Trend Map NTU FMB by Annie Taylor

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TREND MAP REPORT

ANNIE TAYLOR N0728925 WORD COUNT: 2685 I confirm that this work has gained ethical approval and that I have faithfully observed the terms of approval in the conducts of this project.

Signed ..................................................... Date ........................

FRONT COVER: FIG 1

CON TEN TS 4

RATIONALE

INTRODUCTION

THE ROLE OF TREND FORECASTING

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INFLUENCES AFFECTING TRENDS KEY TREND: SEVENTIES TREND DRIVERS

PRIMARY RESEARCH

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STYLING SHOOT

EDITORIAL

CONCLUSION APPENDIX

LIST OF ILLUSTRATIONS

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REFERENCES

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R ATI O N A LE The aim of this report is to analyse the importance of trends and trend forecasting within fashion marketing. It will demonstrate an understanding of the key social, cultural and economic influences that affect the application of trends, and simultaneously, the retail landscape. One trend from the spring summer 2018 catwalk will be thoroughly explored, with support from both primary and secondary research. Furthermore, the report will highlight how the trend is being styled in contemporary society via a piece of fashion editorial, and will conclude with an understanding of what the future of trends will be for the fashion industry.

trend /trɛnd/ noun

1. a general direction in which something is developing or changing. (The Oxford Dictionary of English, 2015)

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INT ROD UCTION

Trends are ubiquitous in nature – socially, psychologically and culturally, and hold paramount importance within, but are not limited to, the world of fashion (Raymond, 2010). Nonetheless, the ability to identify trends is now “necessary at every level of fashion and lifestyle businesses, from sources, sales and operations, to buying and merchandising, design and marketing.” (Holland and Jones, 2017. P. 7) Thus, designers, and hence, retailers, aim to capture the zeitgeist by projecting their interpretation of current trends to their consumers through their products. A trend may develop as a result of numerous factors, including ethnographic, economic, technological, media or political influences, which in turn, ignite a feeling of change; it is this feeling that allows a trend to position itself within the market, as innovators are encouraged to visualise and manifest the change into the creation of a new and marketable product(s). (Faresin, N. 2017)

A trend can last for short or long periods of time, but will only gain longevity if it offers deeper significance to consumers lives (Holland and Jones. 2017). Thus, product lifecycles can be categorised into fads, trends and classics; fads are short lived, rising and falling often within the space of a few weeks or months, whereas trends and classics have a more substantial adoption rate. Nonetheless, there are many factors which affect the rate of trends. For example, within such a turbulent environment, technology and social media has caused trends to be born and die with greater frequency (Bendoni, W. 2017) as consumers are now exposed to emerging trends and real-time commerce instantly. This causes a shortened lead time, requiring fashion retailers to respond to consumer demands for these trends rapidly by building agile supply chains. This premise is what informs the fast-fashion industry we know today as the speed of both trends and retail has accelerated colossally.

TH E R O LE O F T REND FO RECASTING Understanding change is something that needs to be premeditated by trend forecasters; trend forecasters “locate the source of trends and use their skill and knowledge to identify emerging concepts” (Brannon, E. and Divita, L. 2015) ultimately informing fashion as an entirety today. Furthermore, forecasting aids the understanding of the progression of a trend and helps “predict what products brands should be designing and selling” (Holland and Jones, 2017. P. 7). Trend forecasters can attempt to do this 18-24 months ahead of season through the application of multiple theories and models, making them integral assets to brands. Everett. M Rogers ‘Diffusion of Innovation’ theory, for example, explores how a small group of ‘innovators’ can transmit their ideas to the ‘late majority mainstream’ through an S-shape curve. The lower end of the curve is considered to be where a trend gains growth, the middle where it becomes fostered and emulated, and the latter, where it declines.

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It is therefore important that retailers are utilising forecasters so that they can cater to the proliferation of consumer needs within the early stages of the model, and succeed within the fashion market. Furthermore, using trend forecasters will allow buyers and merchandisers not to “face increased fashion risk and excess inventory” (Business of Fashion, 2018) by investing in a ‘trend’ which, in fact, has the lifecycle of a fad.

KEY INFLUENCES S OC IOE CON OM I C The constant demand for change within fashion, as aforementioned, inevitably produces waste, (Kaiser, S. 2008) causing the textile industry to be the second most polluting industry in the world (Morgan, A. 2015). Consumers, are therefore, becoming increasingly ethically conscious when purchasing a product. In fact, trends towards social responsibility have gained momentum, whereby “the market for recycled fashion created from postconsumer recycled textiles or garments is growing,” which is also demonstrating an “increasing appreciation of vintage styles.” (Eudonek, K. 2013) Furthermore, there are stronger attitudes towards greener products, with “70% of 16-24s believing that fashion retailers should be more environmentally friendly” (Mintel, 2017). Perhaps, this shift in consumer behaviour alludes that trends will regain a steadier adoption rate as consumers are beginning to prioritise purchasing clothing with enhanced durability as opposed to cheaper and unethical alternatives. Brands such as Adidas and Nike, who are considered ‘greenwashers’ in Greenpeace’s Detox campaign might falter as they refuse to acknowledge their individual corporate responsibility to Detox, suggesting they are unethical.

