Dissertation Proposals

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EXPERIENTIALISM INTRODUCTION 6 - 7 DRIVERS 8 - 11 IMPACT 12 - 13 CONSEQUENCE 14 - 17 CONSUMER 18 FUTURE 19

THE DEMOCRATISATION OF LUXURY INTRODUCTION 22 DRIVERS 24 IMPACT 26 CONSEQUENCE 30 CONSUMER 34 FUTURE 35

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23 25 29 33

CONCLUSION APPENDIX LIST OF REFERENCES L/o ILLUSTRATIONS BIBLIOGRAPHY

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37 45 47 50 53

36 39 46 48 52

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EX RI TIA


XPEENALISM

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FIGURE 1, BALLOONS, 2015


FIGURE 2, THE FCP TRAINGLE, 2015

INTRO/ DUCTION In the past few decades there have been unprecedented levels of growth in the consumption of clothing. The rise of terms such as ‘fast’ and ‘value’ fashion are now day-to-day vocabulary thanks to retailers such as Primark, who capitalise on low cost, low quality garments. The real issue is the knock on effect that such retailers are having on both the lower end of the production chain, as well as our environment. Whilst brands are beginning to transform their practices and adhere to their corporate and social responsibility (See Figure 3), consumers have become increasingly aware of the impact they are having, thus we are seeing a cultural shift away from materialism, towards the rise of the conscious consumer that seeks experiences over possessions. This report will look in more depth at all of the influencing factors and impacts that are driving consumers to experiences, as well as the consequences that this could have on the future of fashion brands.


FIGURE 3, M&S PLAN A CAMPAIGN IMAGE, 2011

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the CONScious consumer As aforementioned, there is currently a rise in conscious consumption. Recent books and articles in their plenty have consistently highlighted the social and environmental impact that our purchasing habits are having. Clothing sales have increased by 60% in the last ten years alone, Siegle (2011 p. x) reinforces that “the present rates of consumption are unsustainable”. She also informs us about a survey for Oxfam and M&S that had staggering findings “one in ten of us admitted to wearing just ten percent of our wardrobes, and estimated

“one in ten of us admitted to wearing just ten percent of our wardrobes, and estimated that there were 2.4 billion garments just hanging there gathering dust”

that there were 2.4 billion garments just hanging there gathering dust” (Siegle 2011 p. 9) With such statistics, it’s no wonder that consumers are starting to pay attention and transform the way in which they consume.


D RI V - E RS Consumption isn’t just a pandemic concerning clothes either; our incessant desire to be ‘plugged in’ is affecting users mental wellbeing. Consumers are exhausted by technology and feel increasingly disconnected from the real world. In a report by Ofcom looking at Media Use and Attitudes, it showed that between 2005 and 2014 hours of Internet use had more than doubled from 9.9 to 20.5 hours a week. Consequently, we are seeing new phobias develop, ‘Nomophobia’ is the intense anxiety people feel when they can’t access their phone through loss of battery for example (Merz 2013). Such ramifications are causing a backlash amongst users, generating a yearning for real connections with real people.

FIGURE 4, MEDIA USE AND ATTITUDES INFOGRAPHIC, 2015

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FIGURE 5, STUFF, 2008


“materialists have unrealistically high expectations for the satisfaction that material goods will bring them”

Consumption isn’t just a pandemic concerning clothes either; our incessant desire to be ‘plugged in’ is affecting users mental wellbeing. Consumers are exhausted by technology and feel increasingly disconnected from the real world. In a report by Ofcom looking at Media Use and Attitudes, it showed that between 2005 and 2014 hours of Internet use had more than doubled from 9.9 to 20.5 hours a week (See

Figure 4). Consequently, we are seeing new phobias develop, ‘Nomophobia’ is the intense anxiety people feel when they can’t access their phone through loss of battery for example (Merz 2013). Such ramifications are causing a backlash amongst users, generating a yearning for real connections with real people. Furthering this, research has shown that materialistic people are more likely to suffer with depression, loneliness and low selfesteem. Tsang (2014) explains the Gap theory, which

suggests “materialists have unrealistically high expectations for the satisfaction that material goods will bring them”. This supports the notion that consumers are finding new ways to feel satisfied, embedded in experiences. Another phenomena supporting this is Roberts “Treadmill of Consumption” (see Stallard, 2015), which states that the more possessions we amass, the higher our reference point for satisfaction. For consumers who have materialistic tendencies, brands and services that draw attention away from possessions could potentially enlighten consumers in order to successfully capture the attention of the market they are pursuing.

