Elizabeth Roberts - The Future of the Catwalk by Beth Roberts

ELIZABETH ROBERTS N0313383//FASH30002 STAGE 2 REPORT 1

CONTENTS 6 INTRODUCTION

10 METHODOLOGY

12 HISTORICAL CONTEXT

16 DESIGNERS WHO CHANGED THE GAME Chanel & Alexander McQueen 12

26 SOCIAL MEDIA LOVE AFFAIR

38 TOPSHOP & GOOGLE+ The future of the fashion show? 26

44 INSTAGRAM The New Polaroid

48 BLIPPAR Augmented Reality Magic

50 BARNABY ROPER Fashion Film

56 ACCESSIBILITY vs EXCLUSIVITY 50

62 THE CONSUMER 64 Who is she? 68 Consumer Profile 70 Key Findings

62 72

72 RICHARD NICOLL 80 Modern Times

88 STRATEGIC OUTCOME 92 Stage One - The Invitation 96 Stage Two - Fashion Film 101 Stage Three - Show Interaction 105 Stage Four - Post show pack 108 Stage Five - Personal Keepsakes 110 Stage Six - Feedback

114 CONCLUSION

118 REFERENCES 124 BIBLIOGRAPHY 130 ILLUSTRATIONS 136 APPENDIX 157 ETHICAL CHECKLIST

INTRODUCTION As we have happily embraced the Digital Age with both hands, it would be hard to imagine our lives without iphones or iPads. Using smart technology is second nature to us, and when do we rarely let our devices stray too far from side? In Time Magazine’s recent Wireless issue, a survey revealed that a staggering ‘84% of the world population couldn’t go a single day without their mobile device in their hand’ (Time, 2012). Its safe to say we are addicted, and the latest gadget or app is just as sought after as the latest fashion trend. ‘In a world where what you wear and who you wear are projections of your values, more and more people are using social media for wardrobe advice, inspiration, and to find the latest trends. Brands have taken notice and are competing fiercely for business’ (Ebay, 2013). It is essential for the fashion industry to recognise the power that our love affair with technology holds, and how ‘connecting to your audience through social media is such a vital part of being a successful designer in today’s world’ (Bautista, 2013).

Traditionally the fashion industry and in particular, events such as London Fashion Week, have been exclusive to a small group of those in society lucky enough to attend. However, by utilising technology and social media to its full potential, designers have been able to become much more accessible for a larger audience, engaging with those less fortunate than the fashions most elite. From live streaming to Twitter feeds, catwalk shows are not just for the eyes of celebrities, editors and bloggers. Designers are capturing a whole new group of followers and strengthening their business’. But the question must be asked, ‘With this rise in demand for accessibility, how will designers preserve the exclusivity that define their brands?’ (Bautista, 2013) and are designers doing enough to keep the influential movers and shakers within the industry loyal and responsive to their catwalk shows. Although technology has changed the catwalk show for those experiencing it online, it hasn’t necessarily changed it for those who are attending.

Fig 1. iPhone Fashion, 2013.

INTRO

Fig 2. Undressing, 2013.

‘THUMBS ARE STRONGER, ATTENTION SHORTER, TEMPTATION EVERYWHERE’ 8

(DUERSON, 2012)

This report will question the future of the catwalk and what changes need to be made to the traditional catwalk format as to re-engage the viewer; leaving them with a lasting memory. As creative director Nelly Ben Hayoun says â&#x20AC;&#x2DC;there is a need to challenge the way we communicate to the public when we launch a product. Experience design means that you interact physically with something, you go through a physical emotions using a technological tool. People need to feel risk and thrillâ&#x20AC;&#x2122; (Hayoun, 2013). Does this mean that merely viewing is no longer enough, and do people want and expect more from fashion week. They want to feel emotion and excitement, and ultimately want to be moved. With journalists and bloggers attending up to 50 shows during London Fashion Week, it can be questioned whether designers need to be creating more consumer touch points before, during and after a show; to help the designer differentiate itself from the overwhelming sea of competitors. The designer Richard Nicoll will be the vehicle to introduce this experience.

Potential creative outcomes for Richard Nicoll will be used to bring the focus back to those who matter; through moving imagery and film, interactivity and art direction. As we now communicate and interact intelligently in our everyday lives, is this an area that still has a little catching up to do?

METHOD OLOGY 1

Primary research was rather restricted, and seemed

Secondary research consisted of trend report websites

to lie solely within in a very tight knit group of people

in particular WGSN, to find out what the key players

within the fashion industry who regularly attend catwalk

are doing to stand out, technology trends and invite

shows. These can be categorised into three sections,

design. Social media sources such as Mashable and

celebrities, fashion editors and journalists, and fashion

Wired were invaluable to find out how social media is

bloggers. Unfortunately, these tend people who are

being used currently and future predictions. Reliable

not always willing to talk to people they donâ&#x20AC;&#x2122;t know,

sources like the Guardian, the Telegraph and The

and because of this celebrities was a category that

New York Times also speak on what designers are

was not realistic for this report. Twitter was an incredibly

doing over London Fashion Week.

helpful social platform, as it made connecting with these people much more accessible and easy. And many influential people were exceptionally helpful and open with their opinions and knowledge. Production companies who produce these catwalk shows, were also essential to gain knowledge from.

Fig 3. Methodology, 2013.

Fashion Editors Who? Fran Burns-Vogue UK//Hannah Almassi-Grazia// Dana Karlson-Glamour//Helen Seamons-The Observer What? Initial contact via Twitter and then interviews via email. Why? Influential within the fashion industry, they all attend LFW each season and have extensive experience of catwalk shows. As a result they are a great source of knowledge and sound opinion on the current face of fashion and its future.

Fashion Bloggers Who? DisneyRollerGirl & Millie Cotton of ‘Its a LDN thing’ What? Initial contact via Twitter and then interviews via email. Why? An integral part of the digital revolution seen within LFW, they originated online and continue to embrace technology. They also now have a huge amount of access to catwalk shows.

Art Director Who? Barnaby Roper What? An interview via email. Why? To gain knowledge of Barnaby’s inspirations behind his work and post production methods.

Event Producers Who? Charlotte West & Katy Loveday from Inca Productions What? Interviews via email. Why? The brains behind the glamour, without a production team the catwalk shows would not exist. Vital for information about budgets and practical elements to a show.

The origins of the catwalk have yet to be set in stone, and many facts still remain a mystery as the chief curator and director at the Fashion Institute of Technology said ‘The topic of fashion shows remains to find its historian.’ (Steele, 2006). What began in department stores as trade events has now become a glamorous phenomenon that takes place twice a year across the world’s fashion capitals. With those within the industry revolving their lives around the chaotic sequence of weeks.

Fig 4. L’Art Et La Mode, 1962.

Fig 5. L’Art Et La Mode 2, 1923.

Forming in the 19th century of France, the ‘runway is a decidedly Parisian idea’ (Thomas, 2012), where couture salons would host fashion events to present the latest trend. Photographers would not be invited, and this

Fig 6. L’Art Et La Mode 3, 1928.

‘lack of photography evidence is one of the reasons why we have little information about the origins’ (Thomas, 2012).

Fig 7. Catwalk history, 2013.

Over the next three decades, the fashion show was also adopted in American department stores and it was in 1943 that the ‘canny PR maven’ Eleanor Lambert hosted the first fashion week where she ‘hoped to give editors a chance to see—and more important, write about—the work of American designers’ (Fortini, 2006). In the 1970’s ‘when fashion designers started producing their own shows they ‘were not only unorganized and sporadic, but they took place in unsafe environments, such as old lofts’ (Thomas, 2012) and as recalled by the vice president of IMG, Fern Mallis, ‘We love fashion but we don’t want to die for it’ (Mallis, 1995).

Fast forward to now and the shifts we have seen within just 20 years have been exhilarating; with the technologies used to organise, run, and enhance fashion week almost mind blowing. London Fashion Week even looks different, ‘once described as “black crows”, today the people outside fashion shows are more like peacocks than crows. They pose and preen, in their multipatterned dresses, spidery legs balanced on club-sandwich platform shoes’ (Menkes, 2013). However, amongst the chaos and clothes, it really is a military operation. ‘It’s said that New York knows the business, Milan makes the workmanship, London lays the courage, yet Paris presents the dream.’ (Xinhua, 2003). And this could be true for how London has embraced the power of the digital age.

Fig 8. Photographers in the Tuileries in Paris, 2013.

Fig 9. The Peacocks, 2013.

DESIGNERS WHO CHANGED THE GAME

Fig 10. Catwalk, 2013.

From being an opportunity to invite buyers to view a designer’s latest collection, and essentially make sales, ‘catwalks are only a brand-building exercise now, and not about selling’ (Spencer, 2012). Instead, a catwalks purpose is to showcase the brand, and is really just their chance to show off to the industry. Catwalks have become increasingly theatrical, mesmerizing and imaginative over the years and the design manager of Dubai Fashion Week, Rivleen Chadra, said ‘We don’t even refer to the events as ‘catwalks’ anymore - it’s ‘fashion theatre’, about the drama and the stage production’ (Chadra, 2012).

Chanel is the Queen of fashion theatre, and for their Spring/Summer 2011 collection a headline read ‘Chanel show is theatre, not catwalk’ (Fox, 2010). From 24 tonne icebergs to 20ft crystals, it could also be criticised that the millions of pounds spent on the larger than life set designs at Chanel take away the focus from the garments themselves, and perhaps borders on self-indulgent? Is it clever or is it just showing off? Karl Lagerfeld himself explains that ‘I saw it in my dream, put it on my paper, gave it to the man that builds my set, and I think he worked it out beautifully.’ (Lagerfeld, 2013) and this man is Stefan Lubrina, who says he ‘translates his thoughts by making them legible and tangible’ (Lubrina, 2013). If it really is as simple as Lagerfeld says, does this point out that designers with the big budgets don’t always think as creatively or innovatively as those without, they just have the means to turn their dreams into reality. Fig 11. Chanel Zoo, 2013.

CHANEL SHOW IS THEATRE, NOT CATWALK 18

Fig 14. Chanel Iceberg, 2011.

Fig 12. Chanel AW 2012, 2012.

Fig 13. Chanel Forest, 2013.

Another big player in the game of fashion theatre is hands down Alexander McQueen, the King of weird and wonderful; would be seen to many as a modern genius. On the catwalk ‘his shows were always ahead of their time’ (Sawyer, 2010). McQueen ‘used new technology and innovation to add a twist to proceedings’ (Vaidyanathan, 2010) that often had the front row on the edge of their seats. He was a pioneer in turning the audience from comfortably watching to being engaged and entranced by his provocative shows, and shock tactics were not uncommon, with McQueen himself saying ‘God, I’ve had some freaky shows!’ (McQueen, 2010). His ability in ‘harnessing technology in shocking and amazing ways’ (Style.com, 2010) taught many other designers how to take their creativity to another level.

Fig 15. Alexander McQueen, 2009.

â&#x20AC;&#x2DC;Your pulse rate was raised by the anticipation that something disturbing, beautiful, and utterly unpredictable could be about to suck you into its vortexâ&#x20AC;&#x2122; (Mower, 2010)

Fig 16. Alexander McQueen Spring Summer, 2001.

Fig 17. Alexander McQueen Michelle Olley, 2001.

â&#x20AC;&#x2DC;Inside an empty glass pyramid, a mysterious puff of white smoke appeared from nowhere and spun in midair, slowly resolving itself into the moving, twisting shape of a woman enveloped in the billowing folds of a white dress. It was Kate Moss, her blonde hair and pale arms trailing in a dream-like apparition of fragility and beauty that danced for a few seconds, then shrank and dematerialized into the ether.â&#x20AC;&#x2122; (Mower, 2006). This was a state of the art holographic projection, created by the video maker Baillie Walsh and was so ahead of its time it set the mark for innovation to be expected on the catwalk.

Fig 18. Kate Moss Hologram, 2006.

Fig 19. The Spray Paint Dress, 2013.

