Nobody's Child Origins Trend Package

Origins.

SS19 Trend Package 1

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Fig 2.

Contents.

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Trend.

Consumer.

Brand.

Concept.

Mood.

Colour.

Pattern.

Silhouettes.

Fabric Range.

Experience.

Conclusion.

References.

Figures.

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Fig 3.

Fig 4.

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Trend.

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Fig 5.

“Never doubt that a small group of thoughtful, committed citizens can change the world.�

Margaret Mead

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Fig 6.

“Indeed, it is the only thing that ever has.�

Margaret Mead

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Dynamic. “marked by usually continuous and productive activity or change�

Merriam-Webster, 2018

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Dissociation. “the act or process of separating from association or union�

Merriam-Webster, 2018

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Fig 7.

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Overview.

Dynamic Dissociation expresses the current mood of discontent and youth power, felt across Western Culture. The deep-rooted desire for independence and freedom from control has not just developed from the recent political upheaval, instead these events have accelarated 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 more successful society.

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Emergence.

Encapsulating the evergrowing political unrest and 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 increasing need for transparency and the growing activism movement in Millennials and Generation Z’s illustrates

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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 contemporar y society.

Fig 9.

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Consumer.

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Fig. 12

“I alone cannot change the world, but I can cast a stone across the waters to create many ripples.�

Mother Teresa

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Overview.

A powerful group, these youths are loud and opinionated with little inhibition about expressing their discontent or disapproval. Often seen engaging in forms of activism whether that be active protests, or disassociating themselves from businesses and organisations that do not agree with their morals, the consumers’ consumption and purchase behaviour can be considered a form of activism. Educated, cultured and aware, their search for complete transparency

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in society and business is already driving great change.

However, the Dynamic Dissociation consumers can be fur ther segmented into two groups: the Youthquakers and the Imitators, who are differentiated by their motivations for involvement. Whilst the Youthquakers’ motivations are more moral and truthful and the Imitators’ are more appearance based; their great consumption power should not be underestimated.

Fig. 13

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Fig. 14

Youthquake. “a significant cultural, political or social change arising from the actions or influence of young people�

Oxford Dictionaries, 2018

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Youthquakers.

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. 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-tobasics approach to life, the Youthquakers are opting for more face-to-face interaction and attempting a more natural

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and sustainable lifestyle such as Veganism and second-hand shoppping. An extension of conscious consumption, Youthquakers are intelligent and therefore make extremely informed decisions about their consumption behaviour. They refuse to associate themselves with any organisation that abuses these morals. Once a business has demonstrated an ethos similar to the Youthquaker’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.

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Fig. 15

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Fig. 16

Age. 17-25 years old.

Employment. Par t-time. Hospitality or retail.

Income. Ver y limited disposable income.

Education. University level.

Living. Shared housing with friends.

Lifestyle. Busy. Social.

Activism. Protests. Volunteering. Petitions.

Hobbies. Activism. Travel. Socialising.

Shopping. Vintage and second hand sales.

Other brands. Urban Outfitters. Rokit. Beyond Retro.

Style. Vintage. Eclectic.

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Victoria.

A 22-year-old four th year Theatre Studies student at the University of Kent, Victoria uses her passion for drama and theatre to raise, highlight and comment on impor tant issues present in society. Her recent employment with the National Citizen Ser vice scheme allows Victoria to earn whilst following her passion for the community. Fur thermore, Victoria commits to her concern for animal welfare by adopting an entirely vegan lifestyle, 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, women’s rights and equality. Her sense of style embodies these dimensions of her personality, using vintage clothing and statement slogans to abide by her strong morals.

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Fig. 17

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Fig. 18

“nothing like a big cuppa equali-tea” Victoria Elkin, 2018

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Fig. 19

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Fig. 20

Imitate. “to be or to appear like; to follow as a pattern, model, or example�

Oxford Dictionaries, 2018

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Imitators.

More concerned with appearing to be taking a stand than having genuine passion for such causes, the Imitators are all about their appearance both physically and personality-wise.

Less concerned with vintage, sustainable and conscious consumption, the Imitators only require that their clothes and other lifestyle products look second hand and vintage.

Typically more career-driven

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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. Despite their peer and appearance related motivations, the Imitators are still an influential consumer, with huge consumption power and therefore a worthy market.

Fig. 21

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Fig. 22

Age. 17-25 years old.

Employment. Par t-time. Retail. Or Full time. Graduate job.

Income. Ver y limited disposable income.

Education. University level.

Living. Shared housing with friends.

Lifestyle. Revolves around social life.

Activism. Petitions if any.

Hobbies. Socialising. Fashion. Spor ts.

Shopping. Online. In-store.

Other brands. Urban Outfitters. ASOS. Topshop.

Style. Eclectic. Edgy. Retro.

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Fig. 23

Jemima.

A 20-year-old second year Geography student at the University of Leeds, Jemima has embraced student life, par ticularly the accompanying social aspect. Often seen at the pub with friends, Jemima focuses a lot of energy on her appearance and how her friends and peers think of her. Relying on student loans and parental financial suppor t, Jemima’s low income has led to her being more scrupulous with money, but with what disposable income she has she chooses to spend it on clothing and socialising. A result of peer influence, Jemima has attempted a number of sustainable diets, from veganism to pescatarianism, but each was shor t-lived as she quickly returned to a meat-based diet.

Her fashion influences come from around her, her friends and peers, which has led to a shift to an eclectic and retro style, a vast difference from her style before university.

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Fig. 24

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“friends, family and my social life are the most important things to me�

Jemima Wildi, 2018

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Brand.

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Fig. 27

“A brand is the set of expectations, memories, stories and relationships.�

Seth Godin

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Fig. 28

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Considered.

“Tomorrow’s fashion for you.

Today’s focus for us.”

Nobody’s Child

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Fig. 30

Conscience.

“Low on costs.

High on values.”

Nobody’s Child

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Fig. 31

Confidence.

“Small team.

Big vision.”

Nobody’s Child

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Overview.

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, 2018). Having to compromise between increased

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sustainability and low cost, the brand operate 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. Coupled with their vintage appeal, Nobody’s Child abides by the direction of Dynamic Dissociation, leading and updating fast-fashion to the contemporary demands of a discontent society.

