Side one.
how to create a successful unisex odd sock brand.
Secondary Research Book By Chloe Alexander
Research Book
INKA. The Odd Sock Company.
Research Book
Contents
The big idea Types of research History Focus Brand Casestudies unisex brands colour & pattern Literary review Personal Reflection Bibliography
INKA. The Odd Sock Company.
Primary Research Workshops Sock Profiles Sock Testing Sock Survey Exhibition
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the big idea The concept for the final outcome is to create a unisex odd sock brand called ‘ink’, which means mismatch. As well as researching sock brands I looked further into topics discussed in my dissertation such as Androgonous fashion and gender. Giving my final outcome a sense of depth and meaning. My aims for this project was to produce an outcome that reflects my three years of studying Graphic Design. The final outcome needed to be professional and and demonstrate the skills I have learnt, but also push myself and my design capabilities. I wanted to push myself by not only doing branding, which is my strong area but also do packaging, website design and also actually create the socks for my brand. From my dissertation I found an interest in gender and how the topic is portrayed in branding to appeal to a particual target audience of consumers. So to be able to further my research and develop my understanding was important to me in creating a successful brand.
(Pintrest 2019. Figure 14)
INKA. The Odd Sock Company.
Claire Parker, Executive Creative Director. Design Bridge Research Book
“Great innovation comes from seeing the opportunity within something, making the connections that others have missed and finding a way to address it.�
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types of researc
Qualitative Research
Just as the word implies, it explores, that is to find out about something by answering the question in “what” or “How” manner.
A qualitative research design is used to explore the meaning and understanding of complex social environments, like the nature of people’s experience, using case studies.
Descriptive Research
Quantitative Research
This is more in-depth research, that answered the question what and how.
A quantitative research design is used to examine the relationship between variable by using numbers and statistics to explain and analyze its findings
Explanatory Research
Secondary Research
This seeks to explain the subject matter being researched and tries to answer the question what, how and why.
Secondary research has been collected already that has been published by other organisations.
Evaluation Research
Primary Research
This is quite extensive as it measures the effectiveness of a program.
Primary research is research that is collected yourself. Such as interviews, surveys, questionnaire and focus groups.
f ch
INKA. The Odd Sock Company.
Exploratory Research
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socks through the ages Research Book
8th century BC The Greeks were wearing socks made from matted animal hairs and were called piloi. The Romans wrapped their feet in strips of leather or woven fabric, and by the 2nd century A.D. were wearing udones, which were sewn from woven fabric and pulled over the foot.
14th century In the 1490’s, breeches and hosiery were one piece. They later became known as tights. They were made of colorful silks, wools and velvet. Each leg was often a different color. At the turn of the fifteenth century knitted hose was being worn in France and Scotland.
Middle Ages During the Middle Ages colored cloth tied around the legs and held up with garters were in popular use. Garters were placed over the top of the sock/ stocking to prevent them from falling down. They were mostly worn among the more wealthy.
15th century In the 1590’s knitting machines were created. This made the use of knitted hose more common. With the wearing of be made longer.
r o y. 17th century In the 17th century the use of cotton became popular in the making of socks. Early Americans also used wool and silk. Poorer people wore woolen hose usually tan in color. The rich on the other hand wore fine silk hosiery and more colours.
19th century During the 19th century knitting mills allowed hose to be made in America. As men’s pants became longer stockings became shorter until the term was changed to sock and replaced the term stocking. The word sock is derived from the Latin word “soccus” which means light covering of the foot. Women to date wear stockings, tights, or socks.
socks through the ages
20th century Today you’ll find socks made of cotton, wool, nylon, polyester, polypropylene, spandex and more. There has also been a resurgence of brighter colors and bolder patterns, along with growing varieties of “statement” socks with any number of artful and amusing designs.
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(1500 BC)
socks *
The first knitted socks, from around 1500 BC, were found in Jutland, now part of Denmark. The first stockings were found in Egyptian graves in Antinoe, from circa 500 AD. For a long time, stockings were a privilege of the rich, as the manufacturing was a guild secret.
INKA. The Odd Sock Company.
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(1550) (1550) (1550) (1550) (1550)
‘The Stocking Frame’ The English reverend William Lee (born in 1550 in Nottingham) invented the knitting loom in 1589, making knit fabrics far easier to produce. Reverend William Lee’s original invention developed further. In the beginning of the 19th century, the first circular knitting
frames were developed, which allowed a mostly mechanized process. As a consequence, many home workers lost their jobs and many manufacturers sacked sock makers. Eventually, as cheaper materials were used and factory production advanced, socks became mass-market goods.
INKA. The Odd Sock Company.
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“Elizabeth I received a pair of stockings from Lee, but declined to grant a patent for his invention, horrified by the socks’ crude form.” But, France’s King Henry IV offered Lee financial support, so the inventor moved to Rouen and built a stocking factory. Before long the Huguenots spread the knitting loom
throughout Europe. After the Industrial Revolution the socks, mostly still made of wool, became easier and cheaper to produce, spreading their appeal across European society.
INKA. The Odd Sock Company.
(1550) Designwetrust, 2019. Figure 5
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Socks were worn with the gym suit, but at first they were often worn over the top of stockings. It was seen as shocking for women to bare their legs during this time. Stockings were
Designwetrust, 2019. Figure 5
available in ‘nude’ tones by the mid 1920s. While a daring few dressed their legs in this new flesh shade, many viewed the ‘nude’ tone stockings as scandalous. Women’s spatter dashers
could be worn rolled down, to sit just below the knee, or over the knee. They would commonly be worn over stockings, and be made of jersey or wool fabrics, featuring decorative details
Designwetrust, 2019. Figure 5
such as patterns or buttons. The whole point of spatter dashers was to make a fashion statement – and indeed it helped that they were actually warm to wear too.
INKA. The Odd Sock Company.
1920’s 1920’s 1920’s 1920’s 1920’s 1920’s 1920’s 1920’s 1920’s 1920’s 1920’s 1920’s 1920’s 1920’s 1920’s 1920’s 1920’s
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By the 1930s, a host of yarns and materials were used in the production of socks. Natural fibers such as cotton, silks and wools were all popular. In addition, manmade fibers such as rayon were a popular alternative to more costly options. As ankle socks gained popularity, they became available in a host of colors. Pastels shades were a popular choice, perfectly complementing a golden sunkissed tan.
socks (Designwetrust, 2019. Figure 6)
(Designwetrust, 2019. Figure 6)
INKA. The Odd Sock Company.
1930’S
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19 40 (download, 2019, Figure 7)
As the 1930s came to a close, WW2 was declared. The implications of WW2 were far and wide, reaching even into the infrastructure of clothing and fashion. By this time, women would generally wear stockings with their daily attire. However, as stockings became scarce and the rationing scheme was implemented in the UK, hosiery became more difficult to obtain. Under the UK rationing scheme, a single pair of stockings could cost 3 coupons – an extravagance too far for many.
By this time, women would generally wear stockings with their daily attire. However, as stockings became scarce and the rationing scheme was implemented
in the UK, hosiery became more difficult to obtain. Under the UK rationing scheme, a single pair of stockings cost 3 coupons extravagance for many. (download, 2019, Figure 7)
INKA. The Odd Sock Company.
