WEEK 1 CONSUMER
Research Journal
PHASE 1
Origins.
1
CONTENTS
4.
2 2
INTRODUCTION
12.
PHASE ONE
14.
WEEK ONE
70.
WEEK TWO
82.
WEEK THREE
92.
PHASE TWO
94.
WEEK FOUR
110.
WEEK FIVE
124.
WEEK SIX
150.
WEEK SEVEN
WEEK EIGHT
194.
WEEK NINE
220.
PHASE THREE
222.
WEEK TEN
228.
WEEK ELEVEN
232.
CONCLUSION
236.
REFERENCES
238.
REFERENCE LIST
248.
FIGURE LIST
CONTENTS
182.
3
4 44Fig. 0.1
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INTRODUCTION
D Y N A M I C D I S S O C I AT I O N
TREND
TREND: DYNAMIC
8 8
Dynamic Dissociation expresses the current mood felt across Western Culture, of discontent and youth power. The deep-rooted desire for independence and freedom from control has not just developed from the recent political upheaval, instead these events have accelerated an already growing feeling as a result of the fights for equality and sustainability, to name just two. Although an independent and individual future may at first seem bleak and isolated, Dynamic Dissociation ensures a
future of collaboration, simply on a smaller scale, and a growing sense of community. Rather than isolation, this trend embodies individualisation and the notion of societal and business functions on a personal level that will allow for a less dependent yet successful society. This research journal will develop on the existing trend refining a concept applicable to a brand and target consumers which will then be developed into a capsule collection for sale in November 2019.
DISSOCIATION
EMERGING TREND
the widespread discontent. Already emerging in the growing popularity of independent coffee shops and boutiques, a more personalised business interaction is being demanded by many. A movement too large to ignore, companies must begin adhering to these new consumer wants in order to find success in this turbulent contemporary society.
INTRODUCTION
CURRENTLY
D Y N A M I C D I S S O C I AT I O N
Encapsulating the evergrowing political unrest and growing mistrust in society, Dynamic Dissociation depicts the active move from large corporations and organisations to a more local, personal approach to society and business. The growing need for transparency and the growing activism movement in Millennials and Generation Z’s illustrates
9
10 Fig. 0.3 10
INTRODUCTION D Y N A M I C D I S S O C I AT I O N TREND
TREND
D Y N A M I C D I S S O C I AT I O N
INTRODUCTION
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PRIMARY RESEARCH In order to develop an accurate and in-depth consumer profile for the target consumers of Dynamic Dissociation, I opted to undertake primary research as I believed this would give the most accurate information. I devised a questionnaire to determine psychographic, demographic, geographic and behavioural traits of the consumer group. To further increase the reliability and ensure that applicable information was gathered, the questionnaire was distributed to a finite selection of people. A major dimension of the trend was political and social power being returned to the youth which, coupled with the growing levels of activism present in younger generations, has led me to determining that the target consumers of Dynamic Dissociation would be aged approximately between 18 and 25 years old. However, this still allows for a broad scope of responses that may skew the information gathered away from a clear
and distinct target consumer. Therefore, I wanted to refine the selection further to activists or those who felt discontent at the current socio-political climate; however, as someone who would not identify strongly with this group I could not determine an appropriate manner to do so without selecting individual acquaintances and friends and therefore removing the random aspect of the sample group. Instead, I opted for the snowball sampling technique of sample selection. Defined as a ‘method of non-probability sampling’ in which respondents are ‘used to recruit further respondents from their social networks’, I implemented snowball sampling by distributing the survey to a select group of personal acquaintances and asking them to share the questionnaire amongst those with a similar activist outlook, which allowed me to reach a specific group of people in a fairly accurate manner. (Elliot et al, 2016)
METHODOLOGY
Please select your gender: Male Female Non-binary Prefer not to say
Please select your
Please select your annual income: Prefer not to say No income < £5,000 £5,000 - £7,499 £7,500 - £9,999 £10,000 - £14,999 £15,000 - £19,999 £20,000 - £24,999 £25,000 - £29,999 £30,000 - £39,999 £40,000+ What is your current living situation? I live with my parents Renting alone Renting with partner Renting with friends University halls First-time buyer
QUESTIONNAIRE
PHASE 1
Do you identify with a religion, if so which religion? Atheist Agnostic Christianity Judaism Hinduism Buddhism Sikhism Other, please specify ……………………………… I don’t identify with a religion Prefer not to say
If employed, what is your current job title? …………………………………………………………………
CONSUMER
Please select your age: 18 19 20 21 22 23 24 25 Other, please specify ………………………………
employment status: Unemployed Student Student with a parttime job Part-time employee Full-time employee Self-employed
WEEK 1
PRIMARY RESEARCH
27
WEEK 1
PRIMARY RESEARCH
House owner with mortgage House owner without mortgage
PHASE 1
CONSUMER
How many people, including yourself, reside in your household? ………………………………
28 28
What is the highest level of education you have achieved? GSCE A Level BTEC NVQ Foundation Degree Undergraduate Degree Postgraduate Degree PhD
…………………………………………… What is your marital status? Single In a relationship Engaged Married Divorced Widowed In a civil partnership Prefer not to say What
is your sexuality? Heterosexual Homosexual Bisexual Other, please specify ……………………………… Prefer not to say
If you are still studying, what are you studying for? GCSEs A Levels BTEC NVQ Foundation Degree Undergraduate Degree Postgraduate Degree PhD
In what region of the United Kingdom do you reside? Scotland Wales Northern Ireland North East North West Midlands South East South West
What is/was your field of study?
What size settlement do you live in?
QUESTIONNAIRE
City Town Village Suburb Countryside
What live
type of home do you in? Detached house Semi-detached house Terraced house Farm house Bungalow Flat University accommodation
How would you describe your aspirations? Career-driven Family-driven
Please rate on a scale of 1-5 (1 = content, 5 = highly discontent) your
Do you feel strongly about any of these causes? Equal pay for women LGBTQ+ rights Animal welfare Environmental issues Benefits and support for those on low incomes Disability support Pro-Euthanasia Abortion rights Workers’ rights and sweatshops Child Labour
QUESTIONNAIRE
PHASE 1
Which of the major social media channels are you active on, if any? Facebook Instagram Twitter Snapchat I am not active on social media
level of contentment with the current climate of these terms: Political 1 2 3 4 5 Social 1 2 3 4 5 Economic 1 2 3 4 5 Environmental 1 2 3 4 5
CONSUMER
WEEK 1
PRIMARY RESEARCH
29
WEEK 1 CONSUMER PHASE 1 30 30
PRIMARY RESEARCH
Other, please specify: ………………………………
Have you ever engaged in activist behaviour for any of these causes? Equal pay for women LGBTQ+ rights Animal welfare Environmental issues Benefits and support for those on low incomes Disability support Pro-Euthanasia Abortion rights Workers’ rights and sweatshops Child Labour Other, please specify: ……………………………… What form of activism have you participated in, if any? Remote activism (signing or sharing petitions online) Protests Volunteer work Dissociation from an organisation or company Other, please specify: ………………………………
Do you follow a specific diet by choice? Vegetarianism Pescatarianism Veganism Rawist veganism Organic Dairy Free Gluten Free Free Range Other, please specify: ……………………………… If you do follow a diet, what was your motivation behind following these restrictions? (Please select all that apply) Health Likes/dislikes Animal Welfare Peer pressure Following the trend Other, please specify: ……………………………… What is your average monthly spend on clothing? <£25 £25 - £49 £50 - £74 £75 - £99 £100 - £149 £150 - £199 £200 +
QUESTIONNAIRE
Why do you buy new clothes? For a specific occasion To replace old and worn out clothes Change in body shape To keep up to date with new trends Other, please specify: ………………………………
Do you attend vintage sales regularly? Yes No
How do you buy clothes? (Please select all that apply) Online In-store Via a catalogue Second-hand
CONSUMER
How often do you buy new clothes? Weekly Fortnightly Monthly Seasonally Yearly Less Frequently
Do you frequently shop through second-hand channels such as Depop, eBay and Vinted? Yes No
WEEK 1
PRIMARY RESEARCH
What is your favourite clothing brand? …………………………………………………………
QUESTIONNAIRE
PHASE 1
What other clothing brands do you frequently shop from? ……………………………………………………
31
32 32
RESULTS
Marketing Assistant
Junior Interior Designer
Teacher
PA
Bartender
Waitress
Photographer
Retail Supervisor
Sales assistant
Barista
Student
Self-employed
Full-time employee
Part-time employee
Student with a part-time job
Student
Unemployed
I donâ&#x20AC;&#x2122;t identify with a religion
Judaism
Christianity
Agnostic
Atheist
Other: 17
25
24
23
22
21
20
19
18
Female
Male
PHASE 1
1
2
3
4
5
6
7
8
WEEK 1
If employed, what is your current job title?
Please select your employment status
Do you identify with a religion, if so which religion?
Please select your age
Please select your gender
9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51
CONSUMER
PRIMARY RESEARCH
PHASE 1
7
6
5
4
3
2
1
House owner without mortgage
House owner with mortgage
First-time buyer
University halls
Renting with friends
Renting with partner
Renting alone
I live with my parents
£40000 +
£30000 - £39999
£25000 - £29999
£20000 - £24999
£15000 - £19999
£10000 - £14999
£7500 - £9999
£5000 - £7499
< £5000
No income
Graphic Designer
Store Manager
Event Coordinator
Conservation Community Officer
Accounts Manager
Administrative Services Officer
Social Media Assistant
Receptionist
Marketing Analyst
Estate Agent
Graduate Engineer
How many people, including yourself, reside in your household?
What is your current living situation
Please select your annual income
CONSUMER
RESULTS
WEEK 1
PRIMARY RESEARCH
33
34 34
RESULTS
Art
Graphic Designer
Architecture
Engineering
Music
Economics
Spanish
Business
Geography
English Literature
International History and Politics
Sports Science
National Curriculum - School Education
PHD
Postgraduate Degree
Undergraduate Degree
Foundation Degree
NVQ
BTEC
A Level
GCSE
Not still studying
PHD
Postgraduate Degree
Undergraduate Degree
Foundation Degree
NVQ
BTEC
IB
A Level
GCSE
12
11
10
9
8
PHASE 1
What is/was your field of study?
If still studying, what are you studying for?
What is the highest level of education you have achieved?
CONSUMER WEEK 1
PRIMARY RESEARCH
PHASE 1
Semi-detached house
Detached house
Countryside
Suburb
Village
Town
City
Urban
Rural
South West
South East
Midlands
North West
North East
Northern Ireland
Wales
Scotland
Prefer not to say
Other
Bisexual
Homosexual
Heterosexual
Engaged
In a relationship
Single
Drama
History
Physics
Biology
Sociology
Psychology
Environmental Sciences
Politics
What type of home do you live in?
What size settlement do you live in?
Would you consider yourself to live in a rural or urban area?
In what region of the United Kingdom do you reside?
What is your sexuality?
What is your marital status?
CONSUMER
RESULTS
WEEK 1
PRIMARY RESEARCH
35
36 36
RESULTS
Environmental 1
Economic 5
Economic 4
Economic 3
Economic 2
Economic 1
Social 5
Social 4
Social 3
Social 2
Social 1
Political 5
Political 4
Political 3
Political 2
Political 1
I am not active on social media
Snapchat
Equality for all ethnicities
Improved animal welfare
Equal rights for LGBTQ+
A family
A home
Equal pay for women
A well-paid job
Travel
Family-driven
Career-driven
University accommodation
Flat
Bungalow
Terrace house
PHASE 1
Please rate on a scale of 1 - 5 (1 = content, 5 = highly discontent) your level of contentment with the current climate of these terms:
Which of the major social media channels are you active on, if any?
Which of the below do you aspire to do/have in the future, if any?
How would you describe your aspirations?
CONSUMER WEEK 1
PRIMARY RESEARCH
PHASE 1
Veganism
Pescatarianism
Vegetarianism
Dissociation from an organisation or company
Volunteer work
Protests
Remote activism (signing or sharing petitions online)
Other: Human Rights
Child labour
Workersâ&#x20AC;&#x2122; rights and sweatshops
Abortion rights
Racial Equality
Pro-Euthanasia
Disability support
Benefits and support for those on low incomes
Environmental issues
Animal welfare
LGBTQ+ rights
Equal pay for women
Other: Human Rights
Child labour
Workersâ&#x20AC;&#x2122; rights and sweatshops
Abortion rights
Racial Equality
Pro-Euthanasia
Disability support
Benefits and support for those on low incomes
Environmental issues
Animal welfare
LGBTQ+ rights
Equal pay for women
Environmental 5
Environmental 4
Environmental 3
Environmental 2
Do you follow a specific diet by choice?
What form of activism have you participated in, if any?
Have you ever engaged in activist behaviour for any of these causes?
Do you feel strongly about any of these causes?
CONSUMER
RESULTS
WEEK 1
PRIMARY RESEARCH
37
38 38
RESULTS
Online
Less Frequently
Yearly
Seasonally
Monthly
Fortnightly
Weekly
Other
To keep up to date with new trends
Change in body shape
To replace old and worn out clothes
For a specific occasion
£200 +
£150 - £199
£100 - £149
£75 - £99
£50 - £74
£25 - £49
< £25
I do not follow a diet
Other: Sustainability
Other: Parental influence
Personal Choice
Following the trend
Peer pressure
Animal welfare
Likes/dislikes
Health
I do not follow a diet
Free range
Gluten free
Dairy free
Organic
Rawist Veganism
PHASE 1
How do you buy clothes? (Please select all that apply)
How often do you buy new clothes?
Why do you buy new clothes?
What is your average monthly spend on clothing?
If you do follow a diet, what is your motivation behind following these resrtiction? (Please select all that apply)
CONSUMER WEEK 1
PRIMARY RESEARCH
PHASE 1
No
Yes
No
Yes
Nobody’s Child
Weekday
Adidas
Cheap Monday
Monki
Levi’s
ASOS
Urban Outfitters
Fila
Vans
Nike
Missguided
Zara
Topshop
Topshop
Weekday
Beyond Retro
Pop Boutique
Monki
ASOS
Depop
Rokit
Urban Outfitters
Second-hand
Via a catalogue
In-store
Do you attend vintage sales regularly?
Do you frequently shop through second-hand channels such as Depop, eBay and Vinted?
What other clothing brands do you frequently shop from?
What is your favourite clothing brand?
CONSUMER
RESULTS
WEEK 1
PRIMARY RESEARCH
39
WEEK 1 CONSUMER PHASE 1 40 40
PRIMARY RESEARCH
The responses to the primary research began to suggest slighter higher involvement and engagement by females than males. When considered in relation to Dodsonâ&#x20AC;&#x2122;s activism gap studies which state that â&#x20AC;&#x2DC;women are more likely than men to engage in nonconfrontational activitiesâ&#x20AC;&#x2122; in regards to activism, it became apparent that, as a generalisation, women would be more suited to the nature of the Dynamic Dissociation trend. The notion of the trend is based on a non-confrontational form of activism; removing oneself from associations with harmful or unsustainable companies or organisations through lifestyle and consumption choices. (Dodson, 2015) Therefore, for the purpose of this investigation, I will concentrate my analysis on the female responses in order to gain a comprehensive understanding of a single-gendered target consumer group.