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Fig. 32

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Branding.

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 dissasociation; ‘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

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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 retro paper-bag style packaging.

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Fig. 34

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Concept.

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Fig. 40

“A people without the knowledge of their past history, origin and culture is like a tree without roots.�

Marcus Gar vey

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Fig. 41

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Origin. “the point or place where something begins, arises or is derived�

Oxford Dictionaries, 2018

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Inspiration.

Closing in on the notion of looking backwards to move forwards, the concept of Origins lies in rever ting to more traditional ways of life in order to improve sustainability, both environmentally and socially. This back-tobasics concept nods to nature, the true origin of the human form as well as to more recent histor y.

Aside from material and appearance influences, the concept also allows for consideration of historic manufacturing methods and a more ar tisan approach to

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industr y.

Fur thermore, the additional community understanding and feel of the concept allows for greater cultural understanding and influence, as focus is drawn to heritage and histor y.

Collaborative independence considers a more localised approach to encourage sustainability, rather than vast and rapid globalisation. Rever ting to our origins could build a future of hope and prosperity in a world currently headed for gloom.

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“Look deep into nature, and then you will understand everything better.�

Alber t Einstein

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Application.

As an online, budget fashion brand, Nobody’s Child could not suddenly rever t to a process of handcrafted, entirely natural products whilst maintaining their ethos of affordability and inclusion.

However, they can encapsulate the mood and aura of the trend and concept so to appeal to their consumers, as a forwardthinking and passionate brand. By taking colour and pattern inspiration from the natural world,

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the brand can meet the desire for naturality and the sustaianble appearance, despite their manufacturing methods. Fur thermore, a continued nod to vintage perfectly reflects this idea of rever ting to origins as inspiration is gained from the past. The brand is able to meet these new expectations without compromising or altering their position or model, to ensure success in the future of past-revival.

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Mood.

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“It is strange how we hold onto pieces of the past while we wait for our futures.�

Ally Condie

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Inspiration.

The almost Americanretro personality of the brand will form the basis of the mood inspiration.

From retro and vintage cars and record players, to prints and ar t, a consideration of the past is of the utmost impor tance in Origns.

Fur thermore, industrial textures and structures convey a sense of decay in a vintage style and

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can offer inspiration for texture and aesthetic. A consideration of origins can extend beyond nature, considering the origins of cer tain ar tefacts to create mood and inspiration. The rustic, pre-loved, and nature-infused idealogy behind origins can be conveyed visually through a series of images.

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Fig. 51

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Vintage.

The elegance that emanates from vintage imager y captures the femininity to be echoed in the collection. With a focus on florals and sepia tones, the softness and delicateness of vintage fashion provides excellent inspiration for contemporar y clothing, par ticularly a collection that is to reflect past eras.

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Industrial.

Providing the collection with an element of raw grit, the industrial aspect of the mood embodies the determination of the consumer group. Deser ted industrial locations, suggest the abandonment of the heavily industrialised manufacturing process whilst graffitied images echo the revolt and rebellion felt amongst the target consumer group.

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Fig. 56

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Natural.

An obvious point of inspiration for Origins, nature provides a delicate structural intricacy as well as impressive and overwhelming features. The extensive colour range and interesting colour combinations provide an ideal reference point for a collection that intends to promote sustainability and therefore a consideration for the environment.

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Colour.

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Fig. 60

“Nature always wears the colors of the spirit.”

Ralph Waldo Emmerson

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Inspiration.

Abiding by the theme of sustainable progression through rever ting to the origins of society and nature, the colour inspiration for this collection comes directly from natural sources. The inticing colour palette of natural landscapes boast muted naturals

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with rich highlights and accents saturated colour and rich hues. This basis of inspiration breaks the negative preconception of natural colours being drab and dull, whilst also conforming to predicted trends and therefore consumer expectations.

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Mauve.

The coveted dusky pink sees its revival with a purple under tone as mauve for the SS19 season. Bridging ‘the gap between pink and purple’ the hues provide both lightness and depth to a colour palette and reflects a rich night sky and feminine florals for natural inspiration (Craggs, 2017).

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Mustard.

Highly present across nature, mustard hues lend a ‘nostalgic’ tone as both an accent and core shade (Craggs, 2017). Creating the perfect balance of ‘bold and muted’, this ‘seventies yellow’ hue blends the emerging seasonal brights trend with the consumer’s need for natural influence (Craggs, 2017).

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Scarlet.

The undeniable vibrancy and power of red is reinvented for the upcoming SS19 season. Predicted to take on a more ‘ear thy’ embodiment, the ‘mineral energy and shamanistic power’ adds an aura of rich naturality (Craggs, 2017). Present in both ear thy and floral manifestations, the versatility of the hue in Origins is apparent.

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Orange.

Appearing in a more ‘refined’ context in the upcoming season, orange hues lose their youthfulness as they present a more sophisticated elegance (Craggs, 2017). The deep orange hues are synonymous with rich natural landcapes from foliage to deep sunsets, providing an appropriate natural touch to the collection.

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Azure.

The role of blue hues adapts for the season, taking their place as accent tones rather than their favoured core position (Craggs, 2017).

The pastel trend sees a shift to more worn aesthetics providing the ideal hues for a vintage inspired collection, such as Origins. Highly associated with nature, blue along with green appeals to consumers concerned with the environment; the Youthquakers for example.

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Forest.

Labelled as ‘softened organics’, green hues continue to reflect a sense of environmental awareness and a connection with nature (Craggs, 2017). Set to ‘take over from traditional navy’, deep forest greens provide an intriguing yet easily wearable core colour for fashion collections and sees the shade make its mark on traditional classic muted tones (Craggs, 2017).

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Violet.

Working well as a ‘tonal grouping’, purples and violets bring a brightness to typical natural shades (Craggs, 2017). Present in rich forms in sunsets and flowers, purples and violets also emerge across nature in floral and mineral tones, allowing a more functional and literal interpretation of the colour in floral patterns as well as a more aesthetic aura.

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Core.

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Accent.

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Pattern.