As the 1930s came to a close, WW2 was declared. The implications of WW2 were far and wide, reaching even into the infrastructure of clothing and fashion.
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1950S Throughout the 1950s, young adults and teens commonly wore their ankle socks with the cuffs rolled back. This created a bulky look at the ankle and generated a relaxed, carefree style. Various fads and trends were incorporated into ankle socks. Bold colors, loud patterns and even the way in which they worn – pulled up, rolled down – all denoted an element of individuality.
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1960’S By the 1960s, a new type of hosiery emerged – tights. Both tights and knee highs were seen as a fresh, exciting alternative to stockings. They each came in more vivid colors, wild patterns, and new textures. Also during this time, new man made fibers were developed, such as polyester and spandex. These new fibers with their improved elasticity resulted in better fitting socks, knee highs and indeed tights.
(Flickr,
(2019). Figure 8)
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(Flickr,
(2019). Figure 8)
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1970’S 1970’
(Reddit, 2019. Figure 9)
s o c k s
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’S
The 70’s are known for their bold colours and patterns. Knee high socks were shown as a fashion item that shows personality and became a main part of their outfit whether it is sports, school or fashion.
(Reddit, 2019. Figure 9)
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“While socks have been a favourite accessory of mine since the mid1980s, hosiery, in some form, has fulfilled a need for both fashion and function for thousands of years.” Before the Industrial Revolution, socks and stockings were knitted. The first knitted socks, from around 1500 BC, were found in Jutland, now part of Denmark. The first stockings were found in Egyptian graves in Antinoe, from circa 500 AD. For a long time, stockings were a privilege of the rich, as the
manufacturing was a guild secret. In the Middle Ages, the pants and stocking together formed one piece of clothing. Later, the stockings on the pants were changed more frequently, since they became dirty much more quickly. Eventually, stockings became fully independent articles of clothing.
History of socks - 1980’s
In the 80s, we certainly did. Ankle socks went with jean skirts and even skirts worn in the office. They were usually thin so they fit inside a dress shoe easily and without bunching. A lace edge provided for a more feminine look. Colored edging or beads coordinated with outfits better.
Socks started to beome a fashion item. Not just an item of practical everyday clothing.
History of socks - 1980’s
(Pinterest, 2019. Figure 11)
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(Pinterest, 2019. Figure 12)
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(Rothbart and profile, 2019. Figure 10)
(Brown, 2019. Figure 13)
DAY
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Socks Socks Socks Socks
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TO
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Today we see previous trends being brought back such as, sport socks, socks with sandals and patterns. Socks seem to show personality and become the main part of an outfit. Socks today are made out of all different kinds of materials, such as mesh, cotton, wool, polyester, nylon in all different shapes and styles.
(Pintrest 2019. Figure 14)
INKA. The Odd Sock Company.
Sock are no longer just a practical item of clothing. They are now fashion items that can be seen as a novelty. There are now many companys that just sell just socks, that have gift boxes and actual highstreet stores.
(Pintrest 2019. Figure 14)
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focu
o k
The focus of this project is socks. I will be researching into how sock brands such as, happy socks communicate their brand to their consumers. I will be furthering my knowledge of socks by looking to the history of socks and how they have developed over the years to be a fashion item. Do consumers see fun socks as a novelty? fashion? everyday items? I will find out through research into my focus of socks.
(Pintrest 2019. Figure 14)
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Jollie Socks Jollie’s is a “more-than-profit” enterprise passionate about creating fun and tangible opportunities to support local homeless charities and care for those facing homelessness. They’ve started with socks. Wear a pair, share a pair!
Jollie Socks was inspirational to my design process. The meaning behind the organisation was influencial and powerful. I decided to look into this sock brand further to understand how they have communicated so well to a smaller and different target audience. Their target audience is aimed at an older age, with a higher disposable income, compared to Happy Socks and Chatty Feet.
(The-priory.com, 2019. Figure 4)
(The-priory.com, 2019. Figure 4) INKA. The Odd Sock Company.
(The-priory.com, 2019. Figure 4)
This sock brand really stood out to me as I has never seen socks sold in a can. I found this really interesting and made me think further about thinking outside the box with my packaging. The colours of the the packaging are bold however, they have been slightly muted to appeal to their older target age group, creating an unsual fun brand that would stand out from competitors!
Ed Vickers Jollie Socks Research Book
Founder
“The idea for Jollie Socks started when I was a student in Exeter, walking past people sleeping rough, selling The Big Issue, begging on the streets, and having that moment of feeling awkward and guilty and not knowing what to do.� (Jolliesocks.com, 2019. Figure 25)
INKA. The Odd Sock Company.
“That moment built up, until I thought there must be something more that I could do than feeling awkward and doing nothing; so I got involved in a local project for homeless people. While I was there and getting to know people, this theme of needing socks emerged in the conversations. It seemed they were the most needed and underdonated things. Quite a few other charities were desperate for socks, too.�
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(Jolliesocks.com, 2019. Figure 25)
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The London Sock Company “The London Sock Company was built on a belief that good socks can inspire confidence. At LSC, we believe that pulling on a great pair of socks in the morning has the power to transform not just your style, but your state of mind. Our founders created this brand in 2013 to help modern gents embrace their personality and be inspired to be the best version of themselves. Great socks aren’t just a finishing flourish on an outfit. They are the first steps to effortless style.”
(London Sock Company, 2019. Figure 24)
I decided to look into The London Sock company to understand how a luxury sock brand would communicate their brand to their consumers. This gave me ideas of how I should not design my brand as they would have a completely different target audience to inka. And the complete opposite to Happy Socks and Chatty Feet.
(Fitz, 2019, Figure 3)
(Fitz, 2019, Figure 3)
INKA. The Odd Sock Company.
This brand inspired me to introduce labels onto my socks instead of just having the logo printed on. The Odd sock company has embroided logos on their socks which creats a clear constrast and also gives the brand depth, and the appeal of better quality.
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(London Sock Company, 2019. Figure 24)
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Chatty Feet Chatty feet creators thought that adults gets a bit too serious at times. So it became their mission to inject more fun into people’s lives through our characterful ChattyFeet socks. They look like childrens socks but they were designed for adults. However Chatty Feet have created a kids range too! The characters make the socks look like a novelty as they are sold as gifts and in gift boxes.
Chatty Feet have a very similar target audience to Happy Socks, making them competitors. They have many similarities, from being unisex, to the price, location and style of socks. This was interesting to look into as ‘inka’ has a similar target audience.
‘What if our socks could talk?’ (ChattyFeet Socks, 2019. Figure 23)
INKA. The Odd Sock Company.
(ChattyFeet Socks, 2019. Figure 23)
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Happy Socks Happy Socks was the main inspiration in my design process. The colours, patterns and there vision was what I wanted to reflect in my brand, ‘inka’. Happy Socks also have a similar target audience of being all inclusive, unisex
and just fun. This brand also gave me inspiration for my photoshoot of the sock. Their photo have block backgrounds that make the socks stand out as they constrast. Happy socks is a very influencial brand in my design process.
(Happysocks.com, 2019. Figure 22)
INKA. The Odd Sock Company.