“today’s trends are tomorrow’s trash” (GREENPEACE, 2018) FIG 5

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C U LT U RAL Cultural influences, such as art, music and celebrities are often used as a framework to understand fashion trends. For example, high culture art forms have been used as inspiration for designers such as Louis Vuitton and Marc Jacobs, as a means of celebrating and reinventing the past. Trends, may therefore, be considered cyclical as designers are always informed, both consciously and subconsciously, by past artistic and cultural movements. In turn, this affects the application of trends, as the process of applying monumental artwork onto a product is something which has influenced high-street retailers such as H&M, COS and Uniqlo, highlighting how the trend has travelled from high culture – the elite, to popular culture – the masses. Consequently, “as art’s connection to pop continues to swell, retailers may well begin to rely more and more on the aesthetic and cultural power of these partnerships to drive sales.” (Sherman, L. 2016) This is a demonstration of the trickle-down theory, whereby elite consumers inspire the lower-social class groups to imitate cheaper versions of key trends.

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SEVENTIES KEY T REND:

This season, designers have referenced the early seventies in a more maximalist fashion than ever before, showcasing three key sub-trends from the decade within their designs.

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ON THE FRINGE

CALVIN KLIEN

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BALENCIAGA

YVES ST LAURENT

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BOTEGGA VENETTTA

Within the seventies, fringe was inspired by its original roots, adopting a large Native American influence, whereas now, it has been given a fresh abundance (Singer, O. 2018) by designers such as Balenciaga, Calvin Klein and Yves Saint Laurent. Thus, offering a contemporary and elevated appeal in comparison to its preceding appearances on the runway. Balenciaga channelled the fringe subtrend extensively in the form of a leather shredded tote bag, whereas Calvin Klein used a plethora of yarn fringe to culturally reference one of America’s most iconic heroines – Carrie. Layers of bright red shimmering fringe replicated the pig’s blood that engulfed the seventies protagonist, giving the embellishment an element of spectacle that hasn’t been seen before, and contrasting traditional mild earth colour tones. Fringing has surfaced onto dresses, bags and shoes on the runway; Yves Saint Laurent showcased a contemporary interpretation of the popularised fur moon boot from the seventies by adding a small stiletto and wispy feathers. However, high-street emulations of fringe have showcased an array of metallic and tinsel materials being used to create a more futuristic feel.

FLOWER POWER

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MARC JACOBS

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GUCCI

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MARNI

MIU MIU

Whilst florals are a predictable staple every year, whereby subdued and delicate prints dominate, this season saw designers take inspiration from both retro and eccentric floral prints of the early seventies to create a refreshed, yet simultaneously vintage, iteration of florals. Marc Jacobs, for example, fashioned his designs with psychedelic silk floral prints, informed by the drug culture of the era, and paired them with matching headscarves. Furthermore, Alessandro Michele, creative director of Gucci, took his own spin on the decade as he presented a mash up of retro floral bloom prints, reminiscent of seventies wallpaper, and mixed them with other decades such as the eighties to create a maximalist look. However, the seventies wallpaper influence alone perhaps echoes â&#x20AC;&#x153;the softer side of the seventiesâ&#x20AC;? (Watkins, H. 2018) portraying a more bohemian feel that can be seen more notably in high-street shops.

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DARE TO FLARE

VICTORIA BECKHAM

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TIBI

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ACNE

ROBERT CAVALLI

Many designers paid homage to the seventies this year through their presentation of loosely fitted silhouettes on the catwalk, with a key garment being flared trousers. Flares are reminiscent of bell bottoms, which were derived from the hippie and bohemian sub-cultures of the sixties and seventies, yet remain relevant today for a “casual and tailored aesthetic” (WGSN, 2017). Nonetheless, SS18 stayed true to the wide-leg silhouettes spotted in previous seasons; the non-structured fit could align with the socio-political rebellion movement of the seventies as it was characterised by freedom. However, flares were given a more feminine and sophisticated appeal by Victoria Beckham and Acne as their designs were flushed with sorbet colours and light fabrics. This contrasts with the high-street as flares have taken on a more grungier denim appeal, with “clean hems being swapped for unpicked frayed versions.” (Linares, L. 2017)

TREND DRIVERS

FESTIVALS

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With 33 million people in the US, and 14 million people in the UK attending music festivals every year, (Pike, H. 2016) they are considered “huge moments in the cultural calendar, [they’ve become] to fashion and beauty brands what the Super Bowl is to other consumer product categories.” (Yeh, D. 2016) Consequently, festival themed fashion collections have become their “own sub-category” within these sectors, which year-on-year sees seventies inspired garments remaining prevalent, such as fringe. Coachella, one of America’s largest festivals, perhaps acts as one of the biggest trend drivers for the seventies revival as it has become synonymous with a bohemian and romanticinfluenced aesthetic. The festival attracts influential and social-media savvy audiences whom use the platform to showcase their boho inspired fashion styles, (Business of Fashion, 2016) and further attracts nonfestival goers who are “interested in the influencers — the clothes they’re wearing, the music they’re listening to, [and] what their hair looks like” (Han, C. 2016). These non-festival goers will include retailers, especially within the UK, whom are inspired by the event and attempt to stock similar seventies inspired staples as a result.

