FA SHI O N COMMUNIC AT I O N 1 ASSIGNMENT HANDBOOK
BA (HONS) FASHION MANAGEMENT & COMMUNICATION
You will develop future global fa within th PROMOTIONAL MIX
commun
ADVERTISING CONTEMPORARY MEDIA STEREOTYPING & CULTURAL APPROPRIATION NARRATIVE IMAGE MAKING FASHION COMMUNICATION
ASSIGNMENT OVERVIEW
p a perspective on ashion challenges he field of
nication.
VIRAL/DIGITAL/PRINT ADVERTISING
CONSUMER BEHAVIOUR
STRATEGIC CAMPAIGN PLANNING CHALLENGING SOCIAL ATTITUDES
GEN Z CONSUMERS
BRAND IDENTITY
BA (HONS) FASHION MANAGEMENT & COMMUNICATION
ASSESSMENT EVIDENCE FOR SUBMISSION
Your ability to research from a wide variety of sources will prove essential to the development of your individual outcomes. Research must be presented at every stage, however, your research should be an ongoing process. You must present your research in a professional format, which must be brought to every lecture/seminar, research lab and workshop. RESEARCH INVESTIGATION: Min 1 x A4 Research Portfolio
1
Presented in either a plain black archival box or a clear A4 file (Muji) – PLEASE DO NOT USE PLASTIC WALLETS. Images must be printed in a PROFESSIONALLY creative manner (on photopaper/card/acetate/fabric etc) The information must be presented in an organised manner, use file dividers for this purpose.
RESEARCH PORTFOLIO
You will need to ensure that the information you include in the resource file displays critical thinking when selecting and examining material from a wide range of sources. Evaluative and analytical notes need to be added to the information eg; how does it relate to your project / what is its relevance in terms of the direction you want to steer your project in / etc‌.. Thumbnail sketches/plans may also be added to the information. Please reference all your sources.
2 MAGAZINE ARTICLE
Recommended 600 word article, exploring a key issue related to diversity, sterotyping, beauty ideals or body image within the fashion indutry. To be produced using Adobe InDesign - Printed A3 landscape (double page spread).
FASHION COMMUNICATION
ASSESSMENT EVIDENCE
ASSESSMENT EVIDENCE
FOR SUBMISSION
KEY DE TAILS
3 CAMPAIGN PLAN
Researched and produced as a GROUP. You will collectively prepare a campaign plan for your chosen product area. (See Guidelines) You should aim to produce 1 copy each in a professional format (i.e Newspaper Club/Blurb)
4 CRE ATIV E DEVELOPMENT
5 PROMOTIONAL
Professionally developed visual concept/storyboards, which clearly communicates your visual narrative, the appeals, your inspirations and direction. min 4 x A3 concept boards.
Campaign developed in chosen media. Professional presented in format of your choice.
OUTCOME
6
BLOG POST(S)
7
EXHIBITION/ PR ESEN TAT I O N
27.
Assignment hand in date & time :
HOW WILL YOU SUBMIT: All work must be contained within 1 A3/A2 black archival box and/or A3 Prat Pampa portfolio Your name must be clearly labelled on the side of the box and on all outcomes presented within. (Please collect a sticky label) Any digital media (films/websites) must be uploaded digitally, shared to c.gallery@shu.ac.uk and the URL links printed on a card and presented within the box. Plastic wallets/holders or other unsuitable presentation methods will not be accepted.
FASHION COMMUNICATION
.05 @ 3pm HPO HELP DESK
BA (HONS) FASHION MANAGEMENT & COMMUNICATION
STAGE 1
DEVELOPMENT PROCESS
RESEARCH
Research is the most vital stage of any project. You will be required to identify and explore a wide range of primary and secondary research methods, including, but not limited to: field research, interviews, video recordings, personal observations, books/trade journals, magazines, online resources, social media... All research will need to be printed professionally and presented creatively (complete with analytical notes) within your research portfolios. Your research portfolio should evidence your ability to creatively explore and investigate ideas, theories and concepts by cross-referencing and analysing the research information you have compiled. You will not be able to progress onto unless you have exhausted all research opportunities.
STAGE 2 IDEATE + EXPERIMENTATION
Research development is ultimately the first step to responding creatively and innovatively to the information you have gathered whilst carrying out your investigative research. Once you have generated a range of key research, you will explore a range of research deconstruction methods in order to critically analyse your findings, visualise your data and begin the processofresearchexplorationanddevelopment. You will to show evidence of your experiments, planning and trials, both within your research portfolio and reflective blogs. Types of experimentation within this assignment will focus on photography techniques, shoot planning, storyboards, layout development and editing skills.
STAGE 3 REALISATION + PRESENTATION
You will develop a series of visual and written outcomes, which should clearly reference your research and experimentation. Your final outcomes should be fit for purpose and suitable for the intended audience/consumer. You should demonstrate strong awareness of contemporary approaches to visual communication methods, presentation outcomes, and innovative composition skills.
FASHION COMMUNICATION
1
HOW WE WILL UTILISE TECHNOLOGY THROUGHOUT THIS MODULE DAILY DIGEST Committ to 1 hr feedly everyday... Please download the APP FEEDLY. This will provide you with a daily stream of global news and trend information. Feedly essentials: THE BUSINESS OF FASHION///DAZED DIGITAL COOL HUNTING///BUSINESS INSIDER//1GRANARY
Layar harnesses image recognition, augmented reality and computer vision technology to bring the physical world to life through smart devices. This will enable you to, quite literally, bring your campaigns to life. You will be able to utilise th app in order to embed digital content/resources, within your print outcomes, which will be an integral part of your presentations.
