BRAIN FREEZE: the new aesthetic

Issue #1

the new aesthetic

/Rip Curl 2014 fig. 2

Dissertation Has cold-water surfing developed its own visual subculture?

Student ChloÊ Bouchet Tutor Cameron Campbell Communication Design Gray’s School of Art Robert Gordon University 2015/2016

beginning

/Shinn Studio 2013 fig. 3

4 ďż˝ surf

I remember when I very first got started someone asked me to do a poster for a low budget surf film; they wanted palm trees, a perfect wave, offshores, and pretty girl in small bikini.

Preferably airbrushed.�

David Carson (cited in Warshaw 2013)

surf ďż˝ 5

/The Surf Trip Survival Guide 2012 fig. 4

6 ďż˝ surf

édito

A

February morning, somewhere on the Australian coast, 8 am, air 24°C, water 26°C. A group of boys are standing on the beach watching the sea. On their board shorts you can read names such as Quiksilver, Rip Curl or Billabong. They were late today; two hours have passed since sunrise and over thirty surfers are already sitting at the peak. The usual. It does not put them off. They leave their towels and flip flops on the already warm sand, grab their boards and start running towards the sea.

surf � 7

Same day on the other side of the world, somewhere on the Scottish seaside, 8 am, air 0°C, water 5°C. A van parks in front of the beach. Woolly hat and gloves on, the driver stares at the breaking waves for a minute. No wind, clean 5ft waves: the surf is looking very good. No ones in yet. He jumps in the back of his van. Takes off his gloves, jeans, socks, etc. Puts on his long sleeve rash vest, his 6/5 mm wetsuit and his booties. Hood on, chest zip closed. He slips his fingers into some freezing gloves and jumps out of the van. He lies down on the icy ground to hide his car key above the wheel, grabs his board and starts running towards the sea.

If both these situations are about surfing, they do not describe the same picture. When reading them, we imagine two different ambiances (Fig. 4 and 5). If the first one contains light and bright colours, the second one is darker. Both are about surfers going surfing, however it seems they do not share the same lifestyle. Could cold and warm water be two distinctive practices within the surfing subculture, each one with its very own visual language?

Could cold and warm water be two distinctive practices within the surfing subculture, each one with its very own visual language?

8 � surf

Much ink has been spilled about the post-modern surfing subculture. Some have looked at localism (De Alessi 2009), others at the risk-taking factor (Booth 2004) or the surf industry (Bellantino 2003). Since the beginning of the 21st century many have written about gender inequalities and the place of women surfers (Booth 2001, Schumacher 2013, Britton 2015). However I have not come across many papers that tackle the subject of cold water surfing in particular. Yet surfing has recently become more and more popular in places like Canada, Norway, Scotland, Ireland, or even Iceland (Callard 2014).

With visual elements from the surf culture and industry (adverts, films, brands, clothing, etc.), related texts (scholarly, popular sources) and primary research (survey, personal experience); we could maybe establish a pattern between cold water surfing communities. Do they share similar iconographies? Similar values? This dissertation takes the form of a surf magazine divided into three sections. In each section, key products are featured within a double-page spread ‘SHOP’.

/McInnis 2016b fig. 5

surf � 9

contents

the new aesthetic

ISSUE #1 MARCH 2016

beginning

0.1. édito [introduction]......................................... p.6 0.2. contents.......................................................... p.10 0.3. surf’s up [history background]................ p.12 [Gotcha advert]..................................................... p.16

p.18

p.4

fighting the cold

[O’Neill adverts]............................................................................................. p.20 1.1. from boardies to wetties.................................................................... p.22 1.2. arctic stoke............................................................................................. p.26 [shop hardware: products & accessories]........................................... p.30 1.3. just to get wet........................................................................................ p.32

10 � surf

p.34

marketing the cold

2.1. a wave of images......................................... p.36 [Billabong/RipCurl/Finisterre adverts]......... p.42 2.2. line-up............................................................. p.44 [shop lifestyle: clothing & other goods]....... p.48 2.3. life’s a beach................................................. p.50 [Blue Tomato advert].......................................... p.55

questioning the cold

3.1. gidget goes north...................................... p.58 [Patagonia adverts].......................................... p.62 3.2. green room................................................. p.64 [Surfers Against Sewage adverts]............... p.66 [shop green: eco-friendly products]........... p.70 3.3. artificial tubes............................................ p.72

p.56 p.74

end.

4.1. one last one [conclusion].......................... p.76 [Tofino Surf Shop advert]................................... p.78 4.2. appendices..................................................... p.79 4.3. reference List................................................ p.98 4.4. bibliography................................................. p.100 4.5. list of illustrations..................................... p.102 [Patagonia advert]............................................. p.106

surf ďż˝ 11

0.3.

surf’s up

[Surf’s Up means there are waves worth surfing]

From a pastime,

/Anon 1872 fig. 6

S

urfing has evolved with time and technology.

From a pastime, it became a culture and from a culture, an industry.

On various South Pacific islands, more than four thousand years ago, surfing started as a pastime done by simple use of the body in the waves, or later “prone or on one knee” on wooden rafts. “The art of standing while riding a wave” (Fig. 6) appeared on the Polynesia’s coastline around a thousand years ago (Heimann 2009 p. 3).

12 � surf

English Calvinist Christians arrived in Hawaii in 1821 and banned most of the local traditions (including surfing). Between then and the start of the 20th century, only a few irreducible surfers were still practicing on the Polynesian islands (Heimann 2009 p. 3). After Hawaii was annexed to the United States (1898), two personalities have promoted surfing out of the island: George Freeth and Duke Kahanamoku.

Both were Hawaii native surfers from Waikiki Beach.

From then, surfing became more and more common around the globe.

/Dole 1938 fig. 7

an industry.

Images of surfers and surfing appeared in advertisements and album packaging (selling anything except the actual surfing)�

Heimann

/Guinness 1998 fig. 8

14 ďż˝ surf

Post-World War Two, technological innovations changed the surfboard and in the meantime surfing.

Heimann (2009 p. 5) writes: For the most part, surfers were considered to be unconventional free spirits, with the media images generated after the War setting the stage to transform surfing from a sport into a lifestyle.

By the late sixties, surfing had become a way of life.

Corporate-sponsored contests and drugs became popular within this new lifestyle. Surfing could be seen everywhere across all sorts of media and its image was used to sell everything from pineapples (Fig. 7) to beers (Fig. 8) to clothing (Fig. 9); an industry was born: Images of surfers and surfing appeared in advertisements and album packaging (selling anything except the actual surfing) and surfboards and board shorts began to be manufactured for the mass market.

(Heimann 2009 p. 5)

By the end of the 20th century, surfing was both a culture and an industry or more precisely a post-modern subculture (Stranger 2011b). It had developed its own visual language influencing how the sport was perceived worldwide: “The essence of surfing, the surfing experience, what people feel about it are all belied by this mindless little logo [the World Surf League logo Fig. 10]” (Carson cited in Rielly 2015).

In three points, by following the Crook et al’s model, Stranger (2011b) shows that surfing can be defined as a post-modern subculture. To help us establish the existence of a visual surfing subculture based around cold-water, the same three points will guide this dissertation: surfing is a “process of aestheticization” (Part 1 – Fighting the Cold), surfing is “a process of hypercommodification” (Part 2 – Marketing the Cold) and surfing is “a process of dedifferentiation” (Part 3 – Questioning the Cold) (Stranger 2011b p.8).

/WSL 2016 fig. 10

this mindless little logo” David Carson surf � 15

/Gotcha 1988 fig. 9

/Gotcha 1988 fig. 9bis

part 1

“

/Katsipis 2013 fig. 11

18 � surf

I’m just a surfer

fighting the cold Surfing is a “process of aestheticization”: Post-modern surfing developed to go against the existing rules. It gives importance to the sensual over the rational experience (Stranger 2011b p.

8). In the same way, cold-water surfing became popular for its non-conformity.

who wanted to build something that would allow me to surf longer.”

(Jack O’Neill cited in Surfer Today 2014)

surf � 19

/O’Neill 1969 fig. 12

/O’Neill 1979 fig. 13

1.1.

from boardies to wetties

[Boardies is short for boardshorts; wetties for wetsuits]

/Bradner 1953 fig. 14

I

n the 1950’s in Northern California, a few maverick surfers were trying various things in order to surf even in winter: “surfing in wool sweaters, surfing dressed in a navy jumper and a special advanced technique – surfing in wool sweaters soaked with oil so they repel water” (Jack O’Neill cited in K. 2007). So when Jack O’Neill manufactured the first wetsuits in his San Francisco surf shop, it is not a surprise they quickly became popular (Fig. 12 and 13).

Robert and Jack O’Neill created a neoprene wetsuit in 1952 “which started as a bathing suit stuffed with foam sheets and morphed into the high-tech, super-stretch neoprene suits of today” (O’Neill 2015). However, it is Hugh Bradner who created the first diving wetsuit while working for the US Navy (Fig. 14): In a letter to Larry Marshall dated June 21, 1951, Bradner wrote that suits do not need to be watertight if thermal insulation is obtained by air entrapped in the material of the suit [Fig. 15]. The diver does not have to be dry to stay warm. He began testing the wet suit models in the fall of 1951.

(Rainey 1998) Bradner combined two devices: a waterproof life saving suit designed in 1927 by Thomas Edgar Aud of Herndon and a synthetic rubber – the neoprene – invented by DuPont scientists in 1930 (Rainey 1998). If Bradner never patented or marketed his wetsuit (Fig. 16), others – such as O’Neill – have.

22 � surf

even in winter /King of Watersports 2015 fig. 15

The diver does not have to be dry to stay warm.”

Bradner /WILLIAMS 1952 fig. 16 surf � 23

/Shore 2013 fig. 17

Thanks to wetsuits getting better every year, we can now surf in places where Duke Kahanamoku could not have imagined. From the unlined neoprene in the 50’s (fragile, sticky) we can now choose from many features: double/dry lined, thin/thick (Fig. 17), back/ chest zip, taped/blindstitch seam (Fig. 18) and more.

In 2007, Rip Curl even introduced the first heated wetsuit (K. 2007).

Nowadays there are so many wetsuits available on the market that manufacturers have to find solutions in order to get surfers to buy their wetsuits over others’. The best technologies are not sufficient anymore; they need attractive designs and marketing ideas. Last year, British based Finisterre provided a discounted wetsuit to surfers around the UK in exchange of help improving it (regular comments and feedback were asked). Everyone was able to apply on their website, but only 102 surfers were chosen to take part in the scheme (Finisterre 2015 fig. 19).

Quiksilver Japan went even further by proposing their made-to-order business (wet) suits (Fig. 20). For just under £2000 you can now juggle between work and play without loosing any time. If they might sell a few to the most wealthy, it was rather a marketing strategy. They wanted to attract attention and be spoken about.

Wetsuits made surfing cold-water possible. They were the starting point of a so-called cold-water surf industry. They are the essential part of any cold-water surfers wardrobe and need to be renewed every two years or so (see Appendix A): they bring important income to companies who sell them. With this in mind, getting more people into cold-water sports means selling more wetsuits. Companies had – and still have – everything to gain from the popularity of cold-water surfing.

manufacturers have to find solutions in order to get surfers to buy their wetsuits over

others’

/King of Watersports 2015 fig. 18

24 � surf

/Finisterre 2014c fig. 19

/Quiksilver 2015 fig. 20

1.2.

arctic stoke

[To be stoked is to be excited about the surf]

I

n the Surf Community it is not a secret anymore that you can surf in Scotland. Surfers around the world have seen photos of barrelling Thurso East (Fig. 21). Since 2014, Scotland even has its own Surf Team competing at international events (Fig. 22).

There are more and more people regularly surfing in Scotland. As Wheaton (2004 p. 1) notices, the growth of cold-water surfers applies to the rest of the country: “in the UK, surfing became one of the fastest growth sports at the turn of the twenty-first century, particularly among women, and men in their thirties and forties.” Other parts of the world have experienced the same situation. On the west coast of Canada, the village of Tofino has become a surfing hub where many people live from its industry (see Appendix A). Colas and Sutherland (2009 p. 177) write: In recent years, locals [in Vancouver Island, Canada] like Peter Devries and the Bruhwiler brothers have proved that you can do all the warm water tricks in full winter kit, prompting more people each year to don some rubber and hit the waves in this spectacular environment.

With the release of the wetsuit, cold-water surfing became more and more popular. Why so much interest for such a demanding activity? It is probably the cool image of the warm water surfer that gave people all around the world the desire to pursue the beach dream. The popularity of the surf lifestyle has come from its iconography making people perceive it as a cool sport. As Carson explained, the 26 � surf

visual language used (good or bad) has an impact worldwide: With the shark media-fest worldwide after Mick’s encounter [Fig. 23], millions of people for the first time saw anything related to the WSL [World Surf League].