THE MEDIA

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As celebrities are having an increasing social importance and visibility within the media landscape, their dress style and fashion sense is “being keenly watched and analysed by an increasingly interested public.” (Jackson and Shaw, 2009. P. 164) Thus, as 2018 has seen “influencers developing an affinity for certain vintage shops and styles”, specific eras, such as the seventies, are captivating consumers (Trunzo, B. 2018). For example, fashion icons, such as the Hadid and Jenner families, have shown their appreciation of the era this year by wearing streamlined versions of the traditional flare. These high-profile celebrities “proffer a ‘subtle flex’ each time they showcase these items, causing a downstream effect which often results in more commercial mass offerings at retail” (Trunzo, B. 2018). Therefore, developing a relationship with the cultural zeitgeist and acknowledging which celebrities are showcasing a certain trend is important as they are often the people who set trends, perhaps in a quicker fashion than the catwalk.

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NOSTALGIA

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Nostalgia can be defined as “a positive preference for the past involving negative feelings toward the present or future”; (Davis, F. 1979. P. 18) thus, as trends today are attributed towards earlier decades such as the seventies, “the ‘now’ of fashion is nostalgia in the making.” (Wilson, E. 2013) An example of this premise is Pantone unveiling Ultra Violet as the colour choice of the year, as enigmatic purple shades have “long been symbolic of counterculture, unconventionality, and artistic brilliance.” It was, in fact, musical icons of the seventies, such as David Bowie and Prince, whom “brought shades of Ultra Violet to the forefront of western pop culture as personal expressions of individuality” (Pantone, 2018). Thus, the deaths of these celebrities in recent years have emerged feelings of nostalgia amongst, not only these colour forecasters, but designers too, as they rummage through old archives to inspire new collections. Consequently, the seventies aesthetic is returning with a “new vigour and a new way of being worn” (Holland and Jones, 2017. P. 58) as nostalgia “appeals to both those generations who lived through the era referenced and those who bemoan having missed out on it.” (Trunzo, B. 2018)

“ “

“The Pantone Colour of the Year has come to mean so much more than ‘what’s trending’ in the world of design; it’s truly a reflection of what’s needed in our world today” Laurie Pressman, Vice President of the Pantone Color Institute.

I think its nostalgia mainly because I think you can see it in not only fashion but all forms of media, with things like stranger things, people are striving to go back to another period of time. Moore, O. 2018. (Supervisor at COW Nottingham)

P R IM ARY R ES E AR C H : S H O P SA FARI Primary research was conducted around Nottingham City Centre to see which high-street retailers are stocking the seventies trend this spring/summer. Topshop displayed the biggest array of seventies-inspired floral dresses, denim flares and fringe accessories, followed by River Island, Urban Outfitters and Monsoon. Topshop perhaps stocks the trend the most because it “respond[s] to trends and deliver[s] product[s] at a quicker pace” (Bailey, C.T. 2016) than its competitors; therefore, can be considered a leader within the mass-market retail landscape. Furthermore, along with Urban Outfitters, the seventies trend ties in with Topshop’s current product offerings. For example, vintage concessions are already present within their stores, which is having a mass appeal amongst their target demographics – millennials. Thus, as millennials are increasingly wanting to mismatch their clothing with old and new styles, (Trunzo, B. 2018) these retailers are enabling them to do so by selling actual vintage garments as well as stocking contemporary interpretations of the trend. Observations also concluded that amongst all the retailers identified, floral prints are the most popular. A mixture of retro and contemporary florals have been applied to slip dresses, maxi dresses and playsuits, all combined with button up detail. Fringe detail has been applied to more accessories than clothing, especially earrings, whereas flares were the least present.

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URBAN OUTFITTERS

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RIVER ISLAND

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RIVER ISLAND

ZARA

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TOPSHOP

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TOPSHOP

MONSOON 21

TOPSHOP

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P R IM ARY R ES E AR C H : S TR E E T S TYLE Primary research was also conducted around the streets of Nottingham to see if the seventies trend is as popular amongst consumers as it is within high-street retailers. By doing so, insights on where consumers were purchasing the trend, what was influencing them to wear it and how they were styling it could be seen. Observations and interviews concluded that the trend is currently being worn and styled by the millennial generation; more specifically students, who have added their own contemporary touches. For example, quite a few respondents paired wide leg flares with chunky trainers, highlighting how the seventies isn’t being worn as a stand-alone trend; it is being combined with pieces from other decades as a way of keeping it fresh. Juxtaposing high-street shops, flares dominated amongst street style, with fringe following and florals being least present.

