Fashion Writing Project by Bethanie Ryder

FASHION WRITING

BETHANIE RYDER C3470725 WORD COUNT - 3727

CONTENTS 1. OVERVIEW ............................................................................ 4 2. PRINT .................................................................................... 6 2.1. “Is The Capital Killing Our Creativity?” .............. 7 2.2. “Why Your Fake Gucci Might be Funding ............... 10 Terrorism.” 3.ONLINE ................................................................................ 12 3.1. “Let’s Teach Kids the ‘F’ Word.” ................................ 13 4. MARKETING CONCEPT ...................................................... 16 5. BIBLIOGRAPHY .................................................................. 25

spoiled nation

OVERVIEW â&#x20AC;&#x153;We are Spoiled Nation: a creative agency, with our work represented in our print and digital publications. We are a team of talented writers, designers, stylists, photographers, and have the confidence to produce new and fresh ideas.â&#x20AC;? (spoilednation, 2018)

With an increasing number of creatives leaving the UK for better paid careers abroad, is it time we ask ourselves;

IS THE CAPITAL KILLING OUR CREATIVITY? 7 Spoiled Nation 2018 / 2019

WHAT DIFFICULTIES DO YOUNG CREATIVES FACE LIVING IN ONE OF THE MOST EXPENSIVE CITIES IN THE WORLD? CALLUM MORRIS, 21, KINGS COLLEGE UNIVERSITY FILM GRADUATE, GIVES US AN INSIGHT. London; once known to many as the city of opportunity. So what’s caused such a change in attitude towards our country’s beloved metropolis? In past years, hundreds of hopefuls have moved to the Capital with big dreams, and left with only their plummeting bank balances and a catalogue of rejected job applications to show. With the average annual rent in London hitting an eye-watering £23,000, according to Landbay Rental Index figures in 2018, increasing amounts of young professionals are being forced into finding a stable source of income fast. The result; large proportions of graduates resorting to graft in unfavourable, mundane trades. With unattainable living costs, low-wage employment positions and inadequate government support, many of these gifted individuals are remaining too exhausted and too desolate to reach their full creative capacities. “As rent keeps rising, and wages remain stagnant, I find it harder than ever to be creative in London. It is deemed as one of the creative capitals of the world, but in my opinion that statement is only true if your parents are paying your rent. Constantly working for a wage that is yes, comparably higher than most of the UK but in respect to living costs of the city is absolutely nothing, takes your mind away from your creative endeavours. I find myself asking “where is my next rent coming from?” “How am I gonna pay fucking council tax?” “Will I ever be able to comfortably live here?” Rather than “okay, what is inspiring me right now”, and “how can I manifest this into my work”. I can’t express how difficult it is to remain creatively focused whilst working full time hours at a dead end job, just for over half of your wage to go on rent for a sub-par property.” As a growing number of our creatives choose to leave the city for cheaper alternatives abroad, the UK is at threat of losing a vital part of its identity and culture, as well as the authenticity, personality and uniqueness that makes us distinctive worldwide. If the government fails to take the capital’s economic crisis seriously, it is possible that we could see our next generation’s imagination being diminished, or living internationally (subject to a Brexit deal on an EU citizenship of course.)

“The thing that complicates matters is the looming cloud that is Brexit, so I really hope to escape before anything concrete really settles in.” 8 Spoiled Nation 2018 / 2019

"BROKE + BUSY" SOURCE: INSTAGRAM (calmorris)