ANALYSIS
WEEK 1
PRIMARY RESEARCH
CONSUMER
The modal age of the sample group is 20 years old with a spread of ages from 17 to 25. This to some extent aligns with the prior research into Dynamic Dissociation which focused on millennials; however, some of the respondents represent the older ages of Generation Z. Therefore, the target consumer can be considered to bridge the gap between the two generations; however, they are adjacent groups so the boundary between them will be blurred.
PHASE 1
ANALYSIS
41
WEEK 1 CONSUMER
PRIMARY RESEARCH
PHASE 1
With regards to religion, it can be concluded that whilst the majority do not identify with a religion, the targeting of the consumer group should not exclude those that do identify with a religion.
42 42
ANALYSIS
PHASE 1
ANALYSIS
CONSUMER
The majority of respondents are employed in some manner, with only 6 students not earning. This illustrates a sense of responsibility and independence amongst the sample group and will also have an effect on their disposable income and lifestyle, which is explored later in the analysis. 48.3% of the respondents are still in education (20.7% without additional employment and 27.6% with additional part time employment) whilst the remaining 51.7% of respondents are not still in education and are earning. This almost even split illustrates that the trend of Dynamic Dissociation would be of interest to both students and employees and therefore any brand that was to adopt aspects of the trend into their product offering should be suited to both students and recent graduates or school leavers (as can be assumed by the ages of the employed as all are under 25 years old).
WEEK 1
PRIMARY RESEARCH
43
WEEK 1 PHASE 1
CONSUMER
PRIMARY RESEARCH
44 44
As could be expected, the sample group demonstrates a vast array of job titles, most at an entry level, again due to being recent graduates or school leavers. However, hospitality and retail are the most popular sector of employment amongst the sample group with 27.6% and 24% of respondents respectively. This gives indication about the lifestyle of the group as these jobs typically do not conform to a 9am-5pm weekday working week and could therefore have resulting effects on the social life and day-to-day habits of these employees.
ANALYSIS
PHASE 1
ANALYSIS
CONSUMER
79.3% of the sample group are earning money and their annual salaries reflect part-time and full-time entry level jobs. None of the respondents are earning extraordinary amounts of money, each will be on a modest budget and those that are renting or inputting financially to their living situation will have a very limited disposable income and therefore would most likely only be suited to budget brands. The six respondents with no salary are all students and therefore it can be assumed that they are receiving some form of income through student loans and potentially financial support from family members.
WEEK 1
PRIMARY RESEARCH
45
WEEK 1 CONSUMER PHASE 1 46 46
PRIMARY RESEARCH
The living situations of the sample group also reflect what would be expected from the age range. Those studying at university would, for the most part, be in university halls or renting with friends and those working would either be living with parents to ease the financial burden or renting. With only 10.3% of the respondents reporting that they rent alone, it can be concluded that the remaining 89.7% live with others and therefore will have more than one income supporting the household. This also illustrates, on a generalised basis, an aspect of the personalities of the sample group; they are sociable, enjoying the company of others.
ANALYSIS
ANALYSIS
PHASE 1
Qualification currently studying for
CONSUMER
The sample group are in general educated to an above standard level. Of the four whose highest educational achievement to date is at GCSE level, all but one are continuing their education. In a similar vain, of the sixteen respondents who have achieved A Level or equivalent qualifications, nine are currently continuing into higher education. Not only does this reflect a level of intellect but also a drive for achievement, a personality trait shared by the group. To some extent, their educational background gives validation to any political, social, economic and environmental opinions they hold as it can be assumed these come from an informed mindset.
WEEK 1
PRIMARY RESEARCH
47
The data suggests that the majority of respondents are heterosexual singles; however with 14% of the sample group identifying as a different sexual orientation it must be noted that the trend of Dynamic Dissociation is not limited to certain sexualities. Therefore, any business incorporating the trend into their strategy should be inclusive to all and actively engaging with all sexual orientations.
WEEK 1 PHASE 1
CONSUMER
PRIMARY RESEARCH
48 48
ANALYSIS
CONSUMER
55% of the sample group reside in towns and 40% in cities suggesting that, geographically, the target consumer is an urban dweller. The modal region from the data is the South East, however, this cannot be taken as factual due to the snowball sampling selection, it is likely that hubs of people will have responded to the survey therefore skewing the geographics of the data. 79% of the sample group live in houses rather than flats or university accomodation, perhaps reflecting the number of respondents living with their parents who it can be assumed are wealthier than this generation in general.
WEEK 1
PRIMARY RESEARCH
PHASE 1
ANALYSIS
49
WEEK 1 CONSUMER
PRIMARY RESEARCH
All female respondents reported being active on at least one social media channel, with 31% active across the four major channels. This indicates connectivity amongst the target consumers which also allows for the vast and rapid spread of information between them. Facebook
7%
7%
10%
7%
PHASE 1
17%
50 50
31% 14%
7%
Snapchat
ANALYSIS
PHASE 1
ANALYSIS
CONSUMER
The general attitude of the sample group towards todayâ&#x20AC;&#x2122;s society is one of discontent, particularly with the political climate and the environmental issues present. This illustrates their prioritised concerns, from political to environmental then social and finally economic. From this, the sample groupâ&#x20AC;&#x2122;s attitudes and beliefs can be determined and their cares and concerns particularly towards businesses can be determined; an ethical and sustainable business is more likely to engage with this group than a brand such as Primark who has faced recent negative press over child labour, for example. Furthermore, this data reflects their motivations towards any activist behaviour they may engage in.
WEEK 1
PRIMARY RESEARCH
51
WEEK 1 CONSUMER PHASE 1 52 52
PRIMARY RESEARCH
A positive result of snowball sampling, the primary research was able to reach a subculture of activists, as illustrated here with 93% of respondents reporting to have engaged in some form of activism. However, if activism can be considered a spectrum, a variety of data is depicted here. Of the 29 respondents, 24% admit to only engaging in a more passive and relaxed form of activism (remote activism and dissociation)which some may also consider or define as non-confrontational. Whilst this forms the basis of Dynamic Dissociation, it is important to also consider that the trend will be adopted by more active activists, who will share different traits, interests and motivations which must be considered throughout the investigation.
ANALYSIS
PHASE 1
ANALYSIS
CONSUMER
Amongst the sample group, 86% follow some form of diet or food restriction. Of those that do, their motivations for doing so differ from animal welfare (52%) to parental influence (8%) and following a trend (12%). From here, it is becoming apparent that two beliefs are emerging from the groups, those that believe strongly in the cause, and those that follow not for their own ethical motivations but to follow the movement. When considering the products that they will be purchasing, these dietary requirements and motivations must be adhered to; i.e. animal products will not be of interest to the majority of the sample group and therefore target consumer group.
WEEK 1
PRIMARY RESEARCH
53
WEEK 1 CONSUMER PHASE 1 54 54
PRIMARY RESEARCH
The favoured brand amongst the group is Urban Outfitters, closely followed by ASOS. Perhaps due to the vast choice of clothing available at both of these retailers, they appeal to huge target audiences. However, these results are limited in their ability to determine clothing and style preferences as both Urban Outfitters and ASOS stock other brands, which in fact forms an enormous part of their business strategy. Perhaps some observational work is required to remedy this. Depop itself is not a clothing brand but its importance as a buying and selling channel amongst this group must not be underestimated with 72.4% of respondents reporting frequent use of the app/website. In fact, only 24% reported not either frequently using apps or websites such as Depop or Vinted nor attending vintage sales and markets regularly. This highlihgts the importance of second hand clothing amongst the group.
ANALYSIS
PHASE 1
ANALYSIS
CONSUMER
Only 44% of respondents admitted to buying new clothes in order to keep up to date with trends, perhaps suggesting that a large proportion of the group are less concerned with trends than expected. Perhaps, again, this is indicating a divide amongst the sample group between followers and leaders. The leading motivations are replacements and specific occasionwear. This is a strong indicator to any clothing business attempting to target the group as to how the products should be marketed and the overall appearance of the clothes; for more than half of the group the latest trends are not of importance.
WEEK 1
PRIMARY RESEARCH
55
WEEK 1 CONSUMER PHASE 1 56 56
PRIMARY RESEARCH
The sample group have a very low average monthly spend on clothing, due to either being students or in entry-level or part-time jobs and therefore disposable income is limited. This must be taken into consideration for any brands attempting to target the group and the price point of their products offered. Perversely, this data does not correlate with the favoured brand of Urban Outfitters, where, whilst it is a highstreet brand, the prices of individual garments can often exceed the respondents average monthly spend. However, this could indicate that the sample group invest in their clothing; they are not concerned with quantity, but rather quality.
ANALYSIS
Consumer A
Consumer B
Youthquakers
Imitators
2
1
5
3
6
10
7
14
15
20
17
23
18
24
19
26
29
31
32
33
36
CONSUMER
From the results, two separate female consumer groups began to appear. Of the respondents, there was a clear distinction between the followers and the geniunely motivated. This can be theorised with Rogersâ&#x20AC;&#x2122; theory of diffusions; the leaders are innovators, keen to adopt trends associated with improving sustainability and social mobility to exercise their power as activists and the followers are early adopters, that do not share the same motivations as to adopting the trend but they are keen to give the appearance that they are passionate about these causes. (Rogers, 2003, p.210, p.263) These two consumers must be understood in depth as, whilst they may take interest in the same products, their motivations, and therefore the manner in which they should be targeted and marketed to will differ. I have differentiated between the responses given to my primary research as to which response falls into which consumer group in order to clarify the personality traits of each.
WEEK 1
TARGET CONSUMER
41 45
39
47
PHASE 1
38 46 48 51
GROUP
57
WEEK 1 CONSUMER PHASE 1 58 58
WORD OF THE YEAR Awarded the 2017 Word of the Year by the Oxford Dictionaries, ‘youthquake’ epitomises and embodies the target consumers of Dynamic Dissociation, highlighting and evidencing the extent of activism and the desire for change amongst youths and millennials. Chosen to ‘define the year 2017’, youthquake illustrates the shift in society and the power that young people are taking hold of in order to initiate change. (Rudgard, 2017) The term is not newly formed; however, the term saw a ‘400 percent increase in usage between 2016 and 2017’ which highlights the ‘increased awareness of young people’s capacity to influence, and even drive, political change’ (Rudgard, 2017). A term first-coined by Diana Vreeland in the 1960s, in its origin it was used to ‘describe sudden changes in fashion, music and attitudes’, but the term has seen a contemporary shift to denote
‘a significant cultural, political or social change arising from the actions or influence of young people’. (BBC, 2017; Cain, 2017) An apparent zeitgeist of the current social climate, the documented increased usage of the word illustrates the extent of the movement and the prevalence it holds in today’s society. An apparent consumer of the Dynamic Dissociation trend, those youths and millennials that caused the rise of ‘youthquake’ are a subculture of activists and change-seekers who form one of the target consumer groups of the trend. These young revolutionary advocates (consumer group A, the leaders) will be classified as the Youthquakers. As for Conusmer Group B, the followers, they will be labelled the ‘Imitators’, as they intend to appear as Youthquakers but do not share the beliefs or values of the group.
YOUTHQUAKE
WEEK 1
“a significant cultural, political or social change arising from the actions or influence of young people”
CONSUMER
YOUTHQUAKE
Oxford Dictionaries, 2018
PHASE 1 59
WEEK 1 CONSUMER PHASE 1 60 60
CONSUMER A A subculture of passionate and discontent youths, the Youthquakers are here to change the world in any way they can. They use their power as people, activists and consumers to attempt to change society to one they deem as more inclusive, more sustainable and more liveable. They are opinionated and determined as individuals, whose power mounts when they gather. Their environmental footprint and effect is more of a concern to them than their appearance. Taking a back-to-basics approach to life, the Youthquakers are opting for more face-to-face interaction and attempting a more natural and sustainable lifestyle such as Veganism and second-hand shopping. An extension of conscious consumption, Youthquakers are intelligent and therefore make extremely informed and considered decisions about their consumption
behaviour. They refuse to associate themselves with any organisation that abuses human rights, does not act in a sustainable manner or discriminates against any subculture or group. They present a challenging and powerful force to the retail industry and once their trust has been lost it is near impossible to regain their loyalty or business. Loud and connected, their technological capability means news spreads fast so they are keeping businesses and organisations on their toes through fear of spreading negative press or information and destroying their reputations. Once a business has demonstrated an ethos similar to the Youthquakerâ&#x20AC;&#x2122;s personality, they gain a base of engaged and loyal followers. They are not a group to be underestimated and their power as consumers can make or break a business.
YOUTHQUAKERS
Fig. 1.7
WEEK 1
CONSUMER
PHASE 1
61
WEEK 1 CONSUMER
Fig. 1.8
YOUTHQUAKERS
PHASE 1
“nothing like a big cuppa equali-tea”
62 62
Victoria Elkin, 2018
and also lives as ethically as possible, ensuring all brands and organisations she associates herself with are ethically responsible and sustainable. A dynamic member of the activist community, Victoria spends much of her time campaigning and protesting for animal welfare, womenâ&#x20AC;&#x2122;s rights and equality. Her sense of style embodies these dimensions of her personality, using vintage clothing and statement slogans to abide my her strong morals.
CONSUMER
A 22-year-old fourth year Theatre Studies student at the University of Kent, Victoria uses her passion for drama and theatre to raise, highlight and comment on important issues present in society. Her recent employment with the National Citizen Service scheme allows Victoria to earn whilst following her passion for the community. Furthermore, Victoria commits to her concern for animal welfare by adopting an entirely vegan lifestyle,
WEEK 1
YOUTHQUAKERS
PHASE 1
VICTORIA ELKIN
63
More concerned with appearing to be taking a stand against political and environmental issues than having genuine passion for such causes, the Imitators are all about their appearance both physically and personalitywise. Less concerned with vintage, sustainable and conscious consumption, the Imitators only require that their clothes and other lifestyle products look second hand and vintage, whether that be through distressing, patterns or styling. Typically more career-driven than their partner consumer group, the Youthquakers, they themselves do not quite fit the established criteria for Dynamic Dissociation;
however, when in society, they do, as that is the general direction of many of their peers. Impressionable and easily manipulated by their peers and the press, generally their only forms of activism are dissociation from unethical or unsustainable business as informed by the press or their peers or sharing petitions online more for the benefit of them appearing to be acting on a cause than for the cause itself. Despite their peer and appearance related motivations, the Imitators are still an influential consumer, with huge consumption power and therefore a worthy market of targeting the Dynamic Dissociation trend to.
