attend presentations at

up events, and fashion players able to do so, have

major international fashion weeks without needing to

had to find alternative ways to adapt, by exploring

travel, as well as increasingly becoming ‘a direct route

innovative solutions and responses to engage

to purchase, with brands from luxury to mainstream

through digital channels. Designers and creatives

all using real-time interactive link-ups to their shows

compulsion to continue creating fashion experiences,

to connect with consumers’ (Cope and Maloney,

amidst a pandemic, may seem neither essential nor

2016:155). Simultaneously, discourse regarding

a priority at surface level. However, it is such events

the future of fashion events highlights how social

offering not only interaction during times of isolation,

media offers consumers greater brand and designer

but momentary escapism through the collective

accessibility, leading to ‘resurgence of more intimate,

involvement of a fashion occasion, shared with

intellectual events in which small audiences get

like-minded people. Fashion players attempting to

the opportunity to hear industry experts discussing

challenge the linear fashion system through their varied

various aspects of the fashion industry’. This has been

projects and campaigns have been doing just that.

described as event ‘editorialization’, ‘emulating the way in which fashion magazines curate content so

The Dress Change (2020:online) is an online

that readers can choose to delve deeper into detailed

swapping platform in the UK, created to help women

features’ (Cope and Maloney, 2016:155).

save money and reduce their personal impact on the environment through fashion. The Dress Change

Hanson (2020:online) boasts that unlike ‘other

(2020:online) hosted a live ‘Online Swap Shop’,

product-centric industries’, fashion possesses the ‘right

whereby participants could exchange good quality,

blocks to build a future where both upstream and

unwanted clothes with each other. The event ran as a

downstream interaction needs to be predominantly

live auction, deeming participation fundamental to the

digital’ and thus in ‘a locked-down world, fashion

event’s success.

needs to finish its digital transformation’ with the uncertain prospects of “business as usual” returning.

Additionally, Fashion Revolution (2020:online) hosted a ‘Stitch & Bitch’ session over Zoom and Fashion

Increased necessity to access fashion experiences

For Good hosted an online webinar on Circular

digitally, technology has enabled the manipulation

Business Models, where a question arose on how

of digital spaces for contextualised scenarios, like

to communicate or educate consumers on the

Circular Fashion Summits VR fashion event mentioned

impact and role of circular economy models. Winkler

earlier. An argument for the digital pop-up is the

(2020:online) from Refluent, responded ‘This is part of

global community reach, not hindered by geographical

the new relationship that you can build with customers’,

accessibility, and current lockdown restrictions. To

explaining that in terms of value proposition in the

which could be a prospective glimpse into the future

current context, the aim ‘is to bring customers from

of fashion experience as technology adopts an ever-

offline to online and have and build an online activity.

prevalent role in everyday life.

With these new services, creating a new experience online is something extremely valuable…brands should really consider the opportunity behind…the power of the storytelling that can built around such services.’

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28

OBJECTIVE 1

1D. PROJECT OUTPUTS RESEARCH SO FAR IMPLIES THAT EVENTS OFFER SEEMINGLY INFINITE WAYS FOR FASHION PROMOTERS TO GAIN EXPOSURE, ALONGSIDE CREATING SENSORY EXPERIENCES THAT COMMUNICATE AN INTENDED MESSAGE OR NARRATIVE (COPE AND MALONEY, 2016:155).

29

30

Experiential events offer consumers ‘a more holistic “brand experience”’ and ‘may also involve participants in contributing to the evolution of a brand as their actions and reactions to the event help shape the brands future activities’ (Cope and Maloney, 2016:151).

Acknowledging basic human need for interaction, a digital and brickand-mortar hybrid event would arguably be the optimal choice for the CIRC_LAR + U pop-up, unifying and utilising the benefits of both. However, Covid-19 restrictions and servitude to prioritise public health, ultimately means that a digital pop-up event will be the most suitable pinnacle project outcome. As opposed to reviewing this scenario as a restriction, the opportune to explore digital media will enable for deepened understanding about the ever-growing role technology plays in fashion communication, as well as hopefully exposing effective ways to widely communicate the vital message for needing to implement circularity within the fashion industry.

With a patterned focus of pop-ups stemming down to the promotion of either a brand, collection or product, CIRC_LAR + U will examine differentials with the CIRC_LAR + U pop-ups priority, existing outside of consumption-based ideologies. Instead prioritising circular fashion awareness, participation and generating a holistic experience of the CIRC_LAR + U ethos and core messages. This can be categorised as a niche fashion event due to the specialised themes it will explore and the personal input into the creative direction of the events curation and visual publishing.

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THE SCIENCE OF SOCIAL MEDIA Referring to the attributes of different digital communication options in Appendix 1 has helped to identify the most suitable outlets for CIRC_LAR + U to host its research outputs and online pop-up event according to the project mission. As such, an owned media platform of a website allows for full control of the content shared and the potential to build longer-term relationships with longevity and versatility. Similarly, using social media will help spread CIRC_LAR + U project awareness rapidly, whilst providing space for two-way communication with the potential audience. This should help promote CIRC_LAR + U and streamline content across multiple platforms, where there is already an initial audience to obtain exposure from.

To optimise coherent posting for maximum exposure in increasingly competitive and noisy digital spaces, an overview understanding of the best practices in digital environments to generate community engagement proved ideal. Including understanding type and volume of posts, optimum posting times and SEO tactics. Gotter (2017:online) claims that the following types of posts are often guaranteed to bring better engagement results: posts featuring influencers, behind-the-scenes content, user-generated content centred posts, actionable advice and tutorials, and aesthetic posts with a single dominant colour and lots of background.

To integrate another dimension to the experience of CIRC_LAR + U’s research outputs and digital pop-up, launching a YouTube channel is evidently favourable. On average 1,000,000,000 people worldwide use YouTube daily, with 6 out of 10 people preferring online video platforms to live TV (Influencer Marketing, 2020:online).

As social media algorithms increasingly shift from ‘reverse chronological timelines’, towards ‘relevance-based curation’, social media marketing tactics need refinement in creating high-quality content and maximizing opportunities to earn engagement (Arens, 2020:online). Appendix 2 outlines optimum posting times across different social media platforms, ideal for non-profits whom wish to highlight a social campaign and spark communications with their audiences. Additionally, the best day for posting on YouTube is Friday between 2-4pm (Andress, 2020:online) and for maximum traffic on blog articles, the best time to publish is around 11am on Monday’s (Neil Patel, n,d.:online).

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OBJECTIVE 2

2A. RESEARCH DOCUMENTATION STRATEGIES + IMPLEMENTATION

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34

GROUNDED THEORY APPROACH + METHODOLOGY Within the book ‘Design Roots’, Grounded Theory is described as a ‘research method that generates theories inductively on social processes through the analysis of qualitative data’ (Walker et al., 2018). Similarly, Grounded Theory Online (n,d.:online) define it as a ‘research tool which enables you to seek out and conceptualise the latent social patterns and structures of your area of interest through the process of constant comparison’. Initially using an inductive approach to generate substantive research prompts and patterns, later developing theory will suggest where to go next to collect data and which, more-focussed, questions to ask. Negations regarding this perspective is the lack of visibility or definition of what is being studied, until a significant quantity of analysis has been carried out.

‘Grounded theory is therefore also an exploratory method’ requiring its own ‘research design’ (Grounded Theory Online, n,d.:online).

Academic-focused research throughout Objective 1 helped determine the successes and hindrances of different types of fashion communication and experiences, leading to a conclusion on the digital platforms and social media channels most suitable to carry out the next stage of the CIRC_LAR + U project. Set on developing a website to act as the central digital hub for public research outputs, a conjoining YouTube channel for vlogs and utilisation of the existing Instagram account ‘@annabellindsay’, there was apparency that a grounded theory methodology was going to be instrumental to the project’s development going forwards.

PARTICIPATORY RESEARCH METHODS Participatory research comprises methodological approaches with the objective of ‘handing power from the researcher to research participants, who are often community members or communitybased organisations’ (Participate, n,d.:online). This is achieved through techniques such as ‘participatory inquiry, action research, oral testimonies and story collection as a foundation for collective analysis, photo-digital stories, photovoice…participatory video, and immersions (Participate, n,d.:online). Practicing an awareness of subjectivity to the perceptions of qualitative data accumulated, should reduce risks of compromising the organic progression of the grounded theory approach. This approach further cements the prospects for utilising digital communication channels to explore the success or failure of elevated circular fashion conversation amongst consumers. A grounded and participant-led approach to the research, hence-forth implicates that research can and will be influenced by social factors both internal and external to the project.

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OBJECTIVE 2 37

2B. CORE DIGITAL HUB

THE WEBSITE A website is to act as the central hub for the project’s public-facing outcomes, as well as being a user-centric platform for developing a digital community. A live website is the most fitting documentation strategy as it enables for a continued discourse of internalised learning, external exposure and interactions which dictate the components for the final pop-up event. Wix has been chosen as the website builder due to its customisation features, deeming it appropriate for hosting creative-led content.