“One of the benefits of London is meeting and creating friendships with people from all over the planet. I hear of cities that give credit to young creatives; for example, in India, you can obtain discounts on things like travel for being an artist or musician. In France, you can be granted something similar to a “living fund” by the government if you are an artist, which helps you find studio space, and pays you just enough to get by inbetween work. In Berlin, you have the rent cap, so rent is relatively affordable for everyone, opening up new opportunities for creative people from lesser financial backgrounds such as myself, giving these people the opportunity to move to the city and work on their craft. The thing that complicates matters is the looming cloud that is Brexit, so I really hope to escape before anything concrete really settles in.” In August this year, The Press Association reported that the number of high school students opting to study a creative subject had noticeably fallen, with many blaming the decline on the prioritisation of considerably more ‘academic’ courses. Once widely valued extra-curricular creative arts programmes have been left to be funded by parents of students, whilst relying on a voluntarily unpaid collective to run the groups. “I don’t think they [educational institutions] are given enough funding during the formative education years, meaning that young people are less inspired to take up something they really want to do, and are more inclined to do a subject that is “more respected” (a term that sickens me). If you can null a child’s creativity through the suffocation of grants and funding for creative departments in schools, you have more labour potential, or that’s what they like to think. They do just enough so that these departments keep their head above water, thank god. The thing is, there are really great arts initiatives happening in this country; for example, Barbican

SOURCE: INSTAGRAM (calmorris)

in London is a renowned creative institution that gives discounts to young people and holds creative workshops. Royal Exchange in Manchester has a young performers programme to help nurture young talent and Roundhouse in Camden has a similar programme. It really pleases me to see these kind of initiatives, but we need more. Especially in areas where school funding is low. London is a creative magnet, and most of the opportunities are here, but I feel most are for the privileged.” So what can we do about this? If Banksy’s latest stunt is anything to go by, it is that our talent and imagination doesn’t belong to only the rich, regardless of how much money they attempt to throw into the institution. Artistry is not a bourgeois prerogative, and London’s creative skill-set deserves to be recognised and celebrated, without class demographic and financial background being considered a disadvantage. By coming together to support and commemorate the Capitals diversity, let’s hope that London can regain its once notable reputation.

“London is a creative magnet, and most of the opportunities are here, but I feel most are for the privileged.” Spoiled Nation 2018 / 2019

WHY YOUR FAKE GUCCI MIGHT BE FUNDING TERRORISM The reality behind our counterfeit goods BY BETHANIE RYDER On the surface, the buying and selling of fake luxury goods seems like a harmless, petty crime to many. But what happens when the truth behind these counterfeit organisations is far more sinister than we originally anticipated? In 2016, the International Trademark Association estimated that $460 billion worth of counterfeit goods were bought and sold, with the industry set to eventually become a $2.3 trillion underground company. With hardly any risks of penalties compared to other criminal offences, the buying and selling of fake products is a steadfast method to making a huge profit, with little consequences. Despite this, in November 2017, Tommy Hilfiger’s Brand Protection Manager and Counterfeit Crime Fighter, Alastair Gray conducted a TED Talk explaining the link between the purchasing of fake goods and terrorist organisations. As he discussed within the presentation – “Terrorists are selling fakes to fund attacks, attacks in our cities that try to make victims of us all. Would you still buy a fake handbag if you knew the profits would enable someone to buy bullets that would kill you and other innocent people six months later?” With many of us unaware of this alarming relationship, it’s unlikely that we are conscious of the previous terror attacks that were funded through this process. In June 2014, the French Security Services discontinued the monitoring of brothers Said and Cherif Kouachi after three years of being on the terror watch list. The reason behind the discontinuation was down to Cherif ’s behaviour of only buying fake trainers from China showing no signs, or links, to any form of extremism. Seven months later, the two brothers walked into the offices of Charlie Hebdo magazine and opened fire, killing 12 people with guns bought from the proceeds of the counterfeit goods. This problem doesn’t just apply to the selling of fake designer goods either; the bombing of a commuter train in Madrid, in which 191 people lost their lives, is said to have been partly funded by the sales of pirated music CD’s in the USA. All counterfeit products ranging from fake car parts, pirate copies and replica of popular cosmetics are key supplies in funding the larger organisations that profit from these fabricated companies. Spoiled Nation 2018 / 2019