“I think sixties, seventies and eighties are all blending into one, weathering all the sorts of fashion styles into one image, especially where formal meets sportswear, I think people are a lot less afraid to mix unconventional pieces that don’t naturally go together to sort of create an outfit”

Moore, O. 2018. (Supervisor at COW Nottingham)

S T YLING SHO OT Fashion editorials aim to visually communicate a story or theme to a reader, and are often informed by elements of popular culture such as art, music and film. This is true of Wonderland, an international and independently published magazine, as it uses these cultural elements to convey the positive and playful aspects of the fashion industry. The publication lends itself particularly to the influence of music, whereby cultural references are made across all its content â&#x20AC;&#x201C; including the photographic elements. This is fitting as the editorial piece that follows aims to portray a bohemian-inspired festival aesthetic, and thus cultural music references will enable the meaning behind the seventies trend to be promoted, rather than just promoting the trend alone. Furthermore, the target demographic for the magazine is sixty per-cent 25-34 year olds, whom will have more cultural understanding than a younger demographic.

LO CATIO N The location of an editorial should align with the narrative intended by the publisher, and therefore, the pros and cons of a location need to be considered carefully before being photographed. After creating a mood board, the chosen location for the seventies-inspired editorial was The Arboretum, Nottingham. This decision was made as the location offers a simple yet natural aesthetic to the piece, through both the surroundings and lighting; the botanical features aid in creating a bohemian feel to the editorial, aligning the trend with its origins. The location could perhaps create nostalgia in the reader, reminding them of the nomadic lifestyle that the bohemian sub-culture adopted during the decade. This emotive marketing strategy would not be as successfully achieved if a more urban location was chosen, as it would make the bohemian identity redundant. FIG 40

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CLOTHING The clothing chosen for the editorial include three floral patterned garments, a pair of flares and a fringe jacket for the female model, and a psychedelic shirt, floral print shirt and fringe jacket for the male model. These items were purchased from high-street retailers in Nottingham to demonstrate how the current trend is being modernized, e.g. cut out silhouettes, yet simultaneously conveying the free spirited bohemian nature of the seventies. Finally, both male and female models were chosen as seventies fashion was extremely versatile and could be worn by both sexes, such as fringe.

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EDITORIAL WORD COUNT: 220

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EL-OH-EL-AYE

LOLA

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PHOTOGRAPHER: ANNIE TAYLOR EDITOR: ANNIE TAYLOR 28

BOHEMIAN RHAPSODY

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Dress: Topshop ÂŁ49, Sandals: Boohoo ÂŁ12

Raid your grannies wardrobe for the latest vintage finds as this season saw the return of bohemian bliss, psychedelic prints and fanciful fringing. Here in our own secret garden, the collision of introverted floral prints and real, colourpopping, botanical flowers tell a beautiful tale of youth, vibrancy and chemistry; audacious hues meet a tonal blend of neutral to create a surprisingly harmonious balance. The ultra-feminine design promotes all things romantic, and takes on a contemporary iteration; traditional free-spirited dress silhouettes are being fashioned with cut-out geometric shapes by millennial loving brands to appeal to the younger gen. Pair with an easy pair of sandals to create the perfect gypsy inspired look for a modernised Summer of Love.

BELL BOTTOM BLUES

Left: Top: H&M £14, Bell bottoms: River Island, £50

Right: Shirt: Topman, £30 Bottoms: Primark, £10

A simple pair of washed-out denim flares epitomises the liberal nature of seventies youth through their wide-leg silhouette, a must have for the wardrobe as who wants to follow the rules? So, your grannies old school jeans may take you from a plain Jane to a diva-licious Diana Ross after all!

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Dive into print galore in this jungle; make a daring statement with a bold patterned psychedelic shirt – button it up for a preppy hipster vibe or wear a white tee underneath to give it that casual feeling.

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Left: Shirt:Pretty Green £60, Jacket: Topman £80, Bottoms; Primark £10, Shoes: Clarks, £95

Right: Playsuit: Topshop (Glamorous): £36 Jacket: TKMax £25 Sandals : Boohoo £12

SEASONS IN THE SUN 32

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The seventies trend is easy, accessible and fun. Embrace the past, with a seventies blast.