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“There are only patterns, patterns on top of patterns, patterns that affect other patterns. Patterns hidden by patterns. Patterns within patterns.�

Chuck Palahniuk

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Inspiration.

Archival brand imager y highlights the impor tance of patterns in Nobody’s Child’s brand identity.

Thematically, florals and stripes provide the foundation of the brand’s prints which also echo their vintage associations.

Therefore, in keeping with

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the brand identity and the nature of the trend and concept, inspiration for the patterns of this collection which comes from both nature and vintage garments, that focus on florals, foliage and stripes.

Fig. 120

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Application.

The current collection boasts a selection of key patterns that appear on multi-silhouettes creating an almost sub-collection.

This additionally adds an extra element of wearability to the collection allowing multiple patterned

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separates to be worn together to create a co-ordinated look.

Fur thermore, the reverse is true, with key silhouettes taking on a variety of different patterns to add an element of versatility to the shape.

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Florals.

An integral par t of the Nobody’s Child brand identity, the extensive floral patterns are present throughout both spring/summer and autumn/winter. A feminine staple, the floral prints exude vintage elegance. Given a winter y update for the upcoming season, the delicacy of florals boast on-trend colours for both a classic yet seasonal look.

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Stripes.

Usually in bold colour combinations, the retro vibe of striped prints takes inspiration from classics rather than nature. Often quirky, loud garments, stripes are a perfect print for the extrover ted and opinionated target consumers.

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Silhouettes.

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Fig. 140

“Styles, like everything else, change. Style doesn’t.”

Linda Ellerbee

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Inspiration.

The challenge presented in appealing to the vintage consumer is that they are hesitant to indulge in the new and as Nobody’s Child retail new not second-hand products, there is a danger of losing this valued consumer. In order to ensure success and customer retention, the products should mimick, replicate or take

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inspiration from vintage styles to achieve the aesthetic of the highly sought after second hand products but with the additional benefit of being tailored to the modern consumer, combining the look and appearance of the outdated with the convenience that modernity lends to a product or garment.

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Dresses.

Vintage styling is set to emerge in a contemporar y manner in the upcoming season, as the defintion of vintage evolves to extend to inspiration and reflection (WGSN Womenswear Team, 2018). A classic silhouette, the wrap dress appears in both mini and maxi form for the collection adding sophistication and femininity in an easy-wear and casual look.

Fig. 143-144

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Jumpsuit.

Focusing on ‘softness rather than structure’, the elongated silhouettes of the jumpsuits lends utility, wearability and style to a wardrobe (Boddy and Tebbutt, 2018). In a pinaforeinspired style, the versatile piece abides to the ‘vintage layering’ predicted to reimerge in the upcoming season (Palmer, 2018).

Fig. 146

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Knitwear.

‘Perfect imperfections’ is set to be the theme of knitwear, focusing on textured and chunky knits and the ‘heritage’ element of the cable-knit to create a more ‘homemade’ appeal to the garment (Palmer, 2018). The ‘simple sweater’, a staple ‘layering piece’, boasts a ribbed finish for added interest, without compromising on simplicity (Boddy and Tebbutt, 2018). Together, the two knitwear pieces will meet the demand for home-made textures and a backto-basics simplicity that the consumers will strive for.

Fig. 148-149

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Casual tops.

Fusing vintage style with effor tless wearability, the simplistic silhouettes of the casual tops are suitable for the ‘layering’ phenomenon foreseen for the upcoming season (Boddy and Tebbutt, 2018). Finding interest and differentiation in sleeve details, the nod to ‘classic retro’ with subtle flares and vintage trims through the tied sleeves are set to make these classic shapes seasonal and in demand (Boddy and Tebbutt, 2018).

Fig. 151-152

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Blouses.

Capturing the style of ‘secondhand retail’ and the ‘resale market’, whilst encouraging consumers to buy new, these classic, vintage inspired silhouettes are sure to meet the needs of the consumer who wants to appear as par taking in vintage consumption, whilst buying new (WGSN Womenswear Team, 2018). The classic wrap silhouettes that have proven best-sellers in the brand are fur ther developed with puffed or flared sleeves to emphasise their retro qualities.

Fig. 154-155

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Skirts.

The revival of the ‘wholesome tweed’ presents a classic elegance and vintage feel in a summer style (Palmer, 2018). To increase the versatility and appeal of the selection of skir ts, the wrap skir t, another successful style, sees a shift from spring and summer months in a more structured silhouette.

Fig. 157-158

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Trousers.

Accelarating the retro revival, the kick-flare silhouette and paperbag waist fuse vintage masculinity with modern femininity, striking the perfect balance for the contemporar y activist. Pleats that mimick ‘sculpted natural forms’ appeal to the environmentalist whilst offering on-trend detailing (Zhang, 2018). Complementing the collection, the accentuation of the waist is ideal for pairing with the cropped blouses or fitted knitwear.

Fig. 160-161

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Fabric.

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“Fashion is the armor to survive the reality of everyday life.�

Bill Cunningham

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Constraints.

Advised by WGSN to ‘seek out sustainable fibres and yarns’, the options available to a brand focused on keeping costs low for consumers are minimal (Palmer et al, 2018). Investing in ‘bio-natural’ or ‘recycled fibres’ is not a feasible option (Palmer et al, 2018); however, that does not mean that Nobody’s Child cannot lower their existing environmental impact. Cotton, ‘the most consumed natural fibre in the textile and clothing industr y’, presents a huge detrimental effect on the environment

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with its unsustainable water consumption and need for vast areas (Esteve-Turrillas, de la Guardia, 2017, p.107).

Therefore, by limiting and reducing the use of cotton, Nobody’s Child are improving their environmental impact without incurring great costs. Additionally, as a budget brand, it is vital that the care of the fabric is simple and inexpensive. Dr y clean only items are not suitable for the consumer, therefore all materials used must be suitable for machine washing.

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Polyester.

An incredibly versatile and durable material, polyester can be manufactured to many different textures and aesthetics to achieve the desired effect. Whilst the material is ‘derived from oil’ and therefore carries huge environmental impact, the low cost of the fabric cannot be denied (Cookson, 2011). However, a number of polyester recycling schemes are emerging to lessen the environmental impact of the material.