And what did they see? A generic little round corporate logo… similar to countless other logos.“Oh that’s surfing? I thought they were more, ah, different? Freespirited? rebellious, or something.” (cited in Rielly 2015) To be a surfer implied being cool, relaxed and slightly rebellious (Fig. 24). People wanted to identify with such an image, even in the coldest parts of the world.

After all, even with a thick wetsuit on, they were still called surfers! If you could buy a surfboard to put on display in your living room and impress your friends, you can also get yourself a wetsuit and not necessarily use it. Surfing cold-water became a new exciting thing to do (or to speak about doing). It was different, anti-conformist, unknown.

/WSL 2015b fig. 23

surf � 27

Cold-water surfing suggested adventures, challenges and discoveries. It offered a new potential for risks, different than the ones experienced by warm water surfers and required motivation, courage and patience. Surf photographer Tim Nunn believes in wilder landscapes: “Simple fact is the cold frontiers are empty and beautiful. Sure they are challenging, fickle and expensive but it’s a whole different world up north” (2015b p. 85). If warm-water often refers to “overcrowded seas and overdeveloped beach resorts” (Callard 2014); cold-water usually invokes quieter and wilder locations. In Canada, you will surf with sea lions and whales (see Appendix A); in Scotland or Iceland, winter means possibility of northern lights while in summer you could surf until midnight (Colas and Sutherland 2009 p. 26).

I believe warm and cold-water surfing became two different experiences. When asked, 69% of coldwater surfers think that some of the values they share are different than that of warm water surfers (see Appendix B). Surfers do with what they have: cold waves are better than no waves at all (Fig. 25).

They like it so much; they do it in all weather. It is the eternal struggle between Apollo and Dionysius, rational versus aesthetic imperatives (Stranger 2011b p.9). Rationality would dictate not to go in cold water for too long (Apollo); but surfers jump in and stay until their fingers become painful (Dionysius). This work/play dilemma has always been a part of the surfer way of life, even in ancient Hawaii: The thatch houses of a whole village stood empty... daily tasks such as farming, fishing, and tapa making were left undone while an entire community - men, women and children - enjoyed themselves in the rising surf and rushing white water.

William Ellis 1831 (Cited in Finney 2002 p. 87) Surfing is an addictive practice and is closely linked with pleasure: “Surfers agree that unity with a wave, especially getting ‘tubed’ […] is an orgasmic experience” (Booth 2004 p. 98). The water does not need to be warm to get stoked. /Butt 2015 fig. 25

28 � surf

/Insight 2008 fig. 24

“Oh that’s surfing? I thought they were more, ah, different? Free-spirited? rebellious, or something.”

Carson

surf � 29

hardware

shop

[Key Safe Lock]

[Sport Shower]

[Wetsuit Cleaner]

/Magicseaweed 2015 fig. 29

/Hot Jugz 2015 fig. 30

/Magicseaweed 2015 fig. 31

£24.99

£40

£6.95

[Mr Zoggs Wax]

[Changing Mat]

/Magicseaweed 2015 fig. 32

/Surf Girl Beach Boutique 2015 fig. 34

£3

£16.99

[Rip Curl Rash Vest]

[Robie Robe]

[Surf Ears]

/Magicseaweed 2015 fig. 36

/Great Outdoors 2015 fig. 33

/Surf Stitch 2015 fig. 35

£40

£24

£35

30 � surf

[C-Skins HotWired Gloves]

[Wetsuit Hanger]

/Magicseaweed 2015 fig. 26

/Finisterre 2015a fig. 39

£42.99

£25

[5mm Men Wetsuit] /Finisterre 2015a fig. 40

£390

[Xcel Drylock Gloves] /Magicseaweed 2015 fig. 27

£47.99

[O’Neill 5mm Boots] /Magicseaweed 2015 fig. 37

£63.99

[Waterproof Van Seat Cover]

[Rip Curl Women FlashBomb]

/Magicseaweed 2015 fig. 38

/Magicseaweed 2015 fig. 28

£24.99

£299.99 surf � 31

1.3.

just to get wet

[Going for a surf even though the waves are not great]

T

he growing enthusiasm around cold-water surfing has pushed outdoor brands in developing more products. To face the cold, you need more than a wetsuit. Boots, gloves, hood and rash vest are a must have for anyone surfing in water below 9°C. Designers continually work in creating new and attractive products and marketing teams in giving them fancy names. For example, you can chose between the C-Skins HotWired ‘DryKnit’ (Fig. 26) or the Xcel Drylock (Fig. 27) gloves in three models: mittens, three or five fingers.

When looking at the most popular wetsuits, the top brands are Xcel, O’Neill, Rip Curl and Billabong (see Appendix B). Models such as Rip Curl Flashbomb (Fig. 28) or O’Neill Psychofreak where often mentioned in my survey, while some other people questioned did not remember the exact model of their wetsuit. Such

32 � surf

products need both advanced technology and clever branding (including memorable naming) in order to become successful.

Furthermore, companies have to know their customers. If it is quite common to wear bright board shorts while surfing warm water, the same does not apply to cold-water surfing.

Colourful wetsuits are not so popular: they are often worn by someone who has acquired a certain level (professional, semi-professional or advanced surfers). Most people prefer to stick to a basic black wetsuit.

Recognising each other in the water can be tricky; wearing colour would make you stand out straight away.

Not something everyone likes.

Over the years, brands have developed various accessories to make our cold water life easier: car key lockers (Fig. 29), hot portable showers (Fig. 30), wetsuit cleaner (Fig. 31), wax for every water temperature (Fig. 32), changing robes and mats (Fig. 33 and 34)

/SurfEars 2016 fig. 41

and last but not least: earplugs to protect from Surfer’s Ear. As a result of regular cold-water exposure when surfing, the bone lining of the ear grows inwards and gradually narrows the ear canal.

(Carve Surfing Magazine 2015 p. 36) The extra bone will eventually need to be removed, increasing the risk of an ear infection. Not only is it a painful experience, it could also keep the surfer out of the water for weeks. My recent survey indicates

that only 32% of cold-water surfers wear earplugs (see Appendix B). With attractive designs such as the one created by SurfEars® (Fig. 35 and 41), earplugs could become as popular as changing towels: 47% of surfers own one (see Appendix B).

As just seen, surfing cold water requires particular goods, some of them unavoidable, others just there to make life easier. With success at selling such products, brands started to realise the new potential behind cold-water surfing: a lifestyle was born.

Therewith some companies – such as Finisterre – have chosen to only focus on it:

We still believe in finding and surfing perfect, less crowded waves; but in the colder regions of the world.

We believe there will be magazines dedicated to coldwater surfing. We believe that instead of booking a boat trip to the Mentawais, surfers will be boarding cargo ships to Norway, Alaska and Kamchatka.

(Finisterre 2015) surf � 33

part 2

“[About Photographer Tim Nunn and his team] Like most of us they were doing the cold water thing before it became

”

a marketing idea.

(Unknown author cited in Nunn 2015b p. 85)

34 � surf

marketing the cold

Surfing is a “process of hypercommodification”: “The image of surfing is sold as fashion and as a marketing tool for goods as varied as soft drinks and as prestigious as cars” (Stranger 2011b p.

8). In the same way, cold-water surfing became a product with an exchangeable value and is developing an industry around the coldwater experience.

/Nunn 2015 fig. 42

surf � 35

2.1.

a wave of images A snowy mountain background quite often replaces the usual palm tree behind a barrelling wave

I

n the late 60’s, we witnessed warm water surfing going from anti-conformist to trendy: Surfers travelled through unknown countries, along even lesser known roads to find perfect, tropical waves. People went and were considered radical. From this, an industry was born – products, surf travel agencies, surf guides, surf charter boats and surf magazines.

(Finisterre 2015)

Recently, we have been experiencing the same phenomenon with cold-water surfing. Cold-water oriented visuals have appeared everywhere: surf films, books, photographs, adverts, etc. The most obvious evidence of such a statement is the increase of cold-water photos featured on surf magazine covers. A snowy mountain background quite often replaces the usual palm tree behind a barrelling wave (Fig. 43, 44 and 45).

36 � surf

With this, comes a growing popularity for cold-water surf photographers such as Burkard (Fig. 46 and 80), Nevins (Fig. 47), Beavis (Fig. 48) and Nunn. More than photographers, they are the voice of cold-water surfing, involved in everything related to this new lifestyle. For example, British photographer Tim Nunn worked on branding campaigns for Finisterre (Fig. 42), published his own book Numb (Nunn and Battrick 2012 Fig. 65), participated in the making of surf film Cold Reality (2015) and even organised surf photography courses: World renowned for going to the colder regions of the Earth, he is a regular living wild with bears in Canada, going feral on uninhabited Scottish Islands and spending months exploring Iceland’s vast but freezing coastline. He has put the adventure in surfing and goes totally against the preconception that surfing is all about hot sunny days on beaches in the tropics.

(Nunn 2015a)

/Surfer Magazine 2011 fig. 43

/Surfer Magazine 2014 fig. 44

/Wavelenght 2015 fig. 45

/Burkard 2015b fig. 46

/Beavis 2015 fig. 48 /Nevins 2015 fig. 47

surf ďż˝ 37

“However, there is nothing cool or honorable about surfing alone

/Longmire 2015 fig. 49

— unless you don’t tell anyone about it” Myers

It would be inappropriate not to include here amateur photographers. If surfing is mostly individual (Wheaton 2004), it loses some of its values when not shared with others: “However, there is nothing cool or honorable about surfing alone — unless you don’t tell anyone about it” (Myers 2013). By posting their own photos on social medias (Fig. 49 and 50), amateur photographers have also played their part in the increase of cold-water surf imagery.

Likewise surf films have always had an important impact on surfers’ behaviour. In 1959, the release of Gidget pushed women to go surfing (see further 3.1.

Gidget Goes North). In a similar way, The Endless Summer (1966) established the idea of surf travel.

Films such as Artic Swell (2015), Unchartered (2015), Bear Island (2015), Cold Reality (2015), North of The Sun (2012) or Through the Whisky Barrel (2011) have

38 � surf

/Buchan 2015 fig. 50

showed surfers around the world the possibility of an ‘endless winter’.

Besides photographers and filmmakers, graphic designers have also produced a large amount of visuals focusing on the cold-water lifestyle. For example, the minimalist bold identity of the Finisterre logo and brand style (Fig. 19, 56 and 57). The village of Tofino (Canada) has developed a whole visual identity around surfing. Local designer Santarossa Creative has produced friendly logos, websites, maps, etc. for everyone from the local plumber to the surf school (see Appendix A).

On another level, cold-water visuals are being subverted by the mainstream to be used not directly toward surfers. For example, the Actimel Silver Surfer (2016) campaign, which uses the cold-water

/Bouchet 2016 fig. 51

the rapid flow of signs and images which saturate the fabric of everyday life in contemporary society�

Featherstone

surf ďż˝ 39

/Jagermeister 2014 fig. 52

40 ďż˝ surf

There is nothing special about surfing cold-water anymore. surfers’ courage to sell energy yoghurt drinks (Fig. 51). Or the Jägermeister Journey to Surf (2014) that features a group of friends traveling to Iceland to surf (Fig 52). In this TV commercial, the alcoholic drink is what keep them together even in the coldest and scariest moments. Both adverts use cold-water surfing as a metaphor in order to sell these drinks to their own advantages. To keep your body healthy you can either dive in cold water or spend as little as £2 in energy yoghurts; Actimel will give you the energy to do anything (even cold water surfing). In the Jägermeister commercial, the surrounding icebergs actually symbolised the ice cold shots. Jägermeister “runs deep” like any friendship: it is the perfect reward to share with fellows.

Thus all these visuals have brought cold-water surfing to the forehead of the outdoor scene. We are witnessing what Featherstone referred as “the aestheticization of everyday life: […] the rapid flow of signs and images which saturate the fabric of everyday life in contemporary society” (2007 p.67).

There is nothing special about surfing cold-water anymore. It has been popularised to such an extent that it has became the new trend to follow. Like warm water surfing, it started as an innocent activity that has now become a visual tool profiting to the consumer society. Who are the key actors of this newborn cold-water industry?

surf � 41

/Billabong 2015 fig. 55

/Rip Curl 2013 fig. 54

/Finisterre 2012 fig. 57

2.2.

line-up [The line-up is a group of surfers waiting for waves]

/Billabong 2010 fig. 53

44 ďż˝ surf

With memorable taglines, both these campaigns are putting words on a lifestyle mostly based around visuals.

A

ustralia’s Big Three – Rip Curl, Quiksilver and Billabong – have been dominating the surf industry for a while now. These companies sell everything from surfing gear to clothing. If they started as surf brands, they have come a long way since then. Nowadays they also focus on the snow and street sports markets. We are all familiar with their style of advertising campaigns aimed to active outdoor people. In 2010, Billabong started its I Surf Because campaign where famous surfers gave a reason behind their passion (Fig. 53). Since then, ordinary surfers worldwide have been sharing videos about their own reason to surf. Rip Curl riposted with their Surfing Is Everything campaign (2013 Fig. 54). With memorable taglines, both these campaigns are putting words on a lifestyle mostly based around visuals.