In 1999, McQueen created another defining moment in fashion history. Two robots sprayed a white muslin dress with dramatic black and yellow marks. ‘The balletic movements and the classical piano music created an atmosphere of serenity and classicism which was contrasted with the forward-looking technological aspects to create a masterpiece.’ (Conn, 2012). What we can learn from these two fashion giants is that money can buy you very impressive set design, but not always imagination. They have also paved the way for designers paying more attention to other elements of the experience such as music and set design, and the emotion that this can evoke in the viewer. After all, ‘people need to feel risk and thrill’ (Hayoun, 2013).

SOCIAL MEDIA LOVE AFFAIR

Fig 20. Kitsch iPhone Case, 2013.

Our love affair with social media is an increasingly growing presence in our everyday lives, and London Fashion Week is no exception. ‘Unlike some other industries, London Fashion Week has not dug its heels in and resisted the social media revolution but has instead embraced it’ (Nowell, 2013). Front page news for most of the papers, constant trending hashtags and huge numbers of website traffic generated, LFW was an incredible success in marketing terms’ (Nowell, 2013). And when attending shows, journalists and bloggers treat their phones like another arm, as they gather as much information and imagery from each catwalk as possible for later blog posts or articles. The mobile is an integral part to their personal success during fashion week, ‘furiously Tweeting and on e-mail, having to file copy and share photos’ they easily ‘run down their phone battery three, four times a day during Fashion Week’ (Dinsey, 2013). This has been recognised by Vodafone, the British Fashion Council’s head sponsor for the event, who are putting ‘multi-phone chargers under every single seat in the front row now.’ (Dinsey, 2013). Every designer is in on the act, ‘with initiatives ranging from models carrying real-time micro cameras down the catwalk, to live social media screens projected on the walls’ (Arthur, 2013). It would be unusual for a designer to not be actively using these social media platforms. And this can also be said for live streaming, with ‘34 shows - over 60% of the catwalk schedule’ (British Fashion Council, 2013) being live streamed over the week. These social media platforms are an incredibly powerful marketing tool that can propel even the new designers to global awareness, with very small financial output.

NS CI SO

EXCLUSIVITY

W HE MA TT

RI C FU HA CA TUR RD N TW E IC AL OF OL T K HE L’S

MA GN

TW GO EE OD TIN CA G F US OR E A

PR ES

AL P

HO W

NW AY S RU PA BL E OP SH TC AM EE W RR YT BE

BU R

ACCESSIBILITY

In 2013 the competition was fierce and digital was focused upon more than ever; here are some of the most impressive ways technology was merged with fashion...

MATTHEW MAGNIFIED Known for his ‘intricate embellishment, craftsmanship and attention to detail’ (Williamson, 2013), Matthew Williamson took his garments to the digital world to magnify the detail ‘that can often be overlooked on the runway’ (Williamson, 2013). Using the next big thing in the social media world, ‘Vine’, and with the help of photographer Sean Cunningham who had previously worked with Burberry; he magnified ‘the embellishment and beadwork in a bid to bring followers a more detailed view than those available to the front row’ (Fashion and Mash, 2013). Vine is a new app owned by Twitter, working in a similar way it allows users to post 6 second videos. Williamsons ‘result proved more than charming as models playfully twisted and turned and fondly kissed each other’s cheeks’ (WGSN, 2013). Stills of the garments were also tweeted with the hashtag #matthewmagnified. This initiative was enthusiastically described by the designers head of digital, Rosanna Falconer as ‘such raw footage. In many ways, it’s like a digital version of the go-see, which are the appointments made by press and buyers after the show to view the collection in greater detail’ (Falconer, 2013). Giving the general public, very intimate access to what used to be exclusive.

BURBERRY TWEET CAM

Fig 21. Matthew Magnified, 2013.

Already known for being at the forefront of the digital revolution, backstage at Burberry you could find the ‘Beauty Booth’ where the most recognisable models, Cara Delvingne, Jourdan Dunn and Karlie Kloss took photos of themselves ‘pulling silly faces or holding up plaques with the Twitter names of those who tweeted to them with the #beautybooth hashtag’ (Arthur, 2013). Reaching out and connecting with a broader fan base via social media.

Fig 22. Burberry Beauty Booth, 2013.

SOCIAL PROJECTIONS ‘Rather than just focused on sending out comment from the audience for fans to see, several designers brought the sentiment of its followers into the catwalk arena with walls showing real-time social feeds’ (Arthur, 2013). The two that stood out were Tommy Hilfiger using Instagram, and Rebecca Minkoff using Twitter. Tommy Hilfiger only used photos taken from backstage or the front row, but Rebecca Minkoff found out what happens when social media is not a successful tool. ‘Once the models took their final walk, the screen flashed to a feed of all the tweets sent, all of which —but one — commented on the clothes. In the top corner of the screen a pornographic image of a naked, smiling man caressing a topless woman flashed for several seconds. Jaws dropped and gasps were stifled by laughter’ (Steigrad, 2013). After the show Minkoff said, ‘there were a few bad eggs but overall the result was great. We ended up the number three most discussed moment on Twitter, so it was worthwhile for us’ (Minkoff, 2013) This taught all designers that no matter how clever the idea, content created through these platforms must still be regulated to avoid such embarrassing mistakes.

Fig 26. Minkoff Projection, 2013.

PRE-SHOW DIARIES Many shows, including Fendi, Michael Kors and Dior took the approach of ‘all access and all angles’ (Arthur, 2013), releasing pre-show photos and footage of castings, the collection, hair and makeup and even front row interviews at Dior. Michael Kors’ and Fendi started a whole week before the show, across Facebook, Twitter and Instagram so that fans could witness the entire build up; Michael explained ‘Nothing makes me happier than being able to share my show with the world’ (Kors, 2013). This approach enabled the viewers at home to gain an immersive 360° experience of the shows, the closest you can get to physically being there. However, the content not only had their place, ‘but were beautifully shot, reflecting the focus on luxury that these brands maintain’

Fig 23. Fendi Pre Show Diary, 2013.

(Arthur, 2013).

Fig 24 & 24A. Phones on the runway, 2013.

#TWEETING FOR A GOOD CAUSE

This season saw the return of Kenneth Cole in New York, after seven years of absence on the catwalk. Capturing social media in an entirely different way, he reminded the audience via projections to ‘please make sure your phones and tablets are switched…ON’ (Arthur, 2013), truly embracing our obsession with our mobile devices. He also brought a new element to using Twitter, where each tweet sent with the hashtag #KCrunway, Cole would donate one dollar to AIDS research foundation. Such use of social media proves that the fashion world doesn’t have to be self indulgent or superficial; and is very admirable. During finale, Cole sent ‘out his models each with a smartphone in hand to snap the crowd as well as each other for an album that was posted on Facebook’ (Arthur, 2013). It was questioned whether this was a statement with the industrys preoccupation with technology, ‘instead of focusing on the looks on display?’(Nisita, 2013).

THE SHOPPABLE RUNWAY Recognised as a trend by WGSN, the shoppable runway adds a layer of interactivity to the shows. House of Holland, Caroline Herrera, Burberry and Google all took on this initiative, which meant that many garments were available to purchase instantly after the show. ‘House of Holland developed a unique collection for eBay.co.uk’ (Arthur, 2013) and Caroline Herrera’s collection was available through ShopBazaar.com. Burberry confirmed their place as a leader in innovation and took last years ‘Runway to Reality’ to another level with their ‘Made-To-Order Catwalk Service’ which features smart personalisation; another 2013 trend. ‘Customers can order bespoke pieces straight from the autumn/ winter 2013-14 show, Each piece will also feature in-built technology: passing your smart phone over the item will unlock video footage retracing its journey from design sketches to pattern cutting, each showing the customer’s name being engraved’ (Karmali, 2013). Reinforcing that the

Fig 25. Burberry Personalisation, 2013.

fashion industry is becoming more and more impatient for their next fashion fix.

From looking at the sheer volume of content that is sent through iPhone and iPads during the fashion weeks, fashion week will never be the same again. In particular London, who held ‘57% of the tweets sent, second in line was the USA at 15% - clearly underlining the significance of the British fashion industry on the international stage’ (Elle, 2013). And with an astonishing ‘308,991 tweets sent using the hashtag #LFW’ (Elle, 2013); it is impossible to imagine a day when phones would be banned in a catwalk show. Instead, designers must continue to explore different ways of incorporating social media platforms.

Fig 27. LFW Tweets, 2013.

15684 3. MULBERRY

SS 13

5663 Fig 28. Top 5 Designers, 2013.

308,991

2. BURBERRY

5044

Top 5 tweeted shows

4. House of Holland

170,572

5. Tom Ford 2297 1. TOPSHOP 16732

28%

15%

SS13 vs AW13 ON TWITTER WITH #LFW

57%

Fig 29. SS vs AW, 2013.

Fig 30. Top Models, 2013.

Most tweeted about models...

JOURDAN DUNN - 6299

CARA DELEVINGNE - 10,434

KARLIE KLOSS - 1236

TOPSHOP & GOOGLE + THE FUTURE OF THE FASHION SHOW?

Fig 31. Heels, 2013.

For their A/W 203 collection, Topshop raised

The initiative called ‘Future of the Fashion Show’

the bar, with interactivity at its most impressive,

aimed to build upon the ‘high street stores

in collaboration with Google+. And it has been

success as Spring/Summer 2013’s most viewed

questioned whether ‘Topshop and Google

online fashion show’ (Warr, 2013) in the efforts

changed fashion shows forever?’ (Rickey, 2013).

to bring the fans closer to the action than ever

Topshop’s show was delivered across Topshop’s

before. ‘We wanted to create an experience

own website, YouTube and Google+, with ‘the

for the many millions of Topshop fans all over

access offered to online viewers is unparalleled’

the world, but in a new and exciting way and

(Phelan, 2013).

one that would live beyond the moment’ said Topshop’s chief marketing officer, Justin Cooke.

Fig 32. Topshop & Google+, 2013.

TOPSHOP HANGOUT

Fig 33. Topshop hangout, 2013.

Pre show, Topshop broadcast ‘Google Hangouts’ where fans could see Topshop talking to fashion bloggers and celebrities such as Kate Bosworth and Pixie Geldof as they entered the Tate space where the show would take place; ‘rather like an Oscars red-carpet pre-show’ (Mullany, 2013).

MODELS PERSPECTIVE Using the season’s biggest models, Cara Delevingne, Jourdan Dunn and Karlie Kloss, the models walked the catwalk wearing real-time, HD micro cameras prestitched into their clothes and bags so followers could see the show from their perspective (Arthur, 2013). Topshop’s chief marketer explained ‘the models will become the protagonists. Viewers will search for ‘Cara on the runway’, and their content will get propelled around the world’ (Cooke, 2013). This linked in directly with the ‘Road to Runway digital diary on Google+, which documented everything from the models first fittings, to the moment they hit the catwalk’ (Arthur, 2013). The show was live streamed, both online and in the store window of the London flagship store.

Fig 34, 35, 36. Topshop Model Cam, 2013.

BE THE BUYER APP

The most impressive part of the campaign was the ‘Be the Buyer’ app, ‘Consumers will again be able to download the music, buy the nail polish the models are wearing and click on the clothes to recolour them and pre-order them’ (Cooke, 2013). It will be a great indicator of their favourite styles, and if this data is ‘captured, sifted and analysed correctly it promises to be a useful source of timely insight into what pieces resonate most with consumers long before they hit the shop floor, data that can be used to make more efficient business decisions, like how much of a particular type of product to manufacture and stock’ (Business of Fashion, 2013). Turning this digitally savvy idea into a pioneering marketing tool, where the consumer determines what they can buy instore.

Fig 37. Topshop Be the buyer app, 2013.

Although the Topshop and Google+ collaboration is impressive, it does not necessarily benefit the editors or bloggers. But this also brings forward the question of whom London Fashion Week is for, the consumers or those who work hard within the fashion industry to promote and support these designers to the wider audience. Designers such as Topshop must be careful that the experience of the fashion editor or blogger is not hindered in the process of trying to impress the general public. This case study is valuable evidence to tell Richard Nicoll what he doesn’t want to be doing for his future collections, however tempting it may be.

Fig 38. Yawn, 2013.