CO N CLU S ION Trends, as an entirety, have a colossal impact on designers, high-street retailers and consumers; they are key in keeping fashion evolving and are largely influenced by social, cultural and economic movements. Brands are having to deliver new and innovative products regularly based on these influences and what is trending within the current zeitgeist, so that they can â&#x20AC;&#x153;maintain market share in an instant-gratification driven, Millennial market.â&#x20AC;? (Sharma, N. 2018) Nonetheless, millennials, and consumers as a whole, are arguably disrupting the fashion industry and the function of trends; they are adopting new ways of doing things or expressing themselves, (Raymond, M. 2010) looking for a more personal style as opposed to conforming to what is popular, suggesting that trends will have less of an impact in the future as they have done in the past. However, evidence from primary research does suggest that the seventies trend has been a success within Nottingham as it is prevalent among consumers, and is largely being fashioned by a young consumer demographic. They are mixing retro inspired clothing from different eras, such as the seventies and eighties, to create a unique aesthetic. Furthermore, celebrities are adding their own spin on the trend, keeping it contemporary, and inspiring consumers. The seventies trend, therefore, has a strong lifecycle, often reoccurring as a result of nostalgia. It is perhaps in the early majority stage of its lifecycle as observations from shop safaris concluded that garments inspired by the seventies are being showcased on mannequins and are often visually placed at the front of highstreet retailers. The strong appreciation for vintage clothes that belong to eras such as the seventies, in combination with the demand for sustainability, suggests that high street retailers are going to develop more ethical clothing collections in the future. Drivers of this include consumers being exposed of the extremely negative effects of the fast-fashion fashion industry and the unfair working conditions for garment workers. Leaders in the industry are already creating ethical collections, such as H&M and thus this will have an influence on other retailers within the future.

A P P E N D IX 1

A P P E N D IX 2 INTERVIEW 1 – RIVER ISLAND EMPLOYEE Do you think the 70s trend is coming back into fashion on the high street? “Yes” Would you say that the 70s era influences the clothes that you sell? “Yeah, I guess so” What do you think is driving the trend? “Festivals are a big impact on the 70s trend but not so much celebrities because for them less is more I think” What have you noticed that is different about the re-emergence of the 70s? “I think materials and fabrics are slightly different because you can get away with a lot more nowadays in comparison to before” What is the future for the trend? “More bold and glittery... like party style”

INTERVIEW 2 – URBAN OUTFITTERS EMPLOYEE Do you think the 70s trend is coming back into fashion on the high street? “Definitely! You can see it a lot in here, more in womenswear with flared trousers but not so much with mens” Would you say that the 70s era influences the clothes that you sell? “Yeah for sure” What do you think is driving the trend? “The feeling of nostalgia and festivals. Also, the reoccurrence of trends” What have you noticed that is different about the re-emergence of the 70s? “I’d say there a lot of different trends being mixed around in stores” What is the future for the trend? “Will become slightly more popular” 37

INTERVIEW 3 – COW EMPLOYEE Do you think the 70s trend is coming back into fashion on the high street? “Yeah I actually do! I think that the 70s is a bit more exaggerated in the fits and like the shape... especially in like 70s blouses and I feel like we’ve sort of gone through the skandy trend a bit of the 60s and the sort of psychedelic bit, maximalist ones so I feel like maybe we’re going into more 70s trend just cause its more cyclical and we’re sort of timed to go into that. You can sort of see it on the high streets in like the shirts and things” Would you say that the 70s era influences the clothes that you sell? “Yeah I would actually... particularly because when I think of the sort of trends that we get in here which are quite popular like military inspired designs, especially following the Vietnam war, it became quite popular in blouses and things like that, and that’s quite a popular item for us to have in store. A lot of people like it as well” What do you think is driving the trend? “I think its nostalgia mainly because I think you can see it in like not only fashion but all forms of media, with things like stranger things, people are striving to go back to sort of like another period of time, sort of contrasting what’s on the high street right now. Especially with all the like khaki trend a few years ago and sportswear trend now. I think people are looking for something a bit more fresh and something a bit more innovating than things that are currently on the high street.” What have you noticed that is different about the re-emergence of the 70s? “I don’t think the nineties is on trend right now but I think sixties, seventies and eighties are all blending into one, weathering all the sorts of fashion styles into one the modern age, especially where formal meets sportswear, I think people are a lot less afraid to mix unconventional pieces that don’t naturally go together to sort of create an outfit.” What is the future for the trend? “Dying out... just because I don’t think trends last for more than a couple of years. I feel like it’s always cyclical, it’s always gonna come back at some point. But it’s always going to go to an extreme and then will move onto the next trend”

INTERVIEW 4 – STREET INTERVIEW Where are your flares from? “Zara” What inspires you to wear flares? “I like vintage fashion. I would rather choose vintage denim over a contemporary acid wash because I like to be different/unique”

INTERVIEW 5 – STREET INTERVIEW Where are your flares from? “Zara” What inspires you to wear flares? “I think it’s generally on trend right now. I’m not really sure, I just like it”