In a retail store scenario, merchandising involves ‘collecting, sorting, editing, displaying, and performing products to attract customers toward retail spaces’, designed to encourage purchasing and communicate brand experiences. With online merchandising, the ‘obvious “visual” elements (website, design, navigation, and product categorization) are increasingly complemented by features that enhance emotional connections’, such as ‘other digital content including shows, events and mini documentaries’ (Cope and Maloney, 2016:161). The website, therefore, is effectively CIRC_LAR + U’s central digital visual merchandising platform, with the exception of its goal to be elevating circular fashion conversation and awareness, as opposed to volumes-sales. Instagram will be the main promotional platform for informing of project updates and activity.

38

BRANDING IDENTITY + AUDIENCE The intersectional nature of the circular conversation makes it near impossible to identify a single target audience. However, younger generation’s like Gen Z and Millennials are not only engaged in these important social issues online but are often at the forefront of them. This is believed to be because younger generations will face the reality of a changing climate in their own lifetimes, are most vulnerable but ‘potentially also the best placed (and most motivated) to generate an ambitious societal response’ (Corner et al., 2014). Furthermore, creativity has consistently been defined as a component to effectively communicating important messages that inspire positive change. Meaning a broader audience of conscious, environmental and stylish persons whom define identity associations through both fashion and a care for the planet, can be deemed the suitable demographic in which to target CIRC_LAR + U content towards.

This project is channelling the experiential digitisation of circular communication through the CIRC_LAR + U brand. The name of which itself is a playful adaptation of centralising people at the core of this movement.

The brands phonetical pronunciation ‘circular and you’, is visually manipulated to reflect the notion that the awareness and participation of consumers is a missing component from circular fashion initiatives. The overall branding adopts a futuristic, stylised identity, and the logo and website colour scheme are purposefully and predominantly monochromatic. Enabling updated content to adopt a stronger visual presence and aesthetically define the different stages of the project duration, intended to be most evidently depicted across the Instagram feed.

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40

FIXED PAGES

WEBSITE CONSTRUCTION HOMEPAGE As the website is updated, the ‘Weekly Highlights’ reel on the homepage will provide an immediacy into the most current CIRC_LAR + U activity.

= CLICKABLE LINK

41

FIXED PAGES

CONTACT FORM Encourages other creatives or circular fashion enthusiasts to contribute to the circular fashion movement through collaboration.

MANIFESTO Attempts to creatively summarise and represent the intentions, goals, principles, and motives of CIRC_LAR + U (Macmillan Dictionary, 2017:online).

42

FIXED PAGES 43

CIRCULARITY (THE SCIENCE + THE ART) These pages offer insight into the founding principles of circularity and its technical and mechanical processes. Before expressing those technical narratives through a creative editorial series, that further contextualises circular-based communication principals.

44

FIXED PAGES

FIXED PAGES

CREATED BY (Formerly ‘The Founder’.)

A recent survey regarding visual merchandising identified a ‘split between a quest towards increasingly sophisticated technology, versus a move away from “technical” solutions towards warmer, more human interaction’ (Cope and Maloney, 2016:174).

The human versus digital debate is a research avenue this project will pursue further. But in order to incorporate humanness into the website, a ‘The Creator’ page has been included to put a face behind the CIRC_LAR + U brand.

Intended to increase relatability and share personal background and motivations for launching CIRC_LAR + U.

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ha ng o ing m s o

W/C LIFT

C

Depicting the Realisation project and showcases

LEVEL

R

PROJECT FOUNDATION

THE LAB LEVEL G

The Lab M 09:00-20:00 T 09:00-20:00 W 09:00-20:00 T 09:00-20:00 F 09:00-20:00 S 09:00-22:00 S 10:00-18:00

EVENTS + WORKSHOP + SEMINAR ROOM

FIXED PAGES

INNOVATION ZONE Innovation Zone: M 09:00-20:00 T 09:00-20:00 W 09:00-20:00 T 09:00-20:00 F 09:00-20:00 S 09:00-20:00 S 10:00-18:00

the founding origin story for CIRC_LAR + U’s existence into the current project mission.

FRONT OF STORE

MEND + CUSTOMIZE + IMAGINE + CREATE

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CIRC_LAR + U

56

FASHION ME FIT-NESS SUITE 70

FA

SH

ION

ME

FIT

FA

S

HIO

E N M

FIT

74

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47

PAGES TO GET UPDATED

BLOG ‘NOTES ON’

YOUTUBE VLOG SERIES ‘DIGI-DIARY’

48

PAGE ADDED

INTERSECTIONALITY The grounded and participant research approach proved vital throughout the website’s development, following the global reach of the Black Lives Matter (BLM) movement. Which highlighted previously personally unforeseen perspectives regarding the role racism and white supremacy play in upholding structures that support linear fashion production and consumption (Maqbool, 2020:online). The CIRC_LAR + U website was updated with a page on Intersectionality with a direct call to action to support BLM and related issues, embedded through external links. The circular conversation, in light of these perspectives, was advanced and elevated through the recognition and commencement of unlearning personal white privilege, and simultaneously committing to listen to and amplify black, indigenous and people of colour (BIPOC) voices throughout all content created. This arguably marked a turning point in the project as prioritising intersectional circular conversation, birthed impactful, accumulative narratives.

As opposed to isolating these integrated social issues, and therefore potentially neglecting opportune, to find solutions capable of tackling the globalised manner in which linear fashion operates.

49

BLACK LIVES MATTER

50

OBJECTIVE 2

2C. PERSONAL PUBLIC-FACING RESEARCH OUTCOMES

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52

BLOG The blog offers communication via a more traditional and familiar digital channel, most reflective of traditional print. This communication channel should appeal and cater to learners who have a reading/writing preference and prefer information to be presented using words with emphasis on text-based input and output (Advancement Courses, 2017:online). Despite the exact blog article topics not being locked down immediately, a rough scope of the overarching themes that needed to be intertwined across the coming articles, enabled structural planning. Later then embellished from the grounded theory learning acquired, in terms of the most prevalent or appropriate topics to cover and in some sort of chronological order.

BLOG: ‘NOTES ON’ [WEBSITE] BLOG 1: TURNING MY BACK ON FAST FASHION BLOG 2: OLD FASHION HABITS DIE HARD BLOG 2A: FADS, TRENDS + STYLE - A MEMOIR BLOG 3: WANTED: CREATIVE WASTE ENGINEER!

CLICK ICONS FOR LIVE BLOG ARTICLES

NOTES NOTES ON ON

BLOG 1 LIVE!

TURNING MY

BACK ON FAST FASHION B

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L

O

G

1

NOTES NOTES ON ON

BLOG 1 LIVE!

TURNING MY

BACK ON FAST FASHION B

L

O

G

1

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VLOG Cope and Maloney (2016:118) notes the origins of fashion film traced back by Marketa Uhlirova (2013), recording “fashion news reels” being part of the cinematic experience from 1909. The 1950s and 1960s saw cultivation of fashion film as an art form, often created by fashion photographers. Television catalysed a hybrid of artistic expression and commercial communication throughout the 1970s and 1980s and in 1981, MTV helped generate public appetite for short-format visual spectacles through music videos (Cope and Maloney (2016:118). Fashion film is also regarded as a ‘promotional vehicle’ capable of eliciting positive feelings about a brand, so that a viewer gains ‘perspective or develops an affinity to an entire brand ethos’ (Cope and Maloney, 2016:127). This supports fashion related video content as a successful means to promotional campaigns, which could be utilised in effectively and creatively communicating key CIRC_LAR + U messages.

Today, fashion in the medium of moving images is largely democratized, as consumers now have the autonomy to produce vlog content from home. The video sharing platform YouTube has handed power of video fashion communication over to consumers. Presently, video is the fastest growing media form, and as millions more take to mobile devices, and with ‘the wide acceptance of videos as crucial to the success of any marketing campaign’, is set to look unrivalled in terms of growth or popularity- hence motivations for launching a conjoining vlog to the CIRC_LAR + U project (Big Yak Creative, 2017:online). A vlog series will enable personal perspective documentation and stances on the state of linear fashion and prospects for circularity to be communicated through a highly popular medium. This personalisation should increase the humanness of the project, which is sometimes lost to messages through screens. In turn, this could respectively enhance the effectiveness at which the topics covered are received by an audience. The tone of voice for the vlogs is predominantly informal, colloquial and light-hearted to ensure that the risk of the complexity of the topics covered, does not alienate others from the conversation. Video content will engage auditory learners, whom ‘learn best when information is heard or spoken’, concerning the messages shared (Advancement Courses, 2017:online).

VLOG: ‘DIGI-DIARY’ [YOUTUBE + WEBSITE] All vlogs uploaded at 16:00 on Friday’s for maximum exposure (Appendix 2).

VLOG 1: FASHION, CIRCULARITY + US. VLOG 2: ENTRY-LEVEL CIRCULARITY VLOG 3: INTERSECTIONALITY

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CLICK ICONS FOR LIVE VLOGS

Y BY

R A DIGI-DIA

FASHION, CIRCULARITY AND US.