WEEK 1 PHASE 1
CONSUMER
CONSUMER B
64 64
IMITATORS
Fig. 1.9
WEEK 1
CONSUMER
PHASE 1
65
WEEK 1 CONSUMER
Fig. 1.10
IMITATORS
PHASE 1
“friends, family and my social life are the most important things to me”
66 66
Jemima Wildi, 2018
JEMIMA WILDI
PHASE 1
studying, researching and writing essays, so with any free time she gets she can be seen in one of the local pubs with friends, at the gym or playing tennis. Not expressing a particularly strong interest in any environmental issues despite her field of study, Jemima has attempted a number of diets and food restrictions such as vegetarianism, pescatarianism and veganism, but she has experienced little success in adhering to any of them; she always finds her way back to a meat-based diet. Politcally, Jemima expresses enough interest to exercise her right to vote, but beyond that her interest diminishes. Other than sharing and particpiating in a few online petitions, Jemima’s involvement in activism is limited.
CONSUMER
A 20-year-old, second year undergraduate Geography student at the University of Leeds, Jemima lives with four other students in a rented terraced house in Hyde Park, Leeds. With no additional employment, she relies on student loans and financial support from parents and therefore has a limited disposable income. Of this disposable income, Jemima prioritises her spending on socialising and her appearance; she is concerned with how others view and think of her. She describes her style as ‘eclectic’ and with some ‘vintage vibes’ and most of her wardrobe originates from Urban Outfitters with a handful of Topshop pieces as well. As a second year student, much of Jemima’s time is occupied with
WEEK 1
IMITATORS
67
68 68
Fig. 1.11
PHASE 1 CONSUMER WEEK 1
enhanced my understanding of the behaviour of each of the consumers. However, as I build the realisation of this trend over the following weeks, I intend to complete some observational work in the near future. I believe that I have built, from accurate data, two comprehensive consumer groups that will allow me to choose a suitable and appropriate brand next week and to continue to expand on my Dynamic Dissociation trend effectively and efficiently over the coming weeks.
CONSUMER
The primary research undertaken this week was effective in collecting data and building the traits of the consumers of the Dynamic Dissociation trend. Identifying two different consumer groups of the same trend has added depth and complexity to the target consumers and has broadened my understanding of how different motivations can lead to the same end result. Neglected from this weekâ&#x20AC;&#x2122;s research was any form of observational study which could have
WEEK 1
REFLECTION
PHASE 1
WEEK ONE
69
70 70
Fig. 2.1
PHASE 1 CONSUMER WEEK 1
WEEK 1
BRAND
PHASE 1
71
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CONSUMER
WEEK 2
72 72
PHASE 1 BRAND WEEK 2
IDENTIFIED BRANDS
PHASE 1
affordability is important to them, they will not compromise on quality or brand. Furthermore, budget brands such as Primark have a history of negative press highlighting their business ethics which resulted in many conscious consumers ‘boycotting’ such brands. (Francis, 2014) Brands such as Tommy Hilfiger and Levi’s, both of which are stocked on both Urban Outfitters and ASOS, would still be classed as highstreet brands; however, they are significantly more expensive than brands such as Missguided. This further evidences the suggestion that the Youthquakers, in particular, value quality and branding over quantity and affordability. It also appears that the sample group favour sports brands perhaps following the move towards ‘athleisurewear’; the merging of fashion and sportswear to create an everyday style. (Armstrong, 2016)
BRAND
Through the primary research conducted, the selection of brands presented to the left were identified by the sample group as retailers that were shopped at. By an extraordinary margin, the favoured retailers were ASOS and Urban Outfitters. However, this gives very little insight into the favoured brands of the sample group, as both ASOS and Urban Outfitters, whilst they do sell their own products, act as department stores as retailers of other brands. However, perhaps that indicates an eclectic style of the group, that they favour a number of brands that fit with the Urban Outfitters or ASOS aesthetic. Despite the ambiguity over favoured brands that is presented, a number of preferences can be accurately determined from this selection of the brand. The majority of the brands are affordable high-street brands, but the group did not identify budget brands, suggesting that whilst
WEEK 2
CONSUMER
73
WEEK 2 BRAND PHASE 1 74 74
SELECTING The exploration of Dynamic Dissociation highlighted the movement away from large corporations and organisations as a result of mistrust. This allowed me to refine the selection of consumer identified brands, ruling out large global brands such as Zara, ASOS and Leviâ&#x20AC;&#x2122;s as they do not fit the ideals or needs of either the lifestyle trend or the consumer group. Furthermore, the evergrowing need for transparency in business and retail, alongside the consumer groups opinionated and expressive attitudes towards brands that have abused ethical and sustainable morals, rules out controversial brands such as Urban Outfitters. Additional considerations of disposable incomes and lifestyle rules out sports brands such as Fila, Vans and Nike as well as more premium price brands such as Tommy Hilfiger. Furthermore,
within the constraints of the brief, brands that operate entirely as resellers, those who have built their business model entirely on vintage consumption such as Beyond Retro and Rokit, were discarded. Furthermore, I had intended on finding a brand with potential , that was relevant to the consumer group but that could grow into the market. The relatively new internet start-up, Nobodyâ&#x20AC;&#x2122;s Child, was identifed by only two consumers which showed relevance to the market but allowed for growth into attracting the consumer. Further research into the brand ethos, products and identity led me to the conclusion that the brand had a mood and ethos that suited the consumer and they could be successful in targeting the two consumer groups with a Dynamic Dissociation led trend.
A BRAND
WEEK 2
BRAND
PHASE 1
75
Fig. 2.2
PHASE 1 BRAND WEEK 2
Fig. 2.3
76 76
WEEK 2
BRAND
PHASE 1
77
WEEK 2 BRAND PHASE 1 78 78
NOBODY’S CHILD
Founded in 2015, Nobody’s Child is a young online fashion business that has grown at an astonishing pace. (Nobody’s Child, 2016) Within a year, fashion-giant Topshop began stocking a select range of Nobody’s child products both online and in-stores as a concession, and the brand launched on ASOS in February 2016, with both partnerships continuing today (Nobody’s Child, 2016). Controlling their entire production process, with no outsourcing or wholesale purchasing, Nobody’s Child are confident in their ethical and environmental standards, making each garment in their ‘own factories’ (Nobody’s Child, 2016). Having to compromise between increased sustainability and low cost, the brand still operates factories in Asia; however, with UK and European factories, they continue to strive for lower environmental impact where cost allows. Their remarkable success can be attributed to this environmental and ethical awareness, teamed with their
consideration for low cost and budget fashion; Nobody’s Child have captivated their audience and retained them, avoiding any negative press and continuing to increase their transparancy. The tongue-in-cheek personality of the brand, has captured the attention of the rebellious consumer group, even the name itself illustrates this sense of dissociation;
‘Nobody’s Child’ suggesting independence and individuality. Additionally, Nobody’s Child have built an image and identity on their vintage touch and retro style, which can be seen across their branding not just in their clothing. From their ‘magazine’ blog to their Instagram feed, Nobody’s Child share vintage mood images for style inspiration and aesthetic effect, that has encapsulated their audience across many channels. (Nobody’s Child, 2018) Furthermore, of particular importance to an online brand, their packaging echoes their vintage branding with the retro paper-bag style.
OVERVIEW
Category
Median Price £ 3.00 4.00 5.50 7.60 8.50 9.00 16.80 18.10 19.00 21.00 21.50 25.00 25.00 27.00
graduates who therefore have very limited disposable income. However, the brand’s participation in more sustainable practices will be limited in order to keep costs low; therefore they should aim to limit and lessen their environmental impact in other manners.
ARCHITECTURE
PHASE 1
A budget fashion brand, Nobody’s Child offer ‘affordability and accessibility’ to their consumers, as detailed above (Nobody’s Child, 2016). The low cost of products is appealing to the consumer group that consists almost entirely of university and college students or recent
Highest Price £ 3.00 5.00 8.00 13.20 12.00 12.00 30.00 32.00 28.00 28.00 25.00 32.00 25.00 32.00
BRAND
Gloves Phone Cases Socks and Tights Jewellery Belts Sunglasses Handbags and Purses Knitwear Tops Trousers Jackets Dresses Skirts Jumpsuits
Lowest Price £ 3.00 3.00 3.00 2.00 5.00 6.00 3.60 4.20 10.00 14.00 18.00 18.00 25.00 22.00
WEEK 2
PRICE
79
80 80
Fig. 2.4
PHASE 1 BRAND WEEK 2
and ideas surrounding the upcoming mood research as the identity of Nobodyâ&#x20AC;&#x2122;s Child provides the ideal foundation for potential themes for the collection. The brand has already exhibited exceptional success in its short history; however, I feel that exploring its relevance to Dynamic Dissociation could indicate and ensure future success for the brand, were it to applied practically.
BRAND
Throughout this weekâ&#x20AC;&#x2122;s research, I believe I have selected a brand that is appropriate to both the consumer and the trend. I feel that I have met the financial constraints presented by the consumer group without compromising the ideals of the lifestyle trend that was discovered and explored last semester. Additionally, research into the brand identity has begun igniting thoughts
WEEK 2
WEEK TWO
PHASE 1
REFLECTION
81
PHASE 1 CONSUMER WEEK 1
Fig. 3.1
82 82
WEEK 1
DEMANDS
CONSUMER
WEEK 3
PHASE 1
PHASE 1
83
PHASE 1
DEMANDS
WEEK 3
Fig. 3.2
84 84
Fig. 2.4
(The Guardian, 2014). A group who, once trust is lost, is near impossible to redeem; therefore businesses must engage with them in order to build a trusting relationship. Furthermore, in order to consider the consumer wants and demands, I will turn to the previously discussed trend futures to ensure the shifting consumer needs are beginning to be met.
DEMANDS
The highly opinionated and strong-willed consumer group presents a level of new demands that must be met by any business intending to find success within the group. With transparency becoming a â&#x20AC;&#x2DC;corporate necessityâ&#x20AC;&#x2122;, these teens and young adults demand complete transparency and a high level of trust with any business or organisation they choose to involve themselves with
WEEK 3
CONSUMER WANTS,
PHASE 1
NEEDS AND DEMANDS
85
Fig. 3.3
PHASE 1
DEMANDS
WEEK 3
BUSINESS
86 86
“We kind of hate waste, don’t you? So we work really hard not to create it unnecessarily, by controlling the entire production process – we dye our own fabrics, design and produce our own prints, and make our garments in our own factories.” (Nobody’s Child, 2016)
TRANSPARENCY
Fig. 3.4
Fig. 3.5
WEEK 3 DEMANDS PHASE 1
As mentioned previously, the growing need amongst conscious consumers for transparency must be met to acheive success amongst this target group. Nobodyâ&#x20AC;&#x2122;s Child explicitly dictate that no middle-man is used in their manufacturing process and their garments clearly detail the country of origin. However, for the demanding consumer group, this may not be enough. By including the country of origin online on each product page, Youthquakers would be able to make more informed decisions. For example, the two labels shown here are from a top and a jumper, one made in the UK with therefore lowered transport emissions whereas one is made in Morocco. Had this information been available at the point of purchase, a Youthquaker particularly concerned with local production could have made an accurate and informed decision to purchase the jumper, increasing trust and success between the brand and consumer.
87
88 88
Fig. 3.6
PHASE 1 DEMANDS WEEK 3
focuses on key silhouettes that are repeated in numerous colourways and patterns. Therefore, I began to explore the idea of rearranging how this appeared to the consumer. Instead of listing the products separately, perhaps the different silhouettes could be listed and then the available colourways and patterns would be listed on the individual product page. Therefore it would make the consumers appear as though they were involved in the creative aspect, in a more personalised manner, with little effect on the brand’s business or production model; simply an alteration of the purchasing transaction.
DEMANDS
An element of retailing that was identified as a trend future of Dynamic Dissociation was consumer involvement. Building on the foundation of gaining and increasing trust by engaging more and creating a more personalised interaction. This is effective by dampening the traditional businessconsumer relationship as the exchange appears more personal. However, the realisation of such an idea can be problematic and expensive. I began considering how consumer involvement could be incorporated into a budget brand. Initially I focused on the fact that Nobody’s Child’s product offering
WEEK 3
CONSUMER
PHASE 1
INVOLVEMENT
89
90 90
Fig. 3.7
PHASE 1 DEMANDS WEEK 3
prices which could have a detrimental effect on sales and consumer retention. Therefore, this should be disregarded for this trend; however, as customization technology becomes cheaper and more widely available, Nobodyâ&#x20AC;&#x2122;s Child should consider the benefits of this personalised approach to retail. Over the following weeks, I will continue to explore avenues of customer engagement and involvement.
DEMANDS
Considering the new wants and needs of the consumer early on in the research process has proved to be incredibly effective as it has allowed me to organise thoughts and fundamental ideas that will form the basis of the trend concept. However, upon reflection both individually and amongst my peers, the level of consumer engagement would alter the business model, incurring additional costs and therefore higher
WEEK 3
WEEK THREE
PHASE 1
REFLECTION
91
92 92
PHASE 1 CONSUMER WEEK 1
WEEK 1
TWO
CONSUMER
PHASE
PHASE 1
93
94 94 Fig. 4.1
PHASE 1 CONSUMER WEEK 1
WEEK 1
MOOD
PHASE 1
95
PHASE 2
CONSUMER
WEEK 4
To develop a collection of images that encompassed the feeling of the brand, conveying their brand identity, I first considered their social media, in which the brand share images in a more casual and informal format than their website. Aside from numerous images promoting products, the brand also shared images that would appeal to their audience and portray their brand personality. The following developmental
boards contain images from the Nobodyâ&#x20AC;&#x2122;s Child Instagram, drawing out key aspects of the brand personality in order to develop the mood. To further develop these findings to identify the mood of the collection, the ideals of the Dynamic Dissociation trend will be considered and combined with the brandâ&#x20AC;&#x2122;s mood to create a mood suitable to both the consumer and the brand.
WEEK 1 4 PHASE 2
MOOD
MOOD
96 96
DEVELOPMENT
Fig. 4.2
WEEK 4
MOOD
PHASE 2
97
WEEK 4 PHASE 2
MOOD
INDUSTRIAL
98 98
TEXTURES Fig. 4.3
WEEK 4
TRAVEL AND
MOOD PHASE 2
ADVENTURE Fig. 4.4
99
WEEK 4 PHASE 2
MOOD
SOCIAL
100 100
AND FUN Fig. 4.5
WEEK 4
VINTAGE
MOOD PHASE 2
SYMBOLS Fig. 4.6
101
WEEK 4 PHASE 2
MOOD
FEMININE
102 102
FLORALS Fig. 4.7
WEEK 4
FEMALE
MOOD PHASE 2
EMPOWERMENT Fig. 4.8
103
WEEK 4 MOOD PHASE 2 104 104
MOOD Taking into account the predicted trend futures along with the needs and wants of the identified consumers, the overwhelming feeling emerging from these considerations is the notion of reverting to more traditional lifestyles to increase both environmental and social sustainability, which should be captured in the mood of the collection. A ‘back-tobasics’ consumption trend has recently begun emerging across retail industries, in particular, the book industry which has stabilised following a drop in ‘e-book sales’ as consumers are favouring the traditional printed copies instead of modern online or on-screen reading (Turner, 2017). This approach can be expected to transition to, and is already emerging in, other retail sectors. Additionally, this observation feeds into the identified trend future of customer involvement and experiential retail, identified as ‘one of the hottest trends in retail’, as customers value the
experience over the product, hence why books are making a comeback (Brown, 2017). In the Drapers report, experiential retail is documented as ‘a bid to lure ever-more online-centric customers into stores’; which at first glance seems inapplicable to Nobody’s Child, an online brand. However, instead of applying this literally, capturing this notion in the mood of the trend will appeal to the experiential and involved consumer. This can be achieved through enhancing the vintage feel of the collection in alignment with the ever-growing vintage industry. With the power to connect ‘the past, present and future’, the popularity of vintage consumption has been increasing through turbulent economic times and in a bid to reduce the manufacturing of new products (Sarial-Abi et al, 2017). Therefore, by creating a vintage mood, Nobody’s Child will appeal to the consumer whilst still being able to operate as a retailer selling newly made products.