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Tweed. ‘Wholesome tweeds’, as termed by WGSN, infuse rustic style in the intricate weaves (Palmer et al, 2018). A timeless classic, the vintage connotations of tweed in combination with the winter weight and natural hues are ideal for the Origins collection.

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Satin The ‘opulence’ of the satin ‘shine’ lends an air of elegance synonymous with vintage fashion (Palmer et al, 2018). A more demure texture, satin-effect can be achieved cheaply with polyester providing luxuriousness at low cost, ideal for the limited disposable income of the consumer groups.

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Fig. 169

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Name. Crepe back satin.

Composition. 100% polyester.

Features. High shine. Little stretch. Opaque.

Enough weight to maintain shape.

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Name. Moss crepe suiting.

Composition. 100% polyester.

Features. No stretch. Can hold structure.

Medium weight.

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Name. Cable knit.

Composition. 100% acr ylic.

Features. High stretch. Heavy.

Soft and comfor table.

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Name. Ribbed jersey.

Composition. 63% polyester 33% viscose 4% elastane.

Features. Extreme stretch. Textured.

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Name. Cr ystal pleated satin.

Composition. 100% polyester.

Features. Stretch. Textured. Silky feel.

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Name. Poly cotton drill.

Composition. 65% polyester 35% cotton.

Features. No stretch. Versatile. Structured.

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Name. Stretch satin.

Composition. 90% polyester 10% elastane Features. Some stretch. High shine. Silky feel.

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Name. Countr y set farmer rothchild.

Composition. 100% polyester.

Features. Heavy. Structured. Tweed.

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Name. Track suiting.

Composition. 100% polyester Features. Stretch. Comfor table. Jersey.

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Name. Chair fabric.

Composition. 100% polyester.

Features. No stretch. Ver y structured.

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Name. Satin silky.

Composition. 100% polyester.

Features. Little to no stretch. High shine. Silky feel.

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Fig. 170

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Range.

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Fig. 171

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“Style is a way to say who you are without having to speak” Rachel Zoe

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Jumpsuit.

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Fig. 172-173

Sizes. 6 / 10 / 12 / 14 / 16 Colours. Black floral / Burgundy / Purple stripe / Black Fabric. Crepe back satin Composition. 100% polyester Care.

Fig. 174-175

Price. ÂŁ32

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Maxi dress.

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Fig. 176-177

Sizes. 6 / 10 / 12 / 14 / 16 Colours. Yellow floral / Orange / Black floral / Purple Fabric. Moss crepe suiting Composition. 100% polyester Care.

Fig. 178-179

Price. ÂŁ28

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Mini dress.

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Fig. 180-181

Sizes. 6 / 10 / 12 / 14 / 16 Colours. Mustard floral / Mustard stripe / Mauve / Purple stripe Fabric. Moss crepe suiting Composition. 100% polyester Care.

Fig. 182-183

Price. ÂŁ25

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Jumper.

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Fig. 185-186

Sizes. Small / Medium / Large Colours. Blue / Green / Yellow / Mauve Fabric. Knitted cotton Composition. 100% cotton Care.

Fig. 187-188

Price. ÂŁ25

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Ribbed top.

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Fig. 189-192

Sizes. 6 / 8 / 10 / 12 / 14 / 16 Colours. Nude pink / Mauve / Mustard / Burgundy / Sky blue / Blue / Forest green / Black Fabric. Jersey rib Composition. 63% polyester 33% viscose 4% elastane Care.

Fig. 193-196

Price. ÂŁ14

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Sweat top.

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Fig. 197-198

Sizes. S / M / L Colours. Mustard / Mauve / Burgundy / Forest Fabric. Track suiting Composition. 100% polyester Care.

Fig. 199-200

Price. ÂŁ20

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Tie cuff top.

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Fig. 201

Sizes. 6 / 8 / 10 / 12 / 14 / 16 Colours. Burgundy / Black Fabric. Chair fabric Composition. 100% polyester Care.

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Price. ÂŁ22

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Tie blouse.

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Fig. 203-204

Sizes. 6 / 8 / 10 / 12 / 14 / 16 Colours. Yellow floral / Yellow stripe / Mauve / Black floral Fabric. Satin silky Composition. 100% polyester Care.

Fig. 205-206

Price. ÂŁ24

267

Crop blouse.

268

Fig. 207-208

Sizes. 6 / 8 / 10 / 12 / 14 / 16 Colours. Sky blue / Mauve / Purple stripe / Black floral Fabric. Satin silky Composition. 100% polyester Care.

Fig. 209-210

Price. ÂŁ22

269

Flare trousers.

270

Fig. 211-212

Sizes. 6 / 8 / 10 / 12 / 14 / 16 Colours. Blue / Green / Burgundy / Black Fabric. Poly cotton drill Composition. 65% polyester 35% cotton Care.

Fig. 213-214

Price. ÂŁ24

271

Trousers.

272

Fig. 215

Sizes. 6 / 8 / 10 / 12 / 14 / 16 Colours. Yellow floral / Burgundy Fabric. Cr ystal pleated satin Composition. 100% polyester Care.

Fig. 216

Price. ÂŁ24

273

Tie skirt.

274

Fig. 217

Sizes. 6 / 8 / 10 / 12 / 14 / 16 Colours. Yellow floral / Black floral Fabric. Stretch satin Composition. 90% polyester 10% elastane Care.

Fig. 218

Price. ÂŁ28

275

A-line skirt.

276

Fig. 219

Sizes. 6 / 8 / 10 / 12 / 14 / 16 Colours. Tweed / Black Fabric. Countr y set farmer rothchild Composition. 100% polyester Care.

Fig. 220

Price. ÂŁ24

277

Fig. 221

278

Experience.

279

Fig. 222

280

Fig. 222

“Style is a way to say who you are without having to speak” Rachel Zoe

281

Transparent.

As an online brand, the retailing experience at present suits the techsavvy youth consumer, with a simply laid out and easily navigable website.

Without a bricks-andmor tar store, Nobody’s Child do not need to consider how their retail interior affects the perception of the brand.