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I M PAC PLANNED EXPENDITURE IN THE NEXT 3 MONTHS Last FIGURE 6, PLANNED EXPENDITURE, 2015

three months Next three months % % Buy new clothes 43 43 Book a holiday 27 26 Go out for an expensive meal 19 21 Go to a concert/sporting event/theatre 19 26

This shift towards doing over buying is manifesting itself across many different areas. In a report from Mintel (2015) named ‘Consumers and the Economic Outlook’ consumers were asked the following “Thinking about how you spend your money, which of the following have you done over the last three months? And which do you plan to do over the next three months?” the results showed that planned expenditure on clothing will stay stagnant, whilst areas such as going to a concert, meal or booking a holiday will all increase (See Figure 6). According to the report “individuals have become more comfortable with treating themselves and investing in things that do not necessarily have monetary value”, this has a direct correlation to the cultural shift away from materialism.

FIGURE 7, STUFFOCATION, 2015


CT

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Further articles and books are prompting people to consume less. ‘Stuffocation’, a book educating on how to ‘live with less’ was released in January this year. The book discusses experientialists and suggests that these people are the “key to the sustainability of a future economy” (Hanson, 2014). Second to this, the Fashion Revolution movement is upon us, with a yearly event now being held following the success of the first last June. Fashion revolution describes itself as “a global coalition of designers, academics, writers, business leaders and parliamentarians calling for systemic reform of the fashion supply chain” (Fashion Revolution 2015). It arose as a reaction to the Rana Plaza catastrophe in 2013. The movement now has over 70 countries participating and prompts shoppers to take more ownership over the craft of their clothes, along with seeking out the brands reinforcing positive

change. Popular fashion media such as Business of Fashion, help to promote the revolution further. Lastly, we are seeing self help articles published in gossip magazines such as Closer, to ‘cure’ people’s addiction to their phones, for example. All of these sources have an urging nature that hope to shift consumer’s attitudes, ultimately contributing to a conscious shopper. Trend Forecaster Li Edelkoort suggests there is a new breed of consumer that fashion can no longer cater to. In a recent interview she claimed that “The consumers of today and tomorrow are going to choose for themselves, creating and designing their own wardrobes… They will share clothes amongst each other since ownership doesn’t mean a thing anymore. They will rent clothes, lend clothes, transform clothes and find clothes on the streets.”

This statement aligns with the phenomenon that has been born out of the Internet age: collaborative consumption. Belk (2014) tells us that consumers values have shifted from ‘you are what you buy’ to “you are what you can access”. Equipped with an open mind and desire for authenticity, consumers realise that sharing can lead to a greater depth of experience, forcing this trend to bubble up amongst the masses.

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CO N S E QUENC FIGURE 8, L TRAIN LUNCHEON NYC, 2011

FIGURE 9, COACHELLA, 2015

As a direct consequence of the points raised, we are seeing experientialism appearing across all sectors. Creators are laying the foundations for a greater personal connection that allows people to effectively tune out of the technology and possession driven world they are caught up in.

FIGURE 10, THE LIGHT PHONE,2015


E FIGURE 11, OPHONE, 2015

L Train Luncheon, NYC was a planned event that treated passengers to a six-course meal whilst they travelled across Manhattan. The guests were given no information prior other than “the promise of a clandestine dining experience.� (Orensten, 2015). Coachella Festival in America has been increased from three to six days in order to cater to growing demand for the event. The light phone, designed for disconnecting. The device will only make and receive calls, as well as tell the time, and can work in conjunction with your usual mobile so that calls are forwarded. OPhone is a scent-sending device, designed with a new era of sensory experience in mind.