The use of Adobe Illustrator, Photoshop, Indesign and Premiere Pro will be a key focus throughout this module, in order to enhance your technical knowledge and develop visual imagery/film/website content related to your campaign media.
Reading list It is strongly recommended that you follow a reading programme in parallel to the lecture series. A choice of texts are listed below, however, wider reading of specialist texts, journals and articles are also strongly recommended. You will be sent key texts/articles prior to lectures/seminars. Please ensure that you read, in order to contribute fully during seminars & discussions.
Delmar Hindle, T. (1998). Making presentations. Dorling Dorst, K. (2003) Understanding Design: 150 Reflections on Being a Designer. BIS Publishers. Fletcher, A. (2001). The Art of Looking Sideways. Phaidon Gonnella, R., Kindersley Lawson, B. (2004) What Designers Know. Oxford: Architecture Press K. Kristen (2008) Writing for the Fashion Business: Berg Rothstein, Jandos (2007) Designing Magazines: Alworth Press Landa, R. (2000). Visual Workout: Creativity Workbook, Lupton, E (2008) Indie Publishing: How to design and create your own book Princeton Architectural Press McAlhone, B. (1998). A Smile in the Mind. Phaidon Poyner, R. (1998). Design Without Boundaries. Booth-Clibborn Editions. Schรถn, D. (1987) Educating the Reflective Practitioner. San Francisco, CA: JosseyBass. Siegel (2008) Fashion Photography Course: Principles, Practice, & Techniques: An Essential Guide Smith, Bruce (2008) Fashion photography: a complete guide to the tools and techniques of the trade: Amphoto Books Swanson, Wolbers, Marian Frances (2009) Uncovering Fashion: Fashion Communications Across the Media WEBSITES www.wgsn.com www.trendland.com www.dazeddigital.com www. lsnglobal.com Instagram www.businessoffashion.com www.i-d.vice.com www.showstudio.com
FASHION COMMUNICATION
Fashion///Lifestyle/Arts/ Harpers Bazzar /// Vogue /// Elle ///Wallpaper /// Creative Review ///
JOURNALS
NEWS/MAGAZINES/TRADE
Newspapers/tradejournals WWD ///Drapers /// The Guardian /// Sunday Times
Independent Fashion Garage ///Tank /// 125 /// 10 /// Another /// Dazed /// Pop /// The Gentlewoman /// Purple /// Interview /// W /// Nylon /// Self Service /// Lula /// I-D ///Numero /// Wonderland
BA (HONS) FASHION MANAGEMENT & COMMUNICATION
HUMAN BEAUTY IS A REFLECTION O F CULT UR AL PERCEPTIONS AND IDEAS OF AESTHETICS ARE INDIGENOUS TO T HAT AR E A . MEERA JAIN
FASHION COMMUNICATION
DEADLINE: ONLINE SUBMISSION 18TH MARCH 2016 FASHION COMMUNICATION 1
PART 1 MAGAZINE ARTICLE
BA (HONS) FASHION MANAGEMENT & COMMUNICATION
LIVE BRIEF: ALL WALKS BEYOND THE CATWALK
Visual representations of beauty in fashion are including analysing how brands employ stechanging. Standards of beauty are usually soreotyping strategies in order to promote culcial markers, traditionally employed by adver- tural ideals. At each stage, you will be required tisers to sell products, which typically to participate in key discussions, challenging determined cultural status and social acceptinfluences, theories and perceptions and quesance, however, ‘beauty remains an elusive tioning how the media has changed human notion’. perceptions of beauty over time. Whilst scientists continue to study the biological and anthropological factors behind physiDuring part 1 of this assignment, you will: cal attractiveness, visionaries such as Nick Knight, continue to push the boundaries in •Research and analyse a variety of contempoterms of what is socially acceptable and, within rary promotional imagery utilised by various the genre of visual communication, in order to brands, considering the context of each prostand out, you have to make motional campaign and a strong visual impact, one how these are effective in Future fashion image makers are that engages an audiences targeting consumers. increasingly more likely to promote imagination and challenges genetic manipulation techniques as •Gain an awareness of the social norm. a means of styling the body, or work key trends and issues, Fashion photography has with medical researchers to create moved beyond the tradiprevalent in contemporary prosthetic implants that radically tional, glossy imagery we are fashion promotion, (i.e. alter the body’s shape, rather than all familiar with. The fashion Technology, sustainability, use traditional clothing. photography of the future is politics, cultures, celebbold, challenging and often rities, film and music), controversial. which are used to appeal to different market segmentations and grab consumer attention. Throughout part 1 of this assignment, you will be encouraged to examine the notion •Experiment with digital and traditional photo of ‘beauty’ with a high level of critical and manipulation/editing techniques and identify cultural awareness, one which promotes strong new technologies, employed by fashion mardiscourse around hegemonic visualisation keters, in order to influence buying behavmethods. You will be encouraged to address iours. and challenge societal stereotypes, beauty ideals and cultural identity on a global and social You will work individually to develop an platform, through the development of creative investigative 600 word article based on a writing. related issue of your choice. You will identify some of the sociocultural factors that influence international consumer behaviours, advertising and retail communications,
Your articles will be submitted to the All Walks Beyond the Catwalk competition on 18th March 2016.
FASHION COMMUNICATION
Shaun Ross
BA (HONS) FASHION MANAGEMENT & COMMUNICATION
SCAN IMAGE TO VIEW A VIDEO ABOUT SHAUN ROSS, INTERNATIONAL MALE MODEL
All Walks, Co Founders Caryn Franklin, Debra Bourne and Erin O’Connor.