“bringing happiness and colour to every corner of the world�
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Founders Happy Socks Viktor Tell - Creative Director of Happy Socks Viktor worked as a graphic designer and illustrator for several years before finding his place in the fashion world. Inspired by colorful, playful patterns and designs, he is influenced by the daily “every- thing and nothing” when designing the Happy Socks collections. His motto: “All play, no work” accurately shows what the label is all about, turning a simple and overlooked product into a fun, creative, expressive success story.
Mikael Söderlindh - CEO of Happy Socks Mikael worked in the advertising industry for 10 years before he and long-time friend Viktor Tell started their Happy Socks adventure. After a decade of working in the service business, Mikael wanted to develop a product on a global market and build his own brand from A to Z; all driven by a clear strategy and business knowhow. Integrating the corporate structure with a personal touch, Mikael runs Happy Socks by allowing creativity to evolve and grow without interference.
INKA. The Odd Sock Company.
(Happysocks.com, 2019. Figure 22)
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Target Audience
Happy Socks
“Happy Socks products are worn by pretty much everyone: hipsters, business men/women, kids, grandparents...you name it, they wear it! It’s for people who love color, and will always be there for people who want a colorful everyday essential.”
“Unisex” “Global” “Playful”
Chatty feet creators thought that adults gets a bit too serious at times. So it became their mission to inject more fun into people’s lives through our characterful ChattyFeet socks. They look like childrens socks but they were designed for adults. However Chatty Feet have created a kids range too! The characters make the socks look like a novelty as they are sold as gifts and in gift boxes.
(Happysocks.com, 2019. Figure 22)
INKA. The Odd Sock Company.
“Young at heart Outgoing”
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Trends Chatty feet creators thought that adults gets a bit too serious at times. So it became their mission to inject more fun into people’s lives through our characterful ChattyFeet
Happy Sock
(Happysocks.com, 2019. Figure 22)
INKA. The Odd Sock Company.
“Making a statement by wearing colorful socks has become a global trend. Happy Socks was the first fashion sock brand, and is now a market leader in a segment it created. Other traditional sock producers have begun creating colorful socks, but none as original, unique and fashionable as ours.�
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h Happy y Socks s t e r ia
Hysteria is a range from Happy Socks that prides itself on colour and strong modern aesthetic. They pride theirselves on their powerful socks and hosiery for women that augment and elevate everyday style. Enhancing idividuality and personality and believe it is consumers right to express their selves however they want. This range inspired my photography for my brand. I think that the simple block colour background creates a focus on the socks. Creating a sense of quality of the product and idividuality. Even though the socks are simple in their design they have still been made to stand out. The clothing the models have been styled in gives an insight to the range.
(Happysocks.com, 2019. Figure 22)
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(Happysocks.com, 2019. Figure 22)
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Unis Bra
Space NK, Commodity Selfridges Selfridges & Faye Toogood Offical Rebrand One DNA
INKA. The Odd Sock Company.
sex ands
androgynous Research Book
unisex
Androgyny has been seen a lot in the media recently, with celebrities such as Jaden Smith being the face of Louis Vuitton’s Spring/Summer 2016 Womenswear. He was seen breaking the stereotypical gender boundaries, by wearing skirts and ‘women’s’ jackets. This is another high end brand known for being luxurious and implying that they are individual as they are selling androgynous fashion as a luxury item. Vogue online, state that ’androgyny is the biggest talking point in fashion right now’ about 2016
‘Fall fashion’. Other luxury brands, also following the example such as, Gucci’s 2016 Spring/Summer mens collection. “Androgyny and a subversion of traditionally masculine and feminine ways of dressing have been themes of Alessandro Michele’s Gucci collections” (Fernandez, 2018) having men walking for the women’s Gucci collection. There have been many more higher end brands that use androgynous fashion as a way to make their
brand seem unique and on trend. “Therefore, creating a fit between the social trends and keeping up with them is one of the critical strategic issues for all luxury brands” (Shukla, 2011). Most fashion trends begin, when “they are generally under the influence of highprofile luxury brands that pave the way.” (The Last Fashion Bible, 2018) Selfridges is also a luxury brand and has been seen to follow and create trends recently, such as their ‘Agender’ pop up shop.
2016 Jaden smith Louis Vuitton, 2016 Womens wear
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louis vuitton
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(Pintrest 2019. Figure 14) INKA. The Odd Sock Company.
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Commodity “Created in 2014 by two passionate entrepreneurs, Commodity offers a chic range of unisex, cruelty-free fragrances for self and home. With minimalistic packaging and scents featuring evocative notes of tonka, vetiver and leather, this fragrance brand is as covetable as it is chic.” Is the description of Commodity on the Space NK website. I decided to look into this brand as it is unisex, and it is interesting how it is branded as ‘unisex’. They have portrayed ‘unisex’ as black and white and just removed the ‘feminine’stereotypes in the design. This is interesting as I think that the font works really well, however I think that the black and white makes the brand look masculine.
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(NK et al., 2019. Figure 15)
(Kirkham, 1996) Research Book
“We sometimes fail to appreciate the effects that particular notions of femininity and masculinity have on the conception, design, advertising, purchase, giving and use of objects as well as their critical and popular reception.�
Space NK’s unisex cosmetic brand, ‘Commodity’ was a influential case study for my design process. I was inspired by how the brand uses a smooth and curvy serif font for the main title on the product. This fonthas feminine connotations as it is curved, flowing, smooth and round which replicates the female form, creating a feminine tone of voice challenging gender ‘norms’. Whereas, a font with a masculine tone of voice would be a san serif font which would be very bold and sturdy portraying dominance on the packaging. “We sometimes fail to appreciate the effects that particular notions of femininity and masculinity have on the conception, design, advertising, purchase, giving and use of objects as well as their critical and popular reception.” (Kirkham, 1996) And how an object that is used every day can be gendered creating socially constructed stereotypes. (Bennett, 2005) This inspired the message that I wanted to communicate to my consumers, that gender and our identities are fluid.
INKA. The Odd Sock Company.
(NK et al., 2019. Figure 15)
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I decided to continued to challenge the unisex brand stereotypes in my design process by experimenting with patterns and colour, keeping the feminine design traits. However, I decided that the logo for this project works best monochrome and typographic, as it needs to work on different patterns. A main part of my design process was creating the logo. The logo needed to appeal to a target audience of any gender in the age range of 18-24. From my research into Space NK’s, ‘Commodity’ I was inspired by the use of the smooth, curved serif font that stands out clearly on the packaging, as a typographic logo. I used a font called ‘Vesterbro’ for my logo, similar to the ‘Commodity’.
This font has a strong yet soft appeal, it is breaking out of the square, yet staying within itself, slowly changing and developing as are its modern target audience. This creates a modern, practical branding shape whilst subliminally explaining the ideologies of the brand and its product, breaking male and female gender stereotypes. The monochrome block logo will stand out from busy geometric patterns that will change colour depending on the theme of the socks.
By changing the colour scheme, the design will be fluid and this relates to the ever changing world we live in. I like the idea that we are not static in our choices and ideals and this will be represented in the entire design concept. David Gaunlett states that “our expectations of gender are flexible and culturally dependent and therefore will continue to change.” (Bennett, 2005) This inspired the message that I wanted to communicate to my consumers, that gender and our identities are fluid.