Y BY

R A DIGI-DIA

ENTRY-LEVEL CIRCULARITY

Y BY

R A DIGI-DIA

INTERSECTIONALITY

56

OBJECTIVE 2

2D. RESEARCH PROMOTION

57

DEFINING A VISUAL, PROMOTION + ENGAGEMENT STRATEGY From an early stage, there were attempts to solidify the quantity of each type of content required, including the identification of how many blog articles, vlogs, and relevant promotional posts for social media (mainly Instagram). As well as how often to post, the most suitable times and consistent hashtag usage (i.e. #circularandyou #circulareconomy #circularfashion #makefashioncircular #circulareconomy).

A creative blueprint was developed to establish consistency across all publicfacing research outputs. This comprised, adopting a similar tonality and lexicon and graphics and aesthetics matching across different platforms and to differentiate which types of content was being promoted. To achieve this, first-hand illustrations and photography were used to inject a personalised, unique and human-like visual identity for the CIRC_LAR + U aesthetic.

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MOCK-UP 2

☺

INSTAGRAM FEED SCHEDULING Social media planning software ‘Later’ claims ‘having a beautiful and cohesive Instagram aesthetic is the key

V

to turning visitors into followers’, and

☺

V

☺

V

PATTERN KEY

‘one of the best ways to grow your

☺

account, build a following and show off your brand’s unique style and tone’

V

(Carbone, 2018:online). Regarding the

COLOUR THEMED OUTFIT VLOG TILE

DIGI-DIARY YOUTUBE Ep.4 @ANNABELLINDSAY

blog and vlog content being planned,

FACTUAL FASHION SHOT

☺

and mindful of the pop-up event still

FASHIONING

to come, a series of feeds were trialled to reveal the most visually striking and

THE FUTURE

effective posting pattern solution. For

V

☺

V

☺

V

V

☺

V

☺

V

V

☺

V

☺

V

V

☺

V

☺

V

PICTURE OF ME

LANDSCAPE + QUOTE

SELFIE OF ME IN GREEN MASK HANGING ON THE KEY RACK IN MY ROOM

content not locked down at this stage, placeholders were used to obtain a

DIGI-DIARY YOUTUBE Ep.4 @ANNABELLINDSAY

FASHIONING

E THE FUTUR

AT 1 W NATURE

MOCK-UP 1

‘feel’ for the potentially finished feed.

TOMMY JEANS GREEN JUMPER WITH WHITE DENIM JEANS

☺ DIGI-DIARY YOUTUBE Ep.3

@ANNABELLINDSAY

TOMMY JEANS GREEN JUMPER WITH WHITE DENIM JEANS SELFIED CLOSE UP

ALITY

INTERSECTION

on video releases inckude slide of quotes wit that colour background from the video DIGI-DIARY YOUTUBE Ep.3

@ANNABELLINDSAY

☺

ALITY

INTERSECTION

DIGI-DIARY YOUTUBE Ep.2 @ANNABELLINDSAY

FURTHER OUT PIC IN THE SAME OUTFIT AS PREVIOUS

DIGI-DIARY YOUTUBE Ep.2 @ANNABELLINDSAY

SELFIE CLOSE UP OF ME IN PNK HEADBAND WITH EARRINGS BLACK TOP AND PINK LAYERED TOP

DEMAND SUPPLY VS

DEMAND SUPPLY VS

DIGI-DIARY YOUTUBE Ep.1 @ANNABELLINDSAY

FASHION,

CIRCULARITY

PIC OF ME IN GRAANNY’S BLUE SHIRT WITH SILVER GUESS NECJLACE + SILVER GUESS WATCH- ON CAMERA IN TOBY’S ROOM

+ US

DIGI-DIARY YOUTUBE Ep.1 @ANNABELLINDSAY

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FASHION,

CIRCULARITY

☺ A DIGITAL DIARY BY

DIGI-DIARY YT SERIES

+ US

MAKE FASHION CIRCULAR

ANNABEL

the HOST FINAL RESEARCH-STAGE FEED

LINDSAY

@ANNABELLINDSAY

DIGI-DIARY YOUTUBE Ep.1 @ANNABELLINDSAY

FASHION,

TY + US

CIRCULARI

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PUBLIC RESEARCH CONTENT EXPOSURE + ENGAGEMENT Project growth should be enhanced through commitment to a consistent engagement strategy, partially outlined prior, as well as through engaging with other projects and circular fashion players on social media. Through sharing work and related content on Instagram stories and participating in Facebook groups with circular economy and sustainable fashion enthusiasts, to develop and grow a digital network. The Facebook groups joined to increase exposure included: - Circular Economy Club (CEC) - Circular Economy Club Manchester (CECM) - Circular Economy Enthusiasts

200 countries (Rycraft, 2018:online). Specifically, for potential to obtain exposure to possible third-party players or stakeholders in the CIRC_LAR + U project.

To better understand the reach and effectiveness of the CIRC_LAR + U project in totality, an intention is to draw direct comparison of the growth and reach of the website, Instagram, YouTube and Facebook page, from the beginning of the project versus upon completion.

As of the 14th July and the first three Instagram posts, first blog article and first vlog being published, an Instagram account following of 4300 was recorded.

The website, YouTube channel and Facebook page were launched from scratch so will be compared to zero reach from the same date.

- Circular Economy - Sustainable + Ethical Fashion & Lifestyle - Sustainable Fashion

Having decided to increase the platforms to promote CIRC_LAR + U content, it became apparent that considerations would be required to assess if and how to relate to and build up audiences across the different platforms accordingly. The following questions became key considerations: Are the audiences drastically different? Are there noticeable crossovers?

Will promotional content require editing for different audiences (i.e. captions, hashtags)? How do platforms optimum posting frequency and times differ?

The duration and completion of the personal public-facing research outcomes and relevant promotional posts revealed difficulties of producing consistent ready-to-go content. Maintaining a live

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At this point, an executive decision was made to

site and Instagram feed required additional research,

develop a CIRC_LAR + U Facebook page, as a

management and maintenance, of which would

personal account extension, in order to share and

occasionally become affected by the ever-changing

promote CIRC_LAR + U activity with another potential,

external factors of Covid-19. Appendix 3 depicts all

older demographic whom may not be on Instagram

personal research Instagram posts which also offered

or YouTube. A ‘surge in older users means over-55s

information on blog and vlog activity. Quality over

will become the second-biggest demographic’ on

quantity became the mantra for this phase of the

Facebook (Sweney, 2018:online). Additionally, LinkedIn

project and a cut back from how much content was

was also incorporated to this list of promotional

originally planned to be produced, arguably facilitated

outreaches for its capacities to connect worldwide

the better performance of the personal research

professionals as ‘the largest business-oriented

outputs. Particularly the Digi-Diary series to which each

networking website’ with 500 million members, in over

video received hundreds of views as analysed later.

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OBJECTIVE 3

COMMUNICATION WITH CIRCULAR ECONOMY AND FASHION PLAYERS

3A. COLLABORATION

of CIRC_LAR + U’s practices, its credibility at unifying entities to support and advance circular conversation, could help the circular fashion

Earlier, several digital fashion events were highlighted to demonstrate how brands and businesses have been adapting their experiences, to fit digital requirements as a result of Covid-19. With the personal publicresearch outcomes either completed or in final preparations, attention shifted towards the planning, development and curation of the CIRC_LAR + U digital pop-up. The digital pop-up’s intention is not only to replicate a digitisation of fashion experiences and communication, but to integrate discourse and commentary from brands, designers and thought-leaders within the circular economy and fashion industry, elevating public awareness and engagement through collaboration.

In fashion promotion contexts, “collaboration” often references a ‘product, collection, or brand emerging from an alliance between at least one fashion brand or designer, and another entity’ (Cope and Maloney (2016:74). Circular collaboration contradicts this by providing narratives that exist outside of linear and capitalist ideologies, with intent for upwards/ downwards streams of transparency and knowledge transmittance, that hopefully accelerates the integration of circular systems thinking within fashion and wider society.

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By prioritising collaboration as a core pillar

network grow. Collaborations can offer more versatile, alternative and quicker reaches with different consumer sectors (Cope and Maloney, 2016:83). Unlike linear business models, where collaborative intention may be bringing a product to market, this scenario regards intent to expedite realising a transformative circular fashion system and dramatically alter the course of fashions environmentally and socially destructive trajectory.

The following adapted framework for sourcing and carrying out the digital collaborations was initiated within Objective 3 through a collaboration roadmap and then fully realised within Objective 4: 1. Identify possible collaborative partners and propose suggestions to the outlining potential benefits of each.

2. Select the partners most likely to yield benefits from the collaboration.

3. Initiate communications with desired partners to build rapport and develop intrigue.

4. Devise a promotional plan for the completed collaboration, focusing particularly on target audiences (both consumer and media).