INSTAGRAM:THE NEW POLAROID

In 2009 ‘the entire fashion industry mourned the death of the Polaroid camera film. Booking agents, photographers, designers, artists and others all used the instant camera in their work. For an image-obsessed industry, many felt the hole left by Polaroid could not be filled by anything in the digital realm’ (Blakley, 2012). But then came Instagram, giving every person with an iPhone the opportunity to create great imagery. The fashion industry is obsessed with image, and they have ‘grabbed firmly ahold of Instagram, with fashion houses and bloggers uploading shots from runway shows, backstage peeks, outfits of the day, glimpses at new lines, shoes and more’ (Blakely, 2012). ‘We live in a very voyeuristic culture and if you can help curate that voyeurism I think it’s just the biggest opportunity in the world’ (Arthur, 2013) and Instagram is a visual medium to satisfy this need. Designers enjoy running their own Instagram profiles to let the outer world into their every day lives, creative processes and of course the shows themselves. And many have hundreds of thousands of followers; take Burberry with a staggering 798K. It will be interesting to see if in the future designers will use Instagram to see what people are saying about them. And with Instagram working with same hashtag tool as Twitter, designers and brands can easily gather content that is relevant and useful for them. After all, just as Instagram’s chief of partnership Josh Riedel said ‘the organic connection Instagram has made to fashion is great. And life just looks better in X-Pro’ (Riedel, 2011).

Fig 39. Fashion Instagrams, 2013.

Eleanor Calder, the girlfriend of One Direction’s Louis Tomlinson, was the most popular Instagrammer over LFW. ‘TOPSHOP UNIQUE SHOW #LFW’ LIKES: 97,540 COMMENTS: 1,971

British model Rosie Huntington-Whiteley

Fig 40. Top Instagrams of LFW, 2013.

‘@BURBERRY #LFW’ LIKES: 36,181 COMMENTS: 372

Makeup artist Amata Chittasenne, known as PearyPie on Instagram has over 400,000 followers. ‘HELLO LONDON ITS GREAT TO BE HERE AGAIN! #LFW’ LIKES: 26,003 COMMENTS: 1,971

BLIPPAR:

Fig 41. Front Row, 2013.

AUGMENTED REALITY MAGIC

New to the app world, Blippar is an interactive media platform that is the slicker version of the QR code, which the founders say ‘we do the same as QR codes and 50 more things’ (Mitra, 2012). The app works as ‘a free magic ‘lens’ which uses your device’s camera to ‘blipp’ and instantly unlock the world around you with exclusive information, entertainment and virtual experiences.’ (Blippar, 2012). By simply holding you device to the Blippar enabled object, it ‘will magically jump to life with an exclusive content experience’ (Blippar, 2012) using augmented reality.

Fig 42. Cadbury, 2011.

Fig 44. Stylist Magazine, 2012.

Fig 43. Dominoes, 2012.

It is an incredibly exciting tool for brands to share messages and opens the door for them to unleash their creativity directly to the consumer. Brands already using Blippar are Cadbury’s, Dominos, Heinz, and Wrigleys Chewing Gum. And in the fashion world, Stylist magazine released a Blippar enabled front cover during the Olympics with the synchronised swimming team performed a routine when ‘Blipped’. Blippar hasn’t yet been used to its full potential; but could be even more powerful in the fashion world. With London Fashion Week particularly in mind, Blippar has yet to be used during this event and Richard Nicoll could use the platform to pioneer technology on the catwalk.

BARNABY ROPER

Fig 45. Smoking, 2010.

The art director Barnaby Roper began his career as a fashion photography, ‘shooting editorials for Dansk, GQ Style and Surface (Nowness, 2010). And has now taken the fashion world by storm with his very original ‘signature style that blends perfect aesthetics to his graphic sense of distorted, deconstructed and symmetric elements of image’ (Premiere Heure, 2010). His experimental approach to fashion films has caught the eye of many global brands and designers such as Nike, Chanel, Viktor & Rolf, and Aldo; including a music video for the American rapper Kanye West. Believing that if ‘designers will have any type of future at all they have to have some sort of visual signature that sells their clothes and their vision. This will have to take some form of moving imagery weather it is short film, moving stills, or interaction’ (Roper, 2013).

Fig 46. Barnaby Roper One, 2013.

A few pieces of his work allow the viewer to interact with the film. Roper himself explains that people ‘don’t even look at the three-minute videos anymore, they’ll watch the first 30 seconds and then they’ll skip to the end. That’s why interactive films are so good’ (Roper, 2010). His interactive films work where each letter on a keyboard corresponds to a different sequence of the model moving, ‘It’s the rhythm of the edit that’s the key to the film, the key to all films. Most of all, I like the possibilities of where interactivity could and will go in the future’ (Roper, 2010). Fashion films may be the way forward for many brands, as a channel to be much more creative visually. Websites such as SHOWstudio, founded by Nick Knight believe that, ‘fashion film is now recognised as a new medium, offering a unique platform to nurture and encourage fashion to engage with moving image in the digital age’ (Knight, 2013). A concept which could work seamlessly with Richard Nicoll’s aesthetic.

Fig 46. Barnaby Roper Two, 2013.

ACCESSIBILITY VS. EXCLUSIVITY

Fig 48. Scaffold, 2013.

The business of catwalks has undergone a huge transformation over the past couple of years, and ‘In recent cycles, fashion shows, once closed industry events, have become something of a spectator sport for the hundreds of thousands of people who follow the play-by-play online.’ (Business of fashion, 2013). As impressive as these changes are has London Fashion Week become too accessible to the masses, ‘With this rise in demand for accessibility, how will designers preserve the exclusivity that define their brands?’(Bautista, 2013). ’These days, you can settle down at your laptop and watch most of the shows live on YouTube while following backstage goings-on in real time via Instagram and Twitter’ (Rickey, 2013). The question must be asked, with all of these pioneering moments in digital innovation, how many of them will directly benefit or enhance London fashion Week for those with the invitations to shows? Very few. Instead, the majority of initiatives are used to gain new followers and consequently more sales;

Fig 50. Facebook Invite, 2013.

Fig 49. Christopher Bailey, 2013.

‘fashion shows have rapidly become the ultimate, direct-to-consumer branding tool.’ (Business of fashion, 2012).

Fig 51. Tom Ford, 2010.

The digital age could risk London Fashion Week losing its lustre. Is it really possible to bring luxury for the masses? There is a hierarchy within fashion, as there is within any business, industry, system or country. ‘But digital streaming (and other technologies) diminishes the aura of exclusivity that London Fashion Week previously possessed’ (Bennes, 2011). Recently, designer Tom Ford went against the norm and his show ‘was shrouded in secrecy and he barred any form of social media use. He seemed to want to get back the exclusivity of old-world fashion glamour and possibly maintain a premium standing in the fashion world by not being as accessible and available to the public (High Fashion Social, 2012). Although a slightly drastic decision by Ford, it could forecast the way in which designers may decide to present future collections.

Fashion Week will come full circle and designers will regain some level of exclusivity over the coming years, and digital will become over saturated. The editors, buyers and bloggers will again be prioritised as the ones who should being experiencing every last detail of the show, from start to finish. Evidently, the designers at London Fashion Week are prestige and premium brands selling luxury products and have gained this status by being the reality of a small margin of society, and continuing to be an aspiration for the rest. ‘Fashion Week was a bit like the Stone Masons in terms of exclusivity and people actually caring. We cared more when it was a secret, now that we all know what goes on behind closed door initiations and RSVP lists’ (Jacob, 2013), and who doesn’t love being in on a secret.

Fig 52. Anna Wintour, 2013.

‘It’s interesting to watch the fashion world navigate the stormy waters of a digital future, as opposed to the comfy familiarity of exclusivity at all costs’ (Bennes, 2011)

Fig 53. Water, 2011.

Fig 54. Embrace, 2013.

THE CONSUMER 63

WHO IS SHE?

The consumer for the catwalk show has been segmented into two key groups, the fashion editor or journalist and the fashion blogger.

Fig 55. Sunglasses, 2013.

Fig 56. Celebrities on the front row, 2013.

Although the celebrity now plays a big part, creating press coverage as they perch on their front row seats. They are also part ‘of fashion’s darkest secret; and are not always there just for the love of haute couture. Sometimes they are paid to turn up’ (Lusher, 2012). With some A-list celebrities being paid hundreds of thousands of pounds by fashion houses or PR agencies. However, those involved have always declined to comment publicly, with the Telegraph interviewing a fashion insider who said ‘It would be professional suicide for me to say anything. I wouldn’t be able to tell you how much is paid to whom. It’s all a bit cloak and dagger’ (Lusher, 2012).

This has thoroughly angered some designers, such as Nicole Fahri who spoke up in an attempt to expose the practice, saying ‘It is so unprofessional. I have never paid a celebrity and I will never do it. What do they show you in the papers after a fashion show? Not the clothes, but the celebrities who are being paid to sit at the show’ (Fahri, 2012). As a result, celebrities are not a reliable source, or a person of authority.

WHY DO THEY GO TO SHOWS? Both of those from the magazine and the blogging world attend shows first and foremost for writing material, as Vogue UK’s fashion editor says ‘I go to see what’s happening- it’s my job to observe trends and be familiar with who’s doing what’ (Burns, 2013). Firstly, for immediate review of the shows; the collection, venue, set, music, models, and the overall experience. This is where designers who have stood out for being creative or innovative will be credited and spoken about. Often seen on magazine websites or blogs as they can be written and published online in a matter of hours. Fig 57. Collections Collage, 2012.

And then for articles for weekly and monthly and seasonal magazines talking specifically about the collection, and the trends it forecasts in colour, silhouette and style. Pin pointing the stylistic elements that they expect to filter down into high street brands.

They are the style makers, who can have immense effect upon which trends will reach the mainstream consumer and the ones that wont. If loyal to a particular designer, editors and journalists can propel their popularity and presence by placing focus on their collections in publications or online. When attending a show there are many elements that come together to create a powerful atmosphere, ‘Designers are using fragrance, texture, lighting, the pace of the models, the music and visually arresting set design to transport you to their world. It’s an all-consuming multi sensory experience’ (Burns, 2013). Music and set design stood out in importance through primary research, but in the end once all the decoration is taken away, it is the collection that either makes or breaks a show. With the help of production companies, designers are constructing these magical atmospheres, and with editors and bloggers attending between 30-50 shows in a week it easy to see how one show can merge into the next. ‘Ask a fashion editor at the end of a busy day of attending catwalk shows what he or she enjoyed today, and you will be met with something a bit like this. “I...er...em.. Oh God, wasn’t it Balenciaga this morning? Or was that yesterday? Er, sorry today is just a blur.”’ (Rickey, 2012). Therefore, what they want is to experience something unique to any other show.

Fig 58. Show Components, 2013.

THE FASHION EDITOR

146

Francesca Burns Vogue UK

every hour every hour

tweets during LFW

112

Instagram photos during LFW

‘For the actual audience the only technological interaction is tweeting from your seat and uploading phone photos.’

shows in London

109

across all four cities

Fig 59. Francesca Burns Profile, 2013.

THE FASHION BLOGGER Millie Cotton Its a LDN Thing

13 Blog Posts

200 Tweets

24 Instagram’s

5 outfit blog posts

‘Once you get past the pushing and queuing and stroppy PRs, it isn’t really a special experience as such’ Fig 60. Millie Cotton Profile, 2013.

LFW shows

KEY FINDINGS As a result of the in depth interviews with people within the industry, key findings were gathered that give great insight into the process and experiences editors and bloggers go through during London Fashion Week. These key findings are also influenced from speaking to those working in the production teams who work tirelessly to turn the designers visions into a reality.

Fig 61. Dior Invitation, 2011.

Fig 62. Goody Bags, 2013.

Fig 63. Showroom, 2013.

THE BEAUTY OF THE TRADITIONAL INVITATION With the introduction of Fashion GPS, an electronic system that means ‘designers can send invitations to everyone important, track RSVPs in real time, and use an interactive seating chart to make sure everyone is in their proper place. If someone cancels or doesn’t show up, the designer can immediately give the seat away to someone else’ (Crook, 2013) some designers have stopped sending out the traditional paper invitations. However, this is just another way in which technology could be stifling another platform for designers to show off their creativity. Many of those who attend the shows still enjoy receiving an invite through the post, with The Observers Fashion Editor, Helen Seamons adding, ‘I am a big fan of the paper invite, it sets the mood for the collection. It’s nice to have a tangible reminder. I keep all the good ones, usually the more unusual novelty ones, they are nice to look back on. I’d be very disappointed to see them stop, it feels very special to have a proper invitation’ (Seamons, 2013). To hold something in their hand seems to make that little bit more of a connection, than something virtual and ‘This not only indicates that you are within a group who have attended the show, but it’s also a little piece of the designer brand to take away with you’ (Almassi, 2013).