EXPLORATION
WEEK 4
MOOD
PHASE 2
105
Fig. 4.9
With these mood discoveries, it is important not to neglect the overwhelming direction of consumption trends: sustainability. Whilst a number of the issues presented seem oxymoronic or contradictory to a budget fast-fashion brand, appealing to the consumers is just as much about image and mood as the process behind it. An online retailer cannot be entirely sustainable as transport and packaging are necessities but they can appeal to their consumer through aesthetics. In order to capitalise on the sustainable trend, nods to nature and natural symbolism can be used to express the movement despite the manufacturing methods
involved. As the ‘second most polluting industry’, second only to oil, the fashion industry is far from reaching a point of sustainability; however, Kering and H&M have both ranked in ‘The Corporate Knight’s Global 100 index’ of the ‘world’s most sustainable corporations’, suggesting that it is not unachievable and sustainability in fashion should continue to be a priority explored in a number of ways (Conca, 2015; Jahshan,2018). The most suitable method for Nobody’s Child is hints and visual indicators of natural surroundings through colours and symbols to appeal to the conscious consumer.
WEEK 1 4 PHASE 2
MOOD
MOOD
106 106
EXPLORATION
WEEK 4
MOOD
PHASE 2
107
Fig. 4.10
108 108
Fig. 4.11
PHASE 2 MOOD WEEK 4
pivotal industrial feel of the brand’s personality, the urban and rustic nature of much of their imagery with harsh industrial textures will update the vintage themes and ensure the natural mood is not seen as gimmicky or over-done. The application of the explored moods must be about balance, finding a compromising medium between all aspects of the brand and concept’s moods to ensure further success.
MOOD
The in-depth exploration of the brand’s mood, exploring all aspects of their personality and identity created a foundation for further exploration. The considerations of the consumer and the lifestyle trend feed into the existing brand mood highlighting and validating the suitable brand choice. However, in the exploration of natural and vintage moods, it is important not to neglect the
WEEK 4
WEEK FOUR
PHASE 2
REFLECTION
11 0 99
PHASE 1 CONSUMER WEEK 1
Fig. 5.1
110 110
WEEK 1
COLOUR
CONSUMER
WEEK 5
PHASE 1
PHASE 2
111
112
Fig. 5.2
PHASE 2 C O LO U R WEEK 5
and find brighter colours that reflect the loud and opinionated characteristics of the consumer whilst also reflecting natural influences. I will further this search for inspiration with trend based research from trend forecasting sites such as WGSN, to validate the demand for such colour palettes.
C O LO U R
In order to appeal to the conscious consumer and environmentalists, the inspiration for the colour palette is to be found in nature. However, natural colours tend to have connotations with bland colours and a brown toned palette. I intend to combat these preconceptions with the colour palette
WEEK 5
COLOUR
PHASE 2
INSPIRATION
113
PHASE 2
C O LO U R
WEEK 5
CULTURAL
114
Fig. 5.3
Fig. 5.4
BRIGHTS
WEEK 5
CULTURAL
C O LO U R
Fig. 5.5
Rich hues celebrate cultural influences in these bright palettes; ideal for the trend concept and the consumer group who strive for inclusivity and
acceptance. The focus is on richness and saturation, finding complementation in similar and opposing hues for a palette that is sure to make a statement.
PHASE 2
BRIGHTS
115
Fig. 5.6
PHASE 2
C O LO U R
WEEK 5
EARTHY
Fig. 5.7
116
NEUTRALS
WEEK 5
EARTHY
C O LO U R
Fig. 5.8
According to WGSN colour reports, earthy neutrals are updated and contemporised with deep natural reds and hints of vibrant orange for a naturally inspired spring
summer colour palette. Accents of the bolder brighter hues complement the beige-toned neutrals to add interest, wearability and boldness to a palette.
PHASE 2
NEUTRALS
117
Fig. 5.9
PHASE 2
C O LO U R
WEEK 5
POWERFUL
Fig. 5.10
118
PURPLE HUES
WEEK 5
POWERFUL
C O LO U R
Fig. 5.11
an undeniable versatility in fashion. A colour frequently seen across nature, these purple hues will meet the requirement for natural inspiration and will also appeal to the activist consumers.
PURPLE HUES
PHASE 2
Merging a sense of power with femininity, the upcoming seasonâ&#x20AC;&#x2122;s playful use of purple hues updates traditional femininity. From pastel and muted lilac shades, to bold and striking magentas, purple expresses
119
Fig. 5.12
PHASE 2
C O LO U R
WEEK 5
OCEAN
Fig. 5.13
120
INSPIRATION
WEEK 5
OCEAN
C O LO U R
Fig. 5.14
Traditional ocean blues are complemented with other hues found through underwater environments. Deep purples, aquatic greens and accents of saturated yellows create
an intriguing palette that provides both easilywearable core colours and eye-catching accents for a complimentary yet not expected palette.
PHASE 2
INSPIRATION
121
WEEK 5 PHASE 2
C O LO U R
TREND CONCEPT
122
COLOUR PALETTE
I feel that the colours are complimentary and allow for interesting versatility in the collection. However, the layout is unsuccessful as it in no way indicates which hues are core or accent and the weighting of each of the colorus across the collection. I intend to remedy this in order to make the overview as easily understandable and professional as possible.
C O LO U R
From the conducted research, and referring to the prior research on the consumer and brand, this colour palette was formed. In order to adhere to the vintage inspiration expected by the consumers that is already present in the brand, the bold hues taken from WGSN trend research were muted to create a vintage, worn and almost recycled look whilst still following trend predictions to some extent.
WEEK 5
WEEK FIVE
PHASE 2
REFLECTION
123
124 1246.1 Fig.
PHASE 1 CONSUMER WEEK 1
WEEK 1
PATTERN
CONSUMER
WEEK 6
PHASE 1
PHASE 2
125
126
Fig. 6.2
PHASE 2 PAT T E R N WEEK 6
this week, I will develop a selection of patterns, both striped and floral, that can be applied across the chosen silhouettes. Once the patterns have been developed, I will explore colour options using last week’s colour palette to create patterns that will both appeal to the consumer and fit with the brand’s overall identity and style.
PAT T E R N
Even upon first look at Nobody’s Child, it was apparent that their extensive use of patterns forms a fundamental dimension of the brand identity. Clearly segmented into stripes and florals, Nobody’s Child offer a number of key patterns that are available across their key silhouettes. Therefore, in order to incoporate this into the trend package,
WEEK 6
PATTERN AND
PHASE 2
BRAND IDENTITY
127
WEEK 6 PAT T E R N
TRENDS AND
PHASE 2
Fig. 6.3
Fig. 6.4
128
INSPIRATION
WEEK 6
TRENDS AND
INSPIRATION
PHASE 2
Fig. 6.6
PAT T E R N
Fig. 6.5
129
WEEK 6 PAT T E R N
TRENDS AND
PHASE 2
Fig. 6.7
130
INSPIRATION
Fig. 6.8
WEEK 6
TRENDS AND
INSPIRATION
PHASE 2
Fig. 6.10
PAT T E R N
Fig. 6.9
131
WEEK 6 PAT T E R N
TRENDS AND
PHASE 2
Fig. 6.11
132
Fig. 6.12
INSPIRATION
WEEK 6
TRENDS AND
featured across the Nobodyâ&#x20AC;&#x2122;s Child brand. Stripes, a classic, are less featured in the forecast although some attention was drawn to them in Artful Crafts. However, stripes have proven success within the brand and provide a vintage aesthetic and therefore will be used in the collection.
INSPIRATION
PHASE 2
The forecast for the upcoming season focuses heavily on blooming florals, from traditional and more vintage appearing designs to bright, big and bold psychedelic florals. Complementing both the season and the natural inspiration of the trend concept and collection, florals are also heavily
PAT T E R N
Fig. 6.13
133
134
PHASE 2 PAT T E R N WEEK 6
WEEK 6
PAT T E R N
PHASE 2
135
136
PHASE 2 PAT T E R N WEEK 6
WEEK 6
PAT T E R N
PHASE 2
137
138
PHASE 2 PAT T E R N WEEK 6
WEEK 6
PAT T E R N
PHASE 2
139
140
PHASE 2 PAT T E R N WEEK 6
WEEK 6
PAT T E R N
PHASE 2
141
142
PHASE 2 PAT T E R N WEEK 6
WEEK 6
PAT T E R N
PHASE 2
143
144
PHASE 2 PAT T E R N WEEK 6
WEEK 6
146
PHASE 2 PAT T E R N WEEK 6
WEEK 6
PAT T E R N
PHASE 2
147
148
Fig. 6.14
PHASE 2 PAT T E R N WEEK 6
add depth and dimension to the collection, bringing the silhouettes to life. Additionally, to some extent, my prior consideration of consumer involvement and customisation has been adapted; rather than allowing the consumer explicit personalised choice, there is still an element of choice and adaptation in the collection.
PAT T E R N
I feel that the exploration into pattern across this week has been successful as it has built on the previous five weeks of research. Cumulating this research into four patterns that are wearable, will appeal to the consumer and be appropriate for the brand. I believe that, complemented by single-hued basics, these patterns will
WEEK 6
WEEK SIX
PHASE 2
REFLECTION
149
150 150 Fig. 7.1
PHASE 1 CONSUMER WEEK 1
WEEK 1
FABRIC
CONSUMER
WEEK 7
PHASE 1
PHASE 2
151
152
Fig. 7.2
PHASE 2 FA B R I C WEEK 7
will be a consideration that the Youthquakers, in particular, will make before purchasing. With little existing fabric knowledge, to begin the research this week, a fabric analysis of existing products was undertaken to gain a better understanding of cheaper materials that are already being sold by the brand.
FA B R I C
With the foundations of the trend concept, it is easy to get caught in the increasingly popular ecofabrics; however, the budget appeal of the brand and low cost of the products must be kept at the forefront of all research. It is also important to consider the environmental impact of the chosen materials, as this
WEEK 4
FABRIC
PHASE 2
RESEARCH
153
WEEK 7
FABRIC ANALYSIS Bluebelle Sleeve Detail Midi Dress Fig. 7.3 • 100% Viscose • Lightweight • Structure created with stitching techniques such as ruching and darting • No stretch
FA B R I C
Jasmine Bloom Wide Sleeve Dress Fig. 7.4 • 100% Viscose • Lightweight • Structure created with stitching techniques such as ruching and darting • No stretch
Elba Rose Shirred Waist Midi Dress Fig. 7.5
PHASE 2
• 100% Viscose
154
• Stretch introduced with shirring, material itself has no stretch • Very lightweight • Yet opaque
DRESSES
Spot Jacquard Slip Dress Fig. 7.6 • 100% Viscose
WEEK 4
FABRIC ANALYSIS
• Heavier than other viscose products in the collection • Smooth, silk like texture • Simple hang, not floaty, yet not structured
Multi Spot Double Frill Wrap Dress Fig. 7.7
• Floaty • Opaque and dense • No stretch
FA B R I C
• 100% Viscose
Mali Stripe Tie Front Kimono Dress Fig. 7.8 • 100% Viscose
DRESSES
PHASE 2
• Fabric has movement but holds its shape • Lightweight • More of a coarse texture similar to crepe
155
WEEK 7
FABRIC ANALYSIS Giant Spot Asymmetric Wrap Top Fig. 7.9 • 100% Viscose • Lightweight and slightly sheer • Holds shape but not stiff • No stretch
FA B R I C
Kimmy Ditsy Wrap Bodysuit Fig. 7.10 • 96% Viscose; 4% Elastane • Stretchy • Soft jersey fabric • Thick enough to be opaque but not heavy
Kimmy Ditsy Shirred Back Peplum Top Fig. 7.11
PHASE 2
• 100% Viscose
156
• Structured feel, similar to crepe • Holds shape but allows for movement • Medium weight but loose fit for breathability
TOPS
Ruched Sleeve Sweat Top Fig. 7.12 • 100% Polyester
WEEK 4
FABRIC ANALYSIS
• Heavy jersey • Soft texture for comfort • Allows for plenty of movement
Satin Double Tie Front Top Fig. 7.13
• High-shine satin finish • Lightweight • No stretch but allows for movement
FA B R I C
• 100% Polyester
Stripe Rib Wide Sleeve Top Fig. 7.14 • 96% Polyester; 4% Elastane
TOPS
PHASE 2
• Medium weight jersey fabric • Ribbed texture • Comfortable and allows for movement
157
WEEK 7
FABRIC ANALYSIS Giant Spot Button Split Side Skirt Fig. 7.15 • 100% Viscose • Lightweight, floaty material • Fabric is thin, white and therefore very sheer
FA B R I C
Mixed Print Tiered Ruffle Midi Skirt Fig. 7.16 • 100% Polyester • Chiffon feel and appearance • Sheer element combatted with layering • No stretch
Mixed Print Tiered Ruffle Midi Skirt Fig. 7.17
PHASE 2
• 100% Viscose
158
• Not structured, yet not flowy • Relatively thin but not sheer • Little stretch
SKIRTS
Ella Animal Print Pelmet Skirt Fig. 7.18 • 100% Viscose
WEEK 4
FABRIC ANALYSIS
• Medium weight • Holds shape well but still allows for some flexibility • No stretch
Gingham Frill Mini Skirt Fig. 7.19
• Stiff yet not inflexible • Not stretchy but has a little bit of give • Heavy and dense
FA B R I C
• 100% Polyester
Gingham Asymmetric Ruffle Skirt Fig. 7.20 • 100% Cotton
SKIRTS
PHASE 2
• Softer than poplin yet not quite poplin • Relatively lightweight • Yet still holds shape and structure well
159
WEEK 7
FABRIC ANALYSIS Arlo Kick Flare Trousers Fig. 7.21 • 100% Polyester • Lightweight • No stretch • Zip fastening required
FA B R I C
Denim Flare Trousers Fig. 7.22 • 61% Cotton; 37% Polyester; 2% Elastane • Very little stretch • Structured to hold shape • A lightweight denim
Sedona Floral Plisse Trousers Fig. 7.23
PHASE 2
• 100% Polyester
160
• Very lightweight • Slightly sheer • Elasticated waist and pleated texture give stretch and movement
TROUSERS
Lettuce Edge Rib Flare Fig. 7.24 • 96% Polyester; 4% Elastane
WEEK 4
FABRIC ANALYSIS
• Very stretchy • Ribbed texture • Jersey
Self Belt Check Trouser Fig. 7.25
• Structured • Medium weight • No stretch
FA B R I C
• 100% Polyester
Seam Detail Flare Trouser Fig. 7.26 • 97% Polyester; 3% Elastane
TROUSERS
PHASE 2
• Some stretch • Heavy almost scuba material • Holds shape well
161
WEEK 7
FABRIC ANALYSIS Side Stripe Jumpsuit Fig. 7.27 • 100% Viscose • Lightweight • Crepe-like fabric • No stretch; zip fastening required
FA B R I C
Alexa Spot Frill Neck Jumpsuit Fig. 7.28 • 100% Viscose • Jersey-like feel • Fair amount of stretch • Allows for movement
Lace Up Check Jumpsuit Fig. 7.29
PHASE 2
• 63% Polyester; 37% Viscose
162
• No stretch • Crepe-like texture • Medium weight
JUMPSUITS
Humbug Stripe Cami Jumpsuit Fig. 7.30 • 100% Viscose
WEEK 4
FABRIC ANALYSIS
• Feels in between a crepe and chiffon texture • No stretch • Lightweight
Jodie Daisy Wrap Jumpsuit Fig. 7.31
• Loose, lightweight and flowy • Does not hold shape; rather it hangs • Little stretch
FA B R I C
• 100% Viscose
Seam Detail Flare Trouser Fig. 7.32 • 100% Viscose
JUMPSUITS
PHASE 2
• More structured than, but feels like, jersey • Elasticated waist to aid shape • Little stretch
163
WEEK 7
FABRIC ANALYSIS Brushed Chunky High Neck Jumper Fig. 7.33 • 76% Acrylic; 24% Nylon • Heavy weight • Stretchy • Very soft texture
FA B R I C
Chenille Boxy Jumper Fig. 7.34 • 50% Acrylic; 50% Polyester • Velvet like texture • Tight knit • Heavy weight
Rib Flare Sleeve Jumper Fig. 7.35
PHASE 2
• 100% Acrylic
164
• Thick rib • Stretchy • Medium weight
KNITWEAR
adds to the environmental appeal of the brand. In the near future, perhaps the brand should consider phasing out cotton altogether and introducing a polyester recycling scheme to ensure they limit their environmental impact whilst maintaining their low costs and therefore low prices.