“expectations of gender are flexible and culturally dependent and therefore will continue to change.�
INKA. The Odd Sock Company.
(Bennet, 2005)
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(NK et al., 2019. Figure 15)
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Selfridges y For my dissertation I researched into Selfridges and how they have developed and changed from when they first opened. I looked into Selfridges as it helped me undered the use of trends, socially, politically and fashion wise. Selfridges is famous for being a historic store with loyal customers. This make me want to understand more about why they made that change.
(Historytoday.com, 2019. Figure 16)
the exterior was festooned in laurel and the flags of all nations. A bugle sounded at nine in the morning as the doors were unlocked and a crowd of interested visitors surged in. Some 600,000 personal invitations had been sent out in the previous days and newspaper advertisements had asked everyone in the country to come to see the new store in its opening week. This historic is known for its traditional shopping experiences. So why did they decided in 2016 to challenge this and create a modern unisex experience?
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Harry Gordon Selfridge circa 1880. London’s Oxford Street has a long history going back to its original incarnation as a Roman road. The Tyburn gallows at present-day Marble Arch was its most celebrated feature from the 16th century until the 1780s, when public hangings were transferred to Newgate Prison. It developed into a shopping street during the late 19th century. One of its most handsome and celebrated sights today is Selfridge’s department store. When the first section was opened on a snowy March day in 1909,
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(Historytoday.com, 2019. Figure 16)
luxury? Research Book
During the transformation of Selfridges in March 2015, the London Store had used their ‘Concept Space’ to create a completely new experience for their audience. Selfridges created a temporary pop up shop experience/experiment called ‘Agender’ which was a “unique genderless shopping experience across fashion, accessories and beauty” (Selfridges.com, 2018).
(Selfridges.com, 2019. Figure 17)
democratises it.” (Fayetoogood.com, 2018) Faye Toogood’s androgynous collection is a luxury collection that is retailed at £430 plus and sold on Selfridges website. Having a collection that is so expensive when trying to create social change or send messages implies that being individual or androgynous is seen as luxury. Werner Sombart states in his essay on “The Concepts and Nature of Luxury’ that “luxury is any expenditure that goes beyond the necessary” (Sombart, 92). In this example Toogood is selling her collection for an expensive price as part of a social trend. Consumers will want to buy the product to feel like they are playing a part in the change. However, it will be a niche audience that would be able to afford her collection as it is so expensive, so it becomes a ‘luxury’.
Selfridges Faye Toogood
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The pop up shop was designed by British designer Faye Toogood, her “furniture and objects demonstrate a preoccupation with materiality and experimentation.” (Fayetoogood.com, 2018) Which was clearly exhibited in the ‘Agender’ experience by creating pieces of art to portray gender and by using contrasting, monochrome background, this implied that gender isn’t just black and white. Together, Selfridges and Toogood “went beyond the concepts of androgyny and unisex to question the innate assumptions that still underpin gendered clothing in the 21st century.” (Fayetoogood. com, 2018) The pop up shop included Selfridges debut of Toogood’s clothing Collection 002, which were sold in unbranded white packaging, breaking “down retail’s artificial divisions, and thereby
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(Selfridges.com, 2019. Figure 17)
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“We are increasingly aware that gender is not a simple binary, yet clothing is still marketed along those lines. You only have to look at the preponderance of the ‘pink is for girls’ mentality in children’s departments to see how the choices we make when buying clothing can reinforce artificial gender roles.” Faye Toogood
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(Selfridges.com, 2019. Figure 17)
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Official Rebrand Official Rebrand (OR?!) revives clothing that has been discarded, breathing new life into what was once considered waste. Through painting, drawing and other alterations, non-binary designer MI Leggett’s “rebranding” process proposes a sustainable alternative to the competitive consumption encouraged by today’s social and industrial norms. This transformation also nods to the fluidity of identity and encourages people to take personal agency over
their self presentation. Rebranding dissociates garments from gendered categories and reintroduces them without arbitrary social constraints. Since its launch in 2017 Official Rebrand has shown at multiple Berlin and New York Fashion Weeks, at NADA Miami and appeared in Teen Vogue, Paper Magazine, Vice, Dazed, Vogue, Milk, Hunger Magazine, Antidote, Into and other outlets.
(OFFICIAL REBRAND, 2019. Figure 18)
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Official Rebrand (OR?!) is created by non-binary artist MI Leggett. OR?! introduces consumers to a new eco-aesthetic by upcycling pre-worn clothing, exploring the collision of anxieties surrounding climate change and dependence on decadence. Played out on reclaimed garments that reject both genre and gender, “rebranded� pieces are emblazoned with paintings of sinuous, genderless people, blinded by desire.
official rebrand launched 2017 Research Book
“Rebranding dissociates garments from gendered categories and reintroduces them without arbitrary social constraints.�
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(OFFICIAL REBRAND, 2019. Figure 18)
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One DNA is an independently owned and operated, emerging designer label offering gender-neutral apparel made in New York City. The cofounders and designers, Travis Weaver and Simon Black, break down the barrier between womenswear
and menswear without sacrificing style. PAPER said their “GenderNeutral Basics Are Anything But Basic” (2018); Refinery29 rated their hoodie among their “Best Hoodies” (2017); and the brand has appeared in the print issues of Vogue España and Instyle (2017).
on e DN A
One DNA is a brand that I looked into when researching for my dissertation. I thought that it was a very unique fun brand. That communicates it message through simple minimal design. One DNA’s photography gave me a huge amount of inspiration for my photoshoot. I like the simple shots that draw your eye to the clothing.
INKA. The Odd Sock Company.
(One DNA — Gender-neutral Basics, Made in New York, 2019. Figure 19)
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(One DNA — Gender-neutral Basics, Made in New York, 2019. Figure 19)
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colour pattern
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camille walala CAMILLE WALALA is purveyor of positivity, expressed through vibrant colour and bold pattern. Her work, from the micro to the macro, harnesses optimistic typography and exuberant geometries to create environments that stimulate the senses and inspire joy. A graduate in textile design from the University of Brighton, she established her namesake brand in East London in 2009, and continues to live and work there today. Her practice has taken her all over the world to transform homes and workspaces with her signature tribal-pop style. Drawing on influences including the Memphis Movement, the Ndebele tribe and op-art master Victor Vasarely, Walala has an irrepressible enthusiasm for playful, graphic patterns that invoke a smile in all who view them. Recent years have seen her progress from her popular textile-based work to encompass art direction and interior design. Finding that her style translates powerfully to larger surfaces and installations, she is now working with greater scope and at greater scale than ever before, with an overriding ambition to imbue the world’s urban landscapes with eye-popping colour and soulstrirring energy.
Camille Walala was a huge influence in my design process. Her use of colours make her patterns stand out and create an amazing effect on buildings, fabrics, exhibitions and clothing. Camille is known for her patterns and colours, that standout and have become a signiture look for her. This was an aim for the ‘inka’ sock brand. To create a pattern and colour scheme and stands out and is recognisable.
(Studio Walala, 2019. Figure 20)
INKA. The Odd Sock Company.
(Studio Walala, 2019. Figure 20)
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(Studio Walala, 2019. Figure 20)
INKA. The Odd Sock Company.
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INKA. The Odd Sock Company.