The key problem is hidden behind Billabong’s most recent campaign Life Is Better In Boardshorts (2015 Fig. 55): this campaign is not aimed at all surfers but mostly at the ones surfing warm water.

British brand Finisterre ceased the opportunity to distinguish itself. By making public The Task (Fig. 56) they have challenged popular surf brands and promoted themselves at the forehead of the coldwater industry. More than a task, this piece of text is

a manifesto of the Finisterre brand itself. It reflects their beliefs: “We believe in cold water surfing. We see warm water and cold water surfing as entirely separate industries” (Finisterre 2015)(Fig. 57). By targeting a smaller market, they are hoping to better catch their attention. A risky move, as by doing so, they are also losing all potential warm water consumers.

Tom Kay started Finisterre 10 years ago: “It all started in a flat above a surf shop with a three page website” (Finisterre 2015). Since then, they came a long way: from their first ever product (a waterproof fleece made in Devon) to the diversity of goods available today. In 2014, they created the Cold Water Surf (CWS) Range especially aimed at cold-water surfers. More than the usual cold-water surfing gear (wetsuit, etc.) this range offers clothing designed to be worn before or after a cold surf: warm, waterproof and comfortable. Tom Kay commented: Finisterre has always been for people who surf in cold water […] But we wanted to get back to our roots with the CWS range and bring out something with their specific needs in mind.

(Cited in Callard 2014)

/Finisterre 2015b fig. 56 surf � 45

/Rip Curl 2015 fig. 58

the consumer

became a follower To my knowledge, only one of the four brands challenged by Finisterre’s Task actually responded.

Rip Curl created its own version of the Finisterre CWS Range: the Anti-Series (Fig. 58). So far, it is mostly composed of jackets and fleeces. Rip Curl introduced its new series with the following: “All surfers are in love with warm sunrises, sunny skies & beautiful sunsets. But sometimes we just get Rain, Wind & Cold. This is nature, and nature rules…” (2015).

There are other brands that have used the cold-water image in order to sell their products. Passenger Clothing – based on the South Coast of England – is one of them. Both their logo (Fig. 59) and slogan “Inspired by Travel, Music and Salt Water” reflects their brand identity: “the balance between simplicity

and functionality” (Passenger Clothing 2015). The Canadian equivalent could well be the sea lifestyle brand Sitka (Fig. 60). Founded in 2002 in Victoria (British Columbia), Sitka started as a surfboard manufacturer. Nowadays, it offers clothing, outdoor accessories and has shops in both Canada and New Zealand. Last but not least, Patagonia is probably the most popular brand worldwide making use of the cold-water surf image. Its range of wetsuits is known among surfers for being one of the most expensive on the market. Aside from the cold-water images, these brands often promote themselves as environmentally friendly (see further 3.2. Green Room).

/Passenger Clothing 2015a fig. 59 46 � surf

Furthermore online shops regrouping lifestyle brands have appeared on the Internet: Blue Tomato, Surfdome or Surf Stitch to mention a few. On such websites you can focus your search on a particular brand, activity or product. We can almost see them as a database of a lifestyle’s current trend. They are an obvious manifestation of “the aestheticization of everyday life” (Featherstone 2007): a large amount of products brought together on one platform to offer more choices than needed. With such websites the consumer became a follower: If all we ended up doing is creating legends of followers; all wearing whatever we tell them to wear and all riding whatever we tell them to ride then we completely failed as surfers.

(Unknown cited in Manufacturing Stoke 2011)

/Sitka 2015 fig. 60 surf � 47

lifestyle

shop [Steezy Beanie] /Passenger Clothing 2015b fig. 68

£17.99

[Hip Flask]

[Enamel Mug]

/Finisterre 2015a fig. 61

/Finisterre 2015a fig. 62

£75

£16

[CWS Folding Knife]

[CWS Journal]

/Finisterre 2015a fig. 63

/Finisterre 2015a fig. 64

£95

£22

[Bivo Do Jacket] [Warm Sun Print] /Finisterre 2015a fig. 66

£50 48 � surf

/Patagonia 2015c fig. 69

£190

[Numb Book] /Nunn and Battrick 2012 fig. 65

£26.99

[Waves Trees Tee] /Passenger Clothing 2015b fig. 67

£25

[Cotton Sock U Bundle] /Finisterre 2015a fig. 71

£20

[Duffel Bag] /Patagonia 2015c fig. 72

£85

[Insulated Better Sweater] /Patagonia 2015c fig. 70

£145 surf � 49

2.3.

life’s a beach

[Common saying and play on words taken from life’s a *****]

‘What do you guys do down there at the Manhatten Beach Surf Club? What are your goals, what do you want to become?’ I told him that I wanted to surf, I wanted to make surfboards, I wanted to go to Hawaii, I wanted to see the world and have a good time.

From the principal’s point of view, that qualified me as most likely to end up a beach bum and never amount to shit.

Noll and Gabbard 1989 (Cited in Booth 2004 p. 95)

F

or Wheaton (2004) surfing is part of what she calls “Lifestyle Sports” (climbing, skiing, snowboarding, skateboarding, windsurfing, etc.). She identifies nine common points between such sports: recent, fun, individualistic, non violent, time/money consuming, new technologies involved, participation needed, outdoor based and finally aimed to a white middle class western audience (Wheaton 2004 p. 11). By looking at the previous quote, we can identify at least five of these points within surfing. In short the surf lifestyle encompasses everything above the actual surfing. As Featherstone explained: new heroes of consumer culture make lifestyle a life project and display their individuality and sense of style in the particularity of the assemblage of goods, clothes, practices, experiences,

50 � surf

appearance and bodily dispositions they design together into a lifestyle.

(Cited in Wheaton 2004 p. 5) As seen previously (1.2. Arctic Stoke), the image of the relaxed beach surfer dude is the one that promoted surfing even in the coldest parts of the world. However the lifestyle from these warm countries could not be reproduced exactly within the cold-water community. The emerging cold-water lifestyle has taken elements from warm water to adapt it to its own environment. Looking at clothing offers a clear example of such manifestation: jeans became their board shorts, trainers their flip-flops and woolly hat their caps (Fig. 61-72). If this sounds quite obvious, it plays an important part within the cold-water visual language.

“new heroes of consumer culture make lifestyle a life project and display their individuality and sense of style in the particularity of the assemblage of goods, clothes, practices, experiences, appearance and bodily dispositions

” a lifestyle.

they design together into

Featherstone

/Blue Tomato 2016 fig. 78

/Surf Stitch 2016 fig. 77

surf � 51

/Various Vans 2011/2016 fig. 74

/Volkswagen 2015 fig. 73

52 ďż˝ surf

Though, a vehicle – preferably a van – is at the heart of the cold-water lifestyle Another example is the iconic VW Bus, incarnation of the surf lifestyle for decades. If it used to be affordable, with its popularity the latest models (Fig. 73) can be very expensive. For many it will remain a beach dream. Though, a vehicle – preferably a van – is at the heart of the cold-water lifestyle: it is usually white (cheaper) with good insolation and space to get changed inside; it gives importance to functionality over appearance (Fig. 74). VanLife (2013 Fig. 75) is the opposite of the traditional surf movie; it parodies this popular van way of life and takes the whole cold-water experience as derision. From the same

director, Freezing (2015 Fig. 76), features average surfers, comic dialogues and low quality waves. Over the years, cold-water surfing has developed a quite serious imagery with a ‘we are so brave’ feeling. It is good to finally see humour making an entrance within this new lifestyle.

Thereby the new cold-water stereotype is far from a hot blond surfer dude in his board shorts (Fig. 77) with his girlfriend in her bikini by his side; it is more of a beardy guy wearing a woolly hat and some thick winter jacket (Fig. 78), driving his van around with

/Van Life 2013 fig. 75

/Freezing 2015 fig. 76

surf � 53

wetsuits, gloves, booties and boards in the back.

This is the image of the modern surfer. A surfer that is not afraid of cold water. This is the image many companies are using to sell goods more or less related to surfing or the outdoors. Just as Wheaton explained: In the emergence and evolution of lifestyle sport activities what is being sold to the consumer is not merely a sport or leisure activity but a complete style of life, one which is saturated with signs and images that emphasise many of these aspirations of postmodern consumer culture.

(2004 p. 6) In the same way as warm water surfing, cold-water became a lifestyle sold not only to surfers themselves (Fig. 51, 52 and 79). Smith (2012) genuinely noticed: Why do you think lowa exists? And Austria?

And every land-locked state/country on earth? [‌] They never have to go to a beach. They can wear their new boardies to the swimming pool and score. Win-win.

It might take our beloved industry a minute to tap all these markets properly If everyone could wear their board-shorts to the swimming pool and look as cool as a tanned surfer dude; they could also wear their waterproof jacket to the cinema and look as brave as a cold-water surfer.

What brands are really selling here is a promise of adventure, nature and simplicity.

What brands are really selling here is a promise of adventure, nature and simplicity.

54 ďż˝ surf

/Blue Tomato 2009b fig. 79

part 3

“

If we don’t have oceans and safe beaches, we don’t have an industry anymore.”

(McKnight 2015 p. 49)

56 � surf

questioning the cold Surfing is “a process of dedifferentiation�: it witnesses broken boundaries within its modern categories. Differentiation between concepts such as individual/collective or work/leisure becomes blurry (Stranger 2011b p. 8). Cold-water surfing is going through the same process. Limits between female/male, sustainable/unsustainable and natural/artificial are questioned. This part will focus on the following dilemmas: Does cold-water surfing reduce gender inequalities? Is it less environmentally friendly than its warm water practice? With all the technology involved can we still call it a natural oriented lifestyle?

/Burkard 2015a fig. 80

surf ďż˝ 57

3.1.

gidget goes north /Kohner 1960 (In Stillman 2002) fig. 81

“Because she was a girl-one of the few who surfed at the time-and, at five feet and ninety-five pounds, a midget; unto us, the sea nymph, Gidget, was born”

I

Stillman

n ancient Hawaii, surfing was for everyone regardless of the age, grade or sex: “Hawaiian legends are replete with tales of female surfers, while engravings and carvings feature women surfers [Fig. 6 p.12)” (Booth 2001 p. 4). However, when the sport appeared on the mainland it was mostly practice by men. It is not until the release of the film Gidget (1959) that surfing became popular among women.

Gidget (1959) was based on a book written by Frederick Kohner – Gidget, the Little Girl with Big Ideas 1957 – himself inspired by the life of his own daughter Kathy Kohner (Fig. 81): Mysto George, The Fencer, Moondoggie, Golden Boy, Scooter, and what could now be called the Beef Council (Meetball, Meat Loaf, and Tubesteak) adopted a precocious teenager and named her, as they did the others, for her most notable characteristics. Because she was a girlone of the few who surfed at the timeand, at five feet and ninety-five pounds, a midget; unto us, the sea nymph, Gidget, was born.

(Stillman 2002 p.122)

58 � surf

/Gidget Clothing Line 1960s (In Stillman 2002) fig. 82

Gidget became a phenomenon – movies, products, clothing lines (Fig. 82), etc. – and the women surfer stereotype was born: a young, thin, blonde girl (Fig. 83). As Booth (2004 p.101) notices: The lines between athleticism, sexuality and eroticism are extremely fine and even finer in the context of a male-dominated culture where any presentation of the female body as a sexual object merely reinforces negative stereotypes of women.

The Gidget image is used across all medias to promote surfing products, brands or events. An example is the Roxy Pro Biarritz 2013 Official Teaser categorised by many as sexist. It featured pro-surfer Stephanie Gilmore’s half naked body from various angles (Fig. 84). At first sight you would not know if you were watching a lingerie or a surfing advert.

When asking cold-water surfers about their thought on women surfing (see Appendix B), many have attributed the use of a sexist image to medias: /Flux: Redefining Women’s Surfing 2014 fig. 83

surf � 59

“international surf media are, unfortunately, often pretty sexist” survey respondent

/Roxy 2013 fig. 84

I feel that international surf media are, unfortunately, often pretty sexist.

(Female surfer Germany)

of role models that we can look to and believe we can do it.

(Female surfer UK)

media seem to like to portray females as the weaker sex, so much so that most of them believe they are the weaker sex (Female surfer UK)

The women surfer stereotype is based on the female body. However when the bikini is replaced by a full wetsuit there is not much left to be seen (Fig. 85).

In 2013, Irish pro-surfer Easkey Britton and French director Marion Poizeau realised Waves of Freedom, a film about women surfing in Iran. In respect with local’s traditions Britton surfed wearing a Lycra hijab suit in 30°C (Fig. 86). In such a situation, focus is given to her skills, not her body.