FA B R I C
The brand favours viscose and polyester for their garments, presumably due to the low cost and versatility of the fibres. An elastane blend is often incorporated to tackle the typical lack of stretch in these fibres. Only a few products feature cotton which, considering the environmental impact,
WEEK 4
FABRIC ANALYSIS
PHASE 2
FINDINGS
165
166
Fig. 7.36
PHASE 2 FA B R I C WEEK 7
trend concept, enhanced by the growing favour for ‘traditional techniques, highlighting the idea of looking backwards to look forwards (Palmer et al, 2017). An additional fabric trend suited to the consumer group is the idea of fabrics ‘as billboards for protest’ (Palmer et al, 2017).
FA B R I C
Following the shift to ‘simple, practical fabrics’ the upcoming season will feature ‘honest natural fabrics’ with the intention of ‘evoking summer nostalgia’ (Palmer et al, 2017). Ideal for the target consumer group, this fabric trend incorporates both the naturality and the vintage elements of the
WEEK 4
FABRIC
PHASE 2
TREND RESEARCH
167
WEEK 7
FABRIC
FA B R I C
Fig. 7.37
PHASE 2
Fig. 7.38
168
Tweeds reflect both a classic and traditional aesthetic as well as a natural-like grain providing an interesting, on-trend fabric that should
appeal to the consumer groups requirements as well as matching the ethos of the trend concept.
TREND RESEARCH
WEEK 4
FABRIC
Fig. 7.39
FA B R I C
Fig. 7.40 seem to mimick some of those found in nature for an organic appeal that is wellsuited to the consumer group.
TREND RESEARCH
PHASE 2
Ribbed and pleated textures lend interest to simple and understated basics. Additionally, these textures
169
WEEK 7 FA B R I C
SWATCH 1
PHASE 2
Name. Crepe back satin. Composition. 100% polyester. Features. High shine. Little stretch. Opaque. Enough weight to maintain shape.
170
CREPE BACK SATIN
WEEK 4
SWATCH 2
FA B R I C
Name. Moss crepe suiting. Composition. 100% polyester. Features. No stretch. Can hold structure. Medium weight.
PHASE 2
MOSS CREPE SUITING
171
WEEK 7 FA B R I C
SWATCH 3
PHASE 2
Name. Cable knit. Composition. 100% acrylic. Features. High stretch. Heavy. Soft and comfortable.
172
CABLE KNIT
WEEK 4
SWATCH 4
FA B R I C
Name. Ribbed jersey. Composition. 63% polyester 33% viscose 4% elastane. Features. Extreme stretch. Textured.
PHASE 2
RIBBED JERSEY
173
WEEK 7 FA B R I C
SWATCH 5
PHASE 2
Name. Crystal pleated satin. Composition. 100% polyester. Features. Stretch. Textured. Silky feel.
174
PLEATED SATIN
WEEK 4
SWATCH 6
FA B R I C
Name. Poly cotton drill. Composition. 65% polyester 35% cotton. Features. No stretch. Versatile. Structured.
PHASE 2
POLY COTTON DRILL
175
WEEK 7 FA B R I C
SWATCH 7
PHASE 2
Name. Stretch satin. Composition. 90% polyester 10% elastane. Features. Some stretch. High shine. Silky feel.
176
STRETCH SATIN
WEEK 4
SWATCH 8
FA B R I C
Name. Country set farmer rothchild. Composition. 100% polyester. Features. Heavy. Structured. Tweed.
PHASE 2
FARMER ROTHCHILD
177
WEEK 7 FA B R I C
SWATCH 9
PHASE 2
Name. Track suiting. Composition. 100% polyester. Features. Stretch. Comfortable. Jersey.
178
TRACK SUITING
WEEK 4
SWATCH 10
FA B R I C
Name. Chair fabric. Composition. 100% polyester. Features. No stretch. Very structured.
PHASE 2
CHAIR FABRIC
179
WEEK 7 FA B R I C
SWATCH 11
PHASE 2
Name. Satin silky. Composition. 100% polyester. Features. Little to no stretch. High shine. Silky feel.
180
SATIN SILKY
Additionally this research led to some textural exploration such as pleats and tweed to add variation and interest to the collection. Collecting swatches has aided the presentation of this research and will add a sense of professionalism to the research journal. However, it is important to note that these swatches were collected from one place, meaning colour and fabric choice was slightly limited. The colour of the fabrics should be ignored entirely and the fabrics should be taken as suggestions only.
FA B R I C
I believe that this weekâ&#x20AC;&#x2122;s research has led to me being able to make informed decisions in choosing suitable fabrics for the brand, collection and consumer. The in depth analysis of the composition of existing products sold by Nobodyâ&#x20AC;&#x2122;s Child allowed me to discover which materials were suitable for the brand and within the desired price range. This was then further complemented with trend research that highlighted the rising popularity of the simplicity of nature and reflecting that in fabric.
WEEK 4
WEEK SEVEN
PHASE 2
REFLECTION
181
182 182 Fig. 8.1
PHASE 1 CONSUMER WEEK 1
WEEK 1
SILHOUETTES
CONSUMER
WEEK 8
PHASE 1
PHASE 2
183
With ‘tactility, femininity and comfort’ shaping the key silhouettes for the upcoming season, the refined and traditionally feminine vintage silhouettes are being reinvented and adapted to a contemporary audience (Casey, 2017). By undertaking in-depth research into trend
based silhouettes, whilst continuing to consider the products currently and previously sold by Nobody’s Child, I intend to develop a collection of inspirations that can be developed upon next week when I build and develop the range plan.
WEEK 1 PHASE 1
CONSUMER
SILHOUETTE
184 184
TREND RESEARCH
WEEK 1
TREND RESEARCH
CONSUMER
Fig. 8.2
The deconstruction concept connotes with recycling and reusing, almost indicating the garment had a prior shape and function before it was altered and adapted. Whilst
this would not be the literal case, for the consumer group, particularly the Imitators, the design still feeds into their needs and motivations.
PHASE 1
DRESSES
185
WEEK 1
TREND RESEARCH
CONSUMER
Fig. 8.3
PHASE 1
Fig. 8.4
186 186
The voluminous sleeves in particular are significantly indicative of iconic vintage and traditional shapes. The square neck offers an update more suited to the
contemporary audience. The same can be said for the wrap top, a style that has been frequented throughout history that therefore lends a vintage aesthetic.
TOPS
A classic silhouette, the roll neck transitions to the spring and summer months with a lighter weight fabric, and
CONSUMER
Fig. 8.5
WEEK 1
TREND RESEARCH
as per the fabric research, adopts on-trend textures, updating this classic for the contemporary audience.
PHASE 1
TOPS
187
Fig. 8.6
CONSUMER
WEEK 1
TREND RESEARCH
PHASE 1
Fig. 8.7
188 188
Perfect for the British consumer, where spring and summer seasons do not guarantee the associated weather, the
upcoming seasonâ&#x20AC;&#x2122;s knitwear adopts typical shapes but with added textural interest, particularly the cable knit jumper.
KNITWEAR
WEEK 1
TREND RESEARCH
Fig. 8.8
CONSUMER
Fig. 8.9 notion of the wrap silhouette as discussed with tops, the wrap skirt is feminine and easily wearable.
SKIRTS
PHASE 1
The aforementioned pleated fabric is adopted in this midi length skirt for vintage appeal that also emanates an organic quality. Taking the
189
Fig. 8.10
CONSUMER
WEEK 1
TREND RESEARCH
PHASE 1
Fig. 8.11
190 190
The floral pyjama trousers are ideal for the brand, the consumer, and the previously developed pattern, providing a naturally inspired and
vintage appeal to the collection, that adds to the retro masculinity of the paper bag waist; a subtle nod to female empowerment.
TROUSERS
WEEK 1
TREND RESEARCH
Fig. 8.12
CONSUMER
Fig. 8.13
featured upcoming a more tailored
wear, emanating a powerful aura which is ideal for the powerful youths that form the consumer group.
TROUSERS
PHASE 1
Pleats are also in trouers in the season, putting casual twist on
191
PHASE 1 CONSUMER WEEK 1
Fig. 8.14
192 192
a preference for vintage and classic pieces and therefore do not chase trends as actively as other consumer groups do. I do believe that I noted the predicted key silhouettes that were both appropriate and lent a classic aesthetic, rather than pieces that would be short lived trends to ensure this research was right for the consumer group of young conscious consumers.
CONSUMER
The trend research undertaken this week has helped to build a foundation for next weekâ&#x20AC;&#x2122;s research. Prior to considering the collection and range plan, I felt it necessary to have an understanding of predicted trends and key shapes to ensure I had some prior knowledge. However, I was sure not to become too involved in the trends as the brand and the consumers have
WEEK 1
WEEK EIGHT
PHASE 1
REFLECTION
193
194 Fig. 9.1 194
PHASE 1 CONSUMER WEEK 1
WEEK 1
RANGE PLAN
CONSUMER
WEEK 9
PHASE 1
PHASE 2
195
In order to create a collection that both appealed to the consumer and fit the brandâ&#x20AC;&#x2122;s existing image, an analysis of the existing range was
undertaken. This analysis will allow for a greater understanding of the products offered and will therefore aid in the range planning of the upcoming collection.
WEEK 9 PHASE 2
RANGE PLAN
RANGE
196
PLANNING
Type
69% 31% 0% 21% 54% 13% 15% 18% 40% 14% 71% 14% 4% 44% 38% 19% 10% 18% 29% 53% 10% 0% 0% 100% 2% 25% 25% 25% 25% 2% 89% 0% 11% 11%
PHASE 2
ANALYSIS
%
RANGE PLAN
Mini Maxi Dresses Midi Total Long Sleeve 3/4 Sleeve Tops Short Sleeve Strapped Total Mini Midi Skirts Maxi Total Culotte Flare Trousers Cigarette/Peg Total Long Sleeve Short Sleeve Jumpsuits Strapped Total Long Sleeve Short Sleeve Playsuit Strapped Total Puffer Biker Coats and Jackets Bomber Duster Total Jumpers Cardigans Knitwear Tops Total Total
Number 24 11 0 35 36 9 10 12 67 1 5 1 7 7 6 3 16 3 5 9 17 0 0 3 3 1 1 1 1 4 16 0 2 18 167
WEEK 9
RANGE
197
Coats and jackets, even with the consideration that the analysis is during the spring season, are clearly not the focus of the product range, therefore they will not be included in the upcoming range as it is apparent that consumers are not turning to Nobody’s Child to purchase their coats. 40% of the current collection consists of tops highlighting them as a key product in the brand as well as dresses. Furthermore, knitwear and jumpsuits appear to be popular. Whilst skirts are a small category, it is important to note that
the number of skirts being sold by Nobody’s Child are increasing, when I first researched the brand I noted that only 3 skirts were available; however, this has more than doubled since week 2, therefore it can be deemed that skirts would have the potential to succeed with the Nobody’s Child consumer base. Alongside these range observations, I will consider the silhouette trend research undertaken last week to ensure the products are not only meeting the needs of the brand and consumer but are also meeting trend predictions.
WEEK 9 PHASE 2
RANGE PLAN
RANGE
198
DEVELOPMENT
WEEK 9
RANGE
RANGE PLAN PHASE 2
DEVELOPMENT Fig. 9.2-9.3
199
WEEK 9 PHASE 2
RANGE PLAN
RANGE
200
DEVELOPMENT Fig. 9.4
WEEK 9
RANGE
RANGE PLAN PHASE 2
DEVELOPMENT Fig. 9.5-9.6
201
WEEK 9 PHASE 2
RANGE PLAN
RANGE
202
DEVELOPMENT Fig. 9.7-9.10
WEEK 9
RANGE
RANGE PLAN PHASE 2
DEVELOPMENT Fig. 9.11-9.12
203
WEEK 9 PHASE 2
RANGE PLAN
RANGE
204
DEVELOPMENT Fig. 9.13-9.14
offering, Nobodyâ&#x20AC;&#x2122;s Child can be considered to be an almost captive brand, they intend on targeting consumers that will express brand loyalty and therefore the collection should provide everything that the consumer is after to ensure multiple sales. This emphasises the need for more simple products to complement the patterned and boldly coloured products.