“People constantly talk about the economics of emerging markets – Brazil, India and China. Surely it’s time to join the dots between commercial thinking and emotional understanding. We live in a diverse world. The fashion industry can send out a more conscious message, develop a more emotionally considerate practice in pursuit of a more lucrative business proposition. It all begins in education.”
LIVE BRIEF: WHO ARE ALL WALKS?
A L L W A L K S B E YO N D TH E C ATW A L K I S A N I N ITI ATI V E F O U N D E D B Y C A R Y N F R A N KLIN, DEBRA BOURNE AND ERIN O’CONNOR W O R K I N G W ITH I N F L U E NTI A L C ATW A L K D ES I G N E R S , TO P I N D U STR Y C R E ATI V E S A N D FA S H I O N STU D E NTS A N D TH E I R C O L L E G E S TO C H A L L E N G E TH E F A S H I O N I N D U STR Y ’ S D E P E N D E N C E O N U N A C H I E V A B L E A N D L I M ITE D B O D Y A N D B E A UTY I D E A L S B Y R E S P E C TI N G D I V E R S ITY. B Y H I G H L I G HTI N G TH E R E S P O N S I B I L ITY O U R I N D U STR Y H A S TO R E C O G N I S E TH E P S YC H O LO G I C A L I M PA CT O F ITS M E S S A G I N G U P O N TH E MI N DS OF YO U N G W O ME N A N D M E N , TO G E TH E R W ITH TH E U N P R E C E D E N TED AMOU NT OF IMA GERY WE REC EIVE VIA D I G ITA L P L ATFO R MS , W E B E L I EV E W E C A N E N C O U R A G E A S H I FT TO W A R D S A M O R E E N L I G HTE N E D P O S ITI O N . WE CALL FOR RACIAL, AGE, SIZE AND BODY D I V E R S ITY I N O U R I M A G E R Y; D E S I G N TR A I N I N G TH AT A C C O M M O DATE S A L L B O D I E S A N D G E N D E R E N L I G HTE N E D TH I N K I N G TH AT E M POWERS YOUNG WOME N A N D YOUNG ME N. W E B E L I EV E TH AT D I V E R S ITY I N F R O NT O F TH E L E N S A N D B E H I N D IT – M I N D S ET A N D P H Y S I C A L R E P R E S E NT ATI O N – I S C R U C I A L F O R E M OTI O N A L L Y C O N S I D E R ATE P R A CTI C E . FU N DA ME NTA L LY: FA SHIO N C A N B E A POWE R F U L C A R R I E R O F M E S S A G E S TO W A R D S S H A P I N G P E R S O N A L I D E NTITY A N D S E L F E STE E M . R E S P E CTI N G C U STO M E R D I F F E R ENCE AND INDIVIDUAL NEED IS EVERMORE I M P O RT A NT I N TH I S G L O B A L E C O N O M Y. W E A R E A CTI V E TH R O U G H TH R E E M A I N CHANNELS… FASHION COMMUNICATION
CONSUMER AND TRADE FACING PRESS CAMPAIGNS They create press campaigns to highlight the impact of imagery and its far reaching effects and have featured in national and international news and current affairs as well as lifestyle print journalism and TV.
ADVOCACY They contribute to a variety of parliamentarian campaigns and initiatives on how diversity and the beauty of individuality can make an impact in the wider culture and influence self-esteem and well-being. They are members of the government expert advisory committee on body confidence, chaired by former Govt. Minister for Equalities Lynne Featherstone and now Jo Swinson, current Govt. Minister for Equalities. They also work with the All Party Parliamentary Group on body image All Walks chaired by MP Caroline Nokes and co-created and co-produced the first Body Confidence Awards from Parliament in April 2012. They are now lead ambassadors in the continued evolution of the Body Confidence Awards at Parliament and have also advised in the creation of the new National Be Real Body Confidence Campaign with three
EDUCATION They created the Diversity Network which operates from the heart of Edinburgh College of Art and is lead by Director Mal Burkinshaw. They lecture across the UK, empowering undergraduates to change practice within their chosen field by practicing the following strategies. To help students understand the power they have within the fashion and image-making industries to communicate to women and men about their bodies in a positive way, shifting from an objectified relationship with the use of bust stands and models to a more empathic position built on a multi cultural society. To see diversity as a starting point for creativity, not an obstacle to impede it. To promote the business value and creative possibilities in the promotion of individuality and diversity. To encourage emotionally considerate design and practice in recognition that immovable and small size bust stands, do not represent the consumer. Enlightened image making in recognition that imagery of hyper-sexualised or infantalised bodies may not answer consumer need and writing for bodies in recognition of the need for discussion about wider variety of sizes, ages, skin tones and physical difference. To introduce students to new academic research in the field of body-image, and the relationship between
FOR FURTHER DETAILS OF THE ORGANISATION, AND TO SEE DETAILS OF THE COMPETITION SPECIFICATION, PLEASE VISIT WWW.ALLWALKS.ORG
BA (HONS) FASHION MANAGEMENT & COMMUNICATION
INDUSTRY VOICES
“It’s very important that we question the parameters that define beauty. — Nick Knight, photographer and visionary
‘As a photographer, I am constantly confronted by perceived ideals of beauty. The models, actors, musicians, and ‘real’ people who I see down my lens are all influenced by an oppressive world of unattainable physical goals. I always work hard to break through the artifice and capture something unique, original and beautiful in each of my subjects. Interest and creativity is not about perfection but quite the opposite; beauty comes from our idiosyncrasies.” — Rankin, photographer
“I’ve always gravitated towards unique characters and individuals, particularly within the part of the fashion industry I work in. For me, it’s interesting to see this rather than a world that is bland and homogenous.” — Giles Deacon, designer
FASHION COMMUNICATION
“When it comes to choices around fashion, we’ve never had more, yet our choices around body shape appear increasingly limited. Why is it that 99% of all the attractive and intelligent women I know, models or otherwise, do not feel good about their bodies? Let’s change this.” — Debra Bourne, Co-Founder All Walks Beyond the Catwalk
“Individuality is what fashion is all about. Following trends and copying arbiters of taste will only get you so far. It is only when we bring our own personality into play, when we impart our own style into how we choose to present ourselves, that true fashion icons are made. The reliance on standards and benchmarks within the fashion industry is stifling creativity and denying a lot of people something truly wonderful. It is time to reassess the situation, open our eyes to the future and pass on positivity and inclusivity as the message for S/S ’10 and beyond.” — Maggie Norden, London College of Fashion
“The fashion industry has always celebrated creativity and femininity through innovative design and artistry. Fashion now permeates virtually every facet of our daily lives and women everywhere embrace it. However, real style is often overshadowed by society’s obsession with body image. The industry needs to refocus and start considering the needs of the wide range of female consumers who support it. All Walks is addressing this issue in a truly credible way and everyone at Kandi is proud to be helping to deliver such an important message.” —Andy Downham, Creative Director of Kandi Media
BA (HONS) FASHION MANAGEMENT & COMMUNICATION
WEEK
WEEK
32
33 07/03/16 - L E C T U R E /S E M I N A R 4
Behaviour change theories in relation to VM across different market levels + Field research. MON
AA 9AM - 12PM
LECTURE/SEMINAR 5
Body image as a social construct: understanding of sterotyping and discrimination with marketing and advertising.