However, an element which should increase in alignment with the collection is transparency.

Young consumers ‘expect transparency to be a given’ to the fur thest extent possible to increase validity and achieve a greater sense of trust in the brand-consumer relationship (Feitelberg, 2010). The countr y of manufacture of Nobody’s Child’s garments is

282

currently available on the care label of the product; however, by making this information available on the website, consumers can make a more informed purchase allowing those opposed to overseas manufacturing due to the environmental and ethical impact would be able to shop the collection more easily, knowing where the garment was made prior to purchase. To gain fur ther trust with extended transparency, as Nobody’s Child do not outsource any of their manufacturing, perhaps the origin of the garment could be expressed in greater detail, releasing the location or name of the factories, not just the countr y.

Fig. 223

283

Fig. 224

284

Conclusion.

285

Fig. 225

286

“Don’t be into trends.

Don’t make fashion own you” Gianni Versace

287

Fig. 226

288

“but you decide what you are, what you want to express by the way you dress and the way to live.�

Gianni Versace

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Conclusion.

As a brand whose business model focuses on selling new products, targeting a consumer group who engage in vintage consumption and second-hand retailing could appear challenging.

However, with the convenience of mass-selling online, Nobody’s Child can offer efficiency that vintage consumption lacks. By

290

mimicking vintage styles and opting for natural inspiration, the brand will be able to capture and retain the attention of the consumer group who in general are tending to dissociate from brands.

The small-scale and transparency of the brand will encourage trust amongst the consumers who will prove to be profitable and loyal.

Fig. 227

291

Fig. 228

292

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Cover figure:

Figure 9:

Nobody’s Child. 2018. Instagram profile. [Online].

[Accessed 8 April 2018]. Available from: https://www. instagram.com/nobodyschild/?hl=en

Nobody’s Child. 2018. The Coffee Shop Every Woman Has Been Waiting For. [Online]. [Accessed 4 April 2018]. Available from: https://www.nobodyschild.com/ magazine/handsome-her-cafe-coffee-tax/

Figure 2: Nobody’s Child. 2018. Instagram profile. [Online].

[Accessed 8 April 2018]. Available from: https://www. instagram.com/nobodyschild/?hl=en Figure 3: Nobody’s Child. 2018. Instagram profile. [Online].

[Accessed 8 April 2018]. Available from: https://www. instagram.com/nobodyschild/?hl=en Figure 4: Nobody’s Child. 2018. How to have a badass Christmas. [Online]. [Accessed 4 April 2018]. Available from: https://www.nobodyschild.com/magazine/how-tohave-a-badass-christmas/ Figure 5: Pinterest. 2018. Millennial protest. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=millennial%20protest&rs=typed&term_meta[]=millennial%7Ctyped&term_ meta[]=protest%7Ctyped Figure 6:

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Figure 10: Elkin, V. 2018. Instagram profile. [Online]. [Accessed 8 April 2018]. Available from: https://www.instagram. com/veereallylikestea/?hl=en Figure 11: Nobody’s Child. 2018. Looks for people to take casual pictures of you in. [Online]. [Accessed 4 April 2018].

Available from: https://www.nobodyschild.com/magazine/looks-for-people-to-take-casual-pictures-of-youin/ Figure 12: Nobody’s Child. 2018. Retro Revivial – How to wear classic prints in a contemporary way. [Online]. [Accessed 4 April 2018]. Available from: https://www. nobodyschild.com/magazine/how-to-wear-retroprints-contemporary-way/ Figure 13: Nobody’s Child. 2018. Instagram profile. [Online].

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Figure 14:

Figure 7:

Figure 15:

Nobody’s Child. 2018. Who run the world? Girls #InternationalWomensDay. [Online]. [Accessed 4 April 2018]. Available from: https://www.nobodyschild.com/ magazine/who-run-the-world-girls-internationalwomensday/

Nobody’s Child. 2018. 10 of the best Instagram pics you’ve tagged us in over summer. [Online]. [Accessed 4 April 2018]. Available from: https://www.nobodyschild.com/magazine/10-best-summer-instagram-fashion-pics/

Figure 8:

Figure 16:

Elkin, V. 2018. Instagram profile. [Online]. [Accessed 8 April 2018]. Available from: https://www.instagram. com/veereallylikestea/?hl=en

Elkin, V. 2018. Instagram profile. [Online]. [Accessed 8 April 2018]. Available from: https://www.instagram. com/veereallylikestea/?hl=en

Elkin, V. 2018. Instagram profile. [Online]. [Accessed 8 April 2018]. Available from: https://www.instagram. com/veereallylikestea/?hl=en

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[Online]. [Accessed 4 April 2018]. Available from: https://www.nobodyschild.com/magazine/3-ways-towear-the-bodysuit/ Figure 21: 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/

Figure 26: Nobody’s Child. 2018. Four-fave-fits: Meet the dresses that are always in! [Online]. [Accessed 4 April 2018].

Available from: https://www.nobodyschild.com/magazine/valentines-day-first-date-tips/ Figure 27: Nobody’s Child. 2018. Instagram profile. [Online].

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[Accessed 8 April 2018]. Available from: https://www. instagram.com/nobodyschild/?hl=en

Figure 22:

Figure 31:

Nobody’s Child. 2018. Instagram profile. [Online].

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Figure 34:

Figure 42:

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Figure 43: Pinterest. 2018. Fashion in nature. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=Fashion%20in%20nature&rs=typed&term_meta[]=Fashion%20in%20nature%7Ctyped Figure 44: Pinterest. 2018. Landscape. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=landscape&rs=typed&term_ meta[]=landscape%7Ctyped Figure 45: Pinterest. 2018. Landscape. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=landscape&rs=typed&term_ meta[]=landscape%7Ctyped Figure 46: Pinterest. 2018. Fashion in nature. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=Fashion%20in%20nature&rs=typed&term_meta[]=Fashion%20in%20nature%7Ctyped Figure 47: Pinterest. 2018. Landscape. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=landscape&rs=typed&term_ meta[]=landscape%7Ctyped Figure 48: Nobody’s Child. 2018. How to get a whole lot more outta your daily commute. [Online]. [Accessed 4 April 2018]. Available from: https://www.nobodyschild.com/ magazine/how-make-commute-more-productive/

Figure 49:

Figure 57:

Nobody’s Child. 2018. Your festival survival kit: Don’t forget these essentials... [Online]. [Accessed 4 April 2018]. Available from: https://www.nobodyschild.com/ magazine/festival-survival-kit-packing-essentials/

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Figure 59:

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Nobody’s Child. 2018. Instagram profile. [Online].