RANGE PLAN
Having identified a selection of appropriate silhouettes from the WGSN image library, Week 5â&#x20AC;&#x2122;s research into colour and pattern must be applied. It is important to remember the core and classic colours, those less trend led such as black, to make sure the collection appears wearable and not too overwhelming with colours and patterns. As a small brand with a small product
WEEK 9
RANGE
PHASE 2
DEVELOPMENT
205
WEEK 9 PHASE 2
RANGE PLAN
RANGE
206
PLAN Fig. 9.15-9.17
WEEK 9
RANGE
RANGE PLAN PHASE 2
PLAN Fig. 9.18-9.21
207
WEEK 9 PHASE 2
RANGE PLAN
RANGE
208
PLAN Fig. 9.22-9.25
WEEK 9
RANGE
RANGE PLAN PHASE 2
PLAN Fig. 9.26-9.29
209
WEEK 9 PHASE 2
RANGE PLAN
RANGE
210
PLAN Fig. 9.30-9.33
WEEK 9
RANGE
RANGE PLAN PHASE 2
PLAN Fig. 9.34-9.37
211
WEEK 9 PHASE 2
RANGE PLAN
RANGE
212
PLAN Fig. 9.38-9.41
WEEK 9
RANGE
RANGE PLAN PHASE 2
PLAN Fig. 9.42-9.43
213
WEEK 9 PHASE 2
RANGE PLAN
RANGE
214
PLAN Fig. 9.44-9.47
WEEK 9
RANGE
RANGE PLAN PHASE 2
PLAN Fig. 9.48-9.51
215
WEEK 9 PHASE 2
RANGE PLAN
RANGE
216
PLAN Fig. 9.52-9.55
WEEK 9
RANGE
RANGE PLAN PHASE 2
PLAN Fig. 9.56-9.59
217
WEEK 9 PHASE 2
RANGE PLAN
RANGE
218
PLAN
Fig. 9.60-9.61
allow the collection to be worn without requiring the purchase of clothes from other brands. The references to nature and vintage styles are apparent without being too obvious and therefore gimmicky. I believe that this week has proven the success of previous research as the collection has formed without issue due to the extensive research undertaken previously.
RANGE PLAN
This week I believe I have compiled and cumulated all my previous research to create a coherent and justified collection, suitable for the trend, consumer and brand. The statement pieces provide character to the collection but do not overwhelm the consumer as I have ensured that simple classics are incorporated, such as the roll neck top and the flare trousers in block core colours, to
WEEK 9
WEEK NINE
PHASE 2
REFLECTION
219
220 220
PHASE 1 CONSUMER WEEK 1
WEEK 1
THREE
CONSUMER
PHASE
PHASE 1
221
222 Fig. 10.1 222
PHASE 1 CONSUMER WEEK 1
WEEK 1
PACKAGE DEVELOPMENT
CONSUMER
WEEK 10
PHASE 1
PHASE 3
223
Throughout the research process, the trend concept had been explored and developed to a coherent and refined concept that had evolved from the initial lifestyle trend. However, throughout this development, the concept had remained unnamed. It was essential that the name was striking and impactful but also gave insight to the concept that was to be discovered. Considering the key aspects of an understanding of nature, reverting to more traditional lifestyles and a nod towards equality and activism, a number of potential names were
brainstormed. From balance and equilibrium to revival and reinvent, the initial brainstorm presented concept names that were almost too obvious in a sense. After further thought, I began to consider the idea of origins as that not only incorporates the notion of tradition and heritage but also conveys the idea of embracing culture and therefore infers celebrating diversity. By naming the concept, I feel all the dimensions have combined to create this coherent concept that could be applicable both to the brand and across the industry.
WEEK 10 PHASE 3
PA C K A G E D E V E L O P M E N T
TREND CONCEPT
224
EXPLORATION
impactful yet professional aesthetic. Additionally, when experimenting with layout, I was sure not to underestimate the power of white space on the page as simple, grid formats can communicate professionalism and the desired simplicity. However, black text on a white page felt a little lacklustre and underpresented; however, I did not want the page to appear decorated with no purpose. Therefore, as the package was exploring colours and mood images, I attempted to emphasise the colours used across the package. I therefore trialled using these colours within the layout which led to the underlining of titles with the feature colours of the spread.
PHASE 3
DEVELOPMENT
PA C K A G E D E V E L O P M E N T
The simplicity of the Nobodyâ&#x20AC;&#x2122;s Child branding is to be reflected in the trend package so as to create a document consistent with the brand. In order to achieve this, I considered typography and layout in depth. Although the typographic logo of the brand boasts a serif font, I felt that the simplicity of the trend concept called for a sans serif font. Adhering to the brandâ&#x20AC;&#x2122;s chosen body font, I therefore opted for a san serif font that lent an air of sophistication. Furthermore, when considering pictorial layout, again simplicity was key. I felt that large, high-quality images would communicate the intended message more successfully so opted for full page images for an
WEEK 10
TREND PACKAGE
225
226
Fig. 10.2
PHASE 3 PA C K A G E D E V E L O P M E N T WEEK 10
and quality of images chosen further enhance this effect, communicating the natural and vintage aspects of the trend effectively through mood and product images. Furthermore, the name choice for the concept immediately infers the overall mood and ideology that form the foundation of the trend concept. I believe that this process of creating and developing an effective layout for the package has proved extremely beneficial and will allow me, next week, to continue to merge the information and visual aspects of the trend.
PA C K A G E D E V E L O P M E N T
I feel that the exploration of layout in preparation for the trend package, has led to appropriate visual communications with high quality pictures and an effective style that is not only easy to read but translates the brand identity and the theme of the trend concept. Consistency across brand documentation is of extreme importance for both professionalism and recognition. However, I feel that this consistency did not hinder the visual communication for the trend identity. Additionally, the choice
WEEK 10
WEEK TEN
PHASE 3
REFLECTION
227
228 22811.1 Fig.
PHASE 1 CONSUMER WEEK 1
WEEK 1
FINALISATION
CONSUMER
WEEK 11
PHASE 1
PHASE 3
229
In a similar manner, I continued developing and finalising the trend package as last week, cumulating the research explored in this journal and refining it to a comprehensive summary of the trend, with a professional edge, that is easily read and understood. Whilst I had large amounts of information to include and cover, I did not want it
to appear almost essay-like with huge amounts of text that overwhelmed the reader. Therefore, I was careful to ensure that the text was well spaced and balanced with images and effective use of white space. This ensured that key points of the text were not missed or skimmed over as well as improving the visual appeal and aesthetics of the document.
WEEK 11 PHASE 3
PA C K A G E F I N A L I S AT I O N
CONTINUED PACKAGE
230
DEVELOPMENT
and improving the success of the collection. Upon completion, I believe that I had utilised skills learnt, not just from this module, but from my studies across the two years resulting in a professional and informed package. I believe that, although at points I had been clouded by confusion, I had followed my research and findings, allowing them to lead me through the process which was extremely effective. Furthermore, a slightly more experimental and open-minded attitude has allowed me to explore avenues of my creativity throughout the process that I perhaps may not have done had I stuck to a more systematic approach.
PHASE 3
REFLECTION
PA C K A G E F I N A L I S AT I O N
In the lead-up to completion of the trend package, I was sure to maintain the same standard of professionalism that I had already communicated across both the journal and trend package. Furthermore, I wanted to ensure that transparancy, a fundamental element of the trend concept, was being proposed and introduced despite the fact that this is a less physical or tangible aspect of the trend. Therefore, this was included in an experiential section ensuring that when this trend concept was theoretically realised consumers expectations of the retail experience were being met, therefore increasing the success of the trend collection
WEEK 11
WEEK ELEVEN
231
232 232
PHASE 1 CONSUMER WEEK 1
WEEK 1
REFLECTION
CONSUMER
CONCLUSION
PHASE 1 233
REFLECTION C O N C LU S I O N SUMMARY 234
EVALUATIVE Overall, I believe that the Nobodyâ&#x20AC;&#x2122;s Child Origins collection has embodied the lifestyle trend of Dynamic Dissociation, considered the consumersâ&#x20AC;&#x2122; wants and satisfied the existing business model of the brand and therefore has proven its potential for the upcoming season, and the ever-increasing shift to sustainability in the retail industry. I feel that I have balanced creativity, innovation and originality with appropriate contextualisation and justification and have ensured that no aspect of the collection appears too new or novel and therefore not appeal to the majority of consumers. I believe that the extent of the research considered, across both semester one and semester two, has lead to an extremely informed and well-justified collection that places consideration and emphasis on a number of different aspects of contemporary
society. Additionally, since identifying Dynamic Dissociation as an emerging lifestyle trend in December, I have seen references to its ideals in news segments, WGSN trend reports and out in society which not only validates last semesterâ&#x20AC;&#x2122;s findings and rewards my research and work but proves the power behind the trend. I have begun to fully understand the scope and extent that a lifestyle trend can have and how impactful the resulting consequences can be. Overall, despite my concerns, doubts and worries across the development of the trend and trend package, I believe I have created a piece of work that I not only take pride in, but would take into industry to demonstrate my capabilities both in academic research, and in my ability with visual communications and presentation softwares such as InDesign and Photoshop.
CONCLUSION
REFLECTION
SUMMARY
quite challenging learning curve that I believe I have experienced throughout the process, is learning to step back from the end result. Previously, my work ethic has been extremely focused on simply the end result, rather than the process or journey, and at the beginning of the module I found myself confused and somewhat panicked at firstly the inability to identify the end result and then being encouraged to research without an end result insight. However, throughout the module, I have removed myself from this mind frame and have seen how my work has come together successfully despite my initial concerns. I feel that my work both in this module, other modules and in the future, have and will benefit from this new-found appreciation for wider research and contextualisation and the ability to remove my focus from the end result, and instead develop a truly informed journey towards defining the end result.
C O N C LU S I O N
My overwhelming discovery throughout the entire process, from identifying Dynamic Dissociation as a trend, to defining the concept and creating an appropriate collection, is the extent to which trend forecasting is defining the industry. Whilst I was aware of the influence that contextualising factors had on fashion, I had underestimated the scope and extent of their impact. As a consumer it can be easy to disregard the process behind the creation of a garment or collection and it can be quite astounding to think that a vintageinspired floral print wrap blouse is a result of Trumpâ&#x20AC;&#x2122;s election, Brexit, the sustainability focus and growing discontent, yet when it is explored and detailed in the depth that has been achieved across the academic year, the connections seem apparent and logical. The process has taught me to be more considerate of factors outside of the discipline and to look at the bigger picture before focusing in. Furthermore, a
REFLECTION
PROCESS
235
236 236
PHASE 1 CONSUMER WEEK 1
WEEK 1
CONSUMER
REFERENCES
PHASE 1
237
WEEK 1 CONSUMER PHASE 1 238 238
REFERENCES
REFERENCE LIST
PHASE 1
WEEK ONE BBC. 2017. ‘Youthquake’ declared word of the year by Oxford Dictionaries. BBC News. [Online]. 15 December. [Accessed 25 January 2018]. Available from: http://www. bbc.co.uk/news/uk-42361859
Dodson, K. 2015. Gendered Activism: A Cross-National View on Gender Differences in Protest Activity. Social Currents. 2(4), pp.377-392 Elkin, V. 2018. Instagram profile. [Online]. [Accessed 25 January 2018]. Available from: https://www.instagram.com/ veereallylikestea/?hl=en
REFERENCE LIST
Cain, S. 2017. ‘Youthquake’ named 2017 word of the year by Oxford Dictionaries. The Guardian. [Online]. 15 December. [Accessed 25 January 2018]. Available from: https://www.theguardian.com/books/2017/dec/15/youthquakenamed-2017-word-of-the-year-by-oxford-dictionaries
Elliot, M., Fairweather, I., Olsen, W. and Pampaka, M. 2016. A Dictionary of Social Research Methods. Oxford: Oxford University Press.