(Cope and Maloney (2016:93)

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OBJECTIVE 3

3B. COLLABORATION ROADMAP 1. MASTER DATA A master data spreadsheet (Appendix 4) was developed to document and methodically track who had been contacted, how and when they were contacted and the general interactions leading up to an intended consent of participation and scheduling confirmation for the interview itself. This degree of organisation proved important for tracking the social interactions, as more people were contacted than arguably desired for the pop-up event, in case of minimal return in responses. A reserve list of contacts was developed to address this.

2. IDENTIFYING POTENTIAL COLLABORATIVE PARTNERS Identifying initial desired contacts for collaboration preceded the outcome for the desired accumulative content obtained and its public documentation and exposure through the digital pop-up. For correspondence to CIRC_LAR + U’s origins from a circular concept store proposal, one of the first avenues to seek collaborative opportunities was through potentially reaching the brands, designers and creatives featured within the concept store. Outside of that, other potential contacts came to light through investigative research based on a balanced matrix of profile prestige and audience against feasible accessibility.

3. BUILD RAPPORT + CONTACT DESIRED COLLABORATIONS Once a list of desirable contacts was reached, building rapport was initiated through engaging and sharing their related work on the appropriate social media platforms. Following on from which, personalised direct messages were sent out to each contact via Instagram.

With a pre-planned communications system in place, pre-drafted emails were then distributed to those interested in collaborating, containing further information, detailing the nature and purpose of the CIRC_LAR + U project and what their involvement would entail.

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4. CONFIRM PARTICIPANTS Willing participants then confirmed an interview availability to which a Zoom interview was scheduled.

Final confirmed participants: 1. Anita Ahuja 2. Chelsea Carlson 3. Christopher Raeburn 4. Emma Hislop 5. Eshita Kabra-Davies 6. Sass Brown 5. INTERVIEWEE RESEARCH + QUESTION PREPARATION For the confirmed participants, further research was carried out into their respective fields of work and related projects to ensure that the interviews would be professional, structured and confidently lead without being rigid, and that the overall interview addressed circular fashion and/or the circular economy.

6. CONDUCTING THE INTERVIEWS Conducting the interviews proved to be a milestone in the project journey as it involved overcoming anxieties of meeting and speaking with new people. Particularly when the people in reference are personally idolised as thought-leaders in the discussion topics at hand. Utilising pre-drafted questions as a loosely scripted guide, as shown in Appendix 5, alleviated much of these anxieties and ensured the interviews ran smoothly.

In the post-filming production, the following editing procedures and attributes were applied for structural continuity across the interviews, with the exception of the written interview conducted with Christopher Raeburn: - an introduction and sign-off to all interviews was filmed and incorporated.

- visuals were used to further contextualise the interview.

- references were included at the end of each video for professionalism and copyright adherences.

- replicated visual aesthetic.

- interviewee’s social media handles featured in the description.

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OBJECTIVE 4

CIRC_LAR + U: THE DIGITAL POP-UP EVENT

4A. CONTENT CREATION + PROMOTION SCHEDULING + CONTENT ACCESSIBILITY Pre-planning and preparation ensured the event would run smoothly, by easing the process of posting content. Upon completing post-production interview editing, it became easier to finalise planning details for what the event would look like, how it would operate, how long for and what other additional features were achievable in the remaining timeframe. The interviews successfully fit into three core themes, determining the length of days the event would then run for: • Day 1 - Changing Perceptions • Day 2 - Grassroots Thinking • Day 3 - Pioneering Brands To ensure accessibility to all content within the omni-channelled event, the platform Linktree was embedded as the primary Instagram bio link.

Linktree (n,d.:online), helps hold followers within an online ecosystem for longer, allowing users to share, curate and grow more by making online content more discoverable and easier to manage as a user-centric reference landing page. This enabled important CIRC_LAR + U links for alternate digital platform content to be displayed and accessed simultaneously, essentially as a visual merchandising tool.

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PROMOTIONAL CONSIDERATIONS Promotional content for the days leading up to the pop-up event were integrated first discretely through personal research Instagram post captions and then overtly, with Instagram feed posts offering information and a countdown to the event commencement.

Interviewee profiles were added to the website event page, with all participants relevant social media handles linked (this was also applied to all content across social media as it was published throughout the popup). A schedule was published on the website and Instagram to draw attention and generate excitement around the event launch. Generating excitement was important as launches are described as ‘the quintessential fashion media event’, for providing ‘a fixed point in time that acts as a marker for media to cover whatever is being launched. This helps coalesce media coverage into a critical mass, which is more likely to be noticed by consumers’ (Cope and Maloney (2016:145). Despite argument that launches are most impactful in real, physical spaces, the ‘concept of the virtual launch is gaining currency, where an event is planned to take place online, featuring some or all of the activities designed to generate news angles’ (Cope and Maloney (2016:145).

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OBJECTIVE 4

4B. DIGITAL POP-UP EVENT BREAKDOWN FINALISED POP-UP FEATURES

SCHEDULING 3-day Event (Friday, Saturday, Sunday) 2nd – 4th October 2020

EVENT WORKING TIMELINE

30.09.20

1.10.20

4pm

7pm

11am

Day 1 [Fri October 2nd]

Day 2 [Sat October 3rd]

Changing Perceptions

Grassroots Thinking

1pm

4pm

7pm

8pm

11am

1pm

4pm

Update

Update

Update

Update

Update

Update

Update

Update

Day 3 [Sun October 4th] Pioneering Brands

7pm

8pm

11am

1pm

4pm

7pm

8pm

Update

Update

Update

Update

Update

Website Homepage Highlights Event Page

Timetable

Update

Blog

Christopher Raeburn

Instagram Stories Feed

Live Intro

Timetable

‘The Host’

Day 2 Challenge

YouTube playlist

Day 1 Challenge

Promote Emma

Promote Chelsea

Promote Anita

3-day challenge

Emma Post

Chelsea Post

Anita Post

Sass Post

Emma Hislop

Chelsea Carlson

Anita Ahuja

Sass Brown

Playlist made public

Y

Y

Y

Y

Promote Sass

Day 3 Challenge

Promote Chris

Promote Eshita

Chris Post

Eshita Post

Poster Launch

YouTube Channel

Completed

Y

Y

Y

Y

WEBSITE UPDATES Digital Pop-Up Page Bonus Features Page Homepage ‘Project Highlights’ Reel

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Y

Y

Y

Eshita KabraDavies Y

Y

Y

Y

Y

Y

INTERVIEWS: DIGI-DISCUSSIONS - Emma Hislop [Video - YouTube] - Chelsea Carlson [Video - YouTube] - Anita Ahuja [Video - YouTube] - Sass Brown [Video - YouTube] - Christopher Raeburn [Blog - Website] - Eshita Kabra-Davies [Visual Podcast - YouTube]

DIGI-DISCUSSIONS SERIES

A EA C LS

E H

H

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A S S BR

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A K A BR IT

ES

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USSIO

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AVIES -D

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C IS

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DIGI-DISCUSSIONS SERIES

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-D

@CHRISTOPHER.RAEBURN

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SSION

@ANNABELLINDSAY

N DI G I

N DIGI-

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CU DIGI-DISCUSSIONS INTERVIEW 5

W O

CU IS

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NITA AH

DIGI -D JA

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ON D IG

DIGI-DISCUSSIONS SERIES

DIGI-DISCUSSIONS SERIES

U

LS

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MAKE FASHION CIRCULAR

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INSTAGRAM FEED PROMOTIONAL POSTS

@ANNABELLINDSAY

DIGITAL POP-UP

- The Schedule x 1 - The Host x 1 - 3-day Fashion Challenge x 1

3-DAY FASHION CHALLENGE

- Bio pictures x 6

DAY 1 - CHANGING PERCEPTIONS WEAR AN OUTFIT WHICH HAS BEEN SITTING IN THE BACK OF YOUR WARDROBE FOR MORE THAN 3 MONTHS – OR

- Quotation tiles x 6

AN ITEM THAT YOU’VE BOUGHT + NEVER WORN. DAY 2 - GRASSROOTS THINKING WEAR AN ITEM THAT’S BEEN REPAIRED, UPCYCLED OR CUSTOMISED. LET’S SEE HOW CRAFTY YOU CAN BE WITH A NEEDLE, THREAD AND A BIT OF IMAGINATION! DAY 3 - PIONEERING BRANDS FAVE SUSTAINABLE PURCHASE. ANYTHING FROM A SUSTAINABLE DESIGNER, RENTED GARMENT OR THRIFTY TREASURE. LET’S CELEBRATE THE BRANDS CHALLENGING THE LINEAR FASHION SYSTEM.