PRE-SHOW SNEAK PEAK Something that was brought to light was the interest in seeing a sneak peak of the collection or a little nod to what the show may bring. Some editors said they would like ‘something to add atmosphere. Some of the exhibits at Somerset House show films of the designers or that tie in with their collections’ themes alongside showing their products, which I’ve always liked. It creates a more 3-d feel for understanding reference points each season’ (Karlson, 2013). This will be considered in the strategic outcome.

POST-SHOW IMAGERY & INFORMATION An issue that was stressed numerous times by both editors and bloggers was the lack of information and imagery post-show. Helen Seamons said ‘I would love a little insight in to the inspiration after the show via email or downloadable from the designers website but it would have to be available immediately as we have tight deadlines. A press release or show notes on your seat is always very helpful’ (Seamons, 2013). And Grazia’s Hannah Almassi explained ‘The one thing I sometimes miss out on during shows is being able to see the incredible fabrication and pattern cutting or surface detail up close. You can often only really get the 360 experience from a good spot on the front row. So I’d love afterwards to have some sort of app or website where you can see these clothes in motion, be able to zoom in – under your own control, so that if I’m intrigued by a particular knit or skirt hem, I can enlarge it on my phone or computer screen’ (Almassi, 2013). This opinion was also backed up by the blogger, DisneyRollerGirl who said ‘It’s more about practicalities for me. Having access to info and images rather than creative assets. Being able to have a dialogue with the designer maybe. I’m more likely to share those sorts of image on my blog than standard catwalk pictures’ (DisneyRollerGirl, 2013).

GOODIE BAG ALTERNATIVE Through various comments that were made, it was found that editors and bloggers like something to take away with them from the show. And although the goodie bag is a great opportunity for sponsors to promote their products, they are often wasted and left behind in their dozens. Charlotte West, a fashion event producer for London Fashion Week said that ‘I think the goodie bag is becoming tired, more and more are left behind after shows (for the runners to grab!!!) I think guests want to take away a memory or experience and the designer wants their show to live on past the show time too’ (West, 2013).

Fig 64. Backstage, 2013.

RICHARD NICOLL 72

A Central Saint Martins graduate in the early noughties, Richard Nicoll has gone from strength to strength and in recent years ‘has discovered a new-found authority’ (Smith, 2012). ‘Richard Nicoll’s initial menswear training means he originally became known for his masculine spin on womenswear and has since evolved into a designer with a finely tuned, perfectly balanced feminine edge.’ (Nicoll, 2010). This masculine feel has also paved the way for his very strong presence at the new London Collections for men, which began in 2012. And with some collections, such as the Spring Summer 13 using detailing such as mesh, graphic panels of fluro jacquard, and exposed zips on the bias; the term ‘sports luxe’ has often been linked to the designer. Luxurious fabrics, muted tones and flashes of colour. Nicoll lies in the small area between wearable and desirable, ‘What Nicoll is contributing is a new language of work-relevant daywear unencumbered by tiresome and limiting fashion-y references. Easy, and yet so hard to do’ (Mower, 2010). ‘Glamorous but utilitarian. That combo is a significant strand in the Nicoll DNA’ (Blanks, 2011) And these characteristics has also been reflected in his shows during London Fashion Week. Previous shows have taken place in ‘modern architectural spaces’ (Rickey, 2012) and most recently the tanks at the Tate Modern; and works harmoniously alongside his garments that are described as ‘simple lines for beautiful, grown up girls’ (McMahon, 2012).

‘SIMPLE LINES FOR BEAUTIFUL, GROWN UP GIRLS’ (McMahon, 2012)

Fig 65. Richard, 2012.

Fig 66. Spring Summer 2011 - Autumn Winter 2013, 2013.

Fig 67. Backstage action, 2013.

MODERN TIMES

However, for his Autumn/Winter 2012 collection, Richard Nicoll partnered up with Vodafone, not to create a ‘traditional catwalk show, but to host a more intimate presentation of the collection.’ (WIWT, 2012) which he called ‘Modern Times’, in reference to the 1936 Charlie Chaplin film. The set up was unusual, with models walking around an elevated square catwalk ‘before stopping to have their photo taken for Richard’s lookbook by Jermaine Francis’ (Rickey, 2012) who was situated in the centre along with the hair and makeup artists. Rails along the walls of the room hung the collection which editors, buyers and bloggers could touch the clothes for themselves, a rare case of personal contact with the pieces.

Fig 68, 69, 70. Modern Times, 2013.

‘I got really fed up of doing a catwalk in the traditional way’ (Nicoll, 2012)

Fig 71, 72, 73. Modern Times, 2013.

fused technology and fashion

Fig 74. Charging Handbag,

Fig 74. Charging Handbag, 2012.

To give his presentation that extra edge and make it ’stand out for being totally unexpected and clever’ (Rickey, 2012) was a ‘collaborative product that fused technology and fashion’ (Nicoll, 2012). For those during Fashion Week who end up ‘feeling anxious because their smartphone’s running low on battery life’ Richard designed ‘a chic, recharging tote bag’ (Coke, 2012) in soft white leather, with a charging component in the inside pocket. ‘Coming to the rescue of pushedfor-time and just-plain-scatty girls all over the world, Nicoll combined his creative talents with the financial might of long-standing sponsor Vodafone’ (Pithers, 2012).

In this stroke of portable genius Nicoll has created a product that would be the dream handbag for every busy, career driven woman, and not just the fashion elite. Proving himself as a designer who loves to design practical yet beautiful fashion and isn’t afraid to go against the norm during London Fashion Week. Fig 74a. Charging Handbag, 2012.

For Richard Nicoll, concept and experience is key, as he explained to the Independent ‘I started to feel limited by the traditional catwalk format. It's not about being 'better' than a catwalk show – more about this new format feeling more relevant to my collections’ (Nicoll, 2012). And in a time when many designers are launching up to six collections a year, ‘Nicoll’s view is becoming increasingly prevalent’ (Walker, 2012). As a result, his future could be full of more innovative mergings of fashion and technology.

Fig 75. Richard Nicoll, 2010.

WHAT IS THE RICHARD

TAKE AFTER

PRESENTATI 86

E DIRECTION

ICOLL

WILL

A LOW-KEY

ION SEASON? 87

Fig 76. Dressing, 2013.

STRATEGIC OUTCOME 89

Fig 77. Experience Diagram, 2013.

Before A complete experience

During

After WHAT?

WHY?

A journey of consumer touch points before,

To visually and emotionally please those

during and after a catwalk show for the designer

attending the show; focusing strongly on

Richard Nicoll, which have been informed by

revitalising the relationship between exclusivity

feedback from those in the immediate fashion

and accessibility during London Fashion Week.

industry. Enabling Nicoll to differentiate himself

Creating a personal experience for the attendee,

from the overwhelming sea of competitors

bringing them closer in knowledge and loyalty to

during London Fashion Week. Exploring creative

the collection and to Richard Nicoll himself.

mediums such as moving image, film, interaction, lookbooks and social media platforms. A realistic sense of budget must be considered throughout, in relation to Nicoll and his financial capabilities.

Fig 78. Shadow, 2013.

BEFORE Merging the digital and the physical. With traditional elements working alongside contemporary approaches.

Fig 80. Invitation Trends, 2013.

STAGE ONE //THE INVITATION

A traditional catwalk invitation, using neon acrylic which reflects the collections key colours and garment details. The information will then be laser cut into the acrylic, a modern technique which has been seen across many paper and card invitations and visual merchandising, and recognised as trends by WGSN in A/W and S/S 2013 catwalk invitations; but has rarely been used on other materials. A modern twist on a catwalk essential.

Fig 79, 79a. Laser Cut invitation, 2013.

PVC WITH HOUSE OF HOLLAND

NOVELTY CASSETTE WITH HOUSE OF HOLLAND

HOT PINK COLOUR SEEN AT MANY HOUSES AND MARNI

POP UP PAPER LASER CUT WITH BURBERRY

SHIMMERING MIRROR WITH CHRISTOPHER KANE

EMBOSSED GLOSS ORANGE WITH RICHARD NICOLL

FLIP BOOK WITH DSQUARED

BLOCK LETTERING ON MATTE CARD WITH RICHARD NICOLL

Fig 83. Business Card, 2010.

Fig 81. Wedding Invite, 2012.

INSPIRATION

Fig 82. Neon Necklace, 2012.

Fig 84. CAD CAM design, 2013.

Fig 85. Laser Testing, 2013.

Fig 86. Laser Testing, 2013.

STAGE TWO //FASHION FILM

Alongside the acrylic invitation, the recipients will also be able to unlock an exclusive sneak peak of the collection via a short film. Using the Blippar app, the user will ‘blip’ their invitation to reveal the short film on their iPhone or iPad. The short film is inspired by Barnaby Ropers fashion films, with experimental editing and effects, and recognises that the digital age can be a great way for Nicoll to express himself through stylist elements such as music and moving image. A major trend recognised in the Future Luxe report by WGSN was the harnessing ‘potential of augmented reality’ where ‘using augmented reality can create a new frontier of retail experience in the luxury market.’ (Saunter, 2012). With luxury brands such as Tissot saw an 83% rise in sales whilst using augmented reality. The pairing of the physical and the digital invitation compliments a top 2013 marketing trend by WGSN called ‘SoLoMo’ where ‘linking together all other interfaces and experiences, blurring increasingly the physical and digital worlds’ (Arthur, 2013).

You will find the short film on the disc in the report pack; but please remember, in practise you would be viewing the film on an iPad or iPhone once unlocking it via the Blippar app. 96

Fig 87, 88, 89, 90. Fashion Film, 2013.

Fig 91,92,93. Behind the scenes, 2013.

BEHIND THE SCENES & EDITING

Fig 94, 95. Editing, 2013.

Fig 96. Giles Deacon, 2013.

DURING Interaction and tactility

100

STAGE THREE //SHOW INTERACTION

‘It could be great for everyone to have a little personal screen which has content like designer notes, inspiration, music soundtrack, close-up shots of clothes etc on there, but then would my focus be taken off the runway and soaking up the atmosphere of the room? Quite possibly when you’re tweeting and instagramming and chatting at the same time!’ (Almassi, 2013) During the show, each seat will be assigned an iPad, specific to that

This will be the interactive element to the experience. Before the show

particular person and where they will be sitting; securely locked to avoid

begins, the iPads will become active, and as models begin to walk

mixing up of iPads amongst seats and also as a security precaution. Of

down the catwalk the viewer has to double tap the screen of the iPad

course, there is a question of cost to these iPads, as every designer

to register their interest in a piece as it passes them. The screen will

must work to a realistic budget; but this can also open up the door for

flash subtly from white to black upon the touch of a finger. Digitally

potential sponsorship or collaboration, much like his past collaboration

translating that thought of ‘Ooo I like that piece! I would like to know

with Vodafone in 2012. As a fast growing designer, Richard Nicoll will

more’ via the iPad to the designer. All of these taps collected from

start to have the opportunity to spend more on his shows. However, due

the audience can then be collated and organised into information of;

to his style and brand essence, elaborate and extravagant set design

who made the tap, at which point in they show they touched, and

does not align itself comfortably with Nicoll. And instead, the merging

what outfit they were showing interest in. Defining the key looks of the

of fashion and technology compliments his work and puts him in position

collection, and creating a tactile and interactive experience for those at

to be the designer that the industry look forward to each season to

the show without having to take their attention or eyes away from the

be the pioneer in digital technology. As Grazia’s Hannah Almassi said

models. This data will then be used in the next stage rather than just as

when asked about looking into the future of catwalk shows ‘What is the

a gimmick. An idea that has taken inspiration from an interview with the

direction Richard Nicoll will take after a low-key presentation season?’

Fashion Editor of Grazia, Hannah Almassi.