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FIGURE 12, BIRDLY, 2014 FIGURE 13, SECRET CINEMA, 2011

FIGURE 14, THE DETOX BOX, 2015

Birdly is a flight simulator that replicates the experience of a bird flying through means of virtual reality. This was installed at Sundance festival last year. Secret cinema brings together a community of film enthusiasts, holding secret events in an ‘unknown’ location, enabling them experience cinema in a unique way. The Detox Box comes with 7 objects to help you get offline. Objects include a book, practical objects and care products, amongst others.


FIGURE 15, AIRBNB BELO, 2014

Tough Mudder is a challenge that encourages participants to work as a team to help each other tackle the obstacles they come across. The New York Times described the idea of Tough Mudder “is not to win...but to have a story to tell” (See Tough Mudder, 2015). Airbnb provides a platform for travelers to find a unique place to stay: in another person’s home, often with the host. It allows travelers to essentially live like a local in the country they are exploring.

FIGURE 16, TOUGH MUDDER, 2014

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CO N S U M E R The consumer already engaging with this trend is part of the ‘Early Majority’ phase on Rogers Diffusion of Innovation Curve (See Figure 17). They are highly sociable and have adopted the Experientialism trend as its gathering momentum. They also fall under a consumer trend known as Generation G – a generous consumer reacting against greed, which engage in sharing and collaborating online (Posner, 2011).

FIGURE 17, CURVE OF INNOVATION, 2015


FIGURE 18, GOODHOOD STORE LONDON, 2015

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FUT/ URE

A foreseeable way that this could be implemented is through hybrid lifestyle stores, or through flexible store design – both of which would contribute towards a more exciting in store experience. However, the trend does have large potential and could be pursued across all areas: from the opportunity to get involved in the production of garments through to embedding experiences in the campaign and promotional tools.

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T DEM TIS OF L


H E MOCRAAT I O N LUXURY FIGURE 19, LUXURY COUPLE, 2013

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INTRO/ DUCTION Counterfeiting has always been an inevitable consequence of luxury items. The first couturier to brand their designs was Charles Frederik Worth in 1903 (Seeling, 2011), ever since we have seen endless copycat designs flood the fashion industry. Most commonly now handbags and purses, as these are the most recognisable items. In recent years consumers have taken to mocking luxury names, with ‘Celfie’ ‘Homies’ or ‘Praduh’ splayed across their chests. This has enabled the wearer to demonstrate their knowledge of the brand - albeit in an ironic way - without having to shell out for the real thing. Luxury fashion has lost it’s edge as the masses gain

CONSUMERS HAVE TAKEN TO MOCKING LUXURY NAMES

access to what was once the superior’s way of displaying wealth. The democratisation of luxury poses questions for the future of affluent clothing. This report aims to look further into the drivers, impact and consequence that have lead this trend, and what this could mean for fashion brands.


FIGURE 20, CELFIE T-SHIRT, 2013

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D RI V - ERS FIGURE 21, WORLDWIDE MIDDLE CLASS, 2015

COUNTERFEIT CULTURE The counterfeiting industry is worth an incredible $600 billion per year, representing nearly 7% of the trade globally (Elings, 2013). FIT in New York have just opened up an exhibition named ‘Faking It’, which looks into the past and present of counterfeit fashion, in the hopes to educate the consumer and deter them from buying fakes again. FIT aren’t the only source drawing attention to the horrible circumstances in which these items are made, either. Thanks to an abundance of articles raising the awareness, consumers now have a growing knowledge that in buying counterfeit items, they are essentially supporting child labour, poor factory conditions and potentially terrorism (Lieber, 2014). As a result of the modern consumer being more ‘switched on’, an authentic experience has become their primary focus.