FINAL EVENT FEED @ANNABELLINDSAY

DIGI-DISCUSSIONS YT Ep.6 @ARENTYOUESHITA

A K A BR IT

H @ANNABELLINDSAY

MAKE FASHION CIRCULAR

ES

@ANNABELLINDSAY

DIGI-DISCUSSIONS INTERVIEW 5

RESPONSIBLE DESIGN” - CHRISTOPHER RAEBURN -

@ANNABELLINDSAY

MAKE FASHION CIRCULAR

MAKE FASHION CIRCULAR

DIGI-DISCUSSIONS YT Ep.4

DIGI-DISCUSSIONS YT Ep.4

IT HAS TO HONOUR PEOPLE AND PLANET” - SASS BROWN -

N

C

A S S BR

HAVE MEANING AND IT HAS TO HAVE VALUE AND

S

USSIO

H

“I’M NOT INTERESTED IN MORE ‘STUFF’, IT HAS TO

@ANNABELLINDSAY

MAKE FASHION CIRCULAR

MAKE FASHION CIRCULAR

MAKE FASHION CIRCULAR

DIGI-DISCUSSIONS YT Ep.3

DIGI-DISCUSSIONS YT Ep.3

DIGI-DISCUSSIONS YT Ep.2

GOOD IN FASHION”

NITA AH

KNOWLEDGE…ACTIVISM IS

SSION

UP WITH INNOVATIVE SOLUTIONS AND SHARING

A

CREATIVELY, COMING

DIGI -D JA

CU

DIALOGUES, WORKING

U

@AHUJA8424

IS

“BEING PART OF

@DATACLOSET

“THE MAIN THING I’M GETTING AT IS RETRAINING YOUR BRAIN TO NOT LOVE NEW THINGS AND THE CONSCIOUS UNLEARNING OF CONSUMERISM” - CHELSEA CARLSON -

- ANITA AHUJA -

@ANNABELLINDSAY

@ANNABELLINDSAY

MAKE FASHION CIRCULAR

DIGI-DISCUSSIONS YT Ep.2

DIGI-DISCUSSIONS YT Ep.1

DIGI-DISCUSSIONS YT Ep.1

@DATACLOSET

@HISLOPEMMA

CREATED TO CREATE AN OTHER FROM US AS HUMANS” - EMMA HISLOP -

N

@ANNABELLINDSAY

CUSTOMISED. LET’S SEE HOW CRAFTY YOU CAN BE WITH A NEEDLE, THREAD AND A BIT OF IMAGINATION! DAY 3 - PIONEERING BRANDS FAVE SUSTAINABLE PURCHASE. ANYTHING FROM A SUSTAINABLE DESIGNER, RENTED GARMENT OR THRIFTY TREASURE. LET’S CELEBRATE THE BRANDS CHALLENGING

S

T

2 - 4 OCTOBER

THE LINEAR FASHION SYSTEM.

MAKE FASHION CIRCULAR

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@ANNABELLINDSAY

DIGI-DISCUSSIONS

C

IONS

DAY 2 - GRASSROOTS THINKING

E H O

H

AN ITEM THAT YOU’VE BOUGHT + NEVER WORN.

WEAR AN ITEM THAT’S BEEN REPAIRED, UPCYCLED OR

DIGITAL POP-UP

@ANNABELLINDSAY

TH

C

OF YOUR WARDROBE FOR MORE THAN 3 MONTHS – OR

action, mirroring the themes relevant to the overarching topic of each day. Fashion challenges have increased in popularity during Covid-19 as a means to cure lockdown boredom (Siddiqui, 2020:online). Therefore, it seemed fitting to offer a circular fashion related challenge as a potential tangible outcome for the audience to engage with.

DAY 1

CHANGING PERCEPTIONS

16:00PM

EMMA HISLOP @HISLOPEMMA

19:00PM

CHELSEA CARLSON @DATACLOSET

DAY 2

GRASSROOTS THINKING

11:00AM

ANITA AHUJA @AHUJA8424

16:00PM

SASS BROWN @CLOTHINGETHICS

DAY 3

Two separate story highlights were made, one to host the research stage and one specifically for the pop-up event.

Categorising these two major project stages within highlights holds onto the valuable content for longer than a usual stories 2018:online). All published feed content was shared directly to stories for synchronisation.

INSTAGRAM LIVE INTRODUCTION VIDEO An Instagram live video was selected as the method to introduce the events launch due to its high exposure

MAKE FASHION CIRCULAR

DIGI-DISCUSSIONS POP-UP

DIGI-DIS

SS

WEAR AN OUTFIT WHICH HAS BEEN SITTING IN THE BACK

-D

U

DAY 1 - CHANGING PERCEPTIONS

DIG I

@ANNABELLINDSAY

MAKE FASHION CIRCULAR

DIGITAL POP-UP

3-DAY FASHION CHALLENGE

OP L

MM E

EA C LS

WHICH IS A WORD WE’VE

S

@HISLOPEMMA

USSION

E

OURSELVES BY MAKING EVEN THE WORD ‘NATURE’?

MAKE FASHION CIRCULAR

@ANNABELLINDSAY

translating CIRC_LAR + U messages into positive behavioural

C IS

C USS IO

@ANNABELLINDSAY

“HAVE WE SEPARATED

A H I

MAKE FASHION CIRCULAR

ON D IG

an active-participant strategy to engage the audience by

24 hours, creating a better user experience (Rutkowski,

@ANNABELLINDSAY

MAKE FASHION CIRCULAR

DIS I-

A

LS

The 3-day CIRC_LAR + U Instagram Fashion Challenge is

@ANNABELLINDSAY

@AHUJA8424

R

N DIGID

@CLOTHINGETHICS

W O

SSION

C IS

RIS RAE

THE WORLD THROUGH

@CLOTHINGETHICS

@CHRISTOPHER.RAEBURN

@ANNABELLINDSAY

ALWAYS TRIED TO DO THINGS DIFFERENTLY; WE WANT TO CHANGE

CU IS

N DI G I

-D

UR B

N

- ESHITA KABRA-DAVIES -

IO

SOMETHING NEW WHEN WE’RE WEARING FASHION”

INSTAGRAM STORIES “ULTIMATELY, WE’VE

S

TO FIND ALTERNATIVE WAYS TO HAVE A HIT OF

@CHRISTOPHER.RAEBURN

I-DISCUS IG

OUR MINDSETS, WE NEED

DIGI-DISCUSSIONS INTERVIEW 5

@ARENTYOUESHITA

D

“WE NEED TO CHANGE

A

DIGI-DISCUSSIONS YT Ep.6

AVIES -D

PIONEERING BRANDS

16:00PM

CHRIS RAEBURN @CHRISTOPHER.RAEBURN

19:00PM

ESHITA KABRA-DAVIES @ARENTYOUESHITA

capabilities. Instagram stories are displayed at the top of the user-feed, so possess higher chances of capturing user’s attention (Law, 2020:online). An Instagram places live videos first amongst stories, offering maximum exposure, whilst mirroring the video format incorporated at other points and places of the project.

YOUTUBE PLAYLIST Digital spaces like YouTube and Instagram can offer augmented reality perceptive experiences within curated online spaces. As part of a growing trend towards “experience marketing”, fashion events are being saturated with qualities surpassing everyday interactions with them, ‘by communicating messages in specially created, multisensory environments’ affecting attendees ‘emotionally, psychologically, and physically’ (Cope and Maloney, 2016:140). The human mind learns to attach symbolism, meaning and contextualises the world through five senses. A digital event may hinder access to all senses, however the possibilities for vision and sound encourages experimental stimulations for the senses still reachable. As such, the ‘Error 404 Planet B Not Found’ playlist was strategically curated, marrying transitional earthy to electronic sounds, accompanied with visuals which accumulatively express an abstract journey of planetary admiration. The playlist formulates an alternative sensory experience to the essence of CIRC_LAR + U, re-iterating the connectedness of humans with the environment, emphasised through the medium of sound.

[VISUALS FROM WEBSITE]

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DOWNLOADABLE POSTERS Additionally, a downloadable Poster Series artistically captures the themes explored throughout the entirety of the CIRC_LAR + U project through to the pop-up. Downloadable content not only offers a permanent public takeaway from the project, but the opportunity to further engage visitors with the brand and can enhance a websites visibility in search engines (Campbell, 2016:online). The visual posters convey core circular fashion messages in a punchy, engaging manner, conceivably more memorable than other digital content featuring large blocks of text.

ERROR 404 THE ONL_ THING MISSING FR_M THIS REVOL_TION

O

C

A

TI

O

N

IS Y O U BE THERE OR

ST U

F

F

BE PLANET B NOT FOUND

ADDITIONAL PROMOTIONAL PLATFORMS Content was also shared to all Facebook groups outlined earlier, LinkedIn and a reminder email was sent out to each interviewee once their interview was live, giving them the chance to increase exposure by promoting it across their own social platforms.

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LINEAR FASHION POLLUTES PEOPLE + PLANET

FAST FASHION POISONS PEOPLE AND PLANET

76

?