101

The attendee finds their seat that is unique to them and brings the iPad that is under their seat and places on their lap. A few minutes before the show, all of the iPadâ&#x20AC;&#x2122;s will light up and show instructions of what they are there for.

Fig 97. Catwalk Interaction, 2013.

As a model passes, and they like the look theyâ&#x20AC;&#x2122;re wearing, they double tap the screen and when it flashes this shows that the iPad has recognised the interaction.

Fig 99. Hand on iPad, 2010.

Fig 98. Nicoll Catwalk, 2013.

& 102

The production team are then able to use a computer system to recognise which person showed interest in which looks. This information can then be passed onto the designer for post-show initiatives.

C A T

Fig 100. Catwalk interaction technology, 2013.

W A

FRANCESCA BURNS SEAT H1

DANA KARLSON SEAT R4

SELECTED LOOKS 2,8,15,23 & 39

SELECTED LOOKS 7,16,21,24,35

103

Fig 101. Out of hours model, 2013.

AFTER The death of the goodie bag & the introduction of personalisation

104

STAGE FOUR //POST-SHOW PACK

A continuum of the show itself, the data collected from the iPads will then inform what the attendee will receive after the show. The initiative helps to resolve an issue that was picked up by the various fashion editors interviewed, which was the lack of post-show material. With Hannah Almassi adding, ‘I’d love to gain access to it directly after the show rather than a few months later via press days or when the collection campaigns and clothes start to drop. Only an elite few can go backstage and see the pieces up close, or chat through the range with a designer, so having separate and thorough content post-show would mean that you’d be able to really get stuck into the range in depth.’ (Almassi, 2013).

Fig 102. White Shirts, 2012.

105

So how does it work? The looks that the user showed particular interest in (a maximum of five looks) will then be digitally broken down into separate elements; fabric samples, a description from Richard Nicoll himself on any background information of the inspiration or its construction, and model shots of the outfit; even hair and makeup information. This will be received as traditional fabric samples that can then be â&#x20AC;&#x2DC;blippedâ&#x20AC;&#x2122; using the Blippar app to unlock the digital information. Once the glamour and excitement that surrounds the show has passed, what they want is raw information that they can use in their work. Although not particularly exciting, the pre-show pack recognises that London Fashion Week has a strong business purpose. After all, a designer is a creative individual, but still needs to make a profit. With this pack, a fashion editor can then pin point a dress or an accessory that will be the next seasons big thing, and can be a direct influence of what items buyers will choose to stock in department stores and online stores. This also gives Richard Nicoll an opportunity to control which pieces from the collection he wants to push forward as the key looks, and which ones he wants to sell the most of. It is an opportunity for an immensely clever marketing tool. A personalised and user generated gift direct from Nicoll himself.

Fig 103. Post-show pack, 2013.

106

Fig 104. Post-show pack, 2013.

Fig 105. Post-show pack, 2013.

You will find the full post-show material on the disc in the report pack; but please remember, in practise you would be viewing it on an iPad or iPhone once unlocking it . 107

STAGE FIVE

//PERSONAL KEEPSAKES

The fifth stage of the consumer touch points will be two consumer generated keepsakes, a personalised phone case accessory in collaboration with Manolo Blahnik and an Instagram book. From the consumer key findings many editors and bloggers said that the goody bag can be tiresome and they would like to take something away with them that they could keep forever, rather than dispose of quickly. As Zandra Rhodes said ‘I don’t know why they always bother with goodie bags. It’s always just a rubbish bottle of shampoo and a lipstick in a shade you don’t want’ (Rhodes, 2012). The first of the collaborations is with Prinstagram, a new company who celebrates our love for Instagram, by taking images straight from Instagram and turning them into beautifully designed products. It is a common sight to see those on the front row instagramming the set and the models as they come walking down the catwalk. And this content can easily be collected and turned into something creative, using hashtag technology. All the photos Instagrammed from the audience during the show, using the hashtag #RichardNicollSS14 will form a ‘tinybook’ that each attendee can keep forever. Small and charming, the tinybook is perfectly formed and displays a collection of the imagery documenting the show. Within each book will be their own photos alongside other front row members photos, a truly user generated product.

Fig 106, 107, 108, 109. Prinstagram book, 2013.

108

And secondly, a personalised phone case that merges Nicoll’s garment fabrics with Manolo Blahnik’s sleek designs. With a past shoe collaboration with Blahnik in Spring Summer 13, Nicoll has spoken about continuing this on into accessories saying ‘I’m still collaborating with Manolo on footwear and we’re now working on bags for autumn/winter 13’ (Nicoll, 2012). This fits in place with his future plans as a brand and again recognises the obsession today’s fashion society has with their mobile devices. Each phone case will be made out of the fabric that the individual showed interest in from the show, another personal touch direct from the designer. Both of these keepsakes fit the 2013 trend of ‘Personalisation’ as predicted by JWT seamlessly, as ‘data analysis becomes more cost efficient and sophisticated and consumers generate more measurable data than ever, brands will increasingly be able to predict what a customer needs or wants and tailor offers very precisely’ (JWT, 2012).

Fig 110 and 111. iPhone Case, 2013.

109

STAGE SIX //FEEDBACK

As a highly creative individual, a designer’s collection is solely his inspirations and passions processed into physical objects. Because of their personal nature all editors and bloggers interviewed said that they would not want to give direct feedback or critique straight to the designer, as Glamour magazines Fashion Editor explained ‘I don’t think it’s the journalist or buyers place to give direct feedback to the designer, and I don’t know that this would be appreciated. It’s a highly creative field obviously, and part of that creativity is the freedom to produce something that the designer believes in not simply because others have stamped their approval on it’ (Karlson, 2013). However, as hundreds of thousands of pounds are put into just 15 minutes of madness, surely designers would like to hear feedback from their guests on the overall experience. Did they enjoy the venue, what did they think of the casting, or the music choices? These are all elements that add to a very large bill the production company presents to the designer. And just as trends shift in and out on the catwalk, so will what the guests want to experience from a show. Fig 112. Feedback, 2013.

SUBMIT

110

Fig 113. catwalk, 2013.

As a result, Richard Nicoll guests will have the opportunity to describe their show experience, what they enjoyed, what they would like to see more of and what they thought could be improved; direct to the production company who can then filter this information back to Nicoll. Rather than critiquing, it is painting a picture for both the designer and the production team of how shows can be improved in the future. And the knowledge they have gained could also help them to save money that is currently being spent where it doesnâ&#x20AC;&#x2122;t need to be. Instead of the general public shaping catwalk shows, the control has been put back into the hands of the fashion elite. This would be via the post-show pack they receive the day after the show.

111

SUMMARY OF STAGES

THE INVITATION

FASHION FILM

SHOW INTERACTION

POST SHOW PACK

PERSONAL KEEPSAKE

FEEDBACK 112

Fig 114. Summary of stages, 2013.

Fig 115. Shadow, 2013.

CONC L U SIO N

With each stage complimenting the next, what is hoped to be achieved is for the before, during and after initiatives to combine together to create a unique and unexpected experience for industry members. As it was once said about Alexander McQueen,‘He created an experience, and therefore an everlasting memory’ (Jackson, 2011). This is something many designers still strive for today, along with the notion of exclusivity that has been lost in our digital age, but is the element that defines Richard Nicoll as a luxury brand. Forseeing what the future may hold for designers and London Fashion Week in the future. This report has specifically aimed to put Richard Nicoll on the map as the designer who always brings something new and innovative with each season’s collection. Focusing on areas of a show that need revitalising.

115

Fig 116. 360 Backstage, 2013.

116

REFERENCES//BIBLIOGRAPHY//APPENDIX

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//REFERENCES ALMASSI, H, 2013. Interviewed by: ROBERTS, E [26 March 2013] ARTHUR, R, 2013. 2013 in marketing: top trends. [online] Available via: www.WGSN.com [accessed 27 April 2013] th

ARTHUR, R, 2013. A/W 13/14 fashion weeks: social media highlights [online]. WGSN. Available via: www.WGSN.com [accessed 27 March 2013] th

ARTHUR, R, 2013. Next Big Thing: Vine. [online] Available via: www.wgsn.com [accessed 28 April 2013] th

ARTHUR, R, 2013. Zac Posen: Instagram best practise. [online] Available via: www.wgsn.com [accessed 28 April 2013] th

BAUTISTA, C, 2013. How social media is making over the fashion industry. [online] Mashable. Available at: http://mashable.com/2013/02/15/fashion-social-media/ [accessed 21 April 2013] st

BENNES, C, 2011. London Fashion Week [online] ICON MAGAZINE. Available at: http://www.iconeye.com/readprevious-issues/icon-095-%7C-may-2011/london-fashion-week [accessed 28th April 2013] BISHOP, A, 2012. Social commerce at NYFW and LFW ensures fashion week is a democracy for everyone to enjoy. [online blog] Disneyrollergirl. Available at: http://www.disneyrollergirl.net/guest-post-social-commerce-nyfw-lfw-ensuresfashion-week-democracy-enjoyed-by-all/ [accessed 22 April 2013] nd

BLAKLEY, J, 2012. Instagram and the fashion industry. [online blog] Available at: http://www.postano.com/blog/instagramand-fashion [accessed 28th April 2013] BLANKS, T, 2011. Biography. [online] Available at: http://www.richardnicoll.com/ [accessed 29 April 2013] th

BLIPPAR, 2012. Blippar. [online] iTunes. Available at: https://itunes.apple.com/gb/app/blippar/id410604563?mt=8 [accessed 30 April 2013] th

BRITISH FASHION COUNCIL, 2013. Digital Innovation at LFW AW13. [online] Available at: http://www.londonfashionweek.co.uk/news_detail.aspx?ID=506 [accessed 2 May 2013] nd

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SAWYER,F, 2010. Six ways Alexander McQueen changed fashion. [online] BBC News. Available at: http://news.bbc.co.uk/1/hi/8511404.stm [accessed 25th April 2013] SMITH, T, 2012. Richard Nicoll Spring Summer 13. [online] Vogue UK. Available at: http://www.vogue.co.uk/fashion/spring-summer-2013/ready-to-wear/richard-nicoll [accessed 29th April 2013] SPENCER, O, 2012. Fashion forward: the future of the runway. [online] Available at: http://vision.ae/en/life/articles/fashion_forward_the_future_of_the_runway [accessed 2nd May 2013] STEELE, V, 2006. How the runway took off. [online] Slate. Available at: http://www.slate.com/articles/arts/fashion/2006/02/how_the_runway_took_off.html [accessed 23rd April 2013] STEIGRAD, A, 2013. Rebecca Minkoff’s social media faux pas. [online] WWD. Available at: http://www.wwd.com/medianews/fashion-memopad/rebecca-minkoffs-social-media-faux-pas-6718056 STYLE.COM, 2010. McQueen, The Showman. [online] Avilable at: http://www.style.com/stylefile/2010/02/mcqueen-the-

STEIGRAD, A, 2013. Rebecca Minkoff’s social media faux pas. [online] WWD. Available at: http://www.wwd.com/medianews/fashion-memopad/rebecca-minkoffs-social-media-faux-pas-6718056 STYLE.COM, 2010. McQueen, The Showman. [online] Avilable at: http://www.style.com/stylefile/2010/02/mcqueen-theshowman/ [accessed 25 April 2013] th

THOMAS, J, 2012. History of Runway Modelling. [online] Available at: http://www.life123.com/careermoney/careers/modeling/history-of-runway-modeling.shtml [accessed 23rd April 2013] VAIDYANATHAN, R, 2010. Six ways Alexander McQueen changed fashion. [online] BBC News. Available at: http://news.bbc.co.uk/1/hi/8511404.stm [accessed 25th April 2013] WALKER, H, 2012. Out of fashion: Designers finding new ways to sell their style. [online] The Independent. Available at: http://www.independent.co.uk/life-style/fashion/news/out-of-fashion-designers-finding-new-ways-to-sell-their-style6669578.html [accessed 2nd May 2013] WARR, P, 2013. Google pairs with Topshop to give model's-eye-view of London Fashion Week [online]. Wired.co.uk. Available at: http://www.wired.co.uk/news/archive/2013-02/13/topshop-google-fashion-show [accessed 27th March 2013] WILLIAMSON, M, 2013. Matthew Magnified. [online] Facebook. Available at: http://www.facebook.com/media/set/?set=a.446590675397711.107961.127747600615355&type=3 [Accessed 17 April 2013]