Rogers, E. M. 2003. Diffusion of Innovations. 5th ed. New York City: Free Press. p.210, p.263
REFERENCES
Oxford Dictionaries. 2018. Youthquake definition. [Online]. [Accessed 25 January 2018]. Available from: https://en.oxforddictionaries.com/definition/youthquake
239
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Rudgard, O. 2017. Youthquake is 2017’s word of the year after Jeremy Corbyn’s election campaign. The Telegraph. [Online]. 15 December [Accessed 25 January 2018]. Available from: http://www.telegraph.co.uk/ news/2017/12/15/youthquake-2017s-word-year-jeremycorbyns-election-campaign/
REFERENCES
REFERENCE LIST
WEEK TWO
240
Armstrong, A. 2016. The rise of athleisure: how the highstreet is cashing in on office-to-gym wear. The Telegraph. [Online]. 17 September. [Accessed 1 February 2018]. Available from: http://www.telegraph.co.uk/business/2016/09/17/therise-of-athleisure-how-the-high-street-is-cashing-in-onoffi/ Francis, A. 2014. I boycotted Primark after the tragedy of Rana Plaza for a more ethical wardrobe. The Guardian. [Online]. 24 April. [Accessed 1 February 2018]. Available from: https://www.theguardian.com/commentisfree/2014/ apr/24/boycotted-primark-rana-plaza-ethical-wardrobe Nobody’s Child. 2016. About Us. [Online]. [Accessed 1 February 2018]. Available from: https://www.nobodyschild. com/about-us/ Nobody’s Child. 2016. Nobody’s Child is heading to Topshop. [Online]. [Accessed 1 February 2018]. Available from: https://www.nobodyschild.com/magazine/nobodys-child-isheading-to-topshop/
PHASE 1
The Guardian. 2014. Corporate transparency: why honesty is the best policy. [Online]. [Accessed 8 February 2018]. Available from: https://www.theguardian.com/sustainable-business/corporate-transparency-honesty-best-policy Nobodyâ&#x20AC;&#x2122;s Child. 2016. About Us. [Online]. [Accessed 8 February 2018]. Available from: https://www.nobodyschild. com/about-us
REFERENCE LIST
WEEK THREE
REFERENCES 241
PHASE 2 REFERENCE LIST REFERENCES 242
WEEK FOUR Brown, H. 2017. What works in experiential retail. Drapers. [Online]. 13 December. [Accessed 19 February 2018]. Available from: https://www.drapersonline.com/business-operations/stores/what-works-in-experiential-retail/7027948.article Conca, J. 2015. Making climate change fashionable â&#x20AC;&#x201C; the garment industry takes on global warming. Forbes. [Online]. 3 December. [Accessed 19 February 2018]. Available from: https://www.forbes.com/sites/jamesconca/2015/12/03/ making-climate-change-fashionable-the-garment-industry-takes-on-global-warming/#726cd4f79e41 Jahshan, E. 2018. Kering and H&M crowned most sustainable fashion firms. Retail Gazette. [Online]. 25 January. [Accessed 19 February 2018]. Available from: https://www. retailgazette.co.uk/blog/2018/01/kering-hm-most-sustainable-fashion-corporate-knights-global-100-index/ Nobodyâ&#x20AC;&#x2122;s Child. 2018. Instagram profile. [Online]. [Accessed 15 February 2018]. Available from: https://www. instagram.com/nobodyschild/?hl=en Sarial-Abi, G., Vohs, K. D., Hamilton, R. and Ulqinaku, A. 2017. Stitching time: Vintage consumption connects the past, present, and future. Journal of Consumer Psychology. 27(2), pp.182-194 Turner, Z. 2017. Book publishers go back to basics. The Wall Street Journal. [Online]. 14 October. [Accessed 19 February 2018]. Available from: https://www.wsj.com/articles/book-publishers-go-back-to-basics-1507983856
Boddy, J. 2017. Women’s Colour S/S 19: Creative Manifesto. [Online]. [Accessed 22 February 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/ board_viewer/#/73438/page/1
PHASE 2
WEEK FIVE
Boddy, J. 2017. Women’s Colour S/S 19: In Touch. [Online]. [Accessed 22 February 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/board_ viewer/#/73434/page/1
Craggs, H. 2018. Commercial Colour Update S/S 19 – Women & Young Women. [Online]. [Accessed 22 February 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/ content/board_viewer/#/77453/page/1
WEEK SIX
Wharton, I. 2017. Prints & Graphics S/S 19: Artful Craft – Common Ground. [Online]. [Accessed 1 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/ content/board_viewer/#/74184/page/1
REFERENCES
Watkins, H. 2017. Prints & Graphics S/S 19: Meadow Flora – Common Ground. [Online]. [Accessed 1 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/ content/board_viewer/#/74184/page/1
REFERENCE LIST
Boddy, J. 2018. Women’s Colour S/S 19: Common Ground. [Online]. [Accessed 22 February 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/board_ viewer/#/73433/page/1
243
PHASE 2
Wharton, I. and Watkins, H. 2017. Prints & Graphics S/S 19: Hallucinogenic Blooms – In Touch. [Online]. [Accessed 1 March 2018]. Available from: https://0-www-wgsn-com. wam.leeds.ac.uk/content/board_viewer/#/74307/page/1
REFERENCE LIST
Wharton, I. and Watkins, H. 2017. Prints & Graphics S/S 19: Cellular Nature – In Touch. [Online]. [Accessed 1 March 2018]. Available from: https://0-www-wgsn-com.wam. leeds.ac.uk/content/board_viewer/#/74479/page/1 Wharton, I. and Watkins, H. 2017. Prints & Graphics S/S 19: Love Revolution – Creative Manifesto. [Online]. [Accessed 1 March 2018]. Available from: https://0-www-wgsncom.wam.leeds.ac.uk/content/board_viewer/#/74668/page/1
WEEK SEVEN Casey, C. 2018. Details & Trims Transseasonal S/S 19. [Online]. [Accessed 1 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/board_ viewer/#/78294/page/1
REFERENCES
Nobody’s Child. 2018. Dresses. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing/dresses.html
244
Nobody’s Child. 2018. Jumpsuits. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild.com/clothing/jumpsuits-playsuits.html Nobody’s Child. 2018. Knitwear. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing/knitwear.html
Nobody’s Child. 2018. Tops. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild.com/ clothing/tops.html
PHASE 2
Nobody’s Child. 2018. Skirts. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild.com/ clothing/skirts.html
Palmer, H. and Skliarova, J. and the WGSN Materials, Textiles & Knitwear Team. 2017. Women’s Textiles Forecast S/S 19: Common Ground. [Online]. [Accessed 1 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/ content/board_viewer/#/73240/page/1
Palmer, H. and Skliarova, J. and the WGSN Materials, Textiles & Knitwear Team. 2017. Women’s Textiles Forecast S/S 19: In Touch. [Online]. [Accessed 1 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/ content/board_viewer/#/73241/page/1
Palmer, H. and the WGSN Materials, Textiles & Knitwear Team. 2017. Women’s Knit & Jersey Forecast S/S 19: Creative Manifesto. [Online]. [Accessed 1 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/ content/board_viewer/#/73187/page/1
REFERENCES
Palmer, H. and the WGSN Materials, Textiles & Knitwear Team. 2017. Women’s Knit & Jersey Forecast S/S 19: Common Ground. [Online]. [Accessed 1 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/ board_viewer/#/73184/page/1
REFERENCE LIST
Palmer, H. and Skliarova, J. and the WGSN Materials, Textiles & Knitwear Team. 2017. Women’s Textiles Forecast S/S 19: Creative Manifesto. [Online]. [Accessed 1 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds. ac.uk/content/board_viewer/#/73243/page/1
245
PHASE 2
Palmer, H. and the WGSN Materials, Textiles & Knitwear Team. 2017. Women’s Knit & Jersey Forecast S/S 19: In Touch. [Online]. [Accessed 1 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/board_ viewer/#/73185/page/1
REFERENCES
REFERENCE LIST
WEEK EIGHT
246
Casey, C. 2017. Key Items S/S 19: Women’s Knitwear. [Online]. [Accessed 15 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/board_ viewer/#/74259/page/1 Casey, C. 2017. Design Development S/S 19: Knitwear. [Online]. [Accessed 15 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/board_ viewer/#/74591/page/1 Sinclair, R. 2017. Design Development S/S 19: Cut & Sew. [Online]. [Accessed 15 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/board_ viewer/#/75182/page/1 Sinclair, R. 2017. Key Items S/S 19: Women’s & Young Women’s Apparel. [Online]. [Accessed 15 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/ content/board_viewer/#/73761/page/1 Sinclair, R. 2017. Design Development S/S 19: Dresses & Skirts. [Online]. [Accessed 15 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/ board_viewer/#/74166/page/1
PHASE 2
Sinclair, R. 2017. Design Development S/S 19: Trousers & Shorts. [Online]. [Accessed 15 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/ board_viewer/#/74192/page/1
WEEK NINE Nobodyâ&#x20AC;&#x2122;s Child. 2018. Clothing. [Online]. [Accessed 19 April 2018]. Available from: https://www.nobodyschild. com/clothing.html
REFERENCES
WGSN. 2018. Image and Design Library. [Online]. [Accessed 19 April 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22f_limit%22%3A%205%2C%20%22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D
REFERENCE LIST
Sinclair, R. 2017. Design Development S/S 19: Woven Tops. [Online]. [Accessed 15 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/board_ viewer/#/74164/page/1
247
WEEK 1 CONSUMER PHASE 1 248 248
REFERENCES
FIGURE LIST
Cover image:
INTRODUCTION
COVER Nobodyâ&#x20AC;&#x2122;s Child. 2018. Instagram profile. [Online]. [Accessed 25 January 2018]. Available from: https://www.instagram.com/nobodyschild/?hl=en
INTRODUCTION Pinterest. 2018. Millennial protest. [Online]. [Accessed 25 January April 2018]. Available from: https:// www.pinterest.co.uk/search/pins/?q=millennial%20 protest&rs=typed&term_meta[]=millennial%7Ctyped&term_ meta[]=protest%7Ctyped
FIGURE LIST
Figure 0.1
Figure 0.2 Elkin, V. 2018. Instagram profile. [Online]. [Accessed 25 January 2018]. Available from: https://www.instagram.com/ veereallylikestea/?hl=en
Pinterest. 2018. Protest. [Online]. [Accessed 25 January 2018]. Available from: https://www.pinterest.co.uk/ search/pins/?q=protest&rs=typed&term_meta[]=protest%7Ctyped
REFERENCES
Figure 0.3
249
PHASE 1
WEEK ONE Figure 1.1 Nobodyâ&#x20AC;&#x2122;s Child. 2018. Looks for people to take casual pictures of you in. [Online]. [Accessed 25 January 2018]. Available from: https://www.nobodyschild.com/magazine/ looks-for-people-to-take-casual-pictures-of-you-in/ Figure 1.2
FIGURE LIST
Elkin, V. 2018. Instagram profile. [Online]. [Accessed 25 January 2018]. Available from: https://www.instagram.com/ veereallylikestea/?hl=en Figure 1.3 Elkin, V. 2018. Instagram profile. [Online]. [Accessed 25 January 2018]. Available from: https://www.instagram.com/ veereallylikestea/?hl=en Figure 1.4 Elkin, V. 2018. Instagram profile. [Online]. [Accessed 25 January 2018]. Available from: https://www.instagram.com/ veereallylikestea/?hl=en
REFERENCES
Figure 1.5
250
Elkin, V. 2018. Instagram profile. [Online]. [Accessed 25 January 2018]. Available from: https://www.instagram.com/ veereallylikestea/?hl=en Figure 1.6 Elkin, V. 2018. Instagram profile. [Online]. [Accessed 25 January 2018]. Available from: https://www.instagram.com/ veereallylikestea/?hl=en
PHASE 1
Figure 1.7 All images from: Elkin, V. 2018. Instagram profile. [Online]. [Accessed 25 January 2018]. Available from: https://www.instagram.com/veereallylikestea/?hl=en Figure 1.8
Figure 1.9 All images from: Wildi, J. 2018. Instagram profile. [Online]. [Accessed 25 January 2018]. Available from: https://www.instagram.com/jemimawildi/?hl=en Figure 1.10
FIGURE LIST
Elkin, V. 2018. Instagram profile. [Online]. [Accessed 25 January 2018]. Available from: https://www.instagram.com/ veereallylikestea/?hl=en
Wildi, J. 2018. Instagram profile. [Online]. [Accessed 25 January 2018]. Available from: https://www.instagram.com/ jemimawildi/?hl=en Figure 1.11
REFERENCES
Elkin, V. 2018. Instagram profile. [Online]. [Accessed 25 January 2018]. Available from: https://www.instagram.com/ veereallylikestea/?hl=en
251
PHASE 1
WEEK TWO Figure 2.1 Nobody’s Child. 2018. Retro Revival – How to wear classic prints in a contemporary way. [Online]. [Accessed 1 February 2018]. Available from: https://www.nobodyschild. com/magazine/how-to-wear-retro-prints-contemporary-way/ Figure 2.2
FIGURE LIST
All images from: Nobody’s Child. 2018. Instagram profile. [Online]. [Accessed 1 February 2018]. Available from: https://www.instagram.com/nobodyschild/?hl=en Figure 2.3 All images from: Nobody’s Child. 2018. Instagram profile. [Online]. [Accessed 1 February 2018]. Available from: https://www.instagram.com/nobodyschild/?hl=en Figure 2.4
REFERENCES
Nobody’s Child. 2018. Instagram profile. [Online]. [Accessed 1 February 2018]. Available from: https://www.instagram.com/nobodyschild/?hl=en
252
WEEK THREE Figure 3.1: Pinterest. 2018. Millennial protest. [Online]. [Accessed 8 February 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=millennial%20protest&rs=typed&term_ meta[]=millennial%7Ctyped&term_meta[]=protest%7Ctyped
Pinterest. 2018. Millennial protest. [Online]. [Accessed 8 February 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=millennial%20protest&rs=typed&term_ meta[]=millennial%7Ctyped&term_meta[]=protest%7Ctyped
PHASE 1
Figure 3.2
Figure 3.3 Original image. Figure 3.4
Figure 3.5 Original image. Figure 3.6
FIGURE LIST
Original image.
Nobody’s Child. 2018. Black Kimmy Ditsy Contrast Wrap Ruffle Top. [Online]. [Accessed 8 February 2018]. Available from: https://www.nobodyschild.com/clothing/tops/ black-kimmy-ditsy-contrast-wrap-ruffle-top.html Figure 3.7
REFERENCES
Nobody’s Child. 2018. #GirlCrush: A ‘day in the life’ with Sophia Rosemary & Phoebe Fox. [Online]. [Accessed 4 April 2018]. Available from: https://www.nobodyschild. com/magazine/girlcrush-sophia-rosemary-phoebe-fox/
253
PHASE 2
WEEK FOUR Figure 4.1 Nobody’s Child. 2018. Trending Now: The ‘Most’ Millennial Pink Places in London. [Online]. [Accessed 21 February 2018]. Available from: https://www.nobodyschild.com/magazine/most-millennial-pink-places-london/ Figure 4.2
FIGURE LIST
Nobody’s Child. 2018. Instagram profile. [Online]. [Accessed 21 February 2018]. Available from: https://www. instagram.com/nobodyschild/?hl=en Figure 4.3 All images from: Nobody’s Child. 2018. Instagram profile. [Online]. [Accessed 21 February 2018]. Available from: https://www.instagram.com/nobodyschild/?hl=en Figure 4.4 All images from: Nobody’s Child. 2018. Instagram profile. [Online]. [Accessed 21 February 2018]. Available from: https://www.instagram.com/nobodyschild/?hl=en
REFERENCES
Figure 4.5
254
All images from: Nobody’s Child. 2018. Instagram profile. [Online]. [Accessed 21 February 2018]. Available from: https://www.instagram.com/nobodyschild/?hl=en Figure 4.6 All images from: Nobody’s Child. 2018. Instagram profile. [Online]. [Accessed 21 February 2018]. Available from: https://www.instagram.com/nobodyschild/?hl=en
PHASE 2
Figure 4.7 All images from: Nobodyâ&#x20AC;&#x2122;s Child. 2018. Instagram profile. [Online]. [Accessed 21 February 2018]. Available from: https://www.instagram.com/nobodyschild/?hl=en Figure 4.8 All images from: Nobodyâ&#x20AC;&#x2122;s Child. 2018. Instagram profile. [Online]. [Accessed 21 February 2018]. Available from: https://www.instagram.com/nobodyschild/?hl=en
Pinterest. 2018. Vintage aesthetic. [Online]. [Accessed 21 February 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=vintage%20aesthetic&rs=typed&term_ meta[]=vintage%7Ctyped&term_meta[]=aesthetic%7Ctyped Figure 4.10
FIGURE LIST
Figure 4.9
Pinterest. 2018. Landscape. [Online]. [Accessed 21 February 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=landscape&rs=typed&term_meta[]=landscape%7Ctyped
Elkin, V. 2018. Instagram profile. [Online]. [Accessed 21 February 2018]. Available from: https://www.instagram.com/veereallylikestea/?hl=en
REFERENCES
Figure 4.11
255
PHASE 2
WEEK FIVE Figure 5.1 Pinterest. 2018. Landscape. [Online]. [Accessed 22 February 2018]. Available from: https://www.pinterest.co.uk/ search/pins/?q=landscape&rs=typed&term_meta[]=landscape%7Ctyped
FIGURE LIST
Figure 5.2 Pinterest. 2018. Fashion in nature. [Online]. [Accessed 22 February 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=Fashion%20in%20nature&rs=typed&term_ meta[]=Fashion%20in%20nature%7Ctyped Figure 5.3 Boddy, J. 2017. Women’s Colour S/S 19: Creative Manifesto. [Online]. [Accessed 22 February 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/ board_viewer/#/73438/page/1 Figure 5.4
REFERENCES
Boddy, J. 2017. Women’s Colour S/S 19: Creative Manifesto. [Online]. [Accessed 22 February 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/ board_viewer/#/73438/page/1
256
Figure 5.5 Boddy, J. 2017. Women’s Colour S/S 19: Creative Manifesto. [Online]. [Accessed 22 February 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/ board_viewer/#/73438/page/1
Boddy, J. 2018. Women’s Colour S/S 19: Common Ground. [Online]. [Accessed 22 February 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/board_ viewer/#/73433/page/1
PHASE 2
Figure 5.6
Figure 5.7
Figure 5.8 Boddy, J. 2017. Women’s Colour S/S 19: Creative Manifesto. [Online]. [Accessed 22 February 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/ board_viewer/#/73438/page/1
FIGURE LIST
Boddy, J. 2018. Women’s Colour S/S 19: Common Ground. [Online]. [Accessed 22 February 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/board_ viewer/#/73433/page/1
Figure 5.9 Boddy, J. 2018. Women’s Colour S/S 19: Common Ground. [Online]. [Accessed 22 February 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/board_ viewer/#/73433/page/1