LIST OF ILLU S T R ATI O N S Fig 1. Tumblr (n.d.). Woman in long grass. [image] Available at: https://78.media.tumblr.com/ df61e65e830533def95f41fcaad085fe/tumblr_nvzt8ucjKR1qz5q5oo1_1280.jpg [Accessed 1 Jun. 2018]. Fig 2. Jones, J. (2013). Shift Runway Shot. [digital image] Available at: http://jodijonesstudio.com/ registering-today-for-another-season-shooting-new [Accessed 10 May 2018]. Fig 3. Schipper, M. (2014). Amir Taghi- Front Row - Mercedes-Benz Fashion Week Spring 2015. [digital image] Available at: https://www.gettyimages.co.uk/license/454779962 [Accessed 17 May 2018]. Fig 4. Raymond, M. (2010) The Trend Forecasterâ&#x20AC;&#x2122;s Handbook. London: Laurence King Publishing. P.19. Fig 5. Weir, H. and Fischer, U. (2017). Stella McCartney Sustainable Fashion Landfill. [digital image] Available at: https://www.refinery29.com/2017/07/164161/stella-mccartney-fall-2017-collectionsustainable [Accessed 17 May 2018]. Fig 6. Louis Vuitton (2017). Louis Vuitton presents VAN GOGH from Masters, a Collaboration with Jeff Koons. [digital image] Available at: https://www.youtube.com/watch?v=oA4YShWlrhw [Accessed 21 May 2018]. Fig 7. UNIQLO (2017). UNIQLO Free Friday Night Tickets. [digital image] Available at: https://www. uniqlo.com/us/en/uniqlo-free-friday-nights-at-moma.html [Accessed 19 May 2018]. Fig 8. Unknown. Alex Katz x H&M. (2016). [digital image] Available at: https://www. businessoffashion.com/articles/intelligence/fast-fashion-artist-collaborations [Accessed 16 May 2018]. Fig 9. COS (2018). COS x Agnes Martin. [digital image] Available at: http://www.basedistanbul.com/ cos-x-agnes-martin-capsule-collection-2/ [Accessed 18 May 2018]. Fig 10. Vlamos, Y. (2017). Calvin Klein Does American Psychos for Spring 2018. [image] Available at: https://www.vogue.com/article/calvin-klein-spring-2018-new-york-fashion-week [Accessed 17 May 2018]. Fig 11. Feudi, M. (2018). SPRING 2018 READY-TO-WEAR Balenciaga. [digital image] Available at: https://www.vogue.com/fashion-shows/spring-2018-ready-to-wear/balenciaga/slideshow/ collection#40 [Accessed 20 May 2018]. Fig 12. Western Arnold, K. (2017). Saint Laurent SS18 PFW womenâ&#x20AC;&#x2122;s collection. [digital image] Available at: http://photo.indigitalrunway.com/-/galleries/e-commerce/womenswear/ss-18/ paris/saint-laurent-ss-18/collection-saint-laurent-ss-18/-/medias/63c5b4c8-cb59-4ce5-8909a93a5e24ed36-saint-laurent-ss18-pfw [Accessed 19 May 2018]. Fig 13. Rentz, A. (2017). Bottega Veneta - Runway - Milan Fashion Week Spring/Summer 2018. [digital image] Available at: https://www.gettyimages.co.uk/license/852160346 [Accessed 19 May 2018]. Fig 14. Gustavsson, J. (2017). Marc Jacobs Spring Summer 2018 Collection, New York Fashion Week. [digital image] Available at: https://www.gettyimages.co.uk/license/847240442 [Accessed 21 May 2018]. 40