The growth in the global middle class has also resulted in increased accessibility to the luxury lifestyle. Yueh (2013) reported that “China, India and Brazil have propelled their economies to equal the size of the industrialised G7 countries”, and it is expected that by 2050, these countries will account for more than half of the worlds output. According to The Brookings Institution, 2013 had an estimated 1.8 billion in the middle class, which is thought to increase to 3.2 billion by 2020 (See Figure 21). With the rise in middle class taking hold across the board, luxurybuying power has trickled

down to the masses, therefore losing its appeal to the traditional buyer. Furthering the point made, heritage lifestyle brands such as Barbour, Hunter and Burberry have witnessed the damaging effects that popularisation can have on the appeal of their brand to existing buyers. Hunter saw demand for their Wellington boots soar following Kate Moss debuting them at Glastonbury festival in 2005. However, this caused the original, rural consumer to feel alienated. Hunter had to rethink its strategy; now

there are two types of boot: one for the fashion consumer and the other focused on innovation and performance for the outdoors consumer. Notoriously, Burberry became the height of uncool back in 2005 when the distinctive beige check became the mark of a ‘chav’. Although both brands have managed to bounce back, it is clear that there is a fine line between positive brand awareness and negative backlash.

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FIGURE 22, DANIELLA WESTBROOK IN BURBERRY, 2002


IM Despite the rise in the middle class, the effect of the recent recession has changed the way that people view luxury. What was described as “the worst global recession since World War II” (Sarwate, 2015) has had an impact on what is perceived as socially acceptable in terms of displaying wealth. Although we have officially come out of the recession, consumer confidence hasn’t risen in line with the economies growth. The Bloomberg Concensous Estimate (See Shedlock 2015) stated earlier this month “Consumer confidence has fallen back noticeably… down more than 6 points to a much lower-thanexpected 95.2. This compares very poorly with the Econoday consensus for 103.0 and is even far below the Econoday low estimate of 100.5.” This demonstrates that whilst the potential for spending in the luxury sector is there, consumers don’t want to nor would they feel confident in - ostentatiously showing off their wealth. Bainbridge (2013) reiterates this further; “The economic growth we enjoyed in the UK is still

broken... it’s simply not cool to parade opulent ownership of wealth.” Therefore elite shoppers are seeking out increasingly discreet ways to access the luxury lifestyle. As well as a shift in attitudes towards displaying luxury, Generation Y – the new affluent consumer - are contributing to a further change in the way the older generation consume it, too. McEwen (2010) tells us that teenagers are influencing the fashion and beauty trends ultimately driving purchasing decisions amongst older consumers. A report concerning Consumer Attitudes on WGSN (2015) expands on this new younger, ‘heterogeneous’ consumer; “[they] seek out lesser-known premium brands, emerging designers and those labels that connect – culturally, socially and emotionally”. This is in response to heightened awareness of counterfeit fashion, and the popularisation of heritage brands, which have equally contributed to their newfound desire for authenticity.


M PAC T

FIGURE 23, BURNING MONEY, 2013

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FIGURE 24, RIHANNA AT PUMA, 2014


FIGURE 25, NATURE VALLEY PACKAGING, 2014

the rise of the celebrity creative director The rise in the affluent consumer has seen brands take a new approach to marketing luxury. Across all areas both brands and shoppers have become more intelligent and tuned in to marketing ploys, for example food brands are no longer allowed to state that a product is ‘good for you’, so instead will design the packaging and name to give the impression that it is (Dr Morgaine Gaye 2015) See Figure 25. This same concept is translated in fashion. Manning (2015) explains the effect that all access culture has had

on the psychology of the consumer, “We no longer want to buy things just because a celebrity appeared in a 15-second commercial for them, we want to buy things that we feel are actual expressions of her interests, her taste.” Where well-known bloggers and Instagram users were once able to tip a consumer into buying, it is no longer enough. This has resulted in an increasing number of brands appointing celebrities in Creative Director roles for example Rihanna at Puma in 2014 - which is a logical shift to help brands heighten their appeal.

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CO N S E QUENC As a consequence we are seeing different strands of luxury appearing to suit the varying levels of luxury consumer. Diluted luxury feeds into its democratisation, providing the entry-level purchaser with a taste of luxury.