LET NATURE BE OUR GUIDING LIGHT

CIRC_LAR + U

77

EVERYTHING IS CONNECTED

78

FRAGILE FRAGILE FRAGILE 79

M E KE AK MA N F ION HIO SH AS FA

CIRCULAR

F*CK WITH

LET’S CHANGE

NATURE THE F*CK FAST

FASHION SYSTEM

FASHION

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STRENGTHS It can be argued that online events offer greater inclusivity in terms of potential global-reaching audience, greater community establishment and less ‘exclusivity’ and prestige. For circular fashion promotion this is arguably preferrable as there is desire for achieving a collective goal greater than that of individual people or brands. The content was received well across the different social media platforms with a variety of social media users sharing the content on their own Implying some universal resonance and message communication was achieved. This is further evidenced by the audience reach compared to the data documented at the project’s commencement.

The grounded-theory approach enabled flexibility and adaptability in the organic development and project direction, whilst successfully enabling the emergence of a digital, global CIRC_LAR ongoing public engagement throughout the project. Personally, an overall increase in circular fashion commentary has been noted across Instagram and Facebook as evidenced by the sharing and engagement of CIRC_LAR + U content by others and personal communications commending the project. The permeance of the project within the digital scape enables important circular fashion messages to continue being transmitted, potentially worldwide, despite the pop-up event technically being over.

@BYROTATIONOFFICIAL

personal Instagram stories from different places around the globe.

+ U community, as the research was shaped and influenced by

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@AHUJA8424

S

@GSASUSTAINABILITY

SUMMARY OF FINDINGS

EVENT ANALYSIS (SWOT)

W WEAKNESSES During the posting process of the pop-up, the frequency of posting, especially on Instagram, meant initial engagement dropped significantly, causing doubt towards the content’s quality and validity. This contrasted with the earlier research posts which often saw higher levels of engagement and whereby engagement was enhanced by sharing content in Facebook groups and forums, with like-minded audiences whom had a higher probability of relating to the content.

However, this presented challenges of echo-chambers. The term “echo chamber” provides a figurative description of individual or group belief systems ‘reinforced and buttressed by continued communication and repetition within a closed system’ (Paleo Foundation, 2019:online). Believed to be problematic for lacking ‘original thoughts, dissenting opinions, and challenging ideas’. For organisations, this can limit opportunities for growth, healthy debate and ‘prevent effective problem solving and responses to the issues they seek to address, but overcoming this can be achieved by ‘actively seeking out people and groups who candidly disagree with your own perspective’ (Paleo Foundation, 2019:online). A core reason for creating highly stimulating content was to attempt to branch out to wider audience’s through creative mediums. The challenge remains of how to pro-actively drawin and engage with audiences entirely outside of these conversations whom maybe do not resonate with creative or digital communication entirely. Overcoming echo-chambers was most likely effectively achieved on Facebook where the older, less knowledgeable on circular fashion, demographic resides.

A practice-based research method approach incurred time management and planning risks.

With a fluid structure to this method, the research route was determined by the ongoing findings throughout the project. Which required the project outcomes to be accompanied by a continuous documentation of the research process, as evidenced through the blog and Digi-Diary series, alongside ‘textual analysis or explanation to support its position and to demonstrate critical reflection’ (Candy, 2006:2). Road mapping the project proved challenging due to the breadth and extent of research collated and the inability to effectively plan each stage until near completion of the prior stage. As a solo project, this at times undermined the quality or quantity of content able to be produced and occasionally hindered immediacy in communication responses with the growing CIRC_LAR + U audience.

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O OPPORTUNITY Overall, video content was received much better and obtained higher engagement rates compared to blog articles with a total of 74 blog views compared to 741 vlog views.

Cementing video as a favourable communication method alongside the personal research Instagram feed posts, which performed significantly better than the event feed posts. This infers that having a human identity attached to CIRC_LAR + U’s branding helped to carry the circular fashion message further. The Digi-Diary series is a component which could be extended with ease in the future, with the potential to explore countless different circular fashion conversation topics as well as collaborations with other thought-leaders in this area of expertise. These opportunities are further expressed within the ‘Future Potential’ analysis.

T THREAT The documented drop in Instagram engagement for the pop-up events posts, initiated additional research into the concept of Instagram algorithms, for deepened understanding as to what extent the engagement decline was content related or implicated by uncontrollable factors. The documentary ‘The Social Dilemma’ (2020) explores digital algorithms as ‘opinions embedded in code’, suggesting ‘algorithms are non-objective and ‘optimized to some definition of success’. Therefore, if a commercial enterprise builds an algorithm to their definition of success, it’s a commercial interest…usually profit’. This raised an unforeseen question of whether Instagram’s algorithm is programmed to support a linear capitalist economy, by prioritising transactional and sponsored posts that encourage consumerism.

If this is the case, it will likely become increasingly difficult for CIRC_LAR + U content to cut through digital noise and spread key messages connoting anti-capitalist and anticonsumerism perspectives. Retrospectively, this is unlikely the case for the personal drop in engagement throughout the posting of the pop-up, as the change in posting frequency and content type were unlike usual posting behaviours. Thus, the explanation is more likely that the followers were unclear on the sentiment behind the shift in posting pattern and content, before understanding the totality of the CIRC_LAR + U pop-up intentions.

On a broader scale, there may be challenges of overcoming algorithms for those attempting to shake up the status-quo by challenging the interests of linear fashion production and consumption. Particularly concerning the increased commercialisation of social media as fashion brands are using paid advertisements to capitalise on user’s digital engagement. The longer a user spends on social media, the more likely they are to be exposed to content depicting the notion of micro-trends, manifested through an aspirational, influencer denoted presentation of trend affluence. Therefore, general increased exposure to digital content, even with circular fashion content embedded amongst that, may ultimately and ironically be encouraging perpetuated linear fashion consumption. Raising concerns regarding the suitability of digital media to successfully promote circular fashion with successful detachment from outdated linear fashion promotion and content.

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84

SUMMARY OF FINDINGS 85

â˜ş PERSONAL REFLECTION Self-proclaimed perfectionism proved the

to the information presented. From a

grounded-theory approach sometimes

psychological perspective, maintaining

challenging, concerning the personal

engagement with the discussion of circular

public-facing research outcomes. The

fashion, may lead to parallel increases

need to consistently and continuously

in eco-anxiety caused by deepened

produce ready-to-go content was unlike

realisations of fashions environmentally

any previous project, where time could

destructive truths (Huizen, 2019:online).

be spent on a single output, allowing for dedicated analysis of all details and

Being a sensitive person, the interview

components. Having a quicker turn-around

process felt intense and lead to fatigue

time on the work needing to go live would

which required a short period of rest and

sometimes cause concern over the quality

recovery after all the filming was complete.

of the work being produced and how well

Taking this rest period was crucial for

it would be perceived.

re-establishing momentum to keep producing research content and begin

Because of this, conscious efforts were

event preparations. On an individual basis,

made to marry a harmonious balance

post-posting depression became evident

between emotional investment to the

throughout the duration of the event

project, as to drive it forward through a

through a vulnerability from sharing content

relatability and passion, against being able

with a level of personal attachment to it

to maintain objectivity as to present factual

(Robinson and Smit, 2020:online).

information regarding the topics covered.

Particularly when a persons or brand was

Ultimately, the time periods between

involved, conscious effort was required to

posting content, enabled a reflection for

create personal content outputs without

analysis at how effectively the

bias projection, allowing the audience

CIRC_LAR + U project achieved its

to draw their own opinions, feelings and

original aim and objectives and

therefore motivations on how to respond

the potentials for future developments.

OUT OF SCOPE With the restrictions of a project deadline, there needed to be a finite cut-off point of what could be achieved and what would be out of scope within this particular timeframe constriction. After prioritising what fundamentally and desirably needed to be achieved, there became an apparency in the project’s future continuation. In parallel, the true extent and reach of CIRC_LAR + U’s current impact may not be fully realised for several weeks to come.

For the digital event, the intention was to also host live Q&A’s on Instagram with sustainable fashion influencers (circular influencers are less of a tangible outreach as the circular movement has not fully transcended into general public domain or terminology). Influencer marketing denotes countless benefits including: building brand awareness, building trust with a target audience, supporting content strategy and establishing strong relationships (Sharma, 2019:online). Suggesting great exposure for both CIRC_LAR + U and the influencers. Due to Instagram lives high engagement properties expressed earlier, Instagram live was still used to introduce the event. The research, sourcing preparation and execution of live Influencer Q&A’s may have been possible with a longer timescale or as a future consideration.

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SUMMARY OF FINDINGS 87

FUTURE POTENTIAL The future scope and potential for CIRC_LAR + U has been validated by a series of communications following the pop-up event, expressing collaborative interests. Intrigue for future collaborative projects, that could formulate part of the growing CIRC_LAR + U digital platform, highlights the successes of its creation and external, third-party validation of the messages expressed. With intentions for raising awareness and encouraging positive actions that move the fashion industry closer to a circular system through creative narratives, personal projects could take the shape of manageable outputs like a monthly newsletter and vlog episode. However, to expand and elevate these narratives to new levels, the following potential collaborations will be explored further:

1.

1. CEC MANCHESTER The founder of the Circular Economy Club Manchester chapter got in contact, whereby an exchange of projects and research occurred, before discussion to collaborate on a series of circular economy related digital events in the coming months.