Fig 15. Gucci (2017). Gucci Runway Milan Fashion Week Spring/Summer 2018. [digital image] Available at: https://www.gettyimages.co.uk/license/851007708 [Accessed 21 May 2018]. Fig 16. Western Arnold, K. (2017). SPRING 2018 READY-TO-WEAR Marni. [digital image] Available at: https://www.vogue.com/fashion-shows/spring-2018-ready-to-wear/marni/slideshow/ collection [Accessed 21 May 2018]. Fig 17. Feudi, M. (2017). SPRING 2018 READY-TO-WEAR Miu Miu. [digital image] Available at: https://www.vogue.com/fashion-shows/spring-2018-ready-to-wear/miu-miu/slideshow/ collection#15 [Accessed 21 May 2018]. Fig 18. Tondo, M. (2017). Victoria Beckham SS18 NYFW Collection Womenâ&#x20AC;&#x2122;s. [digital image] Available at: http://photo.indigitalrunway.com/-/galleries/e-commerce/womenswear/ss-18/newyork/victoria-beckham/collection/-/medias/7013cb8c-9336-4fce-b0f4-86e18a866478-victoriabeckham-ss18-nyfw [Accessed 21 May 2018]. Fig 19. Tondo, M. (2017). SPRING 2018 READY-TO-WEAR Tibi. [digital image] Available at: https:// www.vogue.com/fashion-shows/spring-2018-ready-to-wear/tibi/slideshow/collection#26 [Accessed 21 May 2018]. Fig 20. Tondo, M. (2017). Acne SS18 PFW collection womenâ&#x20AC;&#x2122;s. [digital image] Available at: http:// photo.indigitalrunway.com/-/galleries/e-commerce/womenswear/ss-18/paris/acne-studios-ss18/ collection-acne-studios-ss18/-/medias/3a75ef7f-93a3-4ab5-af77-a3aad3327269-acne-ss18pfw/share [Accessed 21 May 2018]. Fig 21. Vlamos, Y. (2017). SPRING 2018 READY-TO-WEAR Roberto Cavalli. [digital image] Available at: https://www.vogue.com/fashion-shows/spring-2018-ready-to-wear/roberto-cavalli/slideshow/ collection#8 [Accessed 21 May 2018]. Fig 22. Emek, T. (2018). Street style at Coachella festival. [digital image] Available at: https://www. gettyimages.co.uk/license/946450270 [Accessed 22 May 2018]. Fig 23. Griffin, B. (2015). Kylie Jenner in flares. [digital image] Available at: https://www.gettyimages. co.uk/license/482224058 [Accessed 31 May 2018]. Fig 24. AKM-GSI (2017). Gigi Hadid in flares. [image] Available at: https://www.vogue.com/article/ gigi-hadid-millennial-pink-barbie-trend-celebrity-style [Accessed 22 May 2018]. Fig 25. . McCarthy, J. (2018). Kendall Jenner at the Met Gala. [digital image] Available at: https:// www.gettyimages.co.uk/license/955762282 [Accessed 31 May 2018]. Fig 26. Pantone (2018). Pantone Color of the Year 2018. [digital image] Available at: https://www. pantone.com/color-of-the-year-2018-shop-pantone [Accessed 22 May 2018]. Fig 27. Taylor, A. (2018) Blue and yellow floral dress. [digital image] Fig 28. Taylor, A. (2018) Fringe accessories. [digital image] Fig 29. Taylor, A. (2018) Mustard floral dress. [digital image] Fig 30. Taylor, A. (2018) Yellow striped flares [digital image] Fig 31. Taylor, A. (2018) Orange fringe jacket [digital image] 41

Fig 32. Taylor, A. (2018) Glitter culottes [digital image] Fig 33. Taylor, A. (2018) Blue floral playsuit [digital image] Fig 34. Taylor, A. (2018) Fringe clutch bag [digital image] Fig 35. Taylor, A. (2018) Orange and white floral [digital image] Fig 36. Taylor, A. (2018) Street style outfit 1 [digital image] Fig 37. Taylor, A. (2018) Street style outfit 2 [digital image] Fig 38. Taylor, A. (2018) Street style outfit 3 [digital image] Fig 39. Taylor, A. (2018) Street style outfit 4 [digital image] Fig 40. Metheringham, A. (2013). The Arboretum, Nottingham. [digital image] Available at: http://news. experiencenottinghamshire.com/lose-yourself-in-neverland-at-nottinghams-arboretum/ [Accessed 23 May 2018]. Fig 41. Sims, D. (2011). Fall Ad Campaign. [image] Available at: https://www.fashiongonerogue.com/ chloe-fall-2011-campaign-sigrid-agren-malgosia-bela-arizona-muse-zuzanna-bijoch-david-sims/ [Accessed 14 May 2018]. Fig 42. Smith, B. (2017). Miley Cyrus Malibu. [digital image] Available at: https://www.billboard.com/ articles/news/magazine-feature/7783997/miley-cyrus-cover-story-new-music-malibu [Accessed 14 May 2018]. Fig 43. Cameron, R. (2015). BARBARA PALVIN FOR HARPERS BAZAAR. [digital image] Available at: https://www.fashiongonerogue.com/barbara-palvin-wears-1970s-hippy-inspired-fashion-bazaaruk-shoot/ [Accessed 14 May 2018]. Fig 44. Nomchong, M. (n.d.). Rose Quartz romantic collection styled in wheat field. [digital image] Available at: http://blog.treeoflife.com.au/2016/08/rose-quartz/ [Accessed 31 May 2018]. Fig 45. Taylor, A. (2018) Vibrant psychedelic shirt [digital image] Fig 46. Taylor, A. (2018) Long paisley floral dress [digital image] Fig 47. Taylor, A. (2018) Orange and white floral playsuit [digital image] Fig 48. Taylor, A. (2018) Close-up of female model [digital image] Fig 49. Taylor, A. (2018) Female model in floral dress [digital image] Fig 50. Taylor, A. (2018) Female model lying in sun [digital image] Fig 51. Taylor, A. (2018) Female model wearing flares [digital image] Fig 52. Taylor, A. (2018) Low angle of female and male model [digital image] Fig 53. Taylor, A. (2018) Female and male model by tree [digital image] 42

Fig 54. Taylor, A. (2018) Female and male model wearing fringe [digital image] Fig 55. Taylor, A. (2018) Behind shot of female and male model [digital image]