For most of us, its highly likely that we ourselves have purchased a counterfeit product, or at least know someone who has. It’s difficult to have visited a country abroad and not witnessed the buying and selling of fake fragrances, cosmetics or fake designer merchandises on market stalls and other public areas - “What the tourist on holiday doesn’t see about those handbags is they may well have been stitched together by a child who was trafficked away from her family.” However, this process of selling counterfeit products isn’t just exclusive to foreign countries. In 2016 the town of Cheetham Hill, situated in Greater Manchester, claimed its title as the ‘Counterfeit Capital’ of the UK, with its forged companies regularly raking in over £3 million in profit. Whilst police organisations attempt to tackle the problem through procedures such as raids and undercover investigations, the public’s demand for these cheaper alternatives continues to expand and continues to fund these counterfeit businesses. Is our growing demand for these fake goods stemming from pure ignorance, or simply a lack of awareness around the problem? If we continue to invest our money into these forged establishments, we have to consider the extent of the damage that can be done with their vast profits – the funding of trips to training camps, the purchasing of weapons and elements of explosives and the ability to professionally advertise their companies as legitimate to a vast audience - “They’re business professionals tricking legitimate businesses with convincing paperwork.”

“They’re business professionals tricking legitimate businesses with convincing paperwork.”

PHOTO CREDIT: https://theamericangenius.com/businessnews/ebay-fighting-counterfeit-products/

James*, 24, is an avid buyer of counterfeit products. Based in Manchester as a student, he has a marketplace packed with lowpriced, fake produce right on his doorstep.

legitimate online sites such as Ebay and Depop offer consumers the opportunity to buy these branded items second-hand for a notably lower cost.

“I usually buy fake stuff because there’s no way I could ever afford the real thing. Some of my friends are able to buy themselves the proper branded items like Gucci trainers but I just can’t justify spending that amount of money on them, but I like them, so I get the cheaper versions. Nowadays you can hardly tell the real thing from the fake ones anyway so it’s not that big of a deal, I have a Louis Vuitton belt with the ‘LV’ branded on the front and only if you do your research would you be able to tell it’s not legit.”

The motivations behind these counterfeit businesses are unjustifiable and dangerous. If more information surrounding the reality behind these goods was available to the public, we could stand a better chance of stopping these organisations from causing further damage. By being more mindful with our choices and where the profits from our sales are being invested, we can begin to tackle the wider problem and hopefully, in return, abolish these radicalised underground systems for good.

Would you continue to buy these counterfeit products if you knew they were funding organisations that have been linked to terror attacks and trafficking?

Alastair Gray’s TED Talk is available to watch online via the TED. com official website - “How Fake Handbags Fund Terrorism and Organised Crime.”

“Not a chance, I wouldn’t have ever thought twice about them two things being linked. It just seems like they’re on a complete different scale and would have nothing to do with each other. It’s not something I’ve ever been aware of to be honest. I don’t think I’d buy from these places ever again if that’s what they were doing with the profits.” When it comes to terror-related attacks, the uncertainty regarding another incident leaves many of us feeling helpless and unable to aid in preventing the events. However, by cutting the demand for these counterfeit products we can cut the funding towards vital segments of terrorist strategies and schemes. Similar alternatives to designer goods can be found on the high-street for a fraction of the price, whilst

*Name changed for anonymity.

Spoiled Nation 2018 / 2019

ONLINE

“Let’s Teach Kids the ‘F’ Word - The Importance of Making Gender-Equality Education in Schools Compulsory (Source - society6.com, 2019)

MARKETING CONCEPT

As traditional methods used in the marketing of publications take on a peripheral role, it is imperative that businesses explore new, original and innovative promotional concepts in order to sustain consumer attraction. “Whilst the demise of traditional communication channels has been widely reported, it is highly unlikely that they will disappear. Rather, they will change, develop and integrate with other tools as part of the route to the customer.” (Easey, 2009, p235) As Spoiled Nation’s brand values run parallel with a growing, widespread awareness of cultural, political and environmental affairs (in particular amongst the Millennial and Gen-Z’s generation,) the publication must choose to reinforce these ethics throughout their narratives, for the sake of their audience and profitability. “Customers are no longer making decisions solely based on the stalwarts of product, quality or price; they’re assessing what a brand says, what it does, and what it stands for.” (Accenture. com, 2018)