2.

2. COLLABORATIVE PHOTOSHOOT A local, UK-based photographer, whom has shot for the like of C-Heads magazine, has reached out in hopes of arranging a collaborative photoshoot which playfully and visually explores the themes of circular fashion.

3.

3. FANFARE LABEL The founder of Fanfare, a modern conscious clothing company, featured at London Fashion Week 2020, has expressed interest in working together on a podcast or social collaboration.

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CONCL_SION + U The use of grounded theory throughout and the results

which are rooted in circular thinking. An appreciation

of the ongoing research, shaped the narrative, direction

of humanness and nature could very well be lost in its

and ultimately outcome of this project. Grounded theory

essence, through a total fixation to solve the fashion

can be assigned the most suitable research method to

crisis through centralising digital communication methods.

carry CIRC_LAR + U forwards, as the nature and extent of

Implying risk that digital focused activism could be driving

circular fashion research and conversation is qualitative and

bigger disconnects between humans and their environment.

continuously evolving with changing societal attitudes.

Whilst much digital activism seeks to buttress society to value, humanness, community and nature, it may be

A series of decisive questions were prevalent, including: what

beneficial for resolve of linear fashion into an ideal circular

defines a digital event? Is there a formula for success? How

transformation to also exist outside of digital capacities, with

do you measure its success? It is becoming increasingly

simpler; grounded roots.

apparent that the true impact of CIRC_LAR + U’s popup may not be determined for several weeks or months.

Reflecting upon the pop-up event, the initial drop in

Meanwhile the niche nature of the event topic may not see

Instagram engagement could be accredited as an example

the core messages fully grasped without additional content

of breaking out of an echo-chamber. The newer content

releases, that keep circular fashion conversation going.

focus and aesthetic, compared to the research posts, was unfamiliar at first to the Instagram audience, but is

Reviewing the impact at the end of the project enabled a

becoming increasingly accepted and engaged with since

slightly more objective view of its accumulative resonance

the event. Remaining acutely aware to the limitations of

and effectiveness. Thus, it can be confidently suggested

echo-chambers will help sustain motivations for actively

that the research outcomes and pop-up have laid a solid

seeking out audiences that are not currently engaged

groundwork of foundations, from which an ever-evolving

in circular fashion conversation. Ensuring that the CIRC_

platform for circular fashion communication can continue to

LAR + U project can continue to fulfil the project aim

be built upon.

of communicating to consumers, initiatives that advance towards circular fashion.

Whilst considering ethics throughout the project practices concerning the topics covered, and sensitivity and approach

The extent as to which digital circular fashion

towards these topics, it was not until after the event that

communication is the optimum approach is in its infancy,

a deeper-rooted digital ethical concern was revealed.

as further collaborative understanding is needed. This

Increased time on social media has been proven to

project raises the issues as to whether technology is

worsen mental health and perpetuate capitalist ideologies,

a perpetuance of fashion issues more than it enables

intensified by the growing intelligence of social media

them to be addressed. However, the immediate scope of

algorithms. Suggesting a problematic irony that the digital

potential future collaborations, within the week following

channels seemingly facilitating platforms to convey important

the pop-event, confirms not just the events successful

messages regarding circular fashion and wider society,

reach, but external validation of the purpose and mission of

may simultaneously be hindering the shift away from linear

CIRC_LAR + U. Overall illuminating potential opportunities

fashion as the accepted norm.

to experiment with other creative, digital communication methods that help elevate intersectional circular fashion

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If digitising fashion means increasing social media usage,

conversation, and shape persuasive narratives that support

there may be a decrease in time spent in communities

bringing circular fashion closer to reality, through enhanced

and participation in nature and society- grounded values

consumer awareness and engagement.

A DIGITAL DIARY BY

DIGI-DIARY YT SERIES

MAKE FASHION CIRCULAR

90

MAKE FASHION CIRCULAR

APPENDIX 91

APPENDIX 1 (COPE AND MALONEY, 2016:43)

APPENDIX 2 (ARENS, 2020:ONLINE)

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APPENDIX 3 ALL INSTAGRAM POSTS AND CAPTIONS @ANNABELLINDSAY

BLOG ARTICLE 1 - JUNE 24TH 2020

YOUTUBE CHANNEL INTRODUCTION - JULY 9TH 2020

93

DIGI-DIARY EPISODE 1 - JULY 10TH 2020

DIGI-DIARY EPISODE 1 - JULY 12TH 2020

LOVED CLOTHES LAST - JULY 16TH 2020

94

‘WEAR N TEAR’ - JULY 19TH 2020

A GUIDE TO FABRIC CARE - JULY 22ND 2020

95

NATURE AND QUOTE - JULY 26TH 2020

BLOG ARTICLE 2 - JULY 27TH 2020

96

DIGI-DIARY EPISODE 2 - AUGUST 1ST 2020

DIGI-DIARY EPISODE 2 - AUGUST 2ND 2020

‘BACK 2 NATURE’ - AUGUST 6TH 2020

97

FADS, TRENDS + STYLE - AUGUST 9TH 2020

NATURE AND QUOTE - AUGUST 16TH 2020

98

BLOG ARTICLE 3 - AUGUST 19TH 2020

DIGI-DIARY EPISODE 3 - SEPTEMBER 14TH 2020

99

DIGI-DIARY EPISODE 3 - SEPTEMBER 15TH 2020

‘GREENWASHING’ - SEPTEMBER 20TH 2020

SHARING IS CARING - SEPTEMBER 27TH 2020

NATURE AND QUOTE - SEPTEMBER 29TH 2020

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101 3-DAY FASHION CHALLENGE

THE HOST

EVENT TIMETABLE

EMMA HISLOP

EMMA HISLOP QUOTE

CHELSEA CARLSON

CHELSEA CARLSON QUOTE

102

103

ANITA AHUJA

ANITA AHUJA QUOTE

SASS BROWN

SASS BROWN QUOTE

CHRISTOPHER RAEBURN

CHRISTOPHER RAEBURN QUOTE

ESHITA KABRA-DAVIES

ESHITA KABRA-DAVIES QUOTE

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APPENDIX 4 INTERVIEW MASTER DATA SPREADSHEET

Name

Profession/ Role Campaign 1 LoveNotLandfill Manager

Brand/ Project Love Not Landfill

Circular Attribute Take-back schemes, material

Instagram Handle [@] lovenotlandfill

Social First Contact Media Contact Platform Engaged 27.07.20 Instagram

recovery, closed-loop.

2

Chelsea Carlson

Graphic designer.

Data Closet

No New Clothes 2020 infographics

3

Christopher Raeburn

Creative Director

Raeburn

Upcycling, sustainable design.

4

Anita Ahuja

Co-Founder and President

Conserve India

Recycling plastic waste into fashionable products.

ahuja8424

5

Emma Hislop

Artist in Residence

Creatively promoting circular economy.

6

Ellen MacArthur Foundation

Sass Brown

MMU

7

Writer, researcher, educator, activist.

Eshita Kabra-Davies

CEO

By Rotation

Name

Confirmed Date N/A 1 LoveNotLandfill Chelsea 06.08.2020 2 Carlson

N/A

27.07.20

Instagram

27.07.20

Instagram

Engaged

27.07.20

Instagram

hislopemma

Engaged

27.07.20

Instagram

The role of the artisan/makers.

clothingethics

N/A

27.07.20

MMU Email

Fashion rental in the Sharing Economy.

arentyoueshita

Engaged

30.07.20

Instagram

christopher.raeburn Engaged

Consent Form N/A

Zoom Scheduled N/A

Interview Conducted N/A

Video Made N/A

Bio/Pic Confirmed Request Approval N/A N/A

Y

Y

06.08.2020

Y

22.09.20

Y

3

Christopher Raeburn

Email responses by14.08.20

Y

N/A

14.08.20

N/A

22.09.20

Y

4

Anita Ahuja

06.08.2020

Y

Y

06.08.2020

Y

22.09.20

Y

5

Emma Hislop

10.08.2020

Y

Y

10.08.2020

Y

22.09.20

Y

Sass Brown

05.08.2020

Y

Y

05.08.2020

Y

22.09.20

Y

Eshita Kabra-Davies

12.08.2020

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12.08.2020

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APPENDIX 5 INTERVIEW QUESTIONS PREPARATION: EMMA HISLOP

INTRODUCTION Hello, welcome back to the CIRC_LAR + U Project and to the digital pop-up event. Today’s episode is part of a series of online discussions I’m hosting to elevate circular fashion conversation, by offering insight from innovative circular economy and fashion pioneers.

If you’ve watched my Digi-Diary series or you’re already familiar with the circular economy then you’ll definitely have heard of the Ellen Macarthur foundation, a leading pioneer in the circular economy.

Today I’m very excited to welcome the Artist in Residence for the Ellen MacArthur Foundation, Researcher and Writer Emma Hislop...