It’s like when people say girls can’t do airswhy not? It’s not our smaller physique or strength that holds us back (or else how can so many groms do them?) it’s our lack

60 � surf

Similarly, we can argue that cold-water surfing is less sexy than its warm water counterpart. As someone cleverly noticed (see Appendix B): So women surf to look feminine? Especially in cold-water climates, I cannot imagine that. I certainly don’t. At the latest, when you’ve struggled into your smelly, sandy, damp wetsuit to find a few waves in horizontal rain, there is no thought of that.

Actually, one of the aspects I like about cold water surfing is that it levels the outward appearance of surfers so that you need to be pretty close to know whether the figure in neoprene from head to toe is a man or a woman.

(Female surfer Germany) There is hope that cold-water surfing reduces gender inequalities and breaks the boundaries between males and females. In such an extent that brands and media won’t be able to play the sexy girl card within the cold-water surf market: For me, it’s not about look[s], it’s about ability and training, if you got the latter,

then gender is not a [an] issue. The ocean doesn’t discriminate, neither do I. (Male surfer UK) As Booth (2004 p.100) mentioned, surfing has become more and more popular among women: “a sudden influx of women into surfing in the late 1990s as evidence of a new culture less hostile to women”.

Nevertheless, women still represent less than half of surfers worldwide and even fewer in cold water.

For instance in the UK, cold water women surfers are a minority: less than 25% according to my survey (see Appendix B). As someone noticed this number dropped down during the coldest months of the year: “in winter less girls!” (Female surfer UK).

If cold-water surfing reduces gender inequalities by the non-existence of the bikini image, it is still a masculine oriented lifestyle. What could we do to make it more popular among women? Products such as changing towels, magazines such as SurfGirl or role models such as Britton have participated in the development of women cold-water surfing. Will Finisterre organise a female version of its Rethinking The Wetsuit scheme? Will Quiksilver, Billabong or Rip Curl replace their women in bikinis imageries by wetsuit ones?

/Laurence J Photography 2015 fig. 85

/Surf Girl Mag 2014 fig. 86

surf � 61

/Patagonia 2015b fig. 87

/Patagonia 2011 fig. 88

3.2.

green room [Green room is the inside of a full cover-up barrel]

/Sustainable Surf 2015a fig. 92

P

rotecting our environment is at the heart of the new cold-water lifestyle. Without our oceans, surfing ceases to exist. Surfers are expected to be environmentally implicate: Everyday, surfers rely on the environment to provide them with clean water and waves. This is what keeps us surfers stoked, and most believe in environmental causes but we don’t always follow this through with the products we buy.

(Fontaine 2015)

64 � surf

Various brands are developing a sustainable image.

Patagonia in particular is renowned for its ‘green’ campaigns (Fig. 87). On Black Friday 2014, they published a press advertisement surprisingly titled Don’t Buy This Jacket (Fig. 88). They invited people in consuming less and promoted themselves as a sustainable brand offering pricey but durable products. If some brands are indeed eco-friendly, others are just using sustainability as a marketing tool. It can sometimes be tricky to make the difference from one to the other. This is the reason behind The Green Wave, a British online shop

regrouping both large and independent brands that contribute in protecting the planet (Fontaine 2015, fig.

95-98).

unanswered. I called them all… Quiksilver, Hurley, Patagonia, Billabong, Volcom, Reef, O’Neil, etc.”

In the UK, there are other organisations trying to raise awareness on sustainability with no aim whatsoever of bringing an income. For example, Plymouth University recently published Sustainable Stoke (Borne and Ponting 2015) a collection of articles written by influential figures of the surf industry (Fig. 99). Other non-profit organisation includes Surfers Against Sewage who displays their campaigns all over the country (Fig. 89 and 90). They organise beach clean ups and try to get more surfers involved in protecting our oceans (Fig 91).

Whenever the green label does not sell: “they [consumers] either didn’t care as much about saving the planet as we thought or the recession means they can’t afford it” (McKnight 2015 p. 49); brands have to retrench behind others, not so eco-friendly solutions, preferably not made public. Looking back at the first months of filming Manufacturing Stoke (2011), director Kavanagh (2015 p. 98) notices: “it became obvious that ‘big surfing’ wanted nothing to do with this film. Almost every phone call and email went

“

Everyday, surfers

rely on the environment to provide them with clean water and waves” Fontaine

/Surfers Against Sewage 2016 fig. 91

surf � 65

/Surfers Against Sewage 2013 fig. 89

/Surfers Against Sewage 2015 fig. 90

/World Surf League 2015a fig. 94

The American counterpart is probably the Californian based charity Sustainable Surf involved in various environmental projects. In September, they organised Bike To Surf Week where surfers worldwide posted photos on social medias about their eco-friendly trip to the beach (Fig. 92): a more difficult – but not impossible – task to accomplish for cold-water surfers. In 2013, they introduced the label Ecoboard approved by the Surf Industry Manufacturers

68 � surf

Association (Fig. 93). Such a label aims to help consumers chose a sustainable surfboard. Even Kelly Slater – eleven-time World Surf League champion – owns an Ecoboard (Fig. 94). As everyone is watching Kelly, every move he makes can have an impact worldwide. He surfs Ecoboards; people will buy Ecoboards. He creates Outerknown – his own sustainable brand – the rest of the surf industry will focus on developing eco-friendly products. For many

/Sustainable Surf 2015b fig. 93

products, recycles, drives no more than 20km to go surf, etc. He was surprised to discover that his ecological footprint was not good “as it turned out, the big problem was the one long-haul flight I take once a year” (Butt 2015 p. 209). Cold-water surfers are more inclined in traveling far away in search of warmer waters: “there is a market of older surfers, with disposable income and family/kids who want to get away from cold water” (McKnight 2015 p. 46).

Does this make cold-water surfing less sustainable than warm water?

he is a role model. As Woody (2015) summarized: “One wild card for the future of sustainable surfing is Slater.”

Cleaning beaches, buying eco-friendly products, reading about environmental issues or biking to the surf are the first steps toward sustainability. However, a less spoken problem for the future of our planet is surf travel. Tim Butt works from home, buys local

My survey reveals that 82% of cold-water surfers travel abroad at least once within a year for the purpose of surfing (Appendix B). Who could blame them? With “the rapid flow of signs and images which saturate the fabric of everyday life” (Featherstone 2007 p.67) it is difficult to close our eyes on these perfect Indo waves. If “the surfing elite –those whom we aspire to emulate – go from Hawaii to Maverick’s to Ireland, or from Western Australia to South Africa to Chile, just for one swell” (Butt 2015 p. 203) why should we not do it? Irish pro-surfer Fergal Smith has now stopped competing and traveling. He grows his own food, surfs mostly in Ireland and does not fly. He said: “It’s not that I’m against traveling, it’s one of my favorite things in the world, but not at the expense of the environment” (cited in Woodsmall 2014).

Unfortunately, not everyone is willing to do the same.

surf � 69

green

shop

[6’ Recycled Leash]

[Recycled Wax Box]

/The Green Wave 2015 fig. 95

/The Green Wave 2015 fig. 96

£23.99

£4

[100% Organic Cotton Tee]

[Camembert Premium Wax]

/The Green Wave 2015 fig. 97

/The Green Wave 2015 fig. 98

£22

£4.80

[Surfboard Bike Rack]

[Surfboard Bike Rack]

/Magicseaweed 2015 fig. 100

/Magicseaweed 2015 fig. 101

£69.99

£69.99

70 � surf

[Sustainable Stoke] /Plymouth University 2015 fig. 99

£17

[9’ Seafarer Longboard]

[6’4” Traveler Hybrid Board ]

/Pacific Island Surfboards 2015 fig. 102

/Pacific Island Surfboards 2015 fig. 103

£765

£650 surf � 71

3.3.

artificial tubes

/Wavegarden 2015 fig. 104

A

s just seen, environmental awareness is part of the cold-water lifestyle: “An appreciation of the sublime in nature – in particular the ocean and its waves – is said to be at the heart of the surfing aesthetic” (Stranger 2011b p. 16).

However, a dilemma is emerging. Within the surfing lifestyle – and within cold-water in particular boundaries between natural and artificial are broken down. After all the technology involved – wetsuits, surfboards, cars, electronic satellites, Internet forecasting, man made waves – how can we still see surfing as natural. Westwick and Neushul (2013) have questioned such dilemma across their book

72 � surf

The World in the Curl: An Unconventional History of Surfing: Surfing is usually seen as a natural pursuit that doesn’t require a lot of fancy equipment; just a board and surf trunks, and you’re out there alone in the ocean.

This literal immersion in nature is a large part of surfing’s romantic appeal. This image, too, is false. New technologies have driven the phenomenal growth of surfing over the last century, and surfing is now a high-tech pursuit. (p. 3)

Wave pools for example are just one manifestation of such dilemma. Take the recent Snowdonia Wavegarden in Wales (Fig. 104). Even though most surfers would like to experience an artificial wave once in a while (54% of cold-water surfers questioned – see Appendix B), they are also conscious of the gap between such performance and nature: 40% of coldwater surfers (see Appendix B) agreed with Sharpy (2015 p.78) “Sure it’s not the sea. It never will be.”

Similarly, Stranger (2011a p. 250) believe in the split of the surfing subculture – not into warm and cold water as suggested in this dissertation – but into natural and artificial practices: Two distinct syntheses are emerging; one, promoted by the surfing culture industry and the surfing bureaucracy, which maintains and reinforces its link

with sublime foundational experience; and one that is a simulation of surfing with no direct link to the foundational experience.

The latter is aimed at establishing a new totally commodified form of sport, including pro circuits and arena type sporting spectacles [Fig. 105].

Personally, I find Stranger’s theory (2011a p.250) more plausible than the one developed by Westwick and Neushul (2013). I agree that cold-water surfing might not be as natural as its visual language often suggests; however we are far away from a high technology lifestyle. Some might argue that the promise of adventure, nature and simplicity offered by such lifestyle is fake. Nevertheless, I still believe such values are real whereas they are often used as marketing tools.

“a simulation of surfing with no direct link to the foundational experience” Stranger

/Webber Wave Pool 2015 fig. 105

surf � 73

end But it’s funny, how things go from

radical

/McInnis 2016a fig. 106

74 ďż˝ surf

acceptable.”

to

David Carson (cited in Warshaw 2013)

surf � 75

4.1.

one last one

[The last wave of a session]

the new aesthetic

A

s the dissertation title suggests, writing this paper was a challenging task: accumulating the relevant imagery required a thorough search, while analysing them involved knowledge in both visual communication and the surfing subculture. Needless to say, over the past five months, I have experienced many brain freezes not merely in the water.

All along we have observed a real gap between warm and cold-water surfing iconographies. Following the Crook et al’s model (Stranger 2011b) leads us to foresee cold-water surfing as its own post-modern subculture.

It started as an unconventional activity ruled by sensual values such as simplicity, nature and adventure. Even if at first cold-water surfers wanted to pursue the (warm water) beach dream lifestyle, they rapidly distinguished themselves from this existing culture. They developed their own visual language around the common saying ‘form follows function’. In order to fight the cold (function), they created wetsuits, gloves, changing towels, converted vans, etc. (forms). Attracted by the beach dream and the popular surfer image, more people got involved into this new lifestyle (Part 1).

76 � surf

Outdoors brands realised the potential behind cold-water surfing: they sponsored cold water films, developed special clothing ranges, created adverts around cold-water, etc. Furthermore, mainstream brands got involved and used cold-water surfing to sell non-surf related goods. From a lifestyle, it had become an industry where cold water was used as a marketing tool to sell promises of adventure, nature and simplicity. No need to jump in the cold water anymore, anyone can belong to this new lifestyle by consuming its products (Part 2).

Even though I am part of this lifestyle, I am aware of its limits. Wearing a wetsuit offers potential for sex equality; cold-water surfing could finally put an end to the misuse of the female body across surfing visuals. However it is still a masculine oriented lifestyle and many more efforts (in advertising, branding and design in general) need to be done in order to engage more women to take part. Other issues raised in this dissertation concern the attachment of cold-water surfing with nature and the environment. Surfing cold-water involved various technologies and it seems a bit presumptuous to call it a natural lifestyle. Buying a recycled product from an eco-friendly brand or cleaning a beach might make us environmentally conscious; however we still drive or fly further than many just to satiate a personal pleasure. We need to keep in mind that brands are using the green image to sell; yet surfing cold-water is probably not as eco-friendly as its iconography often suggests (Part 3).

I have argued that cold-water surfing has now become its own visual subculture taking roots within the postmodern (warm water) subculture. As seen, both subcultures have followed similar patterns throughout their evolution: aestheticization, hypercomodification and dedifferentiation (Stranger 2011b p.8). In my opinion, we can now consider them as two separate visual postmodern subcultures.

surf ďż˝ 77

/Live To Surf 2009 fig. 107 78 ďż˝ surf

4.2.

appendice A

my experience as a surfer

[2009-PRESENT]

[past] Before coming to Scotland, I had tried surfing only a couple of times, both of them in mild water temperature on the Atlantic coast of France in summer. As I lived far away from the ocean I had never thought of surfing on a more regular basis.