CG 10AM - 1PM TUES
08/03/16 - LEC TURE/SEMINAR 6
Key Issues within fashion communication. Article focus. Drafting ideas.
CG 10AM - 1PM LECTURE/SEMINAR 1
TUES
History of Advertising and Communication Media + Socio-Semiotic Analysis of Advertising
THURS
01/03/16 -
CG 10.30AM - 1PM
10/03/16 - LEC TURE/SEMINAR 7
Print Campaigns
CG 10AM - 1PM LECTURE/SEMINAR 8
RESEARCH L ABORATORY
Digital campaigns and Viral marketing. The evolution of film
Ethnographic research methods
AA 2 - 5PM
FRI
03/03/16 - LEC TURE/SEMINAR 2
THURS
Communication methods and consumer behaviours: Marketing models of persuasion (AIDA) and the path to purchase
CG 10AM - 1PM
CG 2 - 5PM
11/ 0 3 / 16 - L E C T U R E / S E M I N A R 9
Brand DNA/Strategic direction: Understanding the consumer & creative communication of target consumer
AA 10AM - 1PM
FRI
LECTURE/SEMINAR 3
WORKSHOP 2
Creating and Alienating fashion markets
Fashion Writing: article focus
AA 2-5PM
04/03/16 - WORK SHOP 1
Fashion Writing: writing for specific audiences.
AA 10AM - 1PM
WEEK
WEEKS
34
35/36
14/03/16 - IN DUS T RY EN G AG EM EN T 1
MON
Fashion image within advertising and editorial and related social responsibilities. Critical review of articles
JH 10AM - 5PM WED
15/03/16 - 17/03/16 I N D E P E N D E N T
Refining articles in preparation for ALL WALKS BEYOND deadline (18th March 2016)
FRI
18/03/16 - WORK SHOP 3
Developing campaign plans.
CG/AA 10AM - 5PM
INDEPENDENT RESEARCH DEVELOPING CAMPAIGN PLANS
During the Easter break, you will begin to research from a wide range of sources in order to develop the strategic campaign plan. Draft deadline: 04/04/16
WEEK
WEEK
37
38 11/ 0 4 / 16 - I N D U S T R Y E N G A G E M E N T 1
The importance of creative narrative in ad campaigns and how trends can inform this. MON
JH 9AM - 12PM
11/ 0 4 / 16 - W O R K S H O P 4
Creative Visual Narratives
CG 1PM - 5PM TUES
12 /0 4/16 - W O R K S H O P 5
Developing creative concepts (campaign planning) Trend Forecasting: Overview, role and applications to fashion promotion & communication. MON
RESEARCH L ABORATORY 2
Research Analysis and critique draft campaign plans
CG 2 - 5PM TUES
05/04/16 - FIELD TRIP
WGSN visit and trend research London CG/AA All day
FRI 08/04/16 - GROUP TU TOR IAL CG/A A 10 -1PM
CG 10AM - 1PM
14/04/16 - WO R K SH O P 6
Finialisng Campaign plan (Creative Direction) FRI
CG 10-1PM
THURS
0 4 / 0 4 / 16 - L E C T U R E / S E M I N A R 11
AA 2PM- 5PM
15/0 4/16 - WO R K S H O P 7
Finalising Campaign plan - Upload to Turnitin
AA 10AM - 1PM
WEEK
WEEK
39
40
18/04/16 - WORK SHOP 8
Creative development of promotional campaigns
AA & CG 10AM - 5PM
TUES
TUES
19/04/16 - WO R K SH O P 9
AA & CG 10AM - 5PM
MON
MON
Creative development of promotional campaigns
25/04/16 - WORK SHOP 10
Creative development of promotional campaigns
AA & CG 10AM - 5PM
2 6 / 0 4 / 16 - W O R K S H O P 11
Creative development of promotional campaigns
AA & CG 10AM - 5PM
WED
20/04/16 - GROUP TU TOR IAL CG 10 - 1PM
27/0 4 /16 - 0 6 /0 5/16 INDEPENDENT DEVELOPMENT
Executing campaigns.