Boddy, J. 2017. Women’s Colour S/S 19: In Touch. [Online]. [Accessed 22 February 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/board_ viewer/#/73434/page/1
REFERENCES
Figure 5.10
257
PHASE 2
Figure 5.11 Boddy, J. 2017. Women’s Colour S/S 19: In Touch. [Online]. [Accessed 22 February 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/board_ viewer/#/73434/page/1 Figure 5.12 Boddy, J. 2017. Women’s Colour S/S 19: In Touch. [Online]. [Accessed 22 February 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/board_ viewer/#/73434/page/1
REFERENCES
FIGURE LIST
Figure 5.13
258
Boddy, J. 2017. Women’s Colour S/S 19: In Touch. [Online]. [Accessed 22 February 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/board_ viewer/#/73434/page/1 Figure 5.14 Boddy, J. 2018. Women’s Colour S/S 19: Common Ground. [Online]. [Accessed 22 February 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/board_ viewer/#/73433/page/1
WEEK SIX Figure 6.1 Nobody’s Child. 2018. Up your Instagram game with these gorg London tiled floors. [Online]. [Accessed 1 March 2018]. Available from: https://www.nobodyschild.com/magazine/beautiful-london-tiled-floors-for-instagram/
Nobody’s Child. 2018. Instagram profile. [Online]. [Accessed 1 March 2018]. Available from: https://www.instagram.com/nobodyschild/?hl=en
PHASE 2
Figure 6.2
Figure 6.3 Wharton, I. and Watkins, H. 2017. Prints & Graphics S/S 19: Love Revolution – Creative Manifesto. [Online]. [Accessed 1 March 2018]. Available from: https://0-www-wgsncom.wam.leeds.ac.uk/content/board_viewer/#/74668/page/1
Wharton, I. and Watkins, H. 2017. Prints & Graphics S/S 19: Cellular Nature – In Touch. [Online]. [Accessed 1 March 2018]. Available from: https://0-www-wgsn-com.wam. leeds.ac.uk/content/board_viewer/#/74479/page/1 Figure 6.5
FIGURE LIST
Figure 6.4
Wharton, I. and Watkins, H. 2017. Prints & Graphics S/S 19: Hallucinogenic Blooms – In Touch. [Online]. [Accessed 1 March 2018]. Available from: https://0-www-wgsn-com. wam.leeds.ac.uk/content/board_viewer/#/74307/page/1
Wharton, I. and Watkins, H. 2017. Prints & Graphics S/S 19: Hallucinogenic Blooms – In Touch. [Online]. [Accessed 1 March 2018]. Available from: https://0-www-wgsn-com. wam.leeds.ac.uk/content/board_viewer/#/74307/page/1
REFERENCES
Figure 6.6
259
PHASE 2
Figure 6.7 Wharton, I. and Watkins, H. 2017. Prints & Graphics S/S 19: Hallucinogenic Blooms – In Touch. [Online]. [Accessed 1 March 2018]. Available from: https://0-www-wgsn-com. wam.leeds.ac.uk/content/board_viewer/#/74307/page/1 Figure 6.8
FIGURE LIST
Wharton, I. and Watkins, H. 2017. Prints & Graphics S/S 19: Hallucinogenic Blooms – In Touch. [Online]. [Accessed 1 March 2018]. Available from: https://0-www-wgsn-com. wam.leeds.ac.uk/content/board_viewer/#/74307/page/1 Figure 6.9 Wharton, I. 2017. Prints & Graphics S/S 19: Artful Craft – Common Ground. [Online]. [Accessed 1 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/ content/board_viewer/#/74184/page/1 Figure 6.10
REFERENCES
Watkins, H. 2017. Prints & Graphics S/S 19: Meadow Flora – Common Ground. [Online]. [Accessed 1 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/ content/board_viewer/#/74184/page/1
260
Figure 6.11 Watkins, H. 2017. Prints & Graphics S/S 19: Meadow Flora – Common Ground. [Online]. [Accessed 1 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/ content/board_viewer/#/74184/page/1
Watkins, H. 2017. Prints & Graphics S/S 19: Meadow Flora – Common Ground. [Online]. [Accessed 1 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/ content/board_viewer/#/74184/page/1
PHASE 2
Figure 6.12
Figure 6.13 Watkins, H. 2017. Prints & Graphics S/S 19: Meadow Flora – Common Ground. [Online]. [Accessed 1 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/ content/board_viewer/#/74184/page/1 Figure 6.14
WEEK SEVEN
FIGURE LIST
Nobody’s Child. 2018. Stripes. [Online]. [Accessed 1 March 2018]. Available from: https://www.nobodyschild. com/trends/stripes.html
Figure 7.1
Figure 7.2 Nobody’s Child. 2018. The 5 styles from AW16 that prove you need to rethink pink. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild.com/magazine/aw16-pink-fashion-style-guide/
REFERENCES
Pinterest. 2018. Fabric texture. [Online]. [Accessed 8 March 2018]. Available from: https://www.pinterest.co.uk/ search/pins/?q=fabric%20texture&rs=typed&term_meta[]=fabric%7Ctyped&term_meta[]=texture%7Ctyped
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Figure 7.3 Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html Figure 7.4 Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html
FIGURE LIST
Figure 7.5 Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html Figure 7.6 Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html Figure 7.7
REFERENCES
Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html
262
Figure 7.8 Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html
Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html
PHASE 2
Figure 7.9
Figure 7.10 Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html Figure 7.11
Figure 7.12 Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html
FIGURE LIST
Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html
Figure 7.13
Figure 7.14 Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html
REFERENCES
Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html
263
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Figure 7.15 Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html Figure 7.16 Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html
FIGURE LIST
Figure 7.17 Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html Figure 7.18 Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html Figure 7.19
REFERENCES
Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html
264
Figure 7.20 Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html
Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html
PHASE 2
Figure 7.21
Figure 7.22 Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html Figure 7.23
Figure 7.24 Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html
FIGURE LIST
Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html
Figure 7.25 Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html
Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html
REFERENCES
Figure 7.26
265
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Figure 7.27 Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html Figure 7.28 Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html
FIGURE LIST
Figure 7.29 Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html Figure 7.30 Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html Figure 7.31
REFERENCES
Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html
266
Figure 7.32 Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html
Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html
PHASE 2
Figure 7.33
Figure 7.34 Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html
Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 March 2018]. Available from: https://www.nobodyschild. com/clothing.html Figure 7.36 Pinterest. 2018. Fabric texture. [Online]. [Accessed 8 March 2018]. Available from: https://www.pinterest.co.uk/ search/pins/?q=fabric%20texture&rs=typed&term_meta[]=fabric%7Ctyped&term_meta[]=texture%7Ctyped
FIGURE LIST
Figure 7.35
Figure 7.37
REFERENCES
Palmer, H. and Skliarova, J. and the WGSN Materials, Textiles & Knitwear Team. 2017. Women’s Textiles Forecast S/S 19: Common Ground. [Online]. [Accessed 8 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/ content/board_viewer/#/73240/page/1
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Figure 7.38 Palmer, H. and Skliarova, J. and the WGSN Materials, Textiles & Knitwear Team. 2017. Women’s Textiles Forecast S/S 19: Creative Manifesto. [Online]. [Accessed 8 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds. ac.uk/content/board_viewer/#/73243/page/1
FIGURE LIST
Figure 7.39 Palmer, H. and Skliarova, J. and the WGSN Materials, Textiles & Knitwear Team. 2017. Women’s Textiles Forecast S/S 19: In Touch. [Online]. [Accessed 8 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/ content/board_viewer/#/73241/page/1 Figure 7.40 Palmer, H. and the WGSN Materials, Textiles & Knitwear Team. 2017. Women’s Knit & Jersey Forecast S/S 19: Common Ground. [Online]. [Accessed 8 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/ board_viewer/#/73184/page/1
REFERENCES
WEEK EIGHT
268
Figure 8.1 Nobody’s Child. 2018. Instagram profile. [Online]. [Accessed 16 March 2018]. Available from: https://www.instagram.com/nobodyschild/?hl=en
Sinclair, R. 2017. Design Development S/S 19: Cut & Sew. [Online]. [Accessed 15 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/board_ viewer/#/75182/page/1
PHASE 2
Figure 8.2
Figure 8.3 Sinclair, R. 2017. Design Development S/S 19: Cut & Sew. [Online]. [Accessed 15 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/board_ viewer/#/75182/page/1
Sinclair, R. 2017. Design Development S/S 19: Woven Tops. [Online]. [Accessed 15 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/board_ viewer/#/74164/page/1 Figure 8.5
FIGURE LIST
Figure 8.4
Casey, C. 2017. Design Development S/S 19: Knitwear. [Online]. [Accessed 15 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/board_ viewer/#/74591/page/1 Figure 8.6
REFERENCES
Casey, C. 2017. Design Development S/S 19: Knitwear. [Online]. [Accessed 15 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/board_ viewer/#/74591/page/1
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Figure 8.7 Casey, C. 2017. Key Items S/S 19: Womenâ&#x20AC;&#x2122;s Knitwear. [Online]. [Accessed 15 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/board_ viewer/#/74259/page/1
FIGURE LIST
Figure 8.8 Sinclair, R. 2017. Design Development S/S 19: Dresses & Skirts. [Online]. [Accessed 15 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/ board_viewer/#/74166/page/1 Figure 8.9 Sinclair, R. 2017. Design Development S/S 19: Dresses & Skirts. [Online]. [Accessed 15 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/ board_viewer/#/74166/page/1 Figure 8.10
REFERENCES
Sinclair, R. 2017. Design Development S/S 19: Trousers & Shorts. [Online]. [Accessed 15 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/ board_viewer/#/74192/page/1
270
Figure 8.11 Sinclair, R. 2017. Design Development S/S 19: Trousers & Shorts. [Online]. [Accessed 15 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/ board_viewer/#/74192/page/1
Sinclair, R. 2017. Design Development S/S 19: Trousers & Shorts. [Online]. [Accessed 15 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/ board_viewer/#/74192/page/1
PHASE 2
Figure 8.12
Figure 8.13
Figure 8.14 Pinterest. 2018. Vintage aesthetic. [Online]. [Accessed 16 March 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=vintage%20aesthetic&rs=typed&term_ meta[]=vintage%7Ctyped&term_meta[]=aesthetic%7Ctyped
FIGURE LIST
Sinclair, R. 2017. Design Development S/S 19: Trousers & Shorts. [Online]. [Accessed 15 March 2018]. Available from: https://0-www-wgsn-com.wam.leeds.ac.uk/content/ board_viewer/#/74192/page/1
WEEK NINE H&M. 2018. Instagram profile. [Online]. [Accessed 16 March 2018]. Available from: https://www.instagram.com/ hm/?hl=en
REFERENCES
Figure 9.1
271
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Figure 9.2 Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
FIGURE LIST
Figure 9.3 Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
REFERENCES
Figure 9.4
272
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
PHASE 2
Figure 9.5
Figure 9.6
FIGURE LIST
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original Figure 9.7
REFERENCES
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
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Figure 9.8 Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
FIGURE LIST
Figure 9.9 Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
REFERENCES
Figure 9.10
274
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
PHASE 2
Figure 9.11
Figure 9.12
FIGURE LIST
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original Figure 9.13
REFERENCES
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
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Figure 9.14 Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
FIGURE LIST
Figure 9.15 Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
REFERENCES
Figure 9.16
276
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
PHASE 2
Figure 9.17
Figure 9.18
FIGURE LIST
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original Figure 9.19
REFERENCES
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
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Figure 9.20 Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
FIGURE LIST
Figure 9.21 Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
REFERENCES
Figure 9.22
278
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
PHASE 2
Figure 9.23
Figure 9.24
FIGURE LIST
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original Figure 9.25
REFERENCES
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
279
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Figure 9.26 Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
FIGURE LIST
Figure 9.27 Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
REFERENCES
Figure 9.28
280
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
PHASE 2
Figure 9.29
Figure 9.30
FIGURE LIST
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original Figure 9.31
REFERENCES
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
281
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Figure 9.32 Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
FIGURE LIST
Figure 9.33 Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
REFERENCES
Figure 9.34
282
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
PHASE 2
Figure 9.35
Figure 9.36
FIGURE LIST
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original Figure 9.37
REFERENCES
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
283
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Figure 9.38 Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
FIGURE LIST
Figure 9.39 Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
REFERENCES
Figure 9.40
284
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
PHASE 2
Figure 9.41
Figure 9.42
FIGURE LIST
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original Figure 9.43
REFERENCES
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
285
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Figure 9.44 Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
FIGURE LIST
Figure 9.45 Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
REFERENCES
Figure 9.46
286
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
PHASE 2
Figure 9.47
Figure 9.48
FIGURE LIST
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original Figure 9.49
REFERENCES
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
287
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Figure 9.50 Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
FIGURE LIST
Figure 9.51 Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
REFERENCES
Figure 9.52
288
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
PHASE 2
Figure 9.53
Figure 9.54
FIGURE LIST
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original Figure 9.55
REFERENCES
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
289
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Figure 9.56 Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
FIGURE LIST
Figure 9.57 Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
REFERENCES
Figure 9.58
290
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original Figure 9.60
FIGURE LIST
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
PHASE 2
Figure 9.59
Figure 9.61
REFERENCES
Source image: WGSN. Image and Design Library. [Online]. [Accessed 16 March 2018]. Available from: https://0-wwwwgsn-com.wam.leeds.ac.uk/search/search.php?startOver=%2Fsearch%2Fdesign_library#%7B%22start%22%3A%200%2C%20 %22limit%22%3A%2050%2C%20%22initial%22%3A%20true%2C%20 %22logSearch%22%3A%20true%2C%20%22f_limit%22%3A%205%2C%20 %22q%22%3A%20%22%22%2C%20%22facets%5B%5D%22%3A%20%5B%22classif_name%7C43042%22%5D%7D Editing: Original
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PHASE 3
WEEK TEN Figure 10.1 Pinterest. 2018. Fashion in nature. [Online]. [Accessed 26 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=Fashion%20in%20nature&rs=typed&term_ meta[]=Fashion%20in%20nature%7Ctyped
FIGURE LIST
Figure 10.2 Pinterest. 2018. Fashion in nature. [Online]. [Accessed 26 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=Fashion%20in%20nature&rs=typed&term_ meta[]=Fashion%20in%20nature%7Ctyped
WEEK ELEVEN Figure 11.1
REFERENCES
Nobody’s Child. 2018. Who you callin’ basic? How to be (new) casual. [Online]. [Accessed 3 May 2018]. Available from: https://www.nobodyschild.com/magazine/who-you-callin-basic-how-to-be-new-casual/
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COVER IMAGE Back Cover Image Nobody’s Child. 2018. Instagram profile. [Online]. [Accessed 3 May 2018]. Available from: https://www.instagram.com/nobodyschild/?hl=en
DESN2365 Trends and Forecasting BA(Hons) Fashion Marketing Second Year Semester 2 May 2018
WEEK 1 CONSUMER PHASE 1 294 294
Ca roline Helen Davies. 201009275