XINHUA, 2003. Prominent Fashion Weeks. [online] Xinhua News. Available at: http://news.xinhuanet.com/english/200902/25/content_10892730.htm [accessed 25th April 2013]

REPORTS ARTHUR, R, 2013. 2013 in marketing: top trends. [online] Available via: www.WGSN.com [accessed 27 April 2013] th

ARTHUR, R, 2013. A/W 13/14 fashion weeks: social media highlights [online]. WGSN. Available via: www.WGSN.com [accessed 27 March 2013] th

ARTHUR, R, 2013. Next Big Thing: Vine. [online] Available via: www.wgsn.com [accessed 28 April 2013] th

ARTHUR, R, 2013. Zac Posen: Instagram best practise. [online] Available via: www.wgsn.com [accessed 28 April 2013] th

DICKINSON, C, 2012. Interactive print: 8 Ties installation by Hermès [online] WGSN. Available via: www.WGSN.com [accessed 27 March 2013] th

HOUSLEY, S, 2013. Nelly Ben Hayoun: designing experience. [online]. WGSN. Available via: www.WGSN.com [accessed 27 March 2013] th

MINKOFF, R, 2013. A/W 13/14 fashion weeks: social media highlights [online]. WGSN. Available via: www.WGSN.com [accessed 27 March 2013] th

BLOGS BISHOP, A, 2012. Social commerce at NYFW and LFW ensures fashion week is a democracy for everyone to enjoy. [online blog] Disneyrollergirl. Available at: http://www.disneyrollergirl.net/guest-post-social-commerce-nyfw-lfw-ensures fashion-week-democracy-enjoyed-by-all/ [accessed 22 April 2013] nd

BLAKLEY, J, 2012. Instagram and the fashion industry. [online blog] Available at: http://www.postano.com/blog/instagramand-fashion [accessed 28th April 2013] CONN, S, 2012. A moment in fashion: Alexander McQueen Spray Paint Dress 1999. [online blog] Available at: http://sarahconnfashionblog.blogspot.co.uk/2012/05/alexander-mcqueen-spray-paint-dress.html [accessed 25th April 2013] DINSEY, P, 2013. Why our phones are the stars of London Fashion Week. [online blog] Vodafone. Available at: http://blog.vodafone.co.uk/2013/02/18/poppy-dinsey-why-our-phones-are-the-secret-stars-of-london-fashion-week/ [accessed 25 April 2013] th

DISNEYROLLERGIRL, 2013. Six years of blogging – the changing landscape. [online blog] Available at: http://www.disneyrollergirl.net/six-years-bloggin/ [accessed 22 April 2013] nd

FASHIONANDMASH, 2013. Burberry personalising new collection with embedded digital content. [online blog] Fashion

FASHIONANDMASH, 2013. Burberry personalising new collection with embedded digital content. [online blog] Fashion and Mash. Available at: http://fashionandmash.wordpress.com/2013/02/18/burberry-personalising-new-collection-withrfid-chip-content/ [Accessed 17 April] th

HIGH FASHION SOCIAL, 2012. Tom Ford at London Fashion Week. [online blog] Available at: http://highfashionsocial.wordpress.com/2012/02/21/tom-ford-at-london-fashion-week/ [accessed 28 April 2013] th

FILMS

Be the Buyer with our Google+ App – Topshop Unique AW13, 2013 [Film] Topshop Podcasts, Available at: http://www.youtube.com/watch?v=nWZIpRKy5mk [accessed 27 March 2013] th

Chanel, 2012 [film] Barnaby Roper. Available at: http://www.barnabyroper.com/view/film/139/chanel.html [accessed 1st April] DVF through glass, 2013. [Film] Google. Available at: http://www.youtube.com/watch?v=30Pjl31cyDY&feature=player_embedded [accessed 17 April 2013] th

I used Google Glass, 2013. [Film] Google. Available at: http://www.youtube.com/watch?v=V6Tsrg_EQMw [Accessed 17 April 2013] Iris, 2010. [film] Barnaby Roper. Available at: http://www.youtube.com/watch?v=xxN8zIncY5U [accessed 10 March 2013] th

The Future of the fashion show – Topshop Unique AW13, 2013. [Film] Topshop Podcasts. Available at: http://www.youtube.com/watch?v=5TAF9OfL99g&feature=player_embedded [accessed 27 March 2013] th

Viktor&Rolf, 2011[film] Barnaby Roper. Available at: http://www.barnabyroper.com/view/film/141/viktorrolf.html [accessed 1st April 2013]

INTERVIEWS ALMASSI, H, 2013. Interviewed by: ROBERTS, E [26 March 2013] BURNS, F, 2013. Interviewed by: ROBERTS, E [4 April 2013]

COTTON, M, 2013. Interviewed by: ROBERTSE, E [3 April 2013]

DISNEYROLLERGIRL, 2013. Interviewed by: ROBERTS, E [4 April 2013] KARLSON, D, 2013. Interviewed by: ROBERTSE, E [5 April 2013] LOVEDAY, K, 2013. Interviewed by: ROBERTS, E [4 April 2013] ROPER, B, 2013. Interviewed by: ROBERTS, E [16 April 2013] SEAMONS, H, 2013. Interviewed by: ROBERTS, E. [5 April 2013] th

WEST, C, 2013. Interviewed by: ROBERTS, E. [9 April 2013] th

//LIST OF ILLUSTRATIONS Fig 1. VOGUE, (2013), iPhone fashion [ONLINE]. Available at: http://fashionpearlsofwisdom.co.uk/2013/01/trends-new-fashion-accessory-the-iphone.html [Accessed 01 May 13]. Fig 2. Adam Katz Sinding, (2013), Undressing [ONLINE]. Available at: http://le-21eme.com/category/seasons/ [Accessed 01 May 13]. Fig 3. Elizabeth Roberts, (2013), Methodology. Fig 4. Pierre Balmain , (1962), L'Art Et La Mode [ONLINE]. Available at: http://jeanjeanie61.tumblr.com/post/19252370959 [Accessed 23 April 13]. Fig 5. Art Et La Mode , (1923), L'Art Et La Mode 2 [ONLINE]. Available at: http://artdecoblog.blogspot.co.uk/2007/01/art-et-la-mode-1923.html [Accessed 30 April 13]. Fig 6. Unknown , (1928), L'Art Et La Mode 3 [ONLINE]. Available at: http://artdecoblog.blogspot.co.uk/2007/01/art-et-lamode-1923.html [Accessed 30 April 13]. Fig 7. Elizabeth Roberts, (2013), Catwalk History. Fig 8. Kamel Lahmadi, (2013), Photographers in the Tuileries in Paris [ONLINE]. Available at: http://www.styleandthecity.com/street-style-paris-fashion-week/ [Accessed 10 May 13]. Fig 9. Elizabeth Roberts, (2013), The Peacocks. Fig 10. William James Vincent Broadhurst, (2013), Catwalk [ONLINE]. Available at: http://designspiration.net/image/28064492495/ [Accessed 10 May 13]. Fig 11. Olivier Saillant , (2013), Chanel Zoo [ONLINE]. Available at: http://knstrct.com/2013/01/28/chanel-reinvents-thegrand-palais/ [Accessed 08 May 13]. Fig 12. Unknown , (2012), Chanel AW 2012 [ONLINE]. Available at: http://www.styleite.com/wpcontent/uploads/2012/03/cbig.jpg [Accessed 08 May 13]. Fig 13. Olivier Saillant , (2013), Chanel Forest [ONLINE]. Available at: http://knstrct.com/2013/01/28/chanel-reinventsthe-grand-palais/ [Accessed 08 May 13]. Fig 14. Jan Jordan , (2011), Chanel Iceberg [ONLINE]. Available at: http://www.icehotel.com/uk/Magazine/Articles/ArtDesign/Hot-hotter-hottest-with-ice-and-snow/ [Accessed 09 May 13]. Fig 15. Tim Walker , (2009), Alexander McQueen [ONLINE]. Available at: http://models.com/work/british-vogue-thebritish-are-coming [Accessed 03 May 13]. Fig 16. Unknown , (2001), Alexander McQueen Spring Summer 2001 [ONLINE]. Available at: http://hapsical.blogspot.co.uk/2010/02/towering-genius-of-alexander-mcqueen.html [Accessed 10 May 13].

Fig 17. Unknown , (2001), Alexander McQueen Michelle Olley [ONLINE]. Available at: http://bloodbloom.blogspot.co.uk/2011/06/asylum.html [Accessed 10 May 13]. Fig 18. Getty Images , (2006), Kate Moss Hologram [ONLINE]. Available at: http://www.stylelist.com/view/stylethrowback-iconic-runway-moments/#!fullscreen&slide=aol_5731662 [Accessed 13 May 13]. Fig 19. Elizabeth Roberts, (2013), The Spray Paint dress Fig 20. PopSugar , (2013), Kitsch iPhone Case [ONLINE]. Available at: http://blog.shopstyle.co.uk/Micro-Trend-KitschiPhone-Case-28686959 [Accessed 06 May 13]. Fig 21. Sean Cunningham , (2013), Matthew Magnified [ONLINE]. Available at: https://www.facebook.com/media/set/?set=a.446590675397711.107961.127747600615355&type=3 [Accessed 11 May 13].

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Fig 22. Disneyrollergirl , (2013), Burberry Beauty Booth [ONLINE]. Available at: http://www.disneyrollergirl.net/lfw-trendreport-aw13-model-mania-topshop-burberry/burberry-beauty-booth-2/ [Accessed 03 May 13] Fig 23. Fendi , (2013), Fendi Pre-Show Diary [ONLINE]. Available at: http://www.fendi.com/en/woman/fall-winter-201314/ready-to-wear/behind-the-scenes [Accessed 06 May 13]. Fig 24. Kenneth Cole , (2013), Phones on the runway [ONLINE]. Available at: http://www.styleite.com/runway/kennethcole-returns-to-the-runway-with-a-social-media-bang/#0 [Accessed 18 April 13]. Fig 25. Burberry , (2013), Burberry Personalisation [ONLINE]. Available at: http://fashionandmash.wordpress.com/2013/02/18/burberry-personalising-new-collection-with-rfid-chip-content/ [Accessed 19 April 13]. Fig 27. Elizabeth Roberts, (2013), LFW Tweets. Fig 28. Elizabeth Roberts, (2013), Top 5 Designers. Fig 29. Elizabeth Roberts, (2013), SS vs AW. Fig 30. Elizabeth Roberts, (2013), Top models. Fig 31. Adam Katz Sinding , (2013), Heels [ONLINE]. Available at: http://le-21eme.com/?s=backstage+#/page/2 [Accessed 20 April 13]. Fig 32. Topshop , (2013), Topshop and Google+ [ONLINE]. Available at: http://www.guardian.co.uk/fashion/fashionblog/2013/feb/13/topshop-google-change-fashion-shows [Accessed 24 April 13]. Fig 33. Google+, (2013), Topshop hangout [ONLINE]. Available at: https://plus.google.com/+Topshop/posts/6YDGQjH2aoW [Accessed 24 April 13]. Fig 34. Topshop , (2013), Topshop Model Cam [ONLINE]. Available at: http://www.graziadaily.co.uk/fashion/news/topshop-uniques-autumn-winter-2013-show-is-set-to-be-super-special-thanksto-google- [Accessed 24 April 13]. Fig 35. Topshop , (2013), Topshop Model Cam [ONLINE]. Available at: http://www.graziadaily.co.uk/fashion/news/topshop-uniques-autumn-winter-2013-show-is-set-to-be-super-special-thanksto-google- [Accessed 24 April 13]. Fig 36. Topshop , (2013), Topshop Model Cam [ONLINE]. Available at: http://www.graziadaily.co.uk/fashion/news/topshop-uniques-autumn-winter-2013-show-is-set-to-be-super-special-thanksto-google- [Accessed 24 April 13]. Fig 37. Topshop , (2013), Topshop Be The Buyer App [ONLINE]. Available at: http://leblow.co.uk/fashion-in-motion-whatsnew-in-video/ [Accessed 25 April 13]. Fig 38. Adam Katz Sinding , (2013), Yawn [ONLINE]. Available at: http://le-21eme.com/?s=backstage+#/page/2 [Accessed 20 April 13]. Fig 39. Elizabeth Roberts, (2013), Fashion Instagrams. Fig 40. Elizabeth Roberts, (2013), Top Instagrams of LFW. Fig 41. Adam Katz Sinding , (2013), Front row [ONLINE]. Available at: http://le-21eme.com/?s=backstage+#/page/2 [Accessed 20 April 13]. Fig 42. Blippar , (2011), Cadbury [ONLINE]. Available at: http://www.digitalstrategyconsulting.com/intelligence/2011/08/cadbury_chocolate_bars_turned.php [Accessed 11 May 13]. Fig 43. Blippar , (2012), Dominoes [ONLINE]. Available at: http://blippar.com/ [Accessed 11 May 13]. Fig 44. Blippar , (2012), Stylist Magazine [ONLINE]. Available at: http://www.lucidrep.com/photographers/markharrison/attachment/stylist-136-blippar-cover-2/ [Accessed 11 May 13].