WEEK
WEEK
41
42
0 9/05/16 - W O R K S H O P 12
MON
Creative development of promotional campaigns
AA & CG 10AM - 5PM
TUES
10/05/16 - W O R K S H O P 13
Creative development of promotional campaigns
AA & CG 10AM - 5PM
02/04/16 - 06/05/16 INDEPENDENT DEVELOPMENT OF CAMPAIGNS.
Executing campaigns.
WEEK
WEEKS
43
44
MON
16/05/16 - WO R K SH O P 14
Creative development of promotional campaigns
SIA PRESENTATION SE T -UP
AA & CG 10AM - 5PM
TUES
16/05/16 - WO R K S H O P 15
Creative development of promotional campaigns
AA & CG 10AM - 5PM
TUES
24/05/16 - GROUP TU TOR IAL: EXHIBITION SET UP
WED
25/05/16 - PRESENTATION/E XHIBI TION
CG + AA (PANEL) 10AM - 4 PM FRI 27/05/16 - A S S I G N M E N T H A N D - I N . HPO 3PM
CASE STUDY N I CK K N I G H T: SH OW S T U D I O
Nick Knight, Director of SHOWstudio.com, is among the world’s most influential and visionary photographers. As a fashion photographer, he has consistently challenged conventional notions of beauty and is fêted for his groundbreaking creative collaborations with leading designers including Yohji Yamamoto, John Galliano, Alexander McQueen. Advertising campaigns for the most prestigious clients such as Christian Dior, Lancôme, Swarovski, Levi Strauss, Calvin Klein or Yves Saint Laurent as well as award-winning editorial for W, British Vogue, Paris Vogue, Dazed & Confused, AnOther, Another Man and i-D magazines have consistently kept Knight at the vanguard of progressive image-making for the past three decades. His first book of photographs, Skinheads, was published in 1982. He has since produced Nicknight, a twelve year retrospective, and Flora, a series of flower pictures, both published by Schirmer Mosel. Knight's work has been exhibited at international institutions such as the Victoria & Albert Museum, Saatchi Gallery, The Photographers Gallery and Hayward Gallery. He has also produced a permanent installation, Plant Power, for the Natural History Museum in London and was the first of Channel 4's 'Big 4' 50-foot installations outside its London HQ in 2007. A long-standing commitment to experimenting with the latest technologies led to Knight launching his awardwinning fashion website SHOWstudio in 2000. SCAN PAGE TO VIEW INTERVIEW WITH NICK KNIGHT FASHION COMMUNICATION
NICK KNIGHT GROUNDBREAKING IMAGE MAKER
Nick Knight - Skinhead. 1982
Lindsey Wixson (c) Nick Knight
Iconic image of Devon Aoki in Alexander McQueen by Nick Knight
Stella Lucia in Alexander McQueen for AnOther Magazine S/S15. Photography by Nick Knight, Styling by Katy England
Nick Knight & Isamaya Ffrench
Nick Knight, collaboration avec le styliste Alister Mackie et le duo d'artistes LucyandBart, soutiengorge
Nick Knight - Skinhead (detail), 1982
Lets talk it Diversi fash convers
PRE LECTURE READING PLEASE ARTICLES
READ IN
THE
PREPARATION
FOLLOWING FOR
LECTURE/SEMINARS IN WEEK 33
YOUR
k about t: ity in hion sation
CONVERSATION IS PART OF THE SOLUTION During fashion week, there is no way to assess how a garment moves on the body without noticing that white models are doing most of the moving. For one month, twice a year, the disproportionate representation of our global reality is on display atop endless runways. It’s certainly easier to see the lack of diversity here than it is within the industry as a whole — it’s in your face. This doesn’t mean it’s any easier to talk about. No one wants to hear a white woman “pretend” to get this struggle. But as Robin Givhan, fashion editor of The Washington Post, said to me during an interview, “You don’t have to know how it feels in order to recognize when something is inappropriate.” That’s our responsibility as humans. “I think sometimes there’s fear of getting it wrong or not being politically correct,” Givhan said in response to the fashion industry’s resistance to acknowledge wrongdoing. “Those are all absolutely legitimate fears. But the conversation won’t get anywhere if people aren’t willing to live with those fears and speak up.” Fashion activist and former model Bethann Hardison has been speaking up for years. She founded the Diversity Coalition/Balance Diversity to eliminate racism during casting and get more women of color on the runway and in editorials. She recalled a time when designers “just weren’t seeing black people.” The Fashion Spot collected data from 373 shows and 9,926 model appearances across the Spring 2016 runways of New York, London, Paris and Milan. They reported that “77.6 percent of the time models were white.” It’s a slight improvement from the 80 percent they reported for Fall 2015, and 83 percent from the previous spring. Hardison remains undeterred in her mission to get the industry to change. “I am a very patient revolutionary,” she told me. “I believe in education. That change comes about with dialogue.” Derek Lam’s inspiration for his Spring 16 collection was civil rights activist and musician Nina Simone. “The relevance of fashion is always changing,” he wrote via email. “Sometimes the emphasis is more on the frivolity, as an escape, like 1950’s fashion was a response to war time deprivation. And sometimes it is more in tune with social change, like the 1920s and 1970s.” Like right now. Diversifying his runway was important to Lam. In comparison to prior seasons, his Spring 16 show demonstrated real change. “Fashion shows can be robotic,” he said, equating them to when a clock chimes and “the little wooden figures come out the clock door in a circular pattern again and again. Kind of monotonous and ridiculous.”