MARKETING CONCEPT A process in which Spoiled Nation can demonstrate their understanding of their target consumers principles is through the promotion of sustainability and global conservation. This could be achieved through the method of choosing to use recycled paper stock for their publications, as opposed to the standard, glossy inventory. Although this would be marked at a higher price, the emphasis on environmentally friendly techniques could be considered as a USP (Unique Selling Point) for the product, and aid in generating a positive consumer appeal – “consumers demand ethically aware brands that are uncompromising in their commitment to their values and beliefs.” (Accenture.com, 2018) In order to justify the larger expenses for recycled paper stock, the magazine will be circulated on a bi-monthly timeframe (similar to companies such as i.D and DAZED,) rather than the weekly/monthly alternatives. Lower frequency publications delivering a higher quality of content is a strategy which has recently gained popularity amongst a large proportion of magazines, with both Glamour and Esquire choosing to reduce their circulation to biannual edition’s and adopt a ‘digital-first’ approach to their services. (Thedrum.com, 2017) A similar multiplatform concept would prove advantageous for Spoiled Nations’ audience outreach, with its target consumer (aged 18-35) placed nearly almost comfortably within the 99% of adults (aged 16-34) who were recent internet users in 2018, as stated by The Office for National Statistics. (Office for National Statistics, 2018) 18

MARKETING CONCEPT National Geographic has removed all plastic wrapping from around it’s publications, alongside introducing the use of recycled paper in the magazine production process, in order to highlight the importance of sustainability and planet conservation to its consumers. “Younger consumers are seriously concerned with social and environmental causes, which many regard as being the defining issues of our time. Brands are responding by integrating social and environmental themes into their products and services” (Business of Fashion, 2019)

(Source - huffingtonpost.co.uk, 2018)

In 2017, Glamour magazine updated their business model and introduced a ‘digital-first’ strategy into their publications, resulting in their print circulation decreasing from monthly to bi-annually. The brand has an audience outreach of 20 million on its digital platforms, as opposed to only 2 million consumers for their print circulation. (variety.com, 2018) 19

(Source - glamourmagazine.co.uk, 2019)

MARKETING CONCEPT Alongside this, the digital sphere also offers the inexpensive opportunity to market the publication online. Social Media platforms offer a quick, convenient and cheap prospect, as opposed to the traditional pricier options of hiring intermediaries in order to increase outreach. Consistent promotional and engaging content on digital platforms has been effective in driving traffic and increasing audience interaction, even for businesses with a lower budget margin. (The Drum, 2018) An example in which Spoiled Nation can use digital platforms to their advantage is through the inclusion of influencers - “These are people who have a significant influence on public decisions regarding the products they buy, the services they use, and the initiatives they are supporting. They represent how brands can connect with their target groups through a voice that potential users of products or services trust.” (Zeljko, Jakovic and Strugar, 2018, p43) However, as macro-influencers enter a new B2B relationship with companies through the agreement of paid affiliate links, consumers are losing faith over the authenticity of these promotional posts. As a result of this, Spoiled Nation would benefit from using lesser-known, yet more reliable micro-influencers to advertise their publication. “These real influencers not only have a more trusted, more engaging relationship with their followers, but they are relatively lower cost and lower risk.” (Thedrum.com, 2018) A process which may prove advantageous to drawing attention to Spoiled Nation could be to invite these microinfluencers to host workshops within the Leeds area, in 20

MARKETING CONCEPT

(Source - Instagram, @gracefituk)

host workshops within the Leeds area, in which the individuals will have the opportunity to directly converse with the publications readership and develop a credible relationship with the consumer. Throughout these workshops, consumers will have the chance to discuss what topics of conversation (for example beauty, fashion, arts & culture) they would like to see highlighted in the publication, alongside offering constructive criticism as to how Spoiled Nation can connect with its target audience through a more inclusive manner.