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Pinterest. 2018. Mauve aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=mauve%20aesthetic&rs=typed&term_meta[]=mauve%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Pinterest. 2018. Mustard aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=mustard%20aesthetic&rs=typed&term_meta[]=mustard%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Figure 67:

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Pinterest. 2018. Mauve aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=mauve%20aesthetic&rs=typed&term_meta[]=mauve%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Pinterest. 2018. Mustard aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=mustard%20aesthetic&rs=typed&term_meta[]=mustard%7Ctyped&term_ meta[]=aesthetic%7Ctyped

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Pinterest. 2018. Mauve aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=mauve%20aesthetic&rs=typed&term_meta[]=mauve%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Pinterest. 2018. Mustard aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=mustard%20aesthetic&rs=typed&term_meta[]=mustard%7Ctyped&term_ meta[]=aesthetic%7Ctyped

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Pinterest. 2018. Mauve aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=mauve%20aesthetic&rs=typed&term_meta[]=mauve%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Pinterest. 2018. Mustard aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=mustard%20aesthetic&rs=typed&term_meta[]=mustard%7Ctyped&term_ meta[]=aesthetic%7Ctyped

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Pinterest. 2018. Mustard aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=mustard%20aesthetic&rs=typed&term_meta[]=mustard%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Pinterest. 2018. Mustard aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=mustard%20aesthetic&rs=typed&term_meta[]=mustard%7Ctyped&term_ meta[]=aesthetic%7Ctyped

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Pinterest. 2018. Mustard aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=mustard%20aesthetic&rs=typed&term_meta[]=mustard%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Pinterest. 2018. Red aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www. pinterest.co.uk/search/pins/?q=red%20aesthetic&rs=typed&term_meta[]=red%7Ctyped&term_ meta[]=aesthetic%7Ctyped

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Figure 86:

Pinterest. 2018. Red aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www. pinterest.co.uk/search/pins/?q=red%20aesthetic&rs=typed&term_meta[]=red%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Pinterest. 2018. Orange aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=orange%20aesthetic&rs=typed&term_meta[]=orange%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Figure 80:

Figure 87:

Pinterest. 2018. Red aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www. pinterest.co.uk/search/pins/?q=red%20aesthetic&rs=typed&term_meta[]=red%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Pinterest. 2018. Orange aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=orange%20aesthetic&rs=typed&term_meta[]=orange%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Figure 81: Pinterest. 2018. Red aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www. pinterest.co.uk/search/pins/?q=red%20aesthetic&rs=typed&term_meta[]=red%7Ctyped&term_ meta[]=aesthetic%7Ctyped Figure 82: Pinterest. 2018. Red aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www. pinterest.co.uk/search/pins/?q=red%20aesthetic&rs=typed&term_meta[]=red%7Ctyped&term_ meta[]=aesthetic%7Ctyped Figure 83: Pinterest. 2018. Red aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www. pinterest.co.uk/search/pins/?q=red%20aesthetic&rs=typed&term_meta[]=red%7Ctyped&term_ meta[]=aesthetic%7Ctyped Figure 84: Pinterest. 2018. Red aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www. pinterest.co.uk/search/pins/?q=red%20aesthetic&rs=typed&term_meta[]=red%7Ctyped&term_ meta[]=aesthetic%7Ctyped Figure 85: Pinterest. 2018. Red aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www. pinterest.co.uk/search/pins/?q=red%20aesthetic&rs=typed&term_meta[]=red%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Figure 88: Pinterest. 2018. Orange aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=orange%20aesthetic&rs=typed&term_meta[]=orange%7Ctyped&term_ meta[]=aesthetic%7Ctyped Figure 89: Pinterest. 2018. Orange aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=orange%20aesthetic&rs=typed&term_meta[]=orange%7Ctyped&term_ meta[]=aesthetic%7Ctyped Figure 90: Pinterest. 2018. Orange aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=orange%20aesthetic&rs=typed&term_meta[]=orange%7Ctyped&term_ meta[]=aesthetic%7Ctyped Figure 91: Pinterest. 2018. Orange aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=orange%20aesthetic&rs=typed&term_meta[]=orange%7Ctyped&term_ meta[]=aesthetic%7Ctyped Figure 92: Pinterest. 2018. Orange aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=orange%20aesthetic&rs=typed&term_meta[]=orange%7Ctyped&term_ meta[]=aesthetic%7Ctyped

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Figure 100:

Pinterest. 2018. Orange aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=orange%20aesthetic&rs=typed&term_meta[]=orange%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Pinterest. 2018. Blue aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www. pinterest.co.uk/search/pins/?q=blue%20aesthetic&rs=typed&term_meta[]=blue%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Figure 94:

Figure 101:

Pinterest. 2018. Blue aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www. pinterest.co.uk/search/pins/?q=blue%20aesthetic&rs=typed&term_meta[]=blue%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Pinterest. 2018. Blue aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www. pinterest.co.uk/search/pins/?q=blue%20aesthetic&rs=typed&term_meta[]=blue%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Figure 95:

Figure 102:

Pinterest. 2018. Blue aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www. pinterest.co.uk/search/pins/?q=blue%20aesthetic&rs=typed&term_meta[]=blue%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Pinterest. 2018. Green aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www. pinterest.co.uk/search/pins/?q=green%20aesthetic&rs=typed&term_meta[]=green%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Figure 96:

Figure 103:

Pinterest. 2018. Blue aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www. pinterest.co.uk/search/pins/?q=blue%20aesthetic&rs=typed&term_meta[]=blue%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Pinterest. 2018. Green aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www. pinterest.co.uk/search/pins/?q=green%20aesthetic&rs=typed&term_meta[]=green%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Figure 97:

Figure 104:

Pinterest. 2018. Blue aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www. pinterest.co.uk/search/pins/?q=blue%20aesthetic&rs=typed&term_meta[]=blue%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Pinterest. 2018. Green aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www. pinterest.co.uk/search/pins/?q=green%20aesthetic&rs=typed&term_meta[]=green%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Figure 98:

Figure 105:

Pinterest. 2018. Blue aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www. pinterest.co.uk/search/pins/?q=blue%20aesthetic&rs=typed&term_meta[]=blue%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Pinterest. 2018. Green aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www. pinterest.co.uk/search/pins/?q=green%20aesthetic&rs=typed&term_meta[]=green%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Figure 99:

Figure 106:

Pinterest. 2018. Blue aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www. pinterest.co.uk/search/pins/?q=blue%20aesthetic&rs=typed&term_meta[]=blue%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Pinterest. 2018. Green aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www. pinterest.co.uk/search/pins/?q=green%20aesthetic&rs=typed&term_meta[]=green%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Figure 107:

Figure 114:

Pinterest. 2018. Green aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www. pinterest.co.uk/search/pins/?q=green%20aesthetic&rs=typed&term_meta[]=green%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Pinterest. 2018. Purple aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=purple%20aesthetic&rs=typed&term_meta[]=purple%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Figure 108:

Figure 115:

Pinterest. 2018. Green aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www. pinterest.co.uk/search/pins/?q=green%20aesthetic&rs=typed&term_meta[]=green%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Pinterest. 2018. Purple aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=purple%20aesthetic&rs=typed&term_meta[]=purple%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Figure 109:

Figure 116:

Pinterest. 2018. Green aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www. pinterest.co.uk/search/pins/?q=green%20aesthetic&rs=typed&term_meta[]=green%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Pinterest. 2018. Purple aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=purple%20aesthetic&rs=typed&term_meta[]=purple%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Figure 110:

Figure 117:

Pinterest. 2018. Purple aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=purple%20aesthetic&rs=typed&term_meta[]=purple%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Pinterest. 2018. Purple aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=purple%20aesthetic&rs=typed&term_meta[]=purple%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Figure 111:

Figure 118:

Pinterest. 2018. Purple aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=purple%20aesthetic&rs=typed&term_meta[]=purple%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Nobody’s Child. 2018. Up your Instagram game with these gorg London tiled floors. [Online]. [Accessed 4 April 2018]. Available from: https://www.nobodyschild. com/magazine/beautiful-london-tiled-floors-for-instagram/

Figure 112:

Figure 119:

Pinterest. 2018. Purple aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=purple%20aesthetic&rs=typed&term_meta[]=purple%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Nobody’s Child. 2018. Instagram profile. [Online].

[Accessed 8 April 2018]. Available from: https://www. instagram.com/nobodyschild/?hl=en

Figure 113:

Nobody’s Child. 2018. Instagram profile. [Online].

[Accessed 8 April 2018]. Available from: https://www. instagram.com/nobodyschild/?hl=en

Pinterest. 2018. Purple aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=purple%20aesthetic&rs=typed&term_meta[]=purple%7Ctyped&term_ meta[]=aesthetic%7Ctyped

Figure 120:

Figure 121: Nobody’s Child. 2018. Instagram profile. [Online].

[Accessed 8 April 2018]. Available from: https://www. instagram.com/nobodyschild/?hl=en

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Figure 122:

Figure 131:

Nobody’s Child. 2018. The SS17 trends to master before everyone else. [Online]. [Accessed 4 April 2018].

Available from: https://www.nobodyschild.com/magazine/top-ss17-fashion-style-trends/

Nobody’s Child. 2018. Instagram profile. [Online].

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Figure 123: Nobody’s Child. 2018. Floral feels. [Online]. [Accessed 4 April 2018]. Available from: https://www.nobodyschild.com/trends/floral-prints.html Figure 124: Nobody’s Child. 2018. Floral feels. [Online]. [Accessed 4 April 2018]. Available from: https://www.nobodyschild.com/trends/floral-prints.html Figure 125: Nobody’s Child. 2018. Floral feels. [Online]. [Accessed 4 April 2018]. Available from: https://www.nobodyschild.com/trends/floral-prints.html Figure 126: Nobody’s Child. 2018. Floral feels. [Online]. [Accessed 4 April 2018]. Available from: https://www.nobodyschild.com/trends/floral-prints.html Figure 127: Nobody’s Child. 2018. Floral feels. [Online]. [Accessed 4 April 2018]. Available from: https://www.nobodyschild.com/trends/floral-prints.html Figure 128: Nobody’s Child. 2018. Floral feels. [Online]. [Accessed 4 April 2018]. Available from: https://www.nobodyschild.com/trends/floral-prints.html Figure 129: Nobody’s Child. 2018. Stripes. [Online]. [Accessed 4 April 2018]. Available from: https://www.nobodyschild. com/trends/stripes.html Figure 130: Nobody’s Child. 2018. Stripes. [Online]. [Accessed 4 April 2018]. Available from: https://www.nobodyschild. com/trends/stripes.html

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Figure 132: Source image: 123RF. 2018. Seamless pattern with outline. [Online]. [Accessed 8 April 2018]. Available from: https://www.google.co.uk/search?rlz=1C5CHFA_enGB778GB778&biw=1438&bih=723&tbm=isch&sa=1&ei=OYrKWq6iMo_WwQLxmZaYDA&q=repeating+floral+pattern+outline&oq=repeating+floral+pattern+outline&gs_l=psy-ab.3...28 82.3804.0.3986.8.8.0.0.0.0.87.580.8.8.0....0...1c.1.64. psy-ab..0.1.75...0i30k1.0.Y2FiMFb5IgM#imgrc=2e4WJgHYEBnfCM: Editing: Original Figure 133: Source image: 123RF. 2018. Black and white seamless rose pattern. [Online]. [Accessed 8 April 2018]. Available from: https://www.google.co.uk/ search?rlz=1C5CHFA_enGB778GB778&biw=1438&bih=723&tbm=isch&sa=1&ei=yorKWtzaG4jKwALQ9ZGgDA&q=rose+pattern+outline&oq=rose+pattern+outline&gs_l=psy-ab.3..0.8907.1121 0.0.11374.20.15.0.5.5.0.109.1149.12j3.15.0....0...1c.1.64. psy-ab..0.20.1164...0i67k1j0i8i30k1.0._sG5xuF6PGU#imgrc=4EzoyvdUq1xVj Editing: Original Figure 134: Nobody’s Child. 2018. Instagram profile. [Online].