FASHION COMMUNICATION
Rosie Assoulin, a designer who prioritizes diversity in her presentations, said something similar: “It’s about not having a static beauty ideal. It’s not about representing this idea of one. I want to celebrate the individual as opposed to ‘a type.'” Says Lam of his Spring 16 model casting process, “I think a big credit should go to the model agencies who really dug deep and made the effort to present diversity.” Aurora James, creative director of Brother Vellies — a brand that employs artisans in Africa, experienced the opposite. She had such a hard time getting agencies to send her models of color for her Spring presentation that she found and cast unsigned women herself. “I was pissed,” she said. “I was like, how is this going to make all the people I work with feel? I want them to feel reflected and included.” That word, “inclusion,” may be the most important talking point in this conversation. Inclusion can mean the difference between celebration and appropriation,as James pointed out. “Black culture is often the ‘inspiration,” said fashion editor Shiona Turini, “but black people aren’t part of the conversation. When we’re included, we’re able to help make a more well-rounded product — runway show, beauty story, hair tutorial, editorial.” Here’s where “talking about it” doesn’t cut it and action has to be taken: Magazines, websites, designers, agencies, photographers, stylists all have to diversify their employees. Yes: Man Repeller does, too. Models represent one fraction of the fashion world. “Don’t just look at the runway,” said Turini. “Look around at who is sitting next to you at fashion week.” Keija Minor, editor in chief of Brides, is the first black woman to hold the title of editor in chief at Condé Nast. Eva Chen, former editor in chief of Lucky, was the first Asian American woman at Condé Nast to hold the title. But these two are outliers. Diversity is lacking across the entire industry. Shiona Turini recounted numerous instances of being the only black woman at various magazine staff meetings. So too did Rajni Jacques, a creative director and editor at large. “Our generation grew up to be PC,” Jacques said. “It created this tension when speaking about race, or why you’re influenced by a person of color. I’ve worked at magazines long enough to know when the topic of race does come up, it’s as if everyone is talking but no one’s really saying anything. What do they mean by ‘urban’? It could mean a lot of things. I want to get them to say ‘black,’ because if you can’t speak about diversity, how the hell are you going to execute it?” “Urban” or “hip hop” or “safari chic” — it’s here that we get
into the topic of trends: trending subcultures, trending models who represent the moment’s “look.” It’s important to consider diversity as the norm while being wary to not celebrate race as novelty. When diversity is limited, it means the range of faces within diversity is further limited, which means only a tiny representation of a rich culture or ethnicity is showcased in the images that dictate society’s already narrow perception of “beautiful.” “People are driven by what they know,” Robin Givhan reminded me. “Ideas of beauty are driven by what they know. That’s the prime argument for being concerned about diversity in the broader sense — not just who walks down the runway.” It’s why we need to remain mindful of the world around us. “What is fashion if not an industry founded on the fundamental idea that things come and go,” said Givhan on trending beauty ideals. “I can think of a dozen models who were ‘it girls’ for two seasons, now they’re barely on the runway. I don’t think that’s solely about race. It’s about a short attention span.” Bethann Hardison had a similar sentiment, though both women agreed that problems arise is when the industry moves away from prioritizing diversity. “That’s not a trend,” Givhan said. “That’s ignoring a whole customer base.” Keija Minor said that in order for there to be a change in the industry, there needs to be a change in mindset. “As more people stop looking at increasing diversity in their editorial content and staff as the ‘right’ or ‘cool’ thing to do and start realizing that it’s the business-savvy thing to do, we’ll see meaningful change. 44.2 percent of millennials identify as part of a minority race or ethnic group. To not be more inclusive is leaving audience share on the table. As Shonda Rhimes said, ‘being more inclusive in media is not about diversifying, it’s about normalizing to accurately reflect the world we live in.’” To normalize, we have to keep having these conversations. I think we forget the very real power of words to incite action. As Sophie Theallet — a white designer whose Spring 16 show featured 60 percent diversity, not to mention a plus size model — wrote to me over e-mail, “Change never comes from the top; but from within.” Shiona Turni asked why I was writing this story. She didn’t ask it to challenge my intentions but rather to help us both focus in on what she would say, and what I would write. So I quoted Bethann Hardison: “If you’re not color conscious, something’s wrong. You have to keep it real and not be afraid to say things.” Afraid? I’m terrified. But I do hope I’ve kept it real. Article sourced from Man Repeller
Amelia Diamond | OCTOBER 28, 2015
BA (HONS) FASHION MANAGEMENT & COMMUNICATION
FASHION’S DIVERSITY PROBLEM an infographic
FASHION COMMUNICATION
BA (HONS) FASHION MANAGEMENT & COMMUNICATION
Between the Catwalk and the Consumer: Fashion’s Growing Diversity Gap Luxury fashion customers are more diverse than ever, but on catwalks and magazine covers, white models still dominate. Why doesn’t the industry reflect its consumer base? LONDON, United Kingdom — Bethann Hardison remembers the days when, before every New York Fashion Week, “Casting directors would send out notices to all the modelling agencies in the city, saying ‘no blacks, no ethnics’ — we don’t want to see them.” Back then, the issue of diversity in the fashion industry had “got lost like a splinter,” says Hardison, a former model and founder of the Diversity Coalition, which works with industry bodies like the CFDA to raise awareness about racial diversity and discrimination in fashion. In 2007, tired and frustrated, Hardison hosted a press conference in a New York hotel, where she publicly lambasted the industry’s lack of diversity. “From that moment on,” Hardison says, “No one has ever said that again.” Since then, greater media coverage, the work of advocacy organisations such as the Diversity Coalition, and the willingness of high profile figures like Jourdan Dunn and Naomi Campbell to speak out about their experiences, has spotlighted the issue of diversity in the fashion industry. But this has not resulted in a significant rise in the number of models of colour walking the runways and gracing the covers of glossy magazines. The consumers buying luxury fashion, however, are more diverse than ever before. Since 2007, Asia-Pacific’s share of the global luxury goods market has grown by ten percentage points, according to a report by Bain & Company, and today, the fastest growing luxury markets in the world are the Middle East and Africa. But as the non-western markets for fashion expand, the gap between consumers and catwalks is growing. Over the last four weeks, BoF has surveyed 117 key shows from New York, London, Milan and Paris Fashion Weeks. The data gathered reveals that white models still make up the vast majority of those appearing on the catwalk. According to BoF’s calculations, of the 3,875 model bookings that were made during these four weeks, only 797 were models of colour (categorised as black, Asian, non-white Hispanic and other), meaning that 79.4 percent of the models that walked the runway were white. Black models were the highest represented minority, accounting for 10.2 percent of bookings, followed by Asian models at 6.5 percent and ‘other’ models, including those of Indian and Middle Eastern descent, at 2.3 percent. Hispanic models accounted for only 1.6 percent of model bookings made. BoF’s data was only a representative sample of these fashion weeks, based on information gathered from the shows