(Source - Instagram, @chessiekingg)

21 (Source - huffingtonpost.com, 2017)

MARKETING CONCEPT As the publication market becomes overcrowded, it is essential that businesses develop strategies which consist of attractive USPâ&#x20AC;&#x2122;s and present their consumer with something original: customisable content is one way in which this can be implemented. (Forbes.com, 2017) To reinforce the publications emphasis on the importance of direct marketing, the magazine will also propose the opportunity of a subscription service, in which the consumer will receive customized content for themselves in their copy of the product. This will be implemented within the editorâ&#x20AC;&#x2122;s note, in which the text will personally acknowledge the reader by their first name. Alongside this, when signing up for the subscription service, the consumer will be given a series of questions to answer based on their interests. As a result, the copy of the publication they receive will be personalised to their chosen themes through selected articles and editorials.

(Sourc e - vog

ue.co.u

k/subs cribe,

2019)

(Source - vogue.co.uk/subscribe, 2019)

MARKETING CONCEPT In addition to this, as Spoiled Nation grows in recognition and its profitability rises, the business could consider entering a sponsorship programme with one of the UK’s charities. Not only will this prove beneficial for the publications reputation but will also strengthen the company’s emphasis on cultural awareness and supporting others in need. To confirm the magazines understanding and responsiveness towards global current affairs, Charities which Spoiled Nation may choose to sponsor include Women’s Aid and The Rights of Women, in result displaying their support towards recent events, such as the #MeToo and Time’s Up movement -“companies in the UK that stand for something bigger than what they sell, tune into customer’s beliefs and take decisive action on social issues are more likely to recast their customer relationships and connects with consumers on a deeper level.” (Accenture.com, 2017) To conclude, the publication will be available to buy from local independent book shops, (for example Colours May Vary and Village) alongside via the Spoiled Nation website, in which the consumer can choose to pay for a subscription or select to purchase an individual issue. The magazine will be available at a single copy price of £4.50, whilst a subscription service will be priced at £24.00, offering a 10% discount to the customer. This expense sits slightly higher than the average News and Current Affairs magazine price in 2016, (Statista.com, 2016) however is lower than its competitors of i.D and DAZED, priced at around £5.50 per issue. (boutiquemags.com, 2018) 23

MARKETING CONCEPT

Colours May Vary Independent Bookshop Leeds

.com, (Source - creativetourist

2018)

(Source - trip

advisor.com

, 2016)

Village Bookshop & Gallery Leeds

.com, 2018)

(Source - creativetourist

on’ i t a d N orm e l i o ‘Sp atf l P l ta Digi

(Source - sp

oiled-nation.

com, 2019)

BIBLIOGRAPHY • Barton, R. (2018). From me to we: The rise of the purpose-led brand. [online] Accenture.com. Available at: https://www.accenture.com/us-en/insights/strategy/Brand-purpose [Accessed 1 Jan. 2019]. • Boutique Mags. (2018). Dazed. [online] Available at: https://boutiquemags.com/products/dazed [Accessed 1 Jan. 2019]. • Deighton, K. (2017). Glamour drops print frequency from monthly to biannual in beauty-led, digital strategy. [online] The Drum. Available at: https://www.thedrum.com/news/2017/10/06/glamour-drops-print-frequency-monthly-biannual-beauty-led-digital-strategy [Accessed 1 Jan. 2019]. • Deighton, K. (2018). The Unpredictions: which industry trends do marketers want to leave behind in 2018?. [online] The Drum. Available at: https://www.thedrum.com/news/2018/12/21/the-unpredictionswhich-industry-trends-do-marketers-want-leave-behind-2018 [Accessed 1 Jan. 2019]. • Easey, M. (2009). Fashion marketing. 3rd ed. Oxford: Wiley-Blackwell, p.235. • Grosman, L. (2017). The Rise Of Direct-To-Consumer Marketing. [online] Forbes.com. Available at: https://www.forbes.com/sites/forbescommunicationscouncil/2017/09/27/the-rise-of-direct-to-consumer-marketing/#5fea79841478 [Accessed 1 Jan. 2019]. • Lee-Potter, E., 2017. Interviewing for Journalists. 3rd ed. London: Routledge. • Office for National Statistics (2018). Internet users, UK: 2018. [online] Available at: https://www.ons. gov.uk/businessindustryandtrade/itandinternetindustry/bulletins/internetusers/2018 [Accessed 1 Jan. 2019]. • Statista (2016). Average single copy price of magazines in the United Kingdom (UK) in 2nd half 2016, by sector (in GBP). [online] Available at: https://www.statista.com/statistics/324130/average-single-copyprice-of-magazines-by-sector-uk/ [Accessed 1 Jan. 2019]. • The Drum (2015). Vice Media’s head of innovation Mark Adams debunks content marketing myths. [image] Available at: https://www.youtube.com/watch?v=BhPXXt-HlMI [Accessed 1 Jan. 2019]. • Zeljko, D., Jakovic, B. and Strugar, I. (2018). NEW METHODS OF ONLINE ADVERTISING: SOCIAL MEDIA INFLUENCERS. [online] Vol. 29, pp.p0041-0050. Available at: http://eds.b.ebscohost.com.ezproxy.leedsbeckett.ac.uk/eds/pdfviewer/pdfviewer?vid=2&sid=2d5e689f-f7d9-4e36-b382-d728274b7af1%40sessionmgr103 [Accessed 1 Jan. 2019].