QUESTIONS 1. Are you able to tell me a bit more about who you are and what you do?

2. I’m deeply fascinated by your role as Artist in Residence for the Ellen MacArthur foundation, please could expand more about what your role involves?

3. How did you get into this line of work?

4. What sort of research and experiments do you do?

5. You also share your experiments on Instagram. One post of yours that really caught my attention was ‘Tuning Magnetism’, in the caption you spoke about challenging approaches to conversation and igniting discourse outside of speech. Are you able to tell me more that? what you did mean by this?

6. Why do you think creative communication is so important for advancing the circular economy? Why is creative communication important?

7. Have you found that your personal consumption habits have changed as a result of the work that you do? Have your consumption habits changed?

8. What’s your view on implementing circularity within fashion?

9. I joined the webinar hosted by Central Saint Martin students a few weeks back on creating innovation, through the idea of ripples that trickle out into wider society, to which you were one of the guest speakers. You made some really interesting points that I’d love to discuss further with you. something you said that really grabbed me is that ‘sustainability is a bad word now as it based on a downstream decision’. Could you tell me why this is?

10. Why do you think shifting our terminology when we’re talking about things like ‘waste’ for example, is important?

11. You also noted that we can all be agents of change in our own way, and that your work was essentially your own personal disruptive ‘HOOLIGANISM’? How can individual activism support or help wider societal change?

12. What impact would you like your work to have on the world?

106

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Transparent PNG. [Online image] [Accessed

on 11th October 2020] https://

on 14th October 2020] http://www.pngmart.

www.wallpaperflare.com/blue-and-

com/image/184214

purple-wallpaper-gradient-greenviolet-backgrounds-wallpaper-spadd/

Raveena Aurora. (2018) Honey.

download/2880x1800

YouTube. [Online video] [Accessed on 17th October 2020] https://www.

Wallpaper Flare. (n,d.) light, background,

youtube.com/watch?v=xy4RebilRSI&ab_

Wallpaper, color, backgrounds, abstract.

channel=RaveenaAurora

[Online image] [Accessed on 11th October 2020] https://www.wallpaperflare.

113

Shevtsova, D. (2020) Instant shot of camera

com/light-background-wallpaper-color-

backgrounds-abstract-wallpaper-qalef/ download/2880x1800 Wallpaper Flare. (n,d.) red, pink, gradation, blur, backgrounds, full frame, pink color.

[Online image] [Accessed on 11th October 2020] https://www.wallpaperflare.com/ red-pink-gradation-blur-backgroundsfull-frame-pink-color-wallpaper-pfnqx/ download/2880x1800 Yuyi, J. (2018) Broken iPhone Remake 2017. Instagram. [Online image] [Accessed on 14th October] https://www.instagram. com/p/BrQTmLCg8R7/ Yuyi, J. (2018) There’s no one use cash in Shanghai anymore....I was shocked!!!!!.

Instagram. [Online image] [Accessed on 15th October] https://www.instagram.com/p/ Bj8x4bABEe8/ Yuyi, J. (2019) Behind the scene For 2wkorea back in June with @chogiseok @minju.kimlee @5ssmakeup @ozikc @ guccimay. Instagram. [Online image] [Accessed on 14th October] https://www. instagram.com/p/B0-QzjMACY4/ Yuyi, J. (2020) May. Instagram. [Online image] [Accessed on 14th October] https:// www.instagram.com/p/CCtLCpNA4pn/

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CONSENT FORMS

CONSENT FORM Project Title: Circular Fashion Communication in an Ever-Digitising Fashion World: CIRC_LAR + U The Digital Pop-Up Event.

Please read and confirm your consent to being interviewed for this project by ticking the appropriate boxes and signing and dating this form and sending it back to me via the email it was sent to you on.

1. I confirm that the purpose of project has been explained to me, that I have been given information about it in writing, and that I have had the opportunity to ask questions about the research.

2. I understand that my participation is voluntary, and that I am free to withdraw at any time without giving any reason and without any implications for my legal rights.

X

3. I give permission for the interview to be recorded by the researcher, X on the understanding of how the interview may be used in support of publicly released content and that raw footage and personal data will be destroyed at the end of the project.

X

4. I agree to take part in this project.

Anita Ahuja Name of respondent

4th August, 2020 Date

For office use only Name of researcher taking consent: Annabel Read Date 04.08.20 Signature

115

X ✔ X / X

Signature

CONSENT FORM Project Title: Circular Fashion Communication in an Ever-Digitising Fashion World: CIRC_LAR + U The Digital Pop-Up Event.

Please read and confirm your consent to being interviewed for this project by ticking the appropriate boxes and signing and dating this form and sending it back to me via the email it was sent to you on.

1. I confirm that the purpose of project has been explained to me, that I have been given information about it in writing, and that I have had the opportunity to ask questions about the research.

2. I understand that my participation is voluntary, and that I am free to withdraw at any time without giving any reason and without any implications for my legal rights.

X ✔ X / X X

3. I give permission for the interview to be recorded by the researcher, X on the understanding of how the interview may be used in support of publicly released content and that raw footage and personal data will be destroyed at the end of the project.

X

4. I agree to take part in this project.

Anita Ahuja Name of respondent

4th August, 2020 Date

Signature

For office use only Name of researcher taking consent: Annabel Read 28.07.2020 Date 04.08.20 Signature

116

CONSENT FORM Project Title: Circular Fashion Communication in an Ever-Digitising Fashion World: CIRC_LAR + U The Digital Pop-Up Event.

Please read and confirm your consent to being interviewed for this project by ticking the appropriate boxes and signing and dating this form and sending it back to me via the email it was sent to you on.

1. I confirm that the purpose of project has been explained to me, that I have been given information about it in writing, and that I have had the opportunity to ask questions about the research.

2. I understand that my participation is voluntary, and that I am free to withdraw at any time without giving any reason and without any implications for my legal rights.

X ✔ X / X X

3. I give permission for the interview to be recorded by the researcher, X on the understanding of how the interview may be used in support of publicly released content and that raw footage and personal data will be destroyed at the end of the project.

X

4. I agree to take part in this project.

Anita Ahuja Name of respondent

4th August, 2020 Date

For office use only Name of researcher taking consent: Annabel Read 13.08.2020 Date 04.08.20 Signature

117

Signature

CONSENT FORM Project Title: Circular Fashion Communication in an Ever-Digitising Fashion World: CIRC_LAR + U The Digital Pop-Up Event.

Please read and confirm your consent to being interviewed for this project by ticking the appropriate boxes and signing and dating this form and sending it back to me via the email it was sent to you on.

1. I confirm that the purpose of project has been explained to me, that I have been given information about it in writing, and that I have had the opportunity to ask questions about the research.

2. I understand that my participation is voluntary, and that I am free to withdraw at any time without giving any reason and without any implications for my legal rights.

X

X

3. I give permission for the interview to be recorded by the researcher, X on the understanding of how the interview may be used in support of publicly released content and that raw footage and personal data will be destroyed at the end of the project.

X

4. I agree to take part in this project.

Emma Hislop Name of respondent

3/8/20 Date

Signature

For office use only Name of researcher taking consent: Annabel Read Date 03.08.20 Signature

118

CONSENT FORM Project Title: Circular Fashion Communication in an Ever-Digitising Fashion World: CIRC_LAR + U The Digital Pop-Up Event.

Please read and confirm your consent to being interviewed for this project by ticking the appropriate boxes and signing and dating this form and sending it back to me via the email it was sent to you on.

1. I confirm that the purpose of project has been explained to me, that I have been given information about it in writing, and that I have had the opportunity to ask questions about the research.

2. I understand that my participation is voluntary, and that I am free to withdraw at any time without giving any reason and without any implications for my legal rights.

3. I give permission for the interview to be recorded by the researcher, on the understanding of how the interview may be used in support of publicly released content and that raw footage and personal data will be destroyed at the end of the project.

4. I agree to take part in this project.

Eshita Kabra Name of respondent

10 August 2020 Date

For office use only Name of researcher taking consent: Annabel Read Date 10.08.20 Signature

119

Eshita Kabra Signature

CONSENT FORM Project Title: Circular Fashion Communication in an Ever-Digitising Fashion World: CIRC_LAR + U The Digital Pop-Up Event.

Please read and confirm your consent to being interviewed for this project by ticking the appropriate boxes and signing and dating this form and sending it back to me via the email it was sent to you on.

1. I confirm that the purpose of project has been explained to me, that I have been given information about it in writing, and that I have had the opportunity to ask questions about the research.

2. I understand that my participation is voluntary, and that I am free to withdraw at any time without giving any reason and without any implications for my legal rights.

X ✔ X / X X

3. I give permission for the interview to be recorded by the researcher, X on the understanding of how the interview may be used in support of publicly released content and that raw footage and personal data will be destroyed at the end of the project.

X

4. I agree to take part in this project.

Sass Brown Name of respondent

28th July, 2020 Date

Signature

For office use only Name of researcher taking consent: Annabel Read Date 28.07.20 Signature

120

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