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Fig 45. Barnaby Roper , (2010), Smoking [ONLINE]. Available at: http://www.barnabyroper.com/ [Accessed 02 May 13]. Fig 46. Elizabeth Roberts, (2013), Barnaby Roper One Fig 47. Elizabeth Roberts, (2013), Barnaby Roper Two Fig 48. Adam Katz Sinding , (2013), Scaffold [ONLINE]. Available at: http://le-21eme.com/?s=backstage+#/page/2 [Accessed 20 April 13]. Fig 49. Burberry , (2013), Christopher Bailey [ONLINE]. Available at: http://sidewalkhustle.com/burberry-menswearspringsummer-2013-live-stream-invite/ [Accessed 10 May 13]. Fig 50. Burberry , (2013), Facebook Invite [ONLINE]. Available at: http://sidewalkhustle.com/burberry-menswearspringsummer-2013-live-stream-invite/ [Accessed 10 May 13]. Fig 51. Terry Richardson , (2010), Tom Ford [ONLINE]. Available at: http://www.harpersbazaar.co.uk/fashion/fashionspecials/tom-ford-is-back#slide-1 [Accessed 04 May 13] Fig 52. Getty Images , (2013), Anna Wintour [ONLINE]. Available at: http://www.zimbio.com/Anna+Wintour/pictures/pro [Accessed 29 April 13]. Fig 53. John Sargent , (2011), Water [ONLINE]. Available at: http://www.cadetompkins.com/artists/john-sargeant/ [Accessed 18 April 13]. Fig 54. Adam Katz Sinding , (2013), Embrace [ONLINE]. Available at: http://le-21eme.com/?s=backstage+#/page/2 [Accessed 20 April 13]. Fig 55. Francesca Burns , (2013), Sunglasses [ONLINE]. Available at: http://www.francescaburns.com/ [Accessed 26 April 13]. Fig 56. Elizabeth Roberts, (2013), Celebrities on the front row. Fig 57. Elle , (2012), Collections Collage [ONLINE]. Available at: http://media-cacheec3.pinimg.com/originals/ea/34/c1/ea34c1106ac8fdfbf0e68a65ae911170.jpg [Accessed 22 April 13]. Fig 58. Elizabeth Roberts, (2013), Show components. Fig 59. Elizabeth Roberts, (2013), Francesca Burns Profile. Fig 60. Elizabeth Roberts, (2013), Millie Cotton Profile. Fig 61. Unknown , (2011), Dior Invitation [ONLINE]. Available at: http://favim.com/image/247333/ [Accessed 11 May 13]. Fig 62. Inca Productions , (2013), Goody Bags [ONLINE]. Available at: https://www.facebook.com/media/set/?set=a.364933540287800.79395.205415526239603&type=3 [Accessed 13 May 13]. Fig 63. Unknown , (2013), Showroom [ONLINE]. Available at: http://pinterest.com/search/pins/?q=clothes%20rail [Accessed 15 May 13]. Fig 64. Richard Nicoll , (2013), Backstage [ONLINE]. Available at: http://www.richardnicoll.com/ [Accessed 01 May 13]. Fig 65. Justin Borbely , (2012), Richard [ONLINE]. Available at: http://ponystep.com/features/richard_nicoll__everything_you_never_needed_to_know/ [Accessed 01 May 13] Fig 66. Elizabeth Roberts, (2013), Spring Summer 2011-Autumn Winter 2013. Fig 67. Elizabeth Roberts, (2013), Backstage action. Fig 68. Richard Nicoll , (2012), Modern Times [ONLINE]. Available at: http://www.richardnicoll.com/ [Accessed 02 May 13]. Fig 69. Richard Nicoll , (2012), Modern Times [ONLINE]. Available at: http://www.richardnicoll.com/ [Accessed 02 May 13].

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Fig 70. Richard Nicoll , (2012), Modern Times [ONLINE]. Available at: http://www.richardnicoll.com/ [Accessed 02 May 13]. Fig 71. Richard Nicoll , (2012), Modern Times [ONLINE]. Available at: http://www.richardnicoll.com/ [Accessed 02 May 13]. Fig 72. Richard Nicoll , (2012), Modern Times [ONLINE]. Available at: http://www.richardnicoll.com/ [Accessed 02 May 13]. Fig 73. Richard Nicoll , (2012), Modern Times [ONLINE]. Available at: http://www.richardnicoll.com/ [Accessed 02 May 13]. Fig 74. Jermaine Francis , (2012), Charging Handbag [ONLINE]. Available at: http://www.richardnicoll.com/ [Accessed 02 May 13]. Fig 75. British Fashion Council , (2010), Richard Nicoll [ONLINE]. Available at: http://www.londoncollections.co.uk/men/designers_profile.aspx?DesignerID=2035 [Accessed 07 May 13]. Fig 76. Adam Katz Sinding , (2013), Dressing [ONLINE]. Available at: http://le-21eme.com/?s=backstage+#/page/2 [Accessed 20 April 13]. Fig 77. Elizabeth Roberts, (2013), Experience diagram Fig 78. Oracle Fox , (2013), Shadow [ONLINE]. Available at: http://pinterest.com/pin/106116134942629096/ [Accessed 12 May 13]. Fig 79. Elizabeth Roberts, (2013), Laser cut invitation. Fig 80. Elizabeth Roberts, (2013), Invitation Trends. Fig 81. Melissa Gorman , (2012), Wedding Invite [ONLINE]. Available at: http://www.weddingobsession.com/2012/08/03/beautiful-laser-cut-invites-weekly-wrap-up/ [Accessed 14 May 13]. Fig 82. Hook and Matter , (2012), Neon necklace [ONLINE]. Available at: http://www.etsy.com/listing/83311584/statement-necklace-neon-fluorescent-pink [Accessed 14 May 13] Fig 83. Tim Wan , (2010), Business Card [ONLINE]. Available at: http://cardobserver.com/gallery/laser-cut-business-card [Accessed 14 May 13]. Fig 84. Elizabeth Roberts, (2013), CAD CAM design. Fig 85. Elizabeth Roberts, (2013), Laser testing. Fig 86. Elizabeth Roberts, (2013), Laser testing. Fig 87. Elizabeth Roberts, (2013), Fashion film Fig 88. Elizabeth Roberts, (2013), Fashion film Fig 89. Elizabeth Roberts, (2013), Fashion film Fig 90. Elizabeth Roberts, (2013), Fashion film Fig 91. Elizabeth Roberts, (2013), Behind the Scenes Fig 92. Elizabeth Roberts, (2013), Behind the Scenes Fig 93. Elizabeth Roberts, (2013), Behind the Scenes Fig 94. Elizabeth Roberts, (2013), Editing Fig 95. Elizabeth Roberts, (2013), Editing Fig 96. Inca Productions , (2013), Giles Deacon [ONLINE]. Available at: https://www.facebook.com/media/set/?set=a.364933540287800.79395.205415526239603&type=3 [Accessed 09 May 13].

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Fig 97. Elizabeth Roberts, (2013), Catwalk Interaction Fig 98. Now Fashion , (2013), Nicoll Catwalk [ONLINE]. Available at: http://showstudio.com/collection/richard_nicoll_london_womenswear_a_w_2013 [Accessed 03 May 13]. Fig 99. Word Press , (2010), Hand on iPad [ONLINE]. Available at: http://kepimage.files.wordpress.com/2010/09/hand.jpg [Accessed 03 May 13]. Fig 100. Elizabeth Roberts, (2013), Catwalk Interaction Technology Fig 101. Adam Katz Sinding , (2013), Out of hours model [ONLINE]. Available at: http://le21eme.com/?s=backstage+#/page/2 [Accessed 20 April 13]. Fig 102. Richard Nicoll , (2012), White shirts [ONLINE]. Available at: https://www.facebook.com/RICHARD.NICOLL.COMPANY [Accessed 10 May 13]. Fig 103. Elizabeth Roberts, (2013), Post-show pack Fig 104. Elizabeth Roberts, (2013), Post-show pack Fig 105. Elizabeth Roberts, (2013), Post-show pack Fig 106. Elizabeth Roberts, (2013) Prinstagram Book Fig 107. Elizabeth Roberts, (2013) Prinstagram Book Fig 108. Elizabeth Roberts, (2013) Prinstagram Book Fig 109. Elizabeth Roberts, (2013) Prinstagram Book Fig 110. Elizabeth Roberts, (2013), iPhone Case Fig 111. Elizabeth Roberts, (2013), iPhone Case Fig 112. Elizabeth Roberts, (2013), Feedback Fig 113. Inca Productions , (2013), Catwalk [ONLINE]. Available at: https://www.facebook.com/media/set/?set=a.364933540287800.79395.205415526239603&type=3 [Accessed 04 May 13]. Fig 114. Elizabeth Roberts, (2013), Summary of Stages. Fig 115, Inca Productions , (2013), Shadow [ONLINE]. Available at: https://www.facebook.com/media/set/?set=a.364933540287800.79395.205415526239603&type=3 [Accessed 04 May 13] Fig 116. Inca Productions , (2013), 360 backstage [ONLINE]. Available at: https://www.facebook.com/media/set/?set=a.364933540287800.79395.205415526239603&type=3 [Accessed 04 May 13]

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//APPENDIX 1. INTERVIEW WITH FRANCESCA BURNS FASHION EDITOR OF VOGUE UK - 3rd April 2013

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2. INTERVIEW WITH HANNAH ALMASSI FASHION EDITOR OF GRAZIA - 25th March 2013

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•

If we’re talking physical invites you do sometimes receive alternatives, but the majority are printed on card, posted individually and taken directly by the guest to the show entrances. Henry Holland is pretty good at this, as is Mulberry. These items often tend be very gimmicky and related to their collections, but when you think of the fairly literal design process these particular houses can put to work through with their collections, it makes sense. This extra layer further emphasizes their chosen theme. Most recently I’ve had a cassette tape with a House of Holland sleeve and a mix-tape (I’ve not yet listened to the mix-tape – no tape player and no time!), and he’s twice given out phone covers with signature prints of the season on. This not only indicates that you are within a group who have attended the show, but it’s also a little piece of the designer brand to take away with you. So in the same way that fragrance, eyewear or leather-goods can make a fashion house the most money and mass-marketfriendly, these become popular fashion week items. In the past, Mulberry have sent out watercolour painting kits (when they had very smudgy prints on the runway), a rubber dingy (hello, British seaside) and a colour-by-number paper dolly. They also often gift canvas Mulberry tote bags with show-notes and little treats such as cake or stickers at the end of the presentation. As glamorous and wonderful as fashion week is, it can be repetitive, tiring and serious, so these little moments of fun are usually played out to the maximum to entertain the audience both on the front row and at home. I don’t know if you saw all of the Mulberry gnomes last year, but people were even driving away with these statuettes in their fashion week cars and posting pictures all over instagram, Twitter etc. •

tears it was that beautiful. And yes, the sentiment and the effect of the designs played a huge part in that, but the serene showspace and melancholic song certainly helped. Another more recent example would be Givenchy A/W’13 – where the always-emotive Antony Hegarty of Antony and the Johnsons performed three heart-string-tugging songs that referenced Riccardo Tisci’s nostalgic and romantic line. That score helped cement it as one of the shows of the season. It may be worth you getting in touch with Sara Blonstein – she’s the founder of Blonstein, a creative production agency. They specialise in fashion shows both on grand budgets and small ones. We were both recently talking about the homogenisation of catwalk shows to what she calls a ‘music landscape’ – kind of endless beats which don’t mean anything – with models that blankly walk up and down a plain white runway. Unless the creations are truly breathtaking, this ‘basic’ experience can leave less of a lasting impression. She spoke a lot about old runway collections like Hussein Chalayan being more of a salon show, with installations, crazy music performances, naked models, smiling models – shock horror!