Though I had interests in other ‘extreme sports’.

I started skateboarding at age 12 and was a keen skateboarder until I turned 15 when I slowly stopped practicing. In these years (2000-2003) there were not many girls in skate parks (not that it might have changed). My mother used to always make comments on how not feminine my legs looked covered of bruises. I started snowboarding at age 14 and have continued ever since.

Sandend

M

/Booth 2010 fig. 108

ost cold-water surfers will have heard a beach walker asking them: “is it not cold?”

I usually always respond with a smile “no, it’s fine” even though I have been asked that question so many times that I cannot be bothered answering it anymore. But some days - especially in winter - what I really want to say is “no, not cold, freezing”.

[2009] I first tried surfing in cold-water on the island of Lewis (Scotland) in September 2009. My memories from that time can be summarised as follow: windy, wet and cold – have I mentioned windy? I had just come from a beautiful French summer in the Alps with an average temperature of 30°C. Landing in Scotland for the first time ever, I knew what to expect.

surf � 79

Like everyone else, I had heard stories… What I had lost in degrees Celsius, I gained in clothing layers. 24 hours, 300 miles and ½ can of IrnBru® later, I found myself on some windy island away to jump in a scary and cold ocean wearing a wetsuit a little bit too big for me. Far away from an Endless Summer.

Thinking back to that time, I am even surprised I am still surfing. You would think this surfing-camping trip on Lewis would have put me off for the rest of my life. Well it did not. Surfing is a sport that takes a lot of time. Standing on the board – and the satisfaction which comes with it – is still very far away from actually being able to surf. To surf, you need both skills and knowledge. Ocean, waves, tides, weather, wind, etc. have an influence on your ability to surf.

[2010-2013] In the year that followed my Lewis experience, I surfed on a few occasions always by using a big board and a borrowed wetsuit. Surfing was for me a reason to be outdoors and exercise. I don’t think I can say I loved any of these sessions. It was fun but at the end it was always more effort than the actual reward I was getting from it. In 2010, I travelled to Sri Lanka with other more experienced surfers. There the waves were clean and peeling perfectly. I rode a short board, learned to duck dive and to go along the face of the waves. But mostly I discovered the joy of surfing with no wetsuit! I think this trip really got me into surfing. When coming back to cold water and its very changing waves qualities, I was more motivated in improving my surfing.

I bought a second-hand wetsuit, got myself a surfboard and started surfing more often. In 2012, I moved to Canada and spent six months in a little village on Vancouver Island in British Columbia (Tofino). I worked at the Pacific Rim National Park as a Bilingual Visitor Centre Attendant. There surfing was very popular. Even though the water temperatures were similar to the ones in Scotland, surfing had become something I had not yet seen in Scotland. Surf shops and surf schools were everywhere. Most locals surfed or had tried it once. In the waters, there was a real mixed of people: any age and sex range. I had never seen so many girl surfers.

80 � surf

/Booth 2012 fig. 110 & 111

/Bouchet 2012a fig. 109

surf ďż˝ 81

The infrastructures were great: they had surf spot maps available for free at visitor centres, signage, washrooms and showers at most spots. They had even installed an outside solar shower where you could get two minutes of hot water for one ‘loonie’ (one Canadian dollar). While surfing in Canada, I felt so close with wildlife: sea lions, whales, dolphins could often be seen. When walking back from the surf, we had to look out for bears or cougars. In 2013, I travelled for around four months and visited various surf spots in the United States, Peru and Ecuador. In USA and Peru, I had to wear a wetsuit (but not always booties or gloves). In Ecuador, wetsuits were not needed. /Santarossa Creative 2015 fig. 113-116

82 � surf

Santa Cruz /Bouchet 2012b fig. 119

surf ďż˝ 83

/Tofino Paddle Surf 2015 fig. 118

/Santarossa Creative 2011 fig. 112

/Tofino Parks and Recreation 2014 fig.117

Aberdeen beach

/Morris-Trainor 2015 fig. 120

[2013-2015] Later that year I moved back to Scotland. I bought a brand new wetsuit 5/4 mm with front zip and hood integrated which I have been using since then. It is sometimes difficult for me to find surf accessories in the right size. My wetsuit is still too long and I always struggle to get XXS gloves that are thick enough to get me through winter.

In September 2014, I had my first trip to Indonesia.

There I bought a very good second hand surfboard for cheaper than what I would pay for in the UK. On Bali, there are so many surfboards available that it was easier than Scotland to find one that suited me.

‘Indo’ is kind of a myth in the surf community. It is a very common destination for every surfer around the world. Surfers usually return there various times within their life. ‘Indo’ is no joke. The surf is powerful, busy and can be sharp (reefs). I was not good enough to surf most spots on Bali such as Uluwatu or Bingin.

However I had a great time surfing other spots on Lombok (Mawi, Gerupuk and Ekas) or on Lembongan (Playgrounds). I improved my skills (turns), surfed bigger waves (between shoulder and head high), paddled to my first reef and became addicted to surfing.

84 � surf

[Present] Since then, I have mostly been surfing in Scotland. I have built up more confidence and got used to surfing unfamiliar spots. More and more often, I travel to Thurso for the weekend; it is a long drive just for a few hours of surf but it is worth it. The waves are better up there, though more challenging.

Looking back at my experience from 2009 onwards, I consider myself a cold-water surfer, which is the environment I surf the most. However, I would not be where I am without occasional warm water surf trips.

On every one of these trips my surfing has improved noticeably. I believe cold-water surfers form their own community and they like to distinguish themselves from warm water. For example, I am always proud to say I learned to surf in cold water.

4.2. appendice B

cold-water surfers survey [Target Audience] This survey was aimed at cold-water surfers. It opens with a sentence intended to exclude unwanted audience from taking the questionnaire: Thank you for your interest! This survey is aimed at people that regularly surf in cold-water locations or have tried it at least once. If this is your case click on the ‘I accept’ button. For this study, we will consider cold water as below 16°C. For the purpose of this study, I had to define cold water. Everything is relative, and surfing 18°C water in May in France is colder than the average 27°C of places like Indonesia. “Cold water” was too vague of a term. As I was looking at the coldest places on the planet where people currently surf, I defined “cold water” as below 16°C (16°C being the warmest the water could get during a Scottish summer).

I was interested in collecting thoughts from people that have not especially pursued surfing in cold water. Maybe the cold put them of? For this reason, all levels of surfers were welcome to complete the survey: from advanced surfers to one timer.

Even after setting these conditions, I was aware that there would be many differences between people that were going to take the survey. Some would be all year around surfer who have surfed in water below 5°C. Others would be more of summer surfers who rarely put on a wetsuit in winter and surf in water temperature above 12°C (for example from May until November in Cornwall). Furthermore, some would be regular cold-water surfers; others would be regular warm water surfers who have tried cold-water on a few occasions.

To be able to complete the survey, I set another condition: “to have tried it [surfing] at least once”.

surf � 85

[Questionnaire] I created the survey on a free platform called ‘Typeform’. It is still available at the following link: https://chloebgraphic.typeform.com/to/XMNQIv The questions asked were as followed: YOU What is your age range? What is your gender?

In which country were you born? In which country do you live?

YOU & COLD WATER SURFING Estimate your surfing skills How often do you surf in cold water?

If you have only tried it once, would you be interested in participating more regularly?

Name your local surf spot: List your three favourites surf countries/regions worldwide? (Any water temperatures considered: cold, mild, warm) Have you surfed in warm water before?

On average in a year, how often do you travel abroad to go surf?

How many of these trips include warm water surfing (board-shorts/bikinis)?

Rate this statement: “We believe in cold water surfing. We see warm water surfing and cold water surfing as entirely separate industries.” Finisterre | Cold Water Surfing Company Do you think cold water surfers share similar values, some of them different than warm water surfers?

SURF CULTURE & INDUSTRY How many surfboards do you own?

Do you have a changing robe? If yes, which brand/ model?

Do you wear surfing earplugs? If yes, which brand/ model?

What are your wetsuit brand, model and thickness? If you own various wetsuits, please provide information on the one you use the most.

86 � surf

Which of the following brands do you wear? Clothing NOT surf equipment Which of the following media do you use/watch regularly? Choose as many as you like.

Do you buy surf magazines/books?

What is your favourite surf film?

What are your thoughts on wave pools such as Snowdonia?

WOMEN SURFERS “But one thing I can’t stand is girls riding (or attempting to ride) big waves. Why? Well, you see, girls are much more emotional than men and therefore have a greater tendency to panic. And panic can be extremely dangerous in big surf. Girls are weaker than men and have a lesser chance for survival in giant wipeouts. Girls are better off and look more feminine riding average size waves.”

Pioneer big-wave rider Buzzy Trent (cited in Booth 2001).

Do you mostly agree or disagree with that statement?

More thoughts about that? At your local spot, what is the average percentage of men/women in the water?

[Results] The survey went live on October 26th 2015 and I collected the results on 18th November 2015. Over this lapse of time, I have received 87 responses.

The average time for completing the survey was 9 minutes 49s.

I advertised the survey using various media: E-mails, Facebook messages (to my friends and friends of my friends, etc.) and Facebook pages: Scottish Surfing Federation, Aberdeen University Surf Club, Surf Aberdeen, Surfing Norway, Arctic Surfers (Iceland), Surf Around Ireland and Surf Canada. Though I believe I collected most of my answers from relatives and their friends, mostly people based in the United Kingdom. However I was surprised to see responses from people in other parts of the world such as Canada, Italy, Germany, United States, etc.

[General Report ]

surf ďż˝ 87

88 � surf

surf � 89

90 � surf

surf � 91

92 � surf

surf � 93

[Infographic] /Bouchet 2016a fig. 121

94 ďż˝ surf

surf � 95

[Best Quotes] About the Buzzy Trent’s statement “There are some great women out there and there could be more, but the media seem to like to portray females as the weaker sex, so much so that most of them believe they are the weaker sex... That’s a shame! To survive big waves, you just need to physical train your body to react... Male and female bodies both have the ability to do this...” (26-35 years old intermediate female surfer UK)

“It is so ludicrous it sounds as if he was joking.” (19-25 years old intermediate male surfer France)

“That statement is a pigeon holling and a generalisation. There definitely are inherent physiological and mental differences between men and women but to say what he said just makes him sound ignorant and small minded. Despite woman having less strength pound for pound than men, they can also be more flexible and agile which is definitely a positive attribute when surfing. Emotional intelliengce can also be seen as a positive as you have to have resepect and intuition when surfing as the ocean is always in control. There are definitely woman out there with the experience and respect it takes to handle big waves and they should not be shut down or excluded because they have a vagina! :) I personally dont believe in singleing out people by gender, people should be truely valued for their skills and experience no matter female/male, religion etc.” (19-25 years old intermediate female surfer Canada)

“Should we just get back in the kitchen?”

(26-35 years old intermediate female surfer UK) “There is no evidence to back up this statement, it is an opinion and it is physiologically and psychologically inaccurate.” (19-25 years old intermediate female surfer UK) “Although we are physically less strong than males, psychologically we should if anything be more suited to riding big waves than men. We have to deal with extremely stressful situations in life and it is fact we have a higher pain threshold. Our smaller physique should also be an advantage when rising bigger waves.

It’s like when people say girls can’t do airs- why not?

It’s not our smaller physique or strength that holds us back (or else how can so many groms do them?) it’s our lack of role models that we can look to and believe we can do it. Or people like this guy telling us we can’t.” (19-25 years old intermediate female surfer UK)

“Plenty of men, including me, panic as well” (26-35 years old intermediate male surfer UK)

96 � surf

“So women surf to look feminine? Especially in cold-water climates, I cannot imagine that. I certainly don’t. At the latest, when you’ve struggled into your smelly, sandy, damp wetsuit to find a few waves in horizontal rain, there is no thought of that.

Actually, one of the aspects I like about cold water surfing is that it levels the outward appearance of surfers so that you need to be pretty close to know whether the figure in neoprene from head to toe is a man or a woman.

Women weren’t thought to be strong enough for marathons initially either. With less muscular mass, their preparation would need to be even more profound, I imagine, but why should they generally lack the mental ability to survive in these situations?

I feel that international surf media are, unfortunately, often pretty sexist. However, I have never met with any of that in real life whilst travelling to the UK and Ireland to surf.” (26-35 years old intermediate female surfer Germany)

“I don’t think this attitude is restricted to surfing, I have come across it in most sports” (26-35 years old beginner female surfer UK) “It’s proven that women can surf big waves, but at the moment the majority of the biggest seemed to be ridden by men, who set the records and bar. Maya Gabeira and others are pushing the envelope of women’s big wave surfing, which is neat, but she nearly died at Nazare and Keala Kennelly (a total charger) nearly had her face ripped off at Teahupoo in not the biggest waves there. However, Sion Milosky died at Mavericks etc... not sure if women panic more, maybe it’s just that they’ve had less exposure to this side of surfing. In the beginning, naturally, I’ve noticed that women tend to be more cautious (than men) with waves (of all sizes) perhaps these natural ‘gun-shy’ feelings transcend into big wave surfing somewhat a little bit more than for men? It’s complicated though, as personalities and exposure to big waves can alter all this.