FIGURE 26, ALEXANDER WANG X H&M, 2014


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FIGURE 27, MADE IN CHELSEA CAST, 2012

FIGURE 28, BURGER KING SQUID INK BURGER, 2015

FIGURE 29, ALDI SPECIALLY SELECTED, 2012

Alexander Wang x H&M 2014, this is one of many high end meets high street collaborations. TV shows such as Made in Chelsea and Downton Abbey, normalising an elite lifestyle. Burger King’s Squid ink burger sold in Japan. Aldi Specially Selected range which includes caviar and four bird roasts.

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FIGURE 30, COS X SNARKITECTURE, 2015

The following two routes seek to return luxury to exclusivity. The first corresponds with the demand for discreet luxury and runs off of the concept that ‘knowledge is power’, rewarding the consumer for their ability to recognise the brand, minus the branding. FIGURE 31, LOUIS VUITTON FAN BINGBING, 2014

Louis Vuitton ran this campaign in China last year, featuring Chinese actress Fan Bing Bing. The advert contained no branding whatsoever. COS x Snarkitecture installation at Spazio Erbe, Milan. Snarkitecture took inspiration from the aesthetic of COS alongside its S/S collection. Dezeen (2015) explains “The duo chose the fabric for its translucent quality and its similarity to a material used in the latest COS collection.”


The second is the counter trend to diluted luxury; it is extreme, and allows the buyers to immerse themselves into the lifestyle fully, baring no exceptions. Krystal is a Snowflake shaped, floating hotel that is situated off of the coast of Norway, proposed to be built by 2017. A luxury hotel group will manage it, it is self-supporting, self-sustainable and guests will be able to view the Northern Lights through its glass roofs. Tinker Tailor is a personalisation platform where users can customise and create luxury fashion. Sublimotion is designed to stimulate the 5 senses and immerse the consumer fully into a dining experience like no other.

FIGURE 32, TINKER TAILOR, 2014

FIGURE 33, KRYSTAL HOTEL, 2014

FIGURE 34, SUBLIMOTION, 2015

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CO N S U M E R The consumer for the return to exclusive luxury is among Generation X, primarily within the age bracket of 34 - 54. They are influenced by the youth and have a higher disposable income than most, therefore can afford to indulge in luxury. This consumer sits in the Late Majority section of Rogers innovation curve, taking reassurance from the brand.

FIGURE 35, CURVE OF INNOVATION, 2015


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FIGURE 36, TIME, 2014

FUT/ URE

I anticipate that the future of real luxury will see a further decline in the importance of the logo, and a rise in focus on how a brand can differentiate itself in terms of what they can offer to the newly defined luxury consumer. WGSN (2015b) states that “This is not the death knell for major luxury brands, but rather an opportunity to adapt and increase their product-offerings in line with a more heterogeneous customer base.” Other opportunities could include a new luxury brand that is invitees only, and could cater to an underground luxury consumer that isn’t currently being met, for example. Alternatively, looking outside the sector’s tangible tendencies, increasingly people are seeing time as a luxury – there is potential to create a new experience in the lifestyle market to capitalize on this.

“This is not the death knell for major luxury brands, but rather an opportunity to adapt and increase their product-offerings in line with a more heterogeneous customer base.”

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CONCLUSI O N


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Although the two ideas I’m proposing for third year are quite different, an underlying theme of ‘stuff’ is prevalent. The main culprit forcing Experientialism into our radar is the over consumption of possessions and technology, whilst for The Democratisation of Luxury it’s the loss of exclusivity through heightened access for the entry-level consumer. Consumers across both areas are ultimately craving authenticity, meaning that brands need to adapt their strategies accordingly or risk losing both old and new customers. Experientialism is already being explored by many sectors, but notably there are a distinct lack of ways that it’s being implemented by fashion brands, suggesting that there is a clear gap for working this trend into the fashion and lifestyle market. Contrastingly, the Luxury trend primarily spans over the clothing industry, however, based on the recurring desire for exclusivity, the potential is there for a new luxury brand to enter the market, or alternatively the rebranding of a n existing Luxury name. Over the summer I intend to visit exhibitions such as ‘Fashion on the Ration’ and ‘What is luxury’ in order to broaden my understanding of the history behind Luxury, also ‘Alexander Mcqueen’ and ‘Station to Station’ to help inspire ideas for Experientialism. Books will include ‘Predictably Irrational’, ‘Experiential Retailing’, ‘The Tipping Point’ and ‘Stuffocation’. I also plan to undertake primary research, which will be proposed in the Research Methodology. WORD COUNT: 2292