Image References • Vogue Arabia, (2018), Adwoa Aboah – Vogue Arabia April 2018 [ONLINE]. Available at: https://her.team/adwoa-aboah-vogue-arabia-april-2018/ [Accessed 11 January 2019]. • Flank Flores, (2018), Spoiled Nation Magazine [ONLINE]. Available { at: https://www.instagram.com/p/BqcrEG6FLHb/ [Accessed 10 January 2019]. • Zara Yow, (2019), Girls Just Wanna Have Fun(damental Human Rights) Canvas Print [ONLINE]. Available at: https://society6.com/product/girls-just-wanna-have-fundamental-humanrights_stretched-canvas[Accessed 11 January 2019]. • Callum Morris, (2018), Instagram [ONLINE]. Available at: https://www.instagram.com/p/ BdyXT1nHW6a/[Accessed 11 January 2019]. • Glamour Magazine, (2018), Gwyneth Paltrow Digital UK Issue [ONLINE]. Available at: https://www.glamourmagazine.co.uk/magazine/october-2018 [Accessed 10 January 2019]. • National Geographic, (2018), Planet or Plastic [ONLINE]. Available at: https://digitalsynopsis. com/design/national-geographic-planet-or-plastic/ [Accessed 11 January 2019]. • Vogue UK, (2019), Subscribe to British Vogue [ONLINE]. Available at: https://www.vogue. co.uk/subscribe/ [Accessed 11 January 2019]. • Grace Beverly (@gracefituk), (2019), Instagram Story Screenshot [ONLINE]. Available at: https://www.instagram.com/gracefituk/ [Accessed 11 January 2019]. • Kylie Jenner @kyliejenner, (2016), Instagram [ONLINE]. Available at: https://www.thecut. com/2016/08/ftc-is-cracking-down-on-celeb-sponsored-content.html [Accessed 11 January 2019]. • Chessie King (@chessiekingg), (2018), Instagram [ONLINE]. Available at: https://www.instagram.com/p/BsY0JvDlVor/ [Accessed 11 January 2019]. • Ian Jones, (2018), Village Bookstore [ONLINE]. Available at: https://www.creativetourist. com/venue/village-bookstore/ [Accessed 11 January 2019]. • Susie Stubbs, (2018), Colours May Vary [ONLINE]. Available at: https://www.creativetourist. com/venue/colours-may-vary/ [Accessed 11 January 2019]. • Colours May Vary, (2016), Inside Store [ONLINE]. Available at: https://www.tripadvisor.co.uk/ShowUserReviews-g186411-d10820166-r418739570-Colours_May_Vary-Leeds_West_ Yorkshire_England.html#photos;geo=186411&detail=10820166&ff=215498913&albumViewMode=hero&aggregationId=101&albumid=101&baseMediaId=215498913&thumbnailMinWidth=50&cnt=30&offset=-1&filter=7&autoplay=[Accessed 11 January 2019]. • Spoiled Nation, (2019), Spoiled Nation Homepage [ONLINE]. Available at: https://spoiled-nation.com/?s=nation [Accessed 11 January 2019]. 26