(Studio Walala, 2019. Figure 20)
Literary Research Book
Consumer Culture
Habitus Reasoned Action EKB model Hawkins Stern Impulse Buying Colour Theory
INKA. The Odd Sock Company.
Brand Psychology
Research Book
consumer culture Consumer Culture is a theory that is based on the study of consumption choices and behaviours from a social and cultural views. Which address the dynamic relationships between consumer actions, the marketplace. It examines how emotions, attitudes and preferences affecting the buying behaviour. Some social factors include friend groups, family members and status in the society. Whereas the cultural influence plays on nothing but values of an individual.
(No-w-here.org.uk, 2019. Figure 21)
-Tom Peters
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“As a consumer, you want to associate with brands whose powerful presence creates a halo effect that rubs off on you.”
By Niti Bhan March 31, 2008 Research Book
“Can the design industry, broadly defined, reposition and reinvent itself to provide value and sustainability while still creating desire?�
By Niti Bhan March 31, 2008
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The problem ultimately is that all this consumption fills some sort of void in our lives, at least temporarily. And by feeding the void in our lives, designers are providing the stimulus that keeps the modern economy moving.
(Be Well Buzz, 2019. Figure 1)
Can design end consumer culture? Can design end consumer culture? Can consumer culture? culture? Can design design end end consumer
Should designers work toward the end of aspirational consumer culture? Can the design industry, broadly defined, reposition and reinvent itself to provide value and sustainability while still creating desire? Professor of Philosophy, David Michael Levin, once asked us whether having a choice was important in our lives. Specifically, he was asking about the difference between choice and the appearance of choice. For instance, he asked, is it important to be able to choose between Crest and Colgate?
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(Be Well Buzz, 2019. Figure 1)
INKA. The Odd Sock Company.
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brand psychology “consumers are subjected to anywhere between 3,000 and 10,000 brand exposures every day.�
According to Psychology Today, each of us is subjected to anywhere between 3,000 and 10,000 brand exposures every day. We don’t yet understand the complete psychological effect of so many commercial messages, but this much is clear: Logos play a big part in this increasingly rich and consumer culture.
The world’s most memorable brands tend to distinguish themselves in the connotation—not just the denotation—of the value proposition. Brand builders strive to create just the right connotation for the brand in the mind of its target audience. Success in this endeavor is a rare and precious commodity.
While the idea of corporate reputation is nothing new among public relations and marketing professionals, linking diverse brand initiatives for a cumulative psychological effect on target audiences is the work of building a brand identity. It starts and ends with what people think—or, more accurately, what a brand can inspire people to think.
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So a designer needs to really understand their audience to effectively create and deliver a successful brand. Consumers give brands value by developing perceptions and expectations for those brands. Companies enhance the value by delivering consistent brand experiences that consumers can trust. The graphic elements and identity of the design needs to reflect the values, the demographics and psychology of the predetermined target audience. Different colours, logos, shapes, patterns and format will mean different things to peculiar. A brand for children would be colourful with illustrations which would attract the ‘target audience’ immediately. Where as for an older target audience they would look for a design that is effective branding that the consumer can trust. As a graphic identity moves into the physical world and interacts with spaces and objects over time, often the audience experiences a more visceral and immediate effect.
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(Huang, 2019. Figure 3)
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habitus Bourdieu uses the term habitus to explain the relationship between taste and social class. Habitus describes who you are today based on your upbringing and the people and situations that has influenced you while growing up. Shaping individual personal taste through a system of classification that the consumer uses to distinguish between refined or vulgar. This would effect what consumer a brand would target theirselves towards. As consumers with completely different social class would have a different perception on what is good ‘taste’ and what is not.
routledge
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“It refers to the physical embodiment of cultural capital, to the deeply ingrained habits, skills, and dispositions that we possess due to our life experiences.�
Research Book
R A R A Reasoned In the late 1960’s, Martin Fishbein and Icek Ajzen Theory of Reasoned Action concentrated it’s analysis on the importance of pre-exsisting attitudes in the decision making process. The theory mainly focuses on the consumers behaviour and
their intentions to create or recieve a particular outcome. The consumer will only do a action when there is an equal result expected. During this time the consumer retains the ability to change his or her mind and decide on a different course of action.
Action
Theory of Reasoned Action suggests that a person’s behavior is determined by his/her intention to perform the behavior and that this intention is, in turn, a function of his/her attitude toward the behavior and his/her subjective norm. The best predictor of behavior is intention. Intention is the cognitive representation of a person’s readiness to perform a given behavior, and it is considered to be the immediate antecedent of behavior. This intention is determined by three things: their attitude toward the specific behavior, their subjective norms and their perceived behavioral control. The theory of planned behavior holds that only specific attitudes toward the behavior in question can be expected to predict that behavior. In addition to measuring attitudes toward the behavior, we also need to measure people’s subjective norms – their beliefs about how people they care about will view the behavior in question. To predict someone’s intentions, knowing these beliefs can be as important as knowing the person’s attitudes. Finally, perceived behavioral control influences intentions. Perceived behavioral control refers to people’s perceptions of their ability to perform a given behavior. These predictors lead to intention. A general rule, the more favorable the attitude and the subjective norm, and the greater the perceived control the stronger should the person’s intention to perform the behavior in question.
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d e n o s a Re n o i t c A d e n o s a e R n o i t Ac d e n o s a Re o i t c A e n o
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Engel, Kollet, Blackwell Model “EKB model describes consumers’ decision process and how decisions are made when choosing among a list of alternatives available.”
information, where the consumer would compare past experiences to expectations. Consumers then move to the decision-making stage. Choosing to make the purchase based on rational insight. Consumers are affected in the decision making process by processing how they envision themselves after making the purchase. Under this model, designers and marketers have
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The Engel, Kollet, Blackwell Model expands on The Reason of Action and explains the process that consumers use when making a purchase. The first step is where consumers absorb most of the marketing materials. So this would be seen on the T.V, newpapers, magazines and billboards etc. Once the consumer has seen this material they continue to processing the two points where their input is most valuable. During the initual information stage the consumer must be given enough information about the product to keep the product in consideration for purchase. Good brands are successful at installing desire in the consumer to feel a certain way when looking at the product, even if the brand is not completely different from the competion.
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Hawkins Stern Impulse Buying Hawkins Stern argues that there are four categories to Impulse Buying. First are the impulse purchases such as buying a chocolate bar or chewing gum at the checkout. Second, consumers make reminded implusive buys, such as being reminded to buy hotdog buns when buying sausages. Third are suggested impulse purchases, such as a warranty for an electronic device, that is offered when buying. Finally, consumers make planned impulse decisions, where they know they want to buy a product, but are unsure about which.
This is a great way for designers to be clear in the way they create a brand for a product. From the way the packaging and logo catches the eye to the way the product is displayed in the store, has an impact on a consumer’s impulse control. This creates a successful brand.
Im B H I
S e s l u p m g n i y u B s n i k w a H e s l u p Im g n i y u B n i k w a H While many of the theories of consumer behavior focus on rational action, Hawkins Stern believed heavily in the idea of impulse behavior. Stern argued that sudden buying impulses fit alongside rational purchasing decisions to paint a complete picture of the average consumer. Impulse purchases are driven largely by external stimuli, and have almost no relationship to traditional decision-making.