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CAITLIN THOMAS N0425657 FASHION COMMUNICATION AND PROMOTION FASH20032 PROMOTION AND CONTEXT

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Sample (Aged 16+) 30

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Interview

Focus group

Research method

To gage consumers shopping preferences and whether they would benefit from a micro village centered around their favourite fashion brand. Explain concept (based on insights from the interview), and receive feedback to see if it is plausible, where it can be improved, etc.

Purpose

Can show mixed media (videos, moodboards, etc) to give a clear idea of the concept, so that responses are informed. Provide a broad range of information.

TBC

TBC

TBC

Risk of respondents feeling under pressure. Qualitative data so it will be tricky to analyse. Risk of participants answers influencing each other – siding with the dominant view. Potential for the focus to get lost in irrelevant discussion.

Will be able ask people to extend their answers. Should gain an insightful response.

Effectiveness of research method TBC

Outcomes

Weaknesses

Strengths

XPERIENTIALISM


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Observation (in store)

Survey

Sample (Aged 16+) 30

Observe consumers behaviour in a luxury store – what they ask for, what they look at, etc. to find out what consumers current attitudes towards luxury are.

To decipher what the consumers definition of ‘Luxury’ is, i.e. Time, Lifestyle, Logo in order to find a ‘gap’.

Purpose Can include quantifiable methods (scales of importance, scoring etc.) so data is easier to analyse. Potential to gain a large number of responses. Natural environment so a true representation of how they act and what they want. Richness of description.

Strengths

Outcomes TBC

TBC

Weaknesses Participants may interpret questions differently. Answers may not be accurate or honest. Reliability could be limited due to observing one store that caters to one particular type of consumer.

TBC

Effectiveness of research method TBC

TDO LUXURY

Research method

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PRESENTATION


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LIST OF REFER Bainbridge, J., 2013. The rise of discreet luxury and a new consumer elite [online]. Available at: http://www.marketingmagazine.co.uk/article/1213629/rise-discreet-luxury-new-consumerelite [Accessed 9 May 2015]. Belk, R., 2014. You are what you can access: Sharing and collaborative consumption online, Journal of Business Research, Volume 67(8), 1595–1600. Dezeen, 2015. Snarkitecture creates warren
of textile ribbons for COS [online] Available at: http://www.dezeen.com/2015/04/14/cos-snarkitecture-white-fabric-strips-installation-breramilan-2015/ [Accessed 21 May 2015]. Dr Morgaine Gaye, 2015. Food Futurology. [Lecture to Fashion Communication and Promotion, Nottingham Trent]. 9 May 2015. Edelkoort, L., 2015. Li Edelkoort publishes manifesto
 explaining why “fashion is obsolete” [online] Available at: http://www.dezeen.com/2015/03/02/li-edelkoort-manifesto-anti-fashionobsolete/ [Accessed 19 May 2015]. Elings, R., 2013. Anti Counterfeiting [online]. Available via: World Trademark Review [Accessed 20 May 2015]. Fashion Revolution, 2015. Why Do We Need a Fashion Revolution? [online] Available at: http:// fashionrevolution.org/about/why-do-we-need-a-fashion-revolution/ [Accessed 17 May 2015]. Hanson, K., 2014. Review of Stuffocation: How We’ve Had Enough of Stuff and Why You Need Experience More than Ever [online]. Available at: http://lauracarroll.com/2014/04/review-ofstuffocation/ [Accessed 13 May 2015]. Lieber, C., 2014. Why the $600 Billion Counterfeit Industry Is Still Horrible for Fashion. Racked [online]. 1 December 2014. Available via: Racked [Accessed 12 May 2015]. Manning, E., 2015. The Rise of the Celebrity Creative Director [online]. Available at: https:// i-d.vice.com/en _ gb/article/the-rise-of-the-celebrity-creative-director [Accessed 4 May 2015]. Mcewen, I., 2010. Generation Next: Understanding Tomorrow’s Affluent Consumer [online]. Business of Fashion. Available at: http://www.businessoffashion.com%2Farticles%2Fintelligenc e%2Fluxury-lab-generation-next-understanding-tomorrows-affluent-consumer&type=ANON [Accessed 8 May 2015]. Merz, T., 2013. ‘Nomophobia’ affects majority of UK. The Telegraph [online]. 27 August 13. Available via: Telegraph Technology News [Accessed 19 May 2015]. Mintel, 2015. Consumers and the economic outlook [online]. Available via: Mintel. [Accessed 12 May 2015]. Ofcom, 2015. 2015].