that we reviewed during this period, but our results echo those found by other industry surveys. In February, The Fashion Spot published a report on the four fashion weeks for Autumn/Winter 2015, which found a similar divide, with non-white models making up only 20 percent of all catwalk appearances. White models also dominate editorial coverage and advertising campaigns. In Fashionista’s round up of 2015’s ‘September Issues’ — widely regarded as the most important issue of the year for fashion magazines — only 12 of the 41 covers featured men or women of colour and racially diverse cover stars were predominantly celebrities rather than models. Last year, just under 20 percent of fashion magazine covers featured models of colour, according to data collected by The Fashion Spot. Diversity was most lacking in fashion advertising, with white models making up almost 85 percent of those cast in campaigns, according to another report by The Fashion Spot. The fashion industry’s lack of diversity extends to those working behind the scenes. Data recently collected by The New York Times revealed that African-American designers accounted for approximately 12 of the CFDA’s 470 and helmed only 2.7 percent of the 260 shows scheduled for New York Fashion Week Autumn/Winter 2015. “More often, [I’m] the only person of colour in the room,” says Tracy Reese, an African-American designer who has dressed the likes of Michelle Obama. “It’s not a particularly diverse industry,” says Robin Givhan, fashion editor of The Washington Post, who says there is a connection between the decision makers and the dominance of white models. “We are drawn to people who look like us,” she says. “Unless they’re making a conscious decision to deviate from the standard, then the standard is what they go for. And [their] standard is blonde and blue eyed.” Historically, the fashion industry has also been centred in the West — with its most significant companies, such as Kering and LVMH, and its fashion weeks all based there. “The fashion press has been covering only four cities,” points out Frédéric Godart, an assistant professor of organisational behaviour at INSEAD. “For a lot of people in the world, fashion is Paris, New York, Milan and London.” As a result, the industry has evolved to cater primarily for a Western consumer. Ashley Mears, an assistant sociology professor at Boston University and author of Pricing Beauty: The Making of a Fashion Model, says the lack of diversity is much more of a problem at the luxury end of the spectrum, which is “aimed at a very narrow consumer base.” By contrast, mass-market fashion tends to be much more ethnically diverse. “You never see people complaining about a catalogue — ‘Where’s diversity?’ They’ve really covered their bases,” says Mears. Indeed, value fashion grounds its advertising in customer research, often operating on the understanding that the consumer wants to see himself or herself represented. “They know who their customers are,” Mears says. But luxury brands’ model castings aren’t unthinking — rather, they are careful marketing. “Fashion isn’t about selling real life,” says Reina Lewis, professor of cultural studies at London College of Fashion, who says that it is the same principle of exclusivity that means luxury fashion is only shown on young,
FASHION COMMUNICATION
skinny bodies, as on white bodies. “Even something ostensibly real, like normcore, is only cool when it’s shown on slim, youthful bodies — not on 50-year-olds.” “High-end advertising operates on a principle of not only aspiration, but also on a principle of unattainability — something that is so fantastic and so beautiful that it is damn near impossible to achieve,” agrees Mears. Another part of the appeal of luxury fashion brands — as well as their aesthetic exclusivity — is their European heritage, says Frédéric Godart. “The fashion industry was born in Northern Italy and France, and then spread to the UK and other countries and the US. A lot of big brands were born there,” Godart told BoF. “These brands have a long history,” he added, which is important to the customers buying into them. The “myth and ideal of the western product” is part of what luxury fashion brands are selling to emerging markets, says Lewis. When a customer in China buys a Chanel handbag, they are buying a Chanel handbag from the iconic, Parisian brand. “So it needs to not look too much like something local, even if it might be made in China,” says Lewis. Brands’ desire to emphasise their Western history can account for some of the lack of diversity in campaigns, agrees Elizabeth Wissinger, associate professor of fashion studies at City University of New York, who says that brands often choose to depict their historic customer base, rather than their more diverse modern one. “It might be more [diverse] now, but that was not the norm. So the meaning doesn’t resonate with the history and tradition of whatever the brand was, because that brand usually catered to elite who were not of colour.” These brands have also inherited the West’s preconceived ideals of beauty. “Fashion didn’t invent the tendency to regard certain types of Caucasian bodies as beautiful. There’s a pre-history in art, literature and drama, of presenting a certain type of European as the cultural ideal,” explains Reina Lewis, who says that, while some physical details might have changed — body weight, for example — “the conceptualisation of whiteness as a quality of the beautiful body has remained constant.” However, “fashion houses do listen,” says Godart. “If their customers want something, they will oblige.” In particular, the recent uptick in Asian models has been interpreted by many as brands’ reactions to the growing significance of Chinese customers in the global luxury fashion market. However, many are wary that this development could be merely a cosmetic trend, arguing that it is still too statistically small to be significant. “It’s really surface level,” says Minh-Ha Pham, assistant professor at Cornell University and co-author of fashion politics blog, Threadbared. Pham says there is a danger in only offering diversity when the market demands it. “It’s okay when Asia is becoming this new and important market, but what happens when the economy begins to slow down? All of a sudden those consumers are no longer important.”