Do you ever receive anything other than paper invitations for a catwalk show? Yes. In terms of technology there is now an online system called Fashion GPS, it’s basically an e-invite that logs your RSVP via your work email. Some of the bigger agencies (like Starworks Group) have implemented this for both the womenswear schedule and mens collections. I’ve not attended New York Fashion Week but colleagues have informed me that much of the RSVPing and show entrances are controlled by this, or a similar program. Many of the PRs on the door use it via their iPads.

In the past shows you have attended, what elements helped them stand out. E.g. collections, music, set design etc. And why? Essentially, it’s all about the clothes. I’ve been to some shows with the most extravagant and expensive set designs but if the fashion doesn’t cut it, you don’t come away feel inspired or satisfied. Sets, music, videos, hair, makeup, model line-up and many other factors all contribute to a mood and feeling, but I’ve also had some horrible experiences where the set design has been so badly thought through that no matter how great the clothes are, you simply cant’ appreciate them. The most memorable case in point for me was last season at the Margiela show in Paris. It’s always exciting to attend a Margiela show because you can always expect the unexpected, they don’t tend to ever just throw a series of a models down an average runways. So for this S/S’13 season, an entire series of stately rooms had been covered in white shopping-bag plastic – I mean COVERED! From ceiling to floor, every crack, crevice, window, air vent… it was like something out of a horror movie but with the added bonus of being on the hottest day during a freak September heat-wave. Seats were at a premium and I, along with my colleagues, had standing tickets. At the time I actually thought I’d pass out it was that hot, that packed and took that long to start. But now when I look back on the collection via Style.com or Catwalking.com, I adore the clothes and think it’s a really strong season for the house! However, when you take for example the spectacles that Louis Vuitton, Chanel or Dior now put on each and every season, there’s no denying that being able to step into their constructed world only enhances the mood, the vibe, and your understanding of their collection. I think these giant performances are becoming increasingly important for the fashion industry because almost anyone can watch a show via live-streaming, social media or instant online show reports, so there needs to still be something unique and special about actually attending a show. That 15 minute bit of fantastic escapism is desirable and stops the ‘machine’ of fashion from feeling uninspiring and conveyor belt-like. But these spectacles cost certainly scrape the million pound mark, whereas an average London Fashion Week show can be pushed at a budget of 30K – and that’s before the cost of models, hair, makeup… The figures for staging a catwalk show are really quite terrifying, so it’s no wonder younger brands can’t produce the same kind of display.

I think music plays an incredibly important part – and has been known to make fashion editors genuinely emotional. I remember Christopher Kane’s S/S’11 collection was set to a soundtrack of Lana Del Rey’s ‘Video Games’ (before this song went everywhere!), front row guests left in

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Have any of the shows you have ever attended had interactive or new technology features? No. I would’ve been at Topshop’s A/W’13 show, but we got stuck in traffic like pretty much every other major title and missed the entire thing! It could be great for everyone to have a little personal screen which has content like designer notes, inspiration, music soundtrack, close-up shots of clothes etc on there, but then would my focus be taken off the runway and soaking up the atmosphere of the room? Quite possibly when you’re tweeting and instagramming and chatting at the same time!

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Would you enjoy it if you could know more about the collection and its inspiration through film or interactive multimedia before you attended the show? I think the pace of fashion is already rendering the current show schedule of presenting collections months before the items are available as outdated. So I actually wouldn’t want to know anything more than a small hint here or there about the ranges beforehand. Along with pre-fall and resort collections, we can enjoy a constant stream of newness, so for me, I don’t feel a real need to be able to peek into the future and ruin the enjoyable surprise! I like the guessing game pre-show – Will Raf’s debut Dior collection be like the last Jil Sander range? What is the direction Richard Nicoll will take after a low-key presentation season? Will Kate Moss walk the Vuitton runway again? All of these questions maintain intrigue and interest, and the industry talking. If this kind of information was readily available, I’d love to gain access to it directly after the show rather than a few months later via press days or when the collection campaigns and clothes start to drop. Only an elite few can go backstage and see the pieces up close, or chat through the range with a designer, so having separate and thorough content post-show would mean that you’d be able to really get stuck into the range in depth. I also wonder whether pressurising designers pre-show to produce this content could stifle them. It’s already a massively fast paced and demanding industry – when you think of the four seasons, plus for some you have couture, mens, accessories, fragrance, sister collections, high street collaborations etc etc – I think they can do with the space, time and privacy to confidently put ranges together, and be able to change them last minute!

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How do you think the show experience could be improved or made more special? Would you like to receive something after the show e.g. visual material or an opportunity to give direct feedback to the designer? The one thing I sometimes miss out on during shows is being able to see the incredible fabrication and pattern cutting or surface detail up close. You can often only really get the 360 experience from a good spot on the front row. So I’d love afterwards to have some sort of app or website where you can see these clothes in motion, be able to zoom in – under your own control, not that of the pre-filmed coverage like that of Burberry – so that if I’m intrigued by a particular knit or skirt hem, I can enlarge it on my phone or computer screen. Despite the furore that has surrounded it, Louis Vuitton recently produced a video relating to their latest collection A/W’13 in double quick time. I wouldn’t actually want to give direct feedback to the designers. I think the reason why this show schedule still exists is that you are given some truly beneficial time to digest and mull over what is presented to you on a runway before you translate that into editorial content. Despite producing reflex instinct show reports directly after a catwalk, it’s a good and healthy process to have time to think about trends, what works, what doesn’t. And who is to say that designers would care about each and every attendee’s whims and thoughts? That sounds stressful to me! Some reviews and opinions will matter to these designers – whether that major buyer picks them up for the first season or whether Tim Blanks rates it a hit or miss – but otherwise it’s up to the createurs themselves to discover what anyone and everyone thinks… or not. I’m very certain that the important results show themselves in terms of eventual sales.

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3. INTERVIEW WITH DANA KARLSON FASHION EDITOR OF GLAMOUR - 3rd April 2013

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4. INTERVIEW WITH HELEN SEAMONS FASHION EDITOR OF THE OBSERVER - 3rd April 2013

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5. INTERVIEW WITH MILLIE COTTON FASHION BLOGGER OF ITS A LDN THING - 12th March

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6. INTERVIEW WITH DISNEYROLLERGIRL FASHION BLOGGER - 11th March 2013

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7. INTERVIEW WITH CHARLOTTE WEST PRODUCER AT INCA PRODUCTIONS - 8th April 2013

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8. INTERVIEW WITH KATY LOVEDAY PRODUCER AT INCA PRODUCTIONS - 3rd April 2013

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9. INTERVIEW WITH BARNABY ROPER ART DIRECTOR & FASHION FILM MAKER - 3rd April 2013

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10. TUTORIAL SHEETS

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School of Art & Design ba

Tutorial Record Sheet 2012/13 Module: Research Project Stage 2 Ref. no: FASH30002 Date: 28th Feb 2013 Name : Elizabeth Roberts

Tutorial / Seminar Record Sheet Work to bring / prepare for session:

To bring proposal sheet to the session of implementation idea, to present and discuss with the rest of the group. This is the first time we were able to get feedback from other people.

Learning issues to discuss in session:

Discussed issues such as outcomes for the idea, research areas to look at, creative research methods, if it was a realistic idea etc.

Feedback from session:

Feedback received from my peers and Matt Gill was that my initial idea meant I was taking on far too much work as an independent worker. Instead they suggested that I choose a specific area and focus on that. I chose to focus on the catwalk shows guest and what they experience, with an initial interest in technology.

Tasks for next session:

To further define my project idea and put together a short presentation for my new tutorial group documenting research carried out so far.

Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5

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School of Art & Design Tutorial Record Sheet 2012/13 ba

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Module: Research Project Stage 2 Ref. no: FASH30002 Date: 7th March 2013 Name : Elizabeth Roberts

Tutorial / Seminar Record Sheet Work to bring / prepare for session:

A presentation outlining the beginning of my personal idea which would be presented to the group and then receive feedback on.

Learning issues to discuss in session:

Instead of presenting presentations, we went round the group and verbally explained each of our ideas. It was very interesting to see the diversity within the group and the different ideas each person had. One of the main issues we focused on was what was unique or different about our ideas, e.g. had anyone ever done anything similar before. Feedback from session:

Tim and the group gave positive feedback which I was very pleased with. He liked the angle at which I was approaching the topic and suggested I look at some more examples of technology on the catwalk.

Tasks for next session:

To further define my project idea and decide upon a designer to base my idea on, and also who was my consumer.

Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)

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School of Art & Design ba

Tutorial Record Sheet 2012/13 Module: Research Project Stage 2 Ref. no: FASH30002 Date: 14th April 2013 Name : Elizabeth Roberts

Tutorial / Seminar Record Sheet Work to bring / prepare for session:

A list of our fears for the project, and more definitions on what the topic will be. Learning issues to discuss in session:

What we wanted our creative outcomes to possibly be, visual, physical, moving image? And would we need to collaborate with anyone to make these possible. Feedback from session:

To now start trying to contact those people within the industry who would help me decide on what factors I would want to target on the catwalk. Did I know people already who may have contacts?

Tasks for next session:

To start gathering primary research and any connections for collaboration, whether this be graphic designers, models, photographers etc. I still feel unsure on this because my strategic outcomes are not very clear in my mind yet.

Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)

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School of Art & Design ba

Tutorial Record Sheet 2012/13 Module: Research Project Stage 2 Ref. no: FASH30002 Date: 25th April 2013 Name : Elizabeth Roberts

Tutorial / Seminar Record Sheet Work to bring / prepare for session:

A presentation to show our development to date, our ideas, research and any visuals we have started to develop. Learning issues to discuss in session:

A great opportunity after not seeing Tim for a number of weeks to really secure our ideas and check that they made sense and were unique. Where there areas we had forgotten or needed to focus on more? Feedback from session:

I gained really positive feedback, in particular my primary research, it gave me some great ideas for my strategic outcomes that I was worried lacked depth.

Tasks for next session:

To start making creative outcomes and to bring the writing together, now that my idea was comfortable it was time to put them into practice.

Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)

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School of Art & Design ba

Tutorial Record Sheet 2012/13 Module: Research Project Stage 2 Ref. no: FASH30002 Date: 2nd May 2013 Name : Elizabeth Roberts

Tutorial / Seminar Record Sheet Work to bring / prepare for session: Just myself! Or any questions I might have at this stage.

Learning issues to discuss in session: Feedback from the interim presentation and where this put me on the grade boundaries. It

would tell me if I needed to work harder or if I was making good progress. Feedback from session:

Good feedback which sits me in a good grade boundary. Now it is a question of whether I execute my idea well.

Tasks for next session:

To continue with my writing and visuals, bringing them both together to hopefully create a sound piece of work.

Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)

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fcp3

School of Art & Design ba

Tutorial Record Sheet 2012/13 Module: Research Project Stage 2 Ref. no: FASH30002 Date: 9th May 2013 Name : Elizabeth Roberts

Tutorial / Seminar Record Sheet Work to bring / prepare for session:

Any visuals I may want to show and ask for feedback on.

Learning issues to discuss in session:

How we find our live projects different to our personal, and how we deal with both of them at the same time. Also, how our work must always try and be conceptual and close to our project theme. Feedback from session:

That we must work harder to make our visuals conceptual, taking the reader on a journey throughout our work.

Tasks for next session:

To start bringing together and completing all of our work!! Work is now well on its way in Indesign and physical outcomes should be complete.

Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5

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//ETHICAL CHECKLIST

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