Media use and attitudes [online]. Available via: Ofcom. [Accessed 11 May

Orensten, E., 2015. L Train Luncheon [online]. Available at: http://www.coolhunting.com/fooddrink/l-train-luncheon [Accessed 9 May 2015]. Posner, H. (2011) Marketing fashion. London: Laurence King Pub. Sarwate, B., 2015. What Great Recession? Wall Street Remains Unoccupied By Ethics [online]. Available at: http://www.politicususa.com/2015/05/23/great-recession-wall-street-remainsunoccupied-ethics.html [Accessed 24 May 2015]. Seeling, C. (2011) Fashion: 150 Years of Courturiers, Designers, Labels. United States: H.F.


RENCES Ullmann. Shedlock, M., 2015. Economists say Consumer Confidence is Up, Consumers say Different [online] Available at: http://www.equities.com/editors-desk/economy-markets/economic-data-news/ economists-say-consumer-confidence-is-up-consumers-say-different [Accessed 10 May 2015]. Siegle, L. (2011) To die for: is fashion wearing out the world? London: HarperCollins Publishers. Stallard, B., 2015. Having it All Really Won’t Make You Happy, Science Confirms. Nature World News [online]. 12 May 2015. Available via: Nature World News Science [Accessed 9 May 2015] Tough Mudder, 2015. What is Tough Mudder? [online]. Available at: https://toughmudder.co.uk/ events/what-is-tough-mudder [Accessed 20 May 2015]. Tsang, J., 2014. Why are materialists less happy? The role of gratitude and need satisfaction in the relationship between materialism and life satisfaction. Personality and Individual Differences. Volume 64, 62-66. WGSN. From austerity to opulence [online]. Available via: WGSN. [Accessed 9 May 2015]. Yueh, L., 2013. The Rise of the Global Middle Class [online]. 19 June 2013. Available at: http://www.bbc.co.uk/news/business-22956470 [Accessed 10 May 2015].

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LIST OF ILLUST Figure 1 Balloons, 2015. [Digital image] Available at: http://galaxybackground.com/wp-content/ uploads/2014/09/balloons _ 00380794.jpg [Accessed 26 May 2015]. Figure 2 The FCP Triangle, 2015 – Own image. Figure 3 M&S Plan A Campaign Image, 2011. [Digital image] Available at: http://k-hair0912-dp.blogspot. co.uk/2011/03/m-plan-final-products.html [Accessed 26 May 2015]. Figure 4 Media Use and Attitudes infographic, 2015. Media Use and Attitudes, Mintel Available at: Mintel [Accessed 14 May 2015]. Figure 5 Stuff, 2008. All my worldly possessions. Flickr. [Digital image] Available at: https://www. flickr.com/photos/k2d2vaca/2569459457 [Accessed 26 May 2015]. Figure 6 Planned expenditure, 2015 – Own image. Figure 7 Stuffocation, 2015. Pinterest. [Digital image] pin/280208408040372940/ [Accessed 26 May 2015].