[Accessed 8 April 2018]. Available from: https://www. instagram.com/nobodyschild/?hl=en Figure 135: Original image Figure 136: Original image Figure 137: Nobody’s Child. 2018. Red Millie Ditsy Ruffle Bib Dress.

[Online]. [Accessed 8 April 2018]. Available from: https://www.nobodyschild.com/trends/floral-prints/red-millie-ditsy-ruffle-bib-dress.html

Figure 138:

Figure 144:

Nobody’s Child. 2018. Red Mali Strip Tie Front Kimono Dress. [Online]. [Accessed 8 April 2018]. Available from: https://www.nobodyschild.com/trends/stripes/redmali-stripe-tie-front-kimono-dress.html

Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 139: Nobody’s Child. 2018. Instagram profile. [Online].

[Accessed 8 April 2018]. Available from: https://www. instagram.com/nobodyschild/?hl=en Figure 140: Nobody’s Child. 2018. Instagram profile. [Online].

[Accessed 8 April 2018]. Available from: https://www. instagram.com/nobodyschild/?hl=en Figure 141: Pinterest. 2018. Vintage aesthetic. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest. co.uk/search/pins/?q=vintage%20aesthetic&rs=typed&term_meta[]=vintage%7Ctyped&term_ meta[]=aesthetic%7Ctyped Figure 142: Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 April 2018]. Available from: https://www.nobodyschild. com/clothing.html Figure 143: Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 145: Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 April 2018]. Available from: https://www.nobodyschild. com/clothing.html Figure 146: Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 147: Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 April 2018]. Available from: https://www.nobodyschild. com/clothing.html Figure 148: Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 154:

Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 150:

Figure 155:

Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 April 2018]. Available from: https://www.nobodyschild. com/clothing.html

Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 151: Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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

Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 April 2018]. Available from: https://www.nobodyschild. com/clothing.html

Figure 152:

Figure 157:

Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 153: Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 April 2018]. Available from: https://www.nobodyschild. com/clothing.html

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Figure 158:

Figure 163:

Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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

Pinterest. 2018. Fabric texture. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest.co.uk/search/pins/?q=fabric%20texture&rs=typed&term_meta[]=fabric%7Ctyped&term_meta[]=texture%7Ctyped

Figure 159: Nobody’s Child. 2018. Clothing. [Online]. [Accessed 8 April 2018]. Available from: https://www.nobodyschild. com/clothing.html Figure 160: Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 161:

Figure 164: Pinterest. 2018. Cotton farm. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest.co.uk/search/pins/?q=cotton%20farm&rs=typed&term_meta[]=cotton%7Ctyped&term_ meta[]=farm%7Ctyped Figure 165: Pinterest. 2018. Fabric texture. [Online]. [Accessed 8 April 2018]. Available from: https://www.pinterest.co.uk/search/pins/?q=fabric%20texture&rs=typed&term_meta[]=fabric%7Ctyped&term_meta[]=texture%7Ctyped Figure 166: Fibre2Fashion. 2018. Far Eastern to set up 2nd textile factory in Vietnam. [Online]. [Accessed 8 April 2018].

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Source image: WGSN. Image and Design Library.

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Pinterest. 2018. Fabric texture. [Online]. [Accessed 8 April 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 169:

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Figure 172:

Figure 176:

Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 177:

Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 174:

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Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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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Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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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Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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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Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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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Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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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Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 192:

Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 193:

Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 190:

Figure 194:

Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 199:

Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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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Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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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Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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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[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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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[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 208:

Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 205:

Figure 209:

Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 206:

Figure 210:

Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 211:

Figure 215:

Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 212:

Figure 216:

Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 213:

Figure 217:

Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 214:

Figure 218:

Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 219: Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 220: Source image: WGSN. Image and Design Library.

[Online]. [Accessed 8 April 2018]. Available from: https://0-www-wgsn-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%20 true%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 221: Nobody’s Child. 2018. Instagram profile. [Online].

[Accessed 8 April 2018]. Available from: https://www. instagram.com/nobodyschild/?hl=en Figure 222: Nobody’s Child. 2018. Instagram profile. [Online].

[Accessed 8 April 2018]. Available from: https://www. instagram.com/nobodyschild/?hl=en Figure 223: Nobody’s Child. 2018. About. [Online]. [Accessed 8 April 2018]. Available from: https://www.nobodyschild. com/about-us Figure 224: Nobody’s Child. 2018. Got your SS18-self sorted? Don’t shop without reading this ... [Online]. [Accessed 4 April 2018]. Available from: https://www.nobodyschild.com/ magazine/got-your-ss18-self-sorted-dont-shop-without-reading-this/

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Figure 225: Nobody’s Child. 2018. Who you callin’ basic? How to be (new) casual. [Online]. [Accessed 4 April 2018]. Available from: https://www.nobodyschild.com/magazine/ who-you-callin-basic-how-to-be-new-casual/ Figure 226: Nobody’s Child. 2018. 7 Tricks to Take Instantly Better Photos on your iPhone. [Online]. [Accessed 4 April 2018]. Available from: https://www.nobodyschild.com/ magazine/7-ways-take-better-photos-on-phone/ Figure 227: Nobody’s Child. 2018. Instagram profile. [Online].

[Accessed 8 April 2018]. Available from: https://www. instagram.com/nobodyschild/?hl=en Figure 228: Nobody’s Child. 2018. Autumn. Arrived. [Online].

[Accessed 4 April 2018]. Available from: https://www. nobodyschild.com/magazine/autumn-arrived/ Back Cover image: Nobody’s Child. 2018. Instagram profile. [Online].

[Accessed 8 April 2018]. Available from: https://www. instagram.com/nobodyschild/?hl=en

DESN2365 Trends and Forecasting BA(Hons) Fashion Marketing Second Year Semester 2 May 2018

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Ca roline Helen Davies.

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