Stern established four categories of impulse buying. First are the purely impulse purchases, like a candy bar at the checkout line of a grocery store. Second, consumers make reminded impulse buys, like placing a display of hot dogbuns next to a meat cooler. Third are suggested impulse purchases, such as a warranty for an electronic device. Finally, consumers make planned impulse decisions, where they know they want to buy a product, but are unsure about the specifics.
Consumer behavior theories predict how consumers make purchasing decisions and show marketers how best to capitalize on predictable behaviors. Though impulse purchases are a significant part of a consumer’s buying patterns, rational decisionmaking processes dominate consumer behavior and affect marketing theory.
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Impulse buying theories present an ocean of opportunities for marketers. Every aspect of a product, from the way the packaging catches the eye to the way the product is displayed in the store, has an impact on a consumer’s impulse control. Marketers who can capture the impulsive thought and close the sale will have the most success.
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Colour Theory
(Pintrest 2019. Figure 14)
There are three primary colours, red, yellow and blue. Which when certain primary colours are mixed create secondary colours, green orange and purple. Then there are Tertiary colours that are a conbination of the two sets. On the colour wheel, complimentary colours are opposite eachother and as they work well together, they often evoke feelings of excitement. Analogous colours are colours on the colour wheel that are close to eachother. Which create particular emotions or feelings such as warmth if it is orange and red. Or a cold feeling if it is blues. This is the same for brands. Designers want to make the consumer feel a certain way so they purchase the product, this could be from the packaging to the logo.
INKA. The Odd Sock Company.
Colours have many hiddened and subliminal meanings that effect consumers ways of thinking without realisation. Colour psychology is a study that explores colour in relation to consumers behaviour. Behaviour that effects what consumers purchase on a day to day basis. Colours have symbolic meanings which vary in different countries and cultures. However, when designing there are certain colour choices that will effect the design and how successful it would be.
Pantone
“An executive for a paint company received complaints from workers in a blue office that the office was too cold. When the offices were painted a warm peach, the sweaters came off even though the temperature had not changed.� Research Book
(Pintrest 2019. Figure 14)
INKA. The Odd Sock Company.
Research Book
Personal Reflection My aims for this project was to produce an outcome that reflects my three years of studying Graphic Design. The final outcome needed to be professional and and demonstrate the skills I have learnt, but also push myself and my design capabilities. I wanted to push myself by not only doing branding, which is my strong area but also do packaging, website design and also actually create the final product -socks, for my brand. From my dissertation I found an interest in gender and how the topic is portrayed in branding to appeal to a particual target audience of consumers. So to be able to further my research and develop my understanding was important to me in creating a successful brand and I wanted to reflect that. My Final Major Project research and my dissertation research has given me a deeper understanding of how design influences the consumers view on gender. Through use of
colour, typography and shape all convey messages of gender stereotypes which have been portrayed as the ‘norm’. I learnt that unisex branding, highlights that gender is still not being conveyed as completely neutral, like ‘Space Nk’s’ ‘Commodity’ range. The unisex brand is completely monochrome with very minimalistic design, removing any feminine design features. Giving me inspiration to challenge this concept for my final major project, and create a design that is androgynous but keeps feminine designs traits.
From this research I have realised that design is not a preconceived idea like gender but an ever evolving concept. It needs to fit the brief but be open to change and new ways of thinking. Keeping a design static gives it constrictions and I found by changing the use of colour, patterns and design themes, I was able to create a design for socks, store and image that was available to anyone regardless of their gender and place in consumer culture. My design has also extended to a larger consumer group as there is no limit to the age range even though my age range was targeted at 18-24. The patterns and concept of the product appear open and neutral, welcoming larger target audiences and maybe breaking the rules of specific design barriers. This with the fluid design concept that changes is not just genderless but limitless to its consumers. Creating a gender free successful brand.
From this project I have clearly gained a strong sense of my graphic design style and who I am as a designer. I have been able to use my love and passion of colour to develop a unique style that reflects me as a person. I would like to continue to develop ‘inka, the odd sock company’ further and possibly bring the brand properly into the market. By showing my work to my intern bosses at, The X Cartel (high end lifestyle and fashion online brand) meant I got an understanding of what industry professionals thought. The feedback was great, and they offered to put the socks on the site!
INKA. The Odd Sock Company.
During this project I developed an understanding and interest into typography. Through out this research book I experimented with colour, patterns, images and typography. I pushed my self out of my comfort zone and really understood grid stystems and visual hierarchy. I wanted to achieve a brand that would be believable in the market and professional in the design. By creating the packaging, socks, hiring a photographer, creating a website, sending off my books to be printed, brought the brand together successfully.
Research Book
bibliography
images
Figure 1 Be Well Buzz. (2019). Consumer Culture: The Frenzy of Black Friday | BeWellBuzz. [online] Available at: https://www.bewellbuzz.com/planet/ unconscious-consumption/ [Accessed 2 Apr. 2019]. Figure 2 Huang, E. (2019). ‘Wanting More’: Reflecting on consumer culture - The Stanford Daily. [online] The Stanford Daily. Available at: https://www.stanforddaily. com/2016/01/15/wanting-more-reflecting-on-consumerculture/ [Accessed 11 Apr. 2019]. Figure 3 Fitz, L. (2019). Socks. [online] Liz & Fitz. Available at: https://lizandfitz.com/collections/ socks [Accessed 2 Apr. 2019]. Figure 4 The-priory.com. (2019). Introducing Jollie Socks | Priory Journal. [online] Available at: https://www.the-priory.com/en-UK/ blog/introducing-jollie-socks/ [Accessed 2 Mar. 2019]. Figure 5 Designyoutrust, (2019). Saddle Shoes In Their Highest Popularity Period – One Of Favorite Fashion Styles Of Young Girls From Between The 1920s And 1950s. [online] Available at: https://designyoutrust.com/2016/03/ saddle-shoes-in-their-highest-popularity-period-one-offavorite-fashion-styles-of-young-girls-from-between-the1920s-and-1950s/ [Accessed 4 Mar. 2019].
Figure 6 Picswe.com. (2019). 1930s Socks | www.picswe. com. [online] Available at: https://www.picswe.com/ pics/1930s-socks-6d.html [Accessed 9 Mar. 2019]. Figure 7 download, V. (2019). Vintage 1940’s Knitting Pattern Mens Socks in 2 lengths 3 and 4 ply wool Weldons A394 pdf download. [online] Etsy. Available at: https://www.etsy.com/dk-en/ listing/569433648/vintage-1940s-knitting-pattern-mens [Accessed 3 Apr. 2019]. Figure 8 Flickr, (2019). [online] Available at: https://za.pinterest.com/ pin/749779037938170126/ https://www.flickr.com/ photos/christianmontone/4543558508 [Accessed 2 Apr. 2019].
Figure 10 Rothbart, M. and profile, V. (2019). Limited edition of Phoot Camp photos. [online] Mfrphoto. blogspot.com. Available at: http://mfrphoto.blogspot. com/2012/07/limited-edition-of-phoot-camp-photos. html [Accessed 2 Apr. 2019]. Figure 11 Pinterest. (2019). Candies advertisement, 1986 | 80s in 2019 | Fashion, 80s fashion, 90s fashion. [online] Available at: https://www.pinterest.co.uk/ pin/470766967277259003/ [Accessed 4 Apr. 2019]. Figure 12 Pinterest. (2019). catalog_0028. [online] Available at: https://www.pinterest.co.uk/ pin/710231803705272495/ [Accessed 6 Apr. 2019].