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PANTONE 18-3838 Ultra Violet 2018. [online]. Pantone. Available at: https://www.pantone.com/ color-of-the-year-2018 [Accessed May, 15 2018]. Pike, H., 2016. At Festivals, Fashion Taps the ‘Currency of Cool’ [online]. Business of Fashion. Available at: https://www.businessoffashion.com/articles/intelligence/at-festivals-fashion-tapsthe-currency-of-cool-coachella-alice-and-olivia-calvin-klein-tag-heuer-h-and-m [Accessed May, 10 2018]. Sharma, N., 2018. Zara: How the agile retailer addresses the newness challenge [online]. WGSN. Available at: https://www.wgsn.com/blogs/zara-addresses-newness-challenge/ [Accessed May 31 2018]. Sherman, L., 2016. When High Art Meets the High Street [online]. Business of Fashion. Available at: https://www.businessoffashion.com/articles/intelligence/fast-fashion-artist-collaborations [Accessed May, 12 2018]. Singer, O., 2018. Fringe Appeal: The Best Pieces To Buy Now [online]. Vogue. Available at: http:// www.vogue.co.uk/gallery/shop-ss18-fringe-trend [Accessed May, 13 2018].

BI B LIOG R A P H Y Books Brannon, E.L. and Divita, L., 2015. Fashion Forecasting. 4th ed. Bloomsbury Publishing Plc. Benoni, W.K., 2017. Social Media for Fashion Marketing: Storytelling in a Digital World. London: Bloomsbury Visual Arts. Davis, F., 1979. Yearning for yesterday: A sociology of nostalgia. New York: Free Press. Holland, G. and Jones, R., 2017. Herald, J. 1992. Fashions of a decade: the 1970s. London : Batsford Holland, G. and Jones, R., 2017. Fashion Trend Forecasting. London: Laurence King. 44

Jackson, T. and Shaw, D., 2008. Marketing mix: promotion and marketing communications. In: Marketing mix: promotion and marketing communications. Mastering fashion marketing. Basingstoke: Palgrave Macmillan, 2008, pp. 156-203. Kaiser, S., 2008. Mixing metaphors in the fiber, textile and apparel complex: moving toward a more sustainable fashion. Sustainable Fashion: Why Now, , 139-165. Kim, E., Fiore, A.M. and Kim, H., 2011. Fashion trends: Analysis and forecasting. Oxford: Berg. Raymond, M., 2010. Trend Forecasters Handbook. 1st ed. Laurence King. Shaw, D. and Koumbis, D., 2017. Fashion Buying: From Trend Forecasting to Shop Floor. Bloomsbury Publishing. Wilson, E., 2003. Foreward. In: Foreward. Adorned in dreams: Fashion and modernity. IB Tauris, 2003, pp. vii. Reports Mintel, 2017. Clothing Retailing - UK - October 2017 [online]. Available via: Mintel. [Accessed May, 17 2018] WGSN, 2017. Key Items Pre-Summer 18: Womenâ&#x20AC;&#x2122;s Trousers, Shorts & Jumpsuits. Available via: WGSN. [Accessed May, 17 2018] Linares, L., 2017. Fashion Week Streets S/S 18: Denim [online] Available via: WGSN [Accessed May, 21 2018] Tunzo, B., 2018. Vintage Boom: Archival Fashion & the Resale Market [online] Available via: WGSN. [Accessed May, 24 2018] Watkins, H., 2018. UK Collection Previews Round-Up S/S 18 - Print & Pattern [online] Available via: WGSN [Accessed May, 15 2018] Documentaries Morgan, A., 2015. The True Cost. https://www.netflix.com/search?q=the%20 true&jbv=80045667&jbp=0&jbr=0: Netflix. Websites Algoo, J., 2017. In Photos: The Best of â&#x20AC;&#x2DC;70s Fashion [online]. Harpers Bazaar. Available at: https:// www.harpersbazaar.com/fashion/trends/g6495/70s-fashion-in-photos/ [Accessed May, 5 2018]. Cichowski, H., 2018. Garish, Retro Florals Are the Print of Choice for Spring 2018 [online]. The Fashion Spot. Available at: http://www.thefashionspot.com/style-trends/784683-retro-floral-printstrend/#/slide/1 [Accessed May, 13 2018].

Detox Catwalk 2018. [online]. Greenpeace International. Available at: https://www.greenpeace.org/ international/act/detox-catwalk/ [Accessed May, 10 2018]. 45

Ellison, J., 2017. Master pieces? Jeff Koons on his first collaboration with Louis Vuitton [online]. Financial Times. Available at: https://www.ft.com/content/354c71d0-1dfe-11e7-b7d3163f5a7f229c [Accessed May, 12 2018]. Fisher, L.A., 2017. The List: 10 Trends You’ll Be Wearing in 2018 - And 3 You Should Retire [online]. Harpers Bazaar. Available at: https://www.harpersbazaar.com/fashion/trends/g14405059/fashiontrends-2018/ [Accessed May, 13 2018].