nese consumers also “rests on a logical assumption that people of colour want to see other people of colour, and that is what sells fashion, and that is what drives fashion, but that’s not necessarily true,” says Mears. Reina Lewis argues that racialised hierarchies of beauty, which prioritise whiteness, exist all over the world — something attested to by the popularity of relaxing and straightening products for Afro hair, or skin-lightening creams. “In many cultures paler skin is preferred as a sign of beauty.” Furthermore, the rarity of models of colour reinforces the idea of whiteness as the “accepted aesthetic,” Pham explains. “[Whiteness] is seen as a kind of universal human identity.” Therefore, “when Asian or African bodies do register, they tend to stand out,” agrees Lewis. “I still see collections presented where you’ll have a model on the runway, and then all of a sudden there will be four black models in succession, as if somehow they must be grouped together,” says Robin Givhan, who describes how some fashion brands approach race as if it is an “aesthetic flourish.” Some see the changing ways that people consume fashion — no longer only through the lens of high-end editorial and luxury advertising campaigns, but online, through blogs and social media — as a harbinger for diversity in the industry. “They’ve opened up the space beyond magazines,” says Elizabeth Wissinger, associate professor of sociology and fashion studies at City University of New York, who argues that the Internet has enabled the rise of influencers outside the fashion industry’s traditionally narrow definition of beauty. “There’s a whole host of user-generated imagery out there… that’s been really important in making visible different types of ethnicity,” agrees Lewis, who says bloggers and social media platforms “have been incredibly important in putting up a range of imagery that validates people’s choices and that widens the frame in which people can understand themselves.” As these influences draw large audiences, “the fashion industry starts noticing them,” says Wissinger, who explains how the industry’s slow realisation of the potential profitability of these communities encourages brands “to go for these new markets and accept them and pull them into the fashion fold.” As the balance of who is controlling fashion’s imagery shifts away from elite luxury fashion houses, alternative understandings of beauty will be allowed to come to the forefront. But, for as long as those in charge remain preoccupied with Western ideals of whiteness, the image of the fashion industry on the catwalk will continue to look very different to its consumers. Article sources from The Business of Fashion
Including Asian models in shows in a bid to win important ChiBA (HONS) FASHION MANAGEMENT & COMMUNICATION
MEET THE KIDS WHO ARE REDEFINING BEAUTY FOR T HE NE X T GENER AT ION From birthmarks to body hair, thanks to the leaders of Generation Z, anything can be beautiful. Tish Weinstock | 31 March, 2015
ASHLEY GRAHAM ''I do not like being referred to as a plus sized model. I am a model, and I don't need my job title to explain the dimensions of my body.'' Ashley Graham As the saying goes: big is beautiful. But who are you calling big? Ashley Graham is 'plus' sized model who has been campaigning for greater diversity on the catwalk ever since her underwear commercial got banned during Superbowl, because of her weight. Fast-forward to today as she has signed to IMG, fronted Sports Illustrated's Swimsuit Issue, and even launched her own lingerie line.
HARI NEF ''I want to be the first trans woman to win an Academy Award.'' Hari Nef Proving you don't have to conform to archaic notions of masculinity or femininity to be beautiful, Hari Nef is the New York artist turned actress who has been leading the transgender revolution, with every Frische cover and Hood by Air catwalk that comes her way.
FASHION COMMUNICATION
Black vs. white, fat vs. thin, masculine vs. feminine - whether you want to put it down to social media's fetishisation of the real or our growing dissatisfaction with the Photoshopped world of perfection that fashion constantly surrounds us with, gone are the days when terms such as these were used to define what society thought of as beautiful. We live in the here and now, where anything is possible and where more and more kids are challenging the status quo and opening up the boundaries of beauty to include even your most loathed imperfections. Dimples, curls, scars, spots, disabilities, bumps, lumps, birthmarks, love handles, body hair, androgyny, curves, cellulite - in this day and age anything can be beautiful and here are the people who have paved the way to achieve this.
GRACE NEUTRAL ''I don't aspire to look like anyone in particular. I just want to change my outside to reflect my soul, so feel like I fit more comfortably in my own skin.'' Grace Neutral Pushing the boundaries of extreme beauty, Grace Neutral is the tattoo-covered alien princess with purple eyes, pointed elf ears, a forked-tongue, scarification and no bellybutton. Isn't she beautiful?
CHANTELLE WINNIE ''I'm just being myself, and I'm happy with myself.'' Chantelle Winnie It doesn't matter if you're black, white, or rainbow coloured, beauty is in the eye of the beholder. Which is something Canadian model Chantelle Winnie can identify with. Born with an autoimmune condition that causes partial depigmentation of the skin, the 20-year-old has been redefining the standards of beauty ever since she appeared on America's Next Top Model, after which she was shot by Nick Knight, and even invited to close the show for Ashish, last season.
BA (HONS) FASHION MANAGEMENT & COMMUNICATION
H T T P S: // I - D.V I CE .CO M / E N _G B/A R T I CL E /M E E T-T H E - K I D S- W H O -A R E - R E D E FI N ING-BEAUT Y-FOR-THE-NEX T- GENER ATION