INKA. The Odd Sock Company.
Figure 9 Reddit, (2019). [online] Available at: https://www.pinterest.com/ pin/332210909999467284/ https://www.reddit.com/r/ TheWayWeWere/comments/4pb08o/jean_shorts_and_ tube_socks_1970s/ [Accessed 3 Mar. 2019].
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Figure 13 Brown, I. (2019). Dress Up Your White Sneakers With These Colorful Socks. [online] The Cut. Available at: https://www.thecut.com/2017/09/ happy-socks-colorful-hysteria-collection-socks-review. html [Accessed 6 Apr. 2019]. Figure 14 Pinterest. (2019). fmp photography. [online] Available at: https://www.pinterest.co.uk/ Chloealex31/fmp-photography/ [Accessed 2 May 2019]. Figure 15 NK, S., Fragrance, P., Parfum, M. and Parfum, M. (2019). Commodity Mimosa Eau de Parfum. [online] Spacenk.com. Available at: https://www.spacenk.com/uk/en_ GB/fragrance/personal-fragrance/fragrance/mimosaeau-de-parfum-UK200021277.html [Accessed 2 Apr. 2019]. Figure 16 Historytoday.com. (2019). The Opening of Selfridge’s Department Store | History Today. [online] Available at: https://www.historytoday.com/ archive/months-past/opening-selfridge%E2%80%99sdepartment-store [Accessed 2 Apr. 2019]. Figure 17 Selfridges.com. (2019). Agender: The Concept Space | Content | Selfridges. [online] Available at: https://www.selfridges.com/GB/en/ features/articles/content/agender-the-conceptspace/ [Accessed 4 Apr. 2019]. Figure 18 OFFICIAL REBRAND. (2019). Official Rebrand Official Online Shop. [online] Available at: https://officialrebrand.shop [Accessed 2 Mar. 2019].
Figure 20 Studio Walala. (2019). Studio Walala. [online] Available at: https://www.camillewalala.com [Accessed 6 Mar. 2019]. Figure 21 No-w-here.org.uk. (2019). no.w.here. [online] Available at: http://www.no-w-here.org.uk/ index.php?cat=1&subCat=docdetail&id=168 [Accessed 2 Apr. 2019].
Any not refrenced is my own work.
Figure 19 One DNA — Gender-neutral Basics, Made in New York. (2019). One DNA — Gender-neutral Basics, Made in New York. [online] Available at: https://onedna.earth [Accessed 6 Apr. 2019].
Figure 22 Happysocks.com. (2019). Happy Socks - Funky Colourful Socks For Men, Women & Kids. Buy Cool Design Socks Online!. [online] Available at: https://www.happysocks.com/
Figure 24 ChattyFeet Socks. (2019). Funky socks with cool characters | Birthday gift idea | ChattyFeet. [online] Available at: https://www.chattyfeet.com [Accessed 2 Mar. 2019]. Figure 25 Jolliesocks.com. (2019). Jollie Socks Products. [online] Available at: https:// jolliesocks.com [Accessed 8 Mar. 2019].
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Figure 23 ChattyFeet Socks. (2019). Funky socks with cool characters | Birthday gift idea | ChattyFeet. [online] Available at: https://www.chattyfeet.com [Accessed 2 Mar. 2019].
Research Book
Work shops
INKA. The Odd Sock Company.
Research Book
Stick and cut For one of our first workshops we hand to bring in some printed inital layouts for our research books. We stuck these up for a pin up and realised that these layouts were not as good/ interesting enough. We also brought in our favourite magazines such as, Gross magazine and Clash), that we used to photocopy and take parts from. We switched layouts with someone random in the class and had to recreate a new layout from their design and then we swapped again. From this workshop we got an understanding of how to create exciting layouts using typography, images, text and colour. I found this workshop very useful as I tend to sruggle with layout and this helped with coming up with designs for my research book.
INKA. The Odd Sock Company.
Research Book
INKA. The Odd Sock Company.
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Project Planning At the start of our projects we got given project planning sheets so that we had an understanding of what we needed to do during the project and how long we had. The planning sheets were very in depth with everything we had to do as it narrowed down each part. This was extremely useful during the project as I could use it as a list as we went along. We did a range of methods to understand the process and what needed to be in our process books from, writting a list on the studio windows. These lists stayed up on the studio windows till we finished our projects, this was very useful as it was always there as a reminder. We also wrote the list as a class, this was a good way to understand what different stages people were on. We had many lectures from our tutor explaining the brief fully and what we needed to include, by showing us examples of previous students work. Which was scary at the time and made everyone very stressed but now I can see the benefits of this.
INKA. The Odd Sock Company.
Research Book
INKA. The Odd Sock Company.
Research Book
Book Binding During our workshops we had a book binding workshop. Where we learnt simple but effective binding techniques. This was useful as I was able to gain furtheer knowledge of how I could have my final piece. I also really enjoyed doing something more hands on and not on the screen. It was a nice break and change to develop my skills. We also as a class created a folded paper sausage dog that we experimented with in the reception of uni.
INKA. The Odd Sock Company.
Research Book
After Effects At the start of the project we wrote a huge list of what workshops we would like to do. From workshops that we had done before to things that we were interested in. I suggested that we should do a screen printing workshop again as this suited my fashion brand. However, I also wanted to learn new things so I along with many others suggested After Effects. This workshop lasted a few weeks, we started from learning the complete basics and finished with knowing how to animate a simple logo. Animation is something I was interested about so this workshop was very enjoyable.
From this workshop I hope to create an animation for my sock company, displaying the logo and using the patterns that I have created to create the animation. This will add depth to the brand and bring it to life. This is also a new skill that I will be able to use in the work place.
INKA. The Odd Sock Company.
Research Book
Screen Printing
I got the chance to do screen printing in second year and from this I really wanted to do it again as I found it really enjoyable and also motivating. I was able to experiment with new methods that I had not done before, such as foiling. I used workshop to my advantage as much as I could. On the second day of the the workshop I brought in pairs of socks to print on, this gave me an idea of what kind of pattern I wanted. I ended up using an experiment I made as inspiration to one of my patterns, which turned out to be one of the most successful patterns.
INKA. The Odd Sock Company.
A documentation of consumers socks.
Research Book
makes
SOCKS
a novelty?
Happy Socks, Hysteria.
What
Sock Profiles Sock Profiles Sock Profiles Sock Profiles A picture of your pair of socks a
Consumers aged from eleven to eighty.
INKA. The Odd Sock Company.
Do socks represent the consumers identity? Through Colour? Patterns? Texture? Practicality?
Research Book
INKA. The Odd Sock Company.
The consumer/ audience of the product are themost important people in my design process, as they will be the ones buying the product. So as a designer I want to get a understanding of what they look for in socks and how/ if they use the socls to reflect their personality. Instead of creating a survey and getting similar written responses I wanted to get personal and indiviual responses from all ages, 11- 89 years of age.