For me, it’s not about look, it’s about ability and training, if you got the latter, then gender is not a issue. The ocean doesn’t discriminate, neither do I.” (26-35 years old advanced male surfer UK) “Shocking! Trying to hide his sexism with apparent concern for safety but his closing point is about how it ‘looks more feminine’.

Total dick” (26-35 years old beginner female surfer UK) “This is complete nonsense. Some people want to push their limits and some have higher limits than others regardless of gender.

Don’t woman give birth and have naturally higher pain thresholds?...” (26-35 years old intermediate male surfer Ireland)

“as a gernerisation [generalisation] i think that this is true but there are exeptions [exceptions]” (26-35 years old intermediate male surfer UK)

“Ridiculous! female surfing is in a great place at the moment-for the first time sponsors have realised girls can rip and that top level performance surfing sells better than sex ie straight legged bottom turns in skimpy bikinis (Blanchard). The top females have proved them selves in all conditions big and small above and below the lip and the contest directors need to stop giving the men priority for the peak conditions during a contest window-maybe their are scared the girls will out surf half the men?! The gap between men’s and women’s surfing is narrowing and and pretences and predujustices falling away it can only be a good thing because there’s no reason why they exist: in the men’s devision theyr are many styles and approaches to rising a wave and they get judged by the same criteria due to technique skill and body shape so ultimately once the woman’s side has been allowed to develop with out promoting just the best looking and surfer there’s no reason why it can’t be unisex compitions [competitions].”

(26-35 years old advanced male surfer UK) About the percentage of women in the water “We at the uni [Aberdeen university] have many more girls than guys as beginners, but many more experienced surfers are men in the club” (19-25 years old intermediate male surfer UK) “possibly 10% women to 90% men...but rising :-)” (36-50 years old intermediate male surfer UK) “Me and a load of guys” (26-35 years old intermediate female surfer UK) “it depends !! somedays I have seen 80% women, 20% men. but on others I am only girl ! in winter less girls !” (26-35 years old intermediate female surfer UK) surf � 97

4.3.

reference list Arctic Swell, 2015. [film]. Directed by Chadd Konig. USA: SmugMug. ACTIMEL, 2016. Silver Surfer UK Advertisement. [online]. Available from: https://vimeo.com/150884662 [Accessed 28 January 2016].

BELLANTINO, J., 2003. Quiksilver tracking billiondollar year. Orange County Business Journal. [online].

Available from: http://www.ocbj.com/news/2003/jun/ [Accessed 4 November 2015].

Bear Island, 2015. [film]. Directed by: Inge Wegge and Edda Grjotheim. Norway: Turbin Film.

BILLABONG, 2010. I Surf Because. [online]. Available from: http://www.isurfbecause.com/ [Accessed 18 November 2015].

BILLABONG, 2015. Life is Better in Board Shorts. [online]. Available from: http://www.billabong.com/ [Accessed 18 November 2015].

BOOTH, D., 2001. From bikinis to boardshorts: Wahines and the paradoxes of surfing culture. Journal of Sport History, 28(1), pp. 3-22.

BOOTH, D., 2004. Surfing: From One (Cultural) Extreme to Another. In: WHEATON, B., 2004. Understanding Lifestyle Sports: Consumption, Identity, and Difference.

New York, NY: Routledge.

BORNE, G. and PONTING, J., 2015. Sustainable Stoke: Transitions to Sustainability in the Surfing World.

Plymouth: University of Plymouth Press.

BRITTON, E., 2015. Just Add Surf: The Power of Surfing as a Medium to Challenge and Transform Gender Inequalities. In: G. BORNE and J. PONTING, eds.

Sustainable Stoke: Transitions to Sustainability in the Surfing World. Plymouth: University of Plymouth Press. pp. 118-129.

BUTT, T., 2015. Surf Travel: The Elephant in the Room.

In: G. BORNE and J. PONTING, eds. Sustainable Stoke: Transitions to Sustainability in the Surfing World.

Plymouth: University of Plymouth Press. pp. 200-213.

CALLARD, S., 2014. The rise of cold-water 98 � surf

surfing. The Telegraph. [online]. 15 November.

Available from: http://www.telegraph.co.uk/travel/ activityandadventure/11226142/The-rise-of-cold-watersurfing.html [Accessed 15 October 2015].

CARVE SURFING MAGAZINE, 2015. Ear Ear! Carve Surfing Magazine, 163, pp. 36-38.

COLAS, A. and SUTHERLAND, B., 2009. The World Stormrider Guide – Volume Three. Bude: Low Pressure Ltd.

Cold Reality, 2015. [film]. Directed by: Mike Cunliffe, Micah Lester and Tim Nunn. O’Neil.

DE ALESSI, M., 2009. The Customs and Culture of Surfing and an Opportunity for a New Territorialism.

Reef Journal, 1(1), pp. 85-92.

FEATHERSTONE, M., 2007. The Aestheticization of Everyday Life. In: Consumer culture and postmodernism. London: Sage.

FINNEY, B., 2002. Whoa, Dude! Surfin’s That Old? In: COLBURN, B., 2002. Surf Culture: the Art History of Surfing. Berkeley, CA: Laguna Art Museum/Gingko Press. pp. 82-91.

FINISTERRE, 2015. Finisterre. St Agnes: Finisterre. [online]. Available from: http://www.finisterreuk.com/ vision [Accessed 11 November 2015].

FONTAINE, G., 2015. Who are we? The Green Wave. [online]. Available from: http://www.thegreenwave. co.uk/pages/about-us [Accessed 1 November 2015].

Freezing, 2015. [film]. Directed by Rob Lockyear and Jeremy Joyce. London.

Gidget, 1959. [film]. Directed by Paul Wendkos. Culver City, CA: Columbia Pictures Corp.

HEIMANN, J., 2009. Vintage Surfing. Cologne, Germany: Taschen.

JÄGERMEISTER, 2014. Journey to Surf. [TV advertisement]. Available from: http://www.dailymotion. com/video/x1dkidf_journey-to-surf-jagermeisterliqueur-tv-commercial-ad_shortfilms [Accessed 28 January 2016].

K., 2007. Wetsuit History – From Wool Sweater to Heated Wetsuits. [online]. Available from: http://360guide. info/wetsuits/wetsuit-history.html#axzz3rfTSMPmm [Accessed 16 November 2015].

KAVANAGH, P., 2015. Exploring Sustainability in the Surf Industry through Film: Manufacturing Stoke. In: G. BORNE and J. PONTING, eds. Sustainable Stoke: Transitions to Sustainability in the Surfing World.

Plymouth: University of Plymouth Press. pp. 96-101.

KOHNER, F., 1957. Gidget: The Little Girl With the Big Ideas. New York, NY: G.P. Putnam’s Sons.

SMITH, C., 2012. This has everything to do with surfing: Drink to That. Surfing Magazine, 48(8), p.39.

Manufacturing Stoke, 2011. [film]. Directed by Pierce Michael Kavanagh. San Diego, CA: Misfit Pictures.

STILLMAN, D., 2002. The Real Gidget. In: COLBURN, B., 2002. Surf Culture: the Art History of Surfing. Berkeley, CA: Laguna Art Museum/Gingko Press. pp. 116-129.

MCKNIGHT, B., 2015. Quiksilver and Sustainability: The View from the Top. In: G. BORNE and J. PONTING, eds.

Sustainable Stoke: Transitions to Sustainability in the Surfing World. Plymouth: University of Plymouth Press. pp. 46-49.

MYERS, N., 2013. This has everything to do with surfing: Shut Up and Dance. Surfing Magazine, 49(5), p. 39.

North of the Sun, 2012. [film]. Directed by Jørn Nyseth Ranum and Inge Wegge. Norway: Filmhuset Produksjoner.

NUNN, T. and BATTRICK, I., 2012. Numb: Six Years of Cold Water Adventure. Tim Nunn Photography.

NUNN, T., 2015a. About. [online]. England: Tim Nunn Surf and Adventure Photography. Available from: http:// timnunnsurfandadventurephotography.com/about/ [Accessed 1 November 2015].

NUNN, T., 2015b. Cold Reality. Carve Surfing Magazine, 163, pp. 84-99.

O’NEILL, 2015. O’Neill Wetsuits. [online]. Santa Cruz, CA: O’Neil Ltd. Available from: http://www.oneill.com/ gb/en/ [Accessed 4 November 2015].

PASSENGER CLOTHING, 2015. About. [online]. Available from: http://www.passenger-clothing.com/ [Accessed 18 November 2015].

RAINEY, C., 1998. Wet Suit Pursuit: Hugh Bradner’s Development of the First Wet Suit. [online]. La Jolla, CA: Scripps Institution of Oceanography. Available from: http://scilib.ucsd.edu/sio/hist/rainey_wet_suit_pursuit. pdf [Accessed 16 November 2015].

RIELLY, D., 2015. David Carson just designed 151 new WSL Logos! [online]. Available from: http://beachgrit. com/2015/08/david-carson-just-designed-151-newwsl-logos/ [Accessed 11 February 2016].

RIP CURL, 2013. Surfing is everything. [online].

Available from: http://www.empireave.com/wp-content/ uploads/rip-curl-surfing-is-everything-1.jpg [Accessed 18 November 2015].

RIP CURL, 2015. Anti-Series. [online]. Available from: http://www.ripcurl.eu/eu/en/mens/clothing/anti-series. html/ [Accessed 25 November 2015].

SCHUMACHER, C., 2013. Beyond Gidget – The Surf Body Politic. [online]. Available from: http:// coolerlifestyle.com/features/beyond-gidget-the-surfbody-politic.html [Accessed 5 October 2015].

SHARPY, 2015. The Welsh Garden. Carve Surfing Magazine, 163, pp. 72-83.

STRANGER, M., 2011a. Aestheticization and Sportization: Toward Synthesis. In: M. STRANGER, ed. Surfing Life; Surface, Substructure and the Commodification of the Sublime. Farnham: Ashgate. pp. 215-248.

STRANGER, M., 2011b. This study of surfing. In: M. STRANGER, ed. Surfing Life; Surface, Substructure and the Commodification of the Sublime. Farnham: Ashgate. pp. 3-16.

SURFER TODAY, 2014. The best surfing quotes of all time. Available from: http://www.surfertoday.com/ surfing/8267-the-best-surfing-quotes-of-all-time [Accessed 9 November 2015].

The Endless Summer, 1966. [film]. Directed by Bruce Brown. USA. Through The Whisky Barrel: A Film About Surfing in Scotland, 2011. [film]. Directed by Allyn Harper. UK. Uncharted, 2015. [film]. Directed by Adam Chilton. BC, Canada.

VanLife, 2013. [film]. Directed by Rob Lockyear and Jeremy Joyce. London: CrayFish Films.

Waves of Freedom, 2013. [film]. Directed by Marion Poizeau and Easkey Britton. Rossnowlagh, Ireland: Bexter Productions.

WARSHAW, M., 2013. David Carson Design Shocker EOS Interview. [online]. Available from: http:// encyclopediaofsurfing.com/eos-blog/david-carsonelectroshock-design-eos-interview/ [Accessed 11 February 2016].

WESTWICK, P. and NEUSHUL, P., 2013. The World in the Curl: An Unconventional History of Surfing. New York, NY: Crown.

WHEATON, B., 2004. Understanding Lifestyle Sports: Consumption, Identity, and Difference. New York, NY: Routledge.

WOODSMALL, M., 2014. Growing: Fergal Smith Digs In and Gets Back to His Roots. The Inertia. [online]. 11 March. Venice, CA: The Inertia. Available from: http:// www.theinertia.com/surf/growing-fergal-smith-digs-inand-gets-back-to-his-roots/#modal-close [Accessed 5 October 2015].

WOODY, T., 2015. The New Ocean Activists Are Totally Stoked. TakePart. [online]. 24 April. Available from: https://www.takepart.com/feature/2015/04/24/newocean-activists-surfers [Accessed 5 October 2015]. surf � 99

4.4.

CHANEY, D. 1996. Lifestyles. London: Routledge.

bibliography

Collins Gem French Dictionary, 2000. Fifth Edition.

Glasgow: Collins.

DONNELLY, P. 1981. Sport Subcultures. In M. Hart & S. Birrell: Sport in the sociocultural process, pp.

539-578.

FARMER, R.J., 1992. Surfing: Motivations, values, and culture. Journal of Sport Behavior, 15(3), pp. 241-257.

AHAMER, G., 2006. Surfing Global Change: Negotiating sustainable solutions. Simulations & Gaming, 37(3), pp. 380-397.

BAUDRILLARD, J., 1988. Selected writings.