Available

at:

https://www.pinterest.com/

Figure 8 L Train Luncheon, 2011. Coolhunting. [Digital image] Available at: http://www.coolhunting.com/ food-drink/l-train-luncheon [Accessed 27 May 2015]. Figure 9 Coachella, 2015. [Digital image] Available at: http://www.hercampus.com/school/oswego/ comparing-coachella-fashion-trends [Accessed 27 May 2015]. Figure 10 The Light Phone, 2015. Coolhunting. [Digital image] Available at: http://coolhunting.com/tech/ the-light-phone-kickstarter-minimalist-phone-for-disconnecting [Accessed 27 May 2015]. Figure 11 OPhone, 2015. Wired. [Digital image] Available at: http://www.wired.com/2015/04/ophone-onotesitune-of-smell [Accessed 27 May 2015]. Figure 12 Birdly, 2014. Wired. [Digital image] Available at: http://www.wired.com/2014/08/oculus-riftbirdly-fly/ [Accessed 27 May 2015]. Figure 13 Secret Cinema, 2011. London Evening Standard. [Digital image] Available at: http://www. standard.co.uk/incoming/article8390495.ece/alternates/w620/secretcinema4.jpg [Accessed 27 May 2015]. Figure 14 The Detox Box, 2015. [Digital image] Available at: http://translate.google.co.uk/ translate?hl=en&sl=fr&u=http://www.thepopcase.com/coffret-cadeau/11-coffret-cadeau-digitaldetox.html&prev=search [Accessed 27 May 2015]. Figure 15 Airbnb Belo, 2014. [Digital image] Available at: http://www.logodesignlove.com/new-airbnb-


TRATIONS identity [Accessed 27 May 2015]. Figure 16 Tough Mudder, 2014. [Digital image] Available at: http://calendarize.it/events/tough-mudderminneapolisst-paul/ [Accessed 27 May 2015]. Figure 17 Curve of Innovation, 2015 – Own Image. Figure 18 Goodhood Store London, 2015. Hybrid Lifestyle Stores, WGSN. [Digital image] Available at: WGSN [Accessed 28 May 2015]. Figure 19 Luxury Couple, 2013. [Digital image] Available at: https://ilblankfancyglam.files.wordpress. com/2015/04/car-claudia-schiffer-fashion-luxury-salvatore-ferragamo-favim-com-149918.jpg [Accessed 28 May 2015]. Figure 20 Celfie T-shirt, 2013. Blogspot. [Digital image] Available at: http://1.bp.blogspot.com/9Jnw4LmVkuM/Ui6AfSTrAwI/AAAAAAAAMmM/GT0gC4ePZs4/s1600/celfie+t+shirt+and+floral+skirt.jpg [Accessed 28 May 2015]. Figure 21 Worldwide Middle Class, 2015 – Own image. Figure 22 Daniella Westbrook in Burberry, 2002. Daily Mail online. [Digital image] Available at: http://i.dailymail.co.uk/i/pix/2014/11/05/1415222360427 _ wps _ 36 _ Ex _ soap _ star _ Daniella _ Wes.jpg [Accessed 28 May 2015]. Figure 23 Burning Money, 2013. Marketing Magazine. [Digital image] Available at: http://www. marketingmagazine.co.uk/article/1213629/rise-discreet-luxury-new-consumer-elite [Accessed 28 May 2015]. Figure 24 Rihanna at Puma, 2014. Forbes. [Digital image] Available at: http://blogs-images.forbes.com/ aliciaadamczyk/files/2014/12/Rihanna-Partners-With-PUMA-1455x1940.jpg [Accessed 28 May 2015]. Figure 25 Nature Valley Packaging, 2014. [Digital image] Available at: http://cdn.firstcry.com/brainbees/ images/products/zoom/137353a.jpg [Accessed 28 May 2015]. Figure 26 Alexander Wang x H&M, 2014. [Digital image] Available at: http://blogs.ft.com/material-world/ files/2014/10/alexanderwangxhm-runway-46.jpg [Accessed 28 May 2015]. Figure 27 Made In Chelsea cast, 2012. [Digital image] Available at: http://i.huffpost.com/gen/1721076/ images/o-MADE-IN-CHELSEA-facebook.jpg [Accessed 28 May 2015]. Figure 28 Burger King Squid Ink Burger, 2015. [Digital image] Available at: http://abc30.com/food/ introducing-burger-kings-black-burger-/304406/ [Accessed 28 May 2015].

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