Research Book
Sock Testing As part of my design process I wanted to develop my understand of what consumers wanted and found most appealing in products. I asked 10 consumers to answer a questionnaire and put them in order of their favourite, which pair of socks they thought were most expensive and what shops they thought the socks were from. This was interesting and useful as I gained an understanding of what consumers thought were luxury to highstreet. From this I was able to develop my patterns to a higher standard.
INKA. The Odd Sock Company.
Research Book
Do your socks represent your personality?
From this survey I hope to get clear understanding of what kind of sock brand I hope to design. I will get inspiration of what other sock brands to look into as secondary research, and also if the brand will be luxury or highstreet. Effecting the target audience, the design and the price.
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sock survey
As part of my primary research I decided to do a survey. Doing a survey means that I am able to get a mass audience response, quickly and clearly. From this I gained 100 responses, which has been extremely useful as they are from all different backgrounds.
Research Book
one hundred sock buyers.
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Ten Question’s.
Gender Research Book
Finding out the gender of the audience answering this survey was important. I wanted to know wether socks are unisex or are still classed as ‘male’ and ‘female’. This was interesting to see later on in the questionnaire when asked ‘what kind of socks do you normally buy?’ As the male audience, especially the older male audience seem to like less colour and buy socks for a practicality less than style.
non binary
male 62% Female 35% Male 2% Non Binary
female
Age
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8 - 24
Asking for my audiences age was important when gathering my primary research. This gave me a clear idea of what each age group looked for in a pair of socks. 18 - 24 years old was the biggest age group to answer my questionnaire, with 62%. However, it was interesting to see the other age groups opinion on sock brands and what they look for.
How much would you spend on a pair of socks?
£2 - £5
Research Book
69%
As I had asked a range of ages and people from different backgrounds I thought it would be a good idea to ask how much they would spend on one pair of socks. Ranging from two pounds to twenty five plus.
25%
£6 - £10
£2 - £5
£6 - £10
£11 - £15
6% £11 - £15
69% of people that answered the survey said that they would pay £2-5 on a pair of socks. 25% said that £6-10 and 6% said they would pay £11-£15 for a pair of socks. This is interesting as I got a clear idea of what consumers want to pay.
These results gave me a clear idea of what kind of sock brand I should design that would appeal most to my target audience.
sports work bed seasonal christmas dress socks
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Do you have socks for different occasions? If yes, please give an example.
Research Book
What career path are you currently aiming for/ in?
education 8%
finance 2%
technology
sales
2%
3%
engineering 6%
Asking about career aspirations gave me an understanding of the personality and identity of my target audience, and if the sock represents that.
creative 48%
health care 2%
social services 2%
science 1%
sports 1%
other 19%
admin
From this question I found out that 48% of my survey audience are aspiring to be in the creative industry or are already in the creative industry. And the rest of the surveys audience are from a range of industry backgrounds.
INKA. The Odd Sock Company.
3%
Research Book
If you received socks as a gift how would you feel?
satisfied happy excited other disappointed upset
There has always been a stigma against recieving socks as a gift, and I wanted to know wether this has changed. Or if it was something that I could as a designer change. Maybe the socks recieved as a gift were simple and rather boring, I think that packaging makes a huge difference in the way consumers recieve socks and how they feel about recieving them. Wether that is perchasing them or as a gift.
41% answered that they would be ‘satisfied’ if they recieved socks as a gift and 34% said that they would be happy. This was interesting as ‘satisfied’ could communicate something that has a practical use. And ‘happy’ could communicate socks as more of a novelty.
These results were confirmed when researching into what age group chose ‘satisfied’. Which was the older group. And a younger age group chose ‘happy’.
fun basic adventurous creative minimalist sporty colourful
INKA. The Odd Sock Company.
What do you think your socks say about you?
brand Finding out what consumers prioritise when looking for sock was an important part of my research process. To find out what was most valued in the product. From the results I realised that consumers cared most about the brand of the product. Commenting that I should focus on the values and the look of the brand when desiging.
omfort style fabric price
Research Book
What do you care about most when buying socks? (5 being what you most care about, 1 being the least)
41% 34% 17% 5% 3% 0%
What kind of socks do you normally buy?
INKA. The Odd Sock Company.
hemedÂ
llustrations
Black & white
Plain colour
ColourfulÂ
Patterned
The top three answers for this question was patterned, colourful and plain colour. This gave me an idea of what appeals to consumers. So I used this to gain an idea of designs.
Research Book
INKA. The Odd Sock Company.
exhib -itions Research Book
Tate Modern London Trip
INKA. The Odd Sock Company.
Turner Exhibition
Research Book
Turner Exhibition Myself and Ellie Turner (third year Fine Art student) submitted a proposal to UCA and the Turner for their joint exhibition based on the artist Katie Paterson. And we successfully got chosen to show our work. myself and Ellie want our piece to be interactive and have other uses. We decided that we would create a geometric dome that would be wrapped in fabric and lights to represent space and light. This dome was also used for the spoken words society, the students used it as a performance shape which was very successful. I wanted to bring my Graphic skills into the piece. So we decided to create a 5m by 5m floor vinyl that would be placed under the dome. I designed the vinyl inspired by rocks combinding it with bits of text. This worked really well however, it was very hard to put down and this took up most of our time.
Overall the exhibition was very successful and enjoyable with thousands of people coming to see it. We had many good reviews and I am glad that I got to expand my skills further and bring my Graphics into another form of art.
INKA. The Odd Sock Company.
Katie Patersons piece at the Turner.
Research Book
The 5m by 5m vinyl printed at UCA.
INKA. The Odd Sock Company.
Application of the floor vinyl.
Research Book
The construction of the geometeric dome.
INKA. The Odd Sock Company.
The vinyl and dome when the exhibition was open.
Research Book
Tate Modern As part of our university trip we went to the Tate Modern. This was very exciting as I had never been before and it was somewhere I have always wanted to go. All around the the Tate Modern there is influencial design that I really enjoyed looking at. There was so much at the Tate that influenced my design process such as The Gurilla Girls which I researched into in my dissertation, which was inspiring. This trip was really enjoyable to do as a class as we got to travel around london and talk to people that I would not normally talk to. It was a nice thing to do as an end of our three years together,
I was inspired by the colours used around the Tate and how they contrast with the plain industrial walls. I think that the constrast works really well and I also portrayed this in the sock brand.
INKA. The Odd Sock Company.
We also went to magmas and looked at the magazines. This gave me inspiration for how I would like to format my editorial research book.
In the same area I went to visit the Happy Socks Store. This was useful for my design process as I was able to see what the store was like inside and I can reflect that in my brand as Happy Socks would be a competitor to inka. Research Book
We also went to The London Graphic Center so we were able to get sketch books and other graphic supplies.
INKA. The Odd Sock Company.
Research Book
INKA. The Odd Sock Company.
This side of my research book shows all of my primary research. From workshops to exhibitions until I got to my final outcome. I have selected a few pieces of primary research that was influencial in my design process.
INKA. The Odd Sock Company.
Welcome!
Research Book
Primary Research Primary Research Primary Research Primary Research Primary Research
Side two.
how to create a successful unisex odd sock brand.
Primary Research Book By Chloe Alexander