Cambridge: Polity Press.

BAUMAN, Z., 2007. Consuming Life. Cambridge: Polity Press.

Big Wednesday, 1978. [film] Directed by John Milius.

Los Angeles, CA: Warner Bros. Pictures.

BLACKWELL, L., 2012. The End of Print: The Grafik Design of David Carson. 2nd Edition. London: Laurence King Publishing.

BURGOYNE, P., 1997. Bored: Surf/skate/snow graphics. London: Laurence King.

BURG-WOODMAN, H. and BRACE-GOVAN, J., 2007.

What’s in a name? A comparative analysis of surf and snow brand personalities. Turismos: An international multidisciplinary Journal of Tourism, 2(1), pp. 11-29.

BURKARD, C., 2015. The Joy of Surfing In Ice-Cold Water. [online]. London: TED Talk. Available from: https://www.ted.com/talks/chris_burkard_the_ joy_of_surfing_in_ice_cold_water [Accessed 25 November 2015].

CAMPBELL, C., 2013. The critical essay. [lecture].

Contextual and Critical Studies. The Robert Gordon University, Department of Visual Communication, Gray’s School of Art, room SB42, 28 November 2013.

FARMER, V., 2015. Harvard References. [lecture].

Contextual and Critical Studies. The Robert Gordon University, Department of Visual Communication, Gray’s School of Art, room H223, 4 November 2015.

FROST, C., 2012. Designing for newspapers and magazines. [online]. London: Routledge.

Available from: http://library.rgu.ac.uk/uhtbin/ cgisirsi/x/0/0/57/5# [Accessed 10 October 2015].

GIBSON, C. and WARREN A., 2013. Making things in a high-dollar Australia: the case of the surfboard industry. Journal of Australian Political Economy, 71, pp. 26-50.

HARGREAVES, J. and MCDONALD, I., 2004.

Series editors’ foreword. In: WHEATON, B., 2004.

Understanding Lifestyle Sports: Consumption, Identity, and Difference. New York, NY: Routledge.

HEINO, R., 2000. What Is So Punk About Snowboarding? Journal of Sports and Social Issues, 24(2), pp. 176-191.

HILDYARD, J., 2002. Extreme Sports. London: Heinemann Educational.

IRWIN, J., 1973. Surfing: The natural history of an urban scene. [online]. Available from: http://www. cabdirect.org/abstracts/19921801723.html;jsessionid =F5C90F1BD071FD7CFF45944D660FE847 [Accessed 10 October 2015].

JANDOS, R., 2007. Designing magazines: inside periodical design. New York, NY: Allworth Press.

CARSON, D., 2015. David Carson Design. [online].

Available from: http://www.davidcarsondesign.com/ [Accessed 10 October 2015].

KLEIN, N., 2000. No logo: no space, no choice, no jobs, taking aim at the brand bullies. London: Flamingo.

Castles in the sky, 2010. [film]. Directed by Taylor Steele. Sipping Jetstreams Media.

L, A., 2009. What’s happening with… the “green” surfboard? Surfing Magazine, 45(1), p. 118.

100 � surf

LEWIS, A., 2009. Backyard Evolution. Surfing Magazine, 45(1), p. 116.

LUPTON, E. and MILLER, J.A., 1999. Design Writing Research: Writing on Graphic Design. London: Phaidon.

LUPTON, E., et al., 2003. Inside Design Now. London: Laurence King.

Morning of the earth, 1972. [film]. Directed by Albert Falzon and David Elfick. Australia.

MORTLOCK, C., 1994. The adventure alternative.

Milnethorpe: Cicerone.

MUSEUM OF BRITISH SURFING, 2010. Museum of British Surfing. [online]. Braunton: Museum of British Surfing. Available from: http://www. museumofbritishsurfing.org.uk/ [Accessed 10 October 2015].

NELSON, C. and TAYLOR, D., 2006. Surfing the World.

Bath: Footprint.

OUTERKNOWN, 2015. Outerknown: Style – Sustainability – Travel. [online]. Los Angeles, CA: Outerknown. Available from: http://www.outerknown. com/ [Accessed 10 October 2015].

PANOFSKY, E., 1955. Meaning in the Visual Arts.

Chicago, IL: University of Chicago Press.

Point Break, 1991. [film]. Directed by Kathryn Bigelow. USA.

STUART, C., 2010. This has everything to do with surfing: Shapers Market. Surfing Magazine, 46(10), p.

53.

SURFER TODAY, 2015. The Glossary of Surfing Terms. [online]. Available from: http://www.surfertoday. com/surfing/9335-the-glossary-of-surfing-terms [Accessed 17 November 2015].

SURF SESSION, 2015. Surf Session Magazine, August 2015.

SWAYNE, L., 2011. Encyclopedia of sports management and marketing. London: SAGE.

Thicker Than Water, 2000. [film]. Directed by Jack Johnson and Chris Malloy. USA. TIERNEY, J. 2009. A window into Kelly Slater’s latest triumph. Surfing Magazine, 45(2), p. 102.

WADE, A., 2009. Why Britain became a surfer’s paradise. [online] London: Times Newspaper Limited.

4 July. Available from: http://find.galegroup.com. ezproxy.rgu.ac.uk/ttda/infomark.do?&source=gale &prodId=TTDA&userGroupName=rgu&tabID=T003 &docPage=article&searchType=BasicSearchForm &docId=IF503881143&type=multipage&contentSet =LTO&version=1.0 [Accessed 16 November 2015].

WHEATON, B., 2007. After Sport Culture: Rethinking Sport and Post-Subcultural Theory. Journal of Sports and Social Issues, 31(3), pp. 283-307.

POWER, N., 2010. A Surfer’s Guide to Sustainability. [online]. Byron Bay, NSW: Sustainability and Environmental Action Study Report. Available from: http://www.surfertoday.com/surfing/3601-nickpower-publishes-the-surfers-guide-to-sustainability [Accessed 10 October 2015].

RAWSTHORN, A., 2013. Hello World: Where Design Meets Life. London: Penguin.

SMITH, C., 2010. This has everything to do with surfing: Surfers used to dress well. Surfing Magazine, 46(1), p. 20.

SMITH, C., 2012. This has everything to do with surfing: Ambassadors. Surfing Magazine, 48(6), p.39.

Step Into Liquid, 2003. [film]. Directed by Dana Brown. Canada: Lions Gate.

surf � 101

4.5.

BOUCHET, C., 2016a. Infographic. Unpublished Design.

list of illustrations A1 SURF, 2012. Van Conversion. [online]. Available from: http://www.a1surf.com/classifieds/dayvan-camper-peugeot-parnter/classifiedid/4444/ showclassified.aspx [Accessed 28 January 2016].

ANON, 1872. Surf Swimming by Sandwich Islanders.

Engraving. In: HEIMANN, J., 2009. Vintage Surfing.

Cologne, Germany: Taschen. p. 15.

BEAVIS, P., 2015. Surfer Man Portrait. [online].

Available from: http://peterbeavis.com/ [Accessed 5 November 2015].

BILLABONG, 2015. Life is Better in Board Shorts. [online]. Available from: http://www.billabong.com/ [Accessed 18 November 2015].

BILLABONG, 2010. I Surf Because. [online]. Available from: http://www.isurfbecause.com/ [Accessed 18 November 2015].

BLUE TOMATO, 2009. You Found It! The Surf Shop in the Alps. Press Advertisement. In: COLAS, A. and SUTHERLAND, B., 2009. The World Stormrider Guide – Volume Three. Bude: Low Pressure Ltd. BLUE TOMATO, 2016. Element Jacket. [online].

Available from: http://www.blue-tomato.com/en-GB/ product/Element-Hemlock+Jacket-302339488canyon+khaki/ [Accessed 19 February 2016].

BOOTH, I., 2010. Sandend. Unpublished Photograph.

BOOTH, I., 2012. Series of Photos from Canada.

Unpublished Photograph.

BOOTH, I., 2015. Barreling Thurso East. Unpublished Photograph.

BOUCHET, C., 2012a. Series of Photos from Canada.

Unpublished Photograph.

BOUCHET, C., 2012b. Series of Photos from USA. Unpublished Photograph.

BOUCHET, C., 2015. Actimel Advert at Sainsbury.

Unpublished Photograph.

102 � surf

BOUCHET, C., 2016b. Van Conversion Scotland.

Unpublished Photograph.

BRADNER, 1953. John S Foster modeling an early design of the Bradner wet suit. In: RAINEY, C., 1998.

Wet Suit Pursuit: Hugh Bradner’s Development of the First Wet Suit. [online]. La Jolla, CA: Scripps Institution of Oceanography. Available from: http:// scilib.ucsd.edu/sio/hist/rainey_wet_suit_pursuit.pdf [Accessed 16 November 2015].

BUCHAN, C., 2015. Facebook Post Christmas Day. Unpublished Photograph.

BURKARD, C., 2015a. Green surfboard. [online].

Grover Beach, CA: Chris Burkard Studio. Available from: http://www.chrisburkard.com/ [Accessed 5 November 2015].

BURKARD, C., 2015b. Surfer walking in the snow. [online]. Grover Beach, CA: Chris Burkard Studio.

Available from: http://www.chrisburkard.com/ [Accessed 5 November 2015].

BUTT, T., 2015. Powerpoint Global Wave Conference.

In: FONTAINE, G., 2015. The State of Sustainable Surfing: Global Wave Conference Cornwall. [online]. Bournemouth: The Green Wave. Available from: http://www.thegreenwave.co.uk/blogs/ journal/71333955-the-state-of-sustainable-surfing [Accessed 1 November 2015].

CAMPERVAN LIFE, 2011. Van Conversion. [online].

Available from: http://www.campervanlife.com/selfbuilds [Accessed 28 January 2016].

DOLE, 1938. It’s Hawaiian Be Sure It’s Dole. Magazine Advertisement California. In: HEIMANN, J., 2009.

Vintage Surfing. Cologne, Germany: Taschen. p. 63.

FINISTERRE, 2012. PR Press Advert. In: WE ARE THE FOLD, 2012. [online]. London: We Are The Fold. Available from: http://www.wearethefold.com/ wordpress/?p=1844 [Accessed 18 November 2015].

FINISTERRE, 2014a. Cold Water Surf Range Jacket and Jeans. [Twitter]. 18 November 2014. Available from: https://twitter.com/FinisterreUK/media [Accessed 25 November 2015].

FINISTERRE, 2014c. Rethinking the Wetsuit. [online].

Available from: https://surf-report.co.uk/finisterrewetsuit-testers-needed-how-about-you-1808/ [Accessed 18 November 2015].

FINISTERRE, 2015a. Online Shop. [online]. Available from: http://www.finisterreuk.com/shop/ [Accessed 18 November 2015].

FINISTERRE, 2015b. The Task. [online]. Available from: http://www.finisterreuk.com/the_task [Accessed 18 November 2015].

Flux: Redefining Women’s Surfing, 2014. [film].

Directed by Chad King. North County, CA: The Inspire Initiative.

Freezing, 2015. [film]. Directed by Rob Lockyear and Jeremy Joyce. London.

GOTCHA, 1988. Don’t Surf Print Campaign. [online].

Available from: http://www.zigzag.co.za/featured/ throwback-thursday-classic-ads/ [Accessed 9 February 2016].

GREAT OUTDOORS, 2015. Robbie Robes. [online].

Available from: https://www.greatoutdoors.ie/ product_info.php?manufacturers_id=260&products_ id=36795 [Accessed 18 November 2015].

GREENFIX, 2015. To Each Water Temperature It’s Own Wax. [online]. Available from: http://www. greenfix.fr/ [Accessed 4 November 2015].

GUINNESS, 1998. Surfer. [TV advertisement].

Available from: https://www.youtube.com/ watch?v=U3JEORDUEqc [Accessed 9 February 2016].

LAURENCE J. PHOTOGRAPHY, 2011. Cold-water surfer Easkey Britton. In: COOLER LIFESTYLE, 2011.

Pro-Chat: Easkey Britton. [online]. Available from: http://coolerlifestyle.com/features/surf-features/ pro-chat-easkey-britton.html#T2XAFaC303krYyY2.97 [Accessed 26 November 2015].

LIVE TO SURF, 2009. The Original Tofino Surf Shop. Press Advertisement. In: COLAS, A. and SUTHERLAND, B., 2009. The World Stormrider Guide – Volume Three. Bude: Low Pressure Ltd. LONGMIRE, S., 2015. Twitter Post Nice Start to the Day. Unpublished Photograph.

MAGICSEAWEED, 2015. Online Shop. [online].

Available from: https://store.magicseaweed.com/ [Accessed 18 November 2015].

McINNIS, M., 2016a. Surfers shadows walking in the wind. [online]. In: SURFLINE, 2016. Fringe Living in Scotland. Available from: http://scotland.surfline. com/29/ [Accessed 12 February 2016].

McINNIS, M., 2016b. Surfers watching the sea. [online]. In: SURFLINE, 2016. Fringe Living in Scotland. Available from: http://scotland.surfline. com/29/ [Accessed 12 February 2016].

MORRIS-TRAINOR, Z., 2015. Aberdeen Beach.

Unpublished Photograph.

NEVINS, B., 2015. Frozen. [online]. New Hampshire: Brian Nevins Photography. Available from: http:// www.briannevins.com/ [Accessed 4 November 2015].

HOT JUGZ, 2015. Hot Jugz Sport Shower. [online] Available from: http://mpora.com/articles/9useful-surf-accessories-you-might-not-knowabout/8#mdGJLX2ckUjPYqb2.97 [Accessed 18 November 2015].

NUNN, T. and BATTRICK, I., 2012. Numb: Six Years of Cold Water Adventure. Tim Nunn Photography.

INSIGHT, 2008. Dopamine Campaign. [online] Available from: http://www.coolhunting.com/style/ insightdopamine/ [Accessed 18 February 2016].

NUNN, T., 2015. Finisterre Photo Shoot. [online]. Tim Nunn Photography. Available from: http://timnunn. viewbook.com/ [Accessed 27 October 2015].

ISA, 2015. Scotland Surfing Team. [online] Available from: http://www.isasurf.org/ [Accessed 18 November 2015].

O’NEIL, 1969. Meet John. In: O’NEIL BELGIUM, 2015.

Since 1952. [online]. Available from: https://www. pinterest.com/oneillbelgium/since-1952/ [Accessed 3 November 2015].

JÄGERMEISTER, 2014. Journey to Surf UK Advertisement. [online]. Available from: http://www. dailymotion.com/video/x1dkidf_journey-to-surfjagermeister-liqueur-tv-commercial-ad_shortfilms [Accessed 28 January 2016].

KATSIPIS, J., 2013. Cold Water Surfers Series. [online]. Available from: https://www.kickstarter. com/projects/703509926/cold-water-surfer-series [Accessed 27 October 2015].

KING OF WATERSPORTS, 2015. Wetsuit Buying Guide. [online]. Available from: http://www. kingofwatersports.com/wetsuit-buying-guide [Accessed 17 November 2015].

O’NEIL, 1979. Let There Be Lite! In: O’NEIL BELGIUM, 2015. Since 1952. [online]. Available from: https:// www.pinterest.com/oneillbelgium/since-1952/ [Accessed 3 November 2015].

PACIFIC ISLANDS SURFBOARDS, 2015.

Hollow Wooden Surfboards. [online]. Canada: Vancouver Island. Available from: http:// pacificislandssurfboards.com/ [Accessed 23 November 2015].

PASSENGER CLOTHING, 2015a. Logo. [online].

Available from: http://www.passenger-clothing.com/ [Accessed 18 November 2015].

surf � 103

PASSENGER CLOTHING, 2015b. Online Shop. [online].

Available from: http://www.passenger-clothing.com/ collections/shop [Accessed 18 November 2015].

PATAGONIA, 2011. Don’t Buy This Jacket Press Advertisement. New York Times. [online].

25 November. Available from: http://www. thecleanestline.com/2011/11/dont-buy-this-jacketblack-friday-and-the-new-york-times.html [Accessed 18 November 2015].

PATAGONIA, 2015a. Best Weed in Town Press Advertisement. [online]. Available from: http:// www.latimes.com/fashion/alltherage/la-ar-newpatagonia-ad-campaign-touts-weed-wetsuit20140731-story.html [Accessed 18 November 2015].

PATAGONIA, 2015b. Denim Press Advertisement. [online]. Available from: http://roop-outdoor.com/ news/patagonia-denim/ [Accessed 18 November 2015].

PATAGONIA, 2015c. Online Shop. [online]. Available from: http://www.patagonia.com/eu/enGB/shop/ surfing?k=3l [Accessed 18 November 2015].

PERSONALIZED VAN & TRUCKS, 2016. Van Conversion. [online]. Available from: http://www. personalizedvans.com/services/surfing-vehicles.html [Accessed 28 January 2016].

PLYMOUTH UNIVERSITY, 2015. Sustainable Stoke: Transitions to Sustainability in the Surfing World. [online]. Plymouth: University of Plymouth Press.

Available from: https://www1.plymouth.ac.uk/ research/slgp/Plymouth%20Sustainability%20 and%20Surfing%20Research%20Group%20 (PSSRG)/Pages/Sustainable-Stoke---Transitions-toSustainability-in-the-Surfing-World.aspx [Accessed 23 November 2015].

QUIKSILVER, 2015. True Wetsuits. In: GIANATASIO, D., 2015. Quiksilver Is Now Making Business Suits that Double as Wetsuits. [online]. New York, NY: Adweek.

Available from: http://www.adweek.com/adfreak/ quicksilver-now-making-business-suits-doublewetsuits-164420 [Accessed 3 November 2015].

RIP CURL, 2013. Surfing Is Everything. [online].

Available from: http://www.empireave.com/wpcontent/uploads/rip-curl-surfing-is-everything-1.jpg [Accessed 18 November 2015].

RIP CURL, 2014. The Search GPS. [online].

Available from: https://www.youtube.com/ watch?v=gsXg2uBQhIA [Accessed 18 November 2015].

104 � surf

RIP CURL, 2015. Anti-Series. [online]. Available from: http://www.ripcurl.eu/eu/en/mens/clothing/ anti-series.html#!/technical-features [Accessed 25 November 2015].

RIP CURL, 2015. Surfing Is Everything. [online].

Available from: http://kelpfire.com/rip-curl-surfingeverything-iceland-edition/ [Accessed 18 November 2015].

ROXY, 2013. Roxy pro Biarritz 2013 Official Teaser. [online]. Available from: https://www.youtube.com/ watch?v=GCji6TiJjbE [Accessed 26 November 2015].

SANTAROSSA CREATIVE, 2011. Tofino Surf Map. Tofino, BC: Pint Size Productions.

SANTAROSSA CREATIVE, 2015. Various Logos. [online]. Tofino, BC: Santarossa Creative. Available from: http://santarossacreative.com/ [Accessed 25 November 2015].

SHINN STUDIO, 2013. Triple Crown of Surfing Poster acrylic on canvas. [online]. Available from: http:// www.shinnstudio.com/portfolio/2013-vans-triplecrown-of-surfing/ [Accessed 12 February 2016].

SHORE, 2013. Buying your first wetsuit. [online].

Available from: http://www.shore.co.uk/blog/buyingyour-first-wetsuit/ [Accessed 4 November 2015].

SITKA, 2015. Logo. [online]. Available from: http:// sitka.ca/ [Accessed 25 November 2015].

STILLMAN, D., 2002. The Real Gidget. In: COLBURN, B., 2002. Surf Culture: the Art History of Surfing.

Berkeley, CA: Laguna Art Museum/Gingko Press. pp.

116-129.

SURFER MAGAZINE, 2011. How far are you willing to go to surf alone? Magazine Cover. Issue 98. [online].

Los Angeles: Ten - The Enthusiast Network. Available from: http://www.surfermag.com/magazine/may2011/ [Accessed 27 October 2015].

SURFER MAGAZINE, 2014. In The Cradle of Storm.

Magazine Cover. [online]. Los Angeles: Ten - The Enthusiast Network. Available from: http://www. surfermag.com/magazine/april-2014/ [Accessed 27 October 2015].

SURFERS AGAINST SEWAGE, 2013. Protect Our Waves Press Advertisement. [online]. Available from: http://www.protectourwaves.org.uk/ [Accessed 18 November 2015].

SURFERS AGAINST SEWAGE, 2015. Save Our Seas Press Advertisement. [online]. Available from: http:// www.adeevee.com/2015/03/surfers-against-sewageghostfisherman-tattoo-lighthouse-tattoo-ship-tattooring-tattoo-print/ [Accessed 18 November 2015].

SURFERS AGAINST SEWAGE, 2016. Aberdeen Beach Clean. [online]. Available from: http://m.facebook. com/SurfersAgainstSewage/ [Accessed 19 February 2016].

SURF GIRL BEACH BOUTIQUE, 2015. Northcore Changing Mat. [online]. Available from: http:// surfgirlbeachboutique.com/collections/beach-surfgear/products/northcore-c-mat-surfers-changingmat [Accessed 18 November 2015].

SURF GIRL MAGAZINE, 2014. Into The Sea – with Easkey Britton. [online]. Available from: http://www. surfgirlmag.com/2014/10/09/sea-easkey-britton/#.

VlbhiN_hC1s [Accessed 26 November 2015].

SURF STITCH, 2015. SurfEars. [online]. Available from: http://www.surfstitch.com/brand/surf-ears [Accessed 18 November 2015].

SURF STITCH, 2016. Rip Curl Tee Shirt. [online].

Available from: https://www.surfstitch.com/product/ rip-curl-phaser-mens-tee-blue [Accessed 19 February 2016].

SUSTAINABLE SURF, 2015a. #biketosurf week. [online]. Available from: http://sustainablesurf. org/2015/09/bike-to-surf-week/ [Accessed 23 November 2015].

SUSTAINABLE SURF, 2015b. Eco-board label. [online]. Available from: http://www.sustainablesurf. org/ecoboard/ [Accessed 23 November 2015].

THE GREEN WAVE, 2015. UK’s First Online Surf Shop for Eco-Friendly Gear. [online]. Available from: http:// www.thegreenwave.co.uk/ [Accessed 23 November 2015].

THE SURF TRIP SURVIVAL GUIDE, 2012. La Gravière Hossegor, Magicseaweed Photo of the Day. [online]. Available from: http://magicseaweed.com/ photo/271527/album/86e383384f9f9bcfeb39f4ee2ba33 5a9/ [Accessed 12 February 2016].

TOFINO PADDLE SURF, 2015. 2nd Annual Tofino Paddle Surf SUP Invitational Poster. [online].

Tofino, BC: Wolf In the Fog. Available from: http:// tofinopaddlesurf.com/contest/ [Accessed 4 November 2015].

TOFINO PARKS AND RECREATION, 2014. Photo of Surf Etiquette Signage in Tofino. In: RUNDLE, J., 2014. Surf’s Up at Chesterman Beach and Longbeach. [online]. Seattle, WA: Jon The Road Again. Available from: http://jontheroadagain.com/ about-jonathan/ [Accessed 4 November 2015].

VOLKSWAGEN, 2015. New Concept of VW for 2017.

In: HERNANDEZ, J., 2015. Volkswagen is Giving the World’s Favorite Surf Mobile a Modern Makeover for 2017. The Inertia. [online]. 11 November. Available from: http://www.theinertia.com/business-media/ volkswagen-is-giving-the-worlds-favorite-surfmobile-a-modern-makeover-for-2017/ [Accessed 28 January 2016].

WAVEGARDEN, 2015. The Wavegarden Concept Map. http://www.wavegarden.com/lang/en-us/concept [Accessed 9 November 2015].

WAVELENGTH, 2015. Cold Water Special. Magazine Cover. Issue 237. [online]. Threemilestone: Wavelength. Available from: http://www. wavelengthmag.com/magazines/issue-237/ [Accessed 27 October 2015].

WEBBER WAVE POOL, 2015. Olympic Surfing Imagined. In: HARO, A., 2015. Surfing Might Finally Get in The Olympics… But It Won’t Be Surfing. The Inertia. [online]. 29 April. Available from: http://www. theinertia.com/surf/surfing-might-finally-get-inthe-olympics-but-it-wont-be-surfing/ [Accessed 7 October 2015].

WESTCOUNTRY CAMPERVAN, 2016. Van Conversion. [online]. Available from: http://www. westcountrycampervans.co.uk/watersportswindsurfing-surfing-van-conversion/ [Accessed 28 January 2016].

WILLIAMS, H., L., 1952. Garment. In: ISAORA, 2014.

The Evolution of The Wetsuit. [online]. Available from: https://www.isaora.com/blogs/isaora/15405057-theevolution-of-the-wetsuit [Accessed 16 November 2015].

WORLD SURF LEAGUE, 2015a. Kelly’s Eco-Board.

In: WOODY, T. The New Ocean Activists Are Totally Stoked. TakePart. [online]. 24 April. Available from: https://www.takepart.com/feature/2015/04/24/newocean-activists-surfers [Accessed 5 October 2015].

WORLD SURF LEAGUE, 2015b. Mick Fanning attacked by shark. [online]. 19 July. Available from: https://www.youtube.com/watch?v=NhZBRv5LJmI [Accessed 12 February 2016].

WORLD SURF LEAGUE, 2016. World Surf League Logo. [online]. Available from: http://www. worldsurfleague.jp/2015/billagongpro/live-jp.php [Accessed 12 February 2016].

VanLife, 2013. [film]. Directed by Rob Lockyear and Jeremy Joyce. London: CrayFish Films. surf � 105

/Patagonia 2015a fig. 122

/Rip Curl 2015 fig. 1

PRINTED IN THE UK � ISSUE #1