: THE NOW, THE THEN AND THE OTHER
FASHION MATTERS: THE NOW, T HE THEN AND THE OTHER BY DAISY ROGERS N0448356 FASHION COMMUNICATION AND PROMOTION YEAR 1 VISUAL AWARENESS LUCY NORRIS FASH10105
INTRODUCTION PG.7
BURBERRY IN THE NOW PG.8-23
BURBERRY IN THE THEN PG.24-29
B U R B E R R Y A N D T H E O T H E R P G . 30 - 3 1
TOPSHOP IN THE NOW PG.34-43
TOPSHOP IN THE THEN PG.44-51
TOPSHOP AND THE OTHER PG.52-53
EVALUATION PG.54-55
LIST OF REFERENCES PG.56-57
LIST OF IMAGES PG.58-60
BIBLIOGRAPHY PG.61-63
‘Live in the moment;’ a popular statement and belief for many. However, although the ‘now’ is vital, the ‘then’ equally matters too. After all, where would we be ‘now’ without the lessons and development of ‘then?’ Both Burberry and Topshop are two completely different brands for a different type of customer, both focusing, in the ‘now’, on a different type of store, creative stakeholder and different forms of media and technology. At the same time, they never forget the past, interpreting and using their heritage in different ways. As for the other, it’s a completely different entity, it’s all about the music, but looked at from entirely different perspectives. This essay shall focus on how both Burberry and Topshop reflect the ‘now’ and ‘then’; and their use and perspective of ‘music’; the ‘other’ in the fashion world.
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BURBERRY IN THE NOW Burberry, the quintessentially British brand, starting in 1856, has come from being what Bailey describes as “a diamond trodden into the ground, needing to be cleaned” (Bumpas, 2009: Online) to become a British fashion powerhouse, staying true to its heritage. Outdoor garments, the trench and the iconic check print that has become as British as the Liberty print or Scottish tartan (Anon 1998) are all very much part of Burberry’s global identity.
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Fig 1
WHO‘S THAT GIRL. Although Burberry keeps such a distinct heritage, it has the challenge to remain relevant in the ever-growing industry; “It’s very easy to allow an iconic brand to remain true to its heritage and at the same time obsolete itself. The hard thing to do is keep the iconic brand relevant.” (Cohen, 2012: Online). One way Burberry has achieved this is through its creative stakeholders and how they are chosen. Christopher Bailey, the Chief Creative Officer at Burberry states, ”the person has got to have a beauty to them-and its not always physical beauty. It’s important that I love someone’s character and that I click with it. They have their own energy, their own personality, and that is something so different than just beauty.” (Huntington-Whitely, 2010: Online). Maybe this was just one of the reasons that in 2008 Rosie Huntington Whitely became the face of the brand giving her an automatic international profile, helping her to win her first British Vogue cover, a turning point in her career, ignited by Burberry. Continuing to champion the Burberry brand Whitely became the face of Burberry Body in July 2011, a consistent front row supporter at Burberry fashion shows, and a personal supporter of Bailey.
Burberry also currently covets Cara Delevingne,
who appeared as the face of Burberry in 2010. Since then her career has gone from strength to strength. Being the face of the Burberry beauty campaign, and in 2012 becoming the model of the year at the British Fashion awards. In her own words Cara stated it “was the beginning of a chapter for me, a breakout shoot.” (Donaldson, 2011: Online).
With Cara Delevingne and Rosie Huntington
Whiteley acting as just two of Burberry’s creative stakeholders, what could make Burberry any more desirable to the consumer than what it already is? It brings a modern, sexy dimension and approach to the ever traditional, heritage aesthetic of Burberry, as well as giving the brand celebrity endorsement. “The aim of celebrity endorsement is that the cachet and sparkle of the celebrity personality will become directly associated with the brand and that this will reinforce the brands image and position in the market place.” (2011, pp161-162). The success of both these models highlights the relevance of Burberry today and its influence on how it can take a model and make them a worldwide phenomenon. 10
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“Iconic, luxury fashion brands have the story to attract
With nothing other than their fashion shows of course!
consumers, but the challenge is finding the right means of
Leading the way Burberry live streams its shows online and
communicating it within the digital world.” (Cohen, 2012:
instore, with real time content from the events posted on
Online). With Prorsum meaning forwards and straight
Facebook, Twitter and Instagram. Bailey states (Bumpas,
ahead it’s not just a coincidence that Burberry Prorsum is
2009: Online),“We live-streamed the show around the
one of the most fashion forward brands at the moment.
whole world and allowed people to comment. It was so
Over the years Christopher Bailey has kept on pushing on
amazing. It was so immediate. We use the whole digital
the digital boundaries to keep Burberry in the ‘now’. With
world for everything we do.” Customers and viewers can
being the most popular luxury brand on Facebook with a
even immediately order the clothing and accessories they
record of over 10 million fans (see Arthurs, 2012: Online),
have seen in the show online and have them delivered in
and with twitter, YouTube, instagram, pinterest and a
8 weeks time to their door. This is just one of the ways that
website constantly being updated how else could the brand
Bailey challenges perceptions that the live fashion shows
stay tech savvy?
are just for industry and not for the consumer (Anon, n.d.
Design Council: Online) 16
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Enter 121 Regent Street and enter the most technological,
microchips within clothing, so when customers look into a
advanced, high fashion store in Britain, the home to the
mirror this transforms into a screen, showing the garment
spectacular space of the new ‘future-proof ’ (Anon, n.d.
on the catwalk, a digital rain shower, giving Burberry its own
Anokhi: Online) Burberry store. Blurring the physical and
British weather and a limited edition clothing range exclusive
digital world, (Bergin, 2012:Online), the shop mirrors the
to the store (see Bergin, 2012. Article 2: Online). As well as
online experience in-store. Angela Ahrendts, Burberry’s CEO
being a clothing store, 121 will be an event and social hub,
(Batten, 2012: Online), states“ Burberry Regent Street brings
with Burberry acoustic live sets and the live streaming of its
our digital world to life in a physical space…where customers
London Fashion week shows. Now more than ever before
can experience every facet of the brand through immersive
consumers are seeking emotional benefits, demanding in
multimedia content exactly as they do online. Walking
value, experience and extra service from their shopping
through the doors is just like walking into our website. It is
experiences, with 121 Regent Street, Burberry is providing
Burberry World Live.” The 44,000 square foot glory of space
them with this. The media savvy store, wrapped in a techno
covers 4 floors. Featuring screens scattered around the store,
bow becomes a destination not just a store. 19
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STRIKE A POSE. As part of Burberry’s online social networking, in 2009 the Art of the Trench was launched, a photo sharing website of people showcasing their Burberry trench coat, ‘a living document of the trench coat and the people who wear it.’ (Anon, n.d. Design Council: Online). The Art of the Trench cements the commitment Burberry has in positioning itself as the leading brand in all things media and technology. Strengthening its ever growing relationship with the customer, in making them part of the brand. All this makes Burberry an easy access brand on a global level, Burberry is a brand that simultaneously represents tradition, with its British styling, yet is very much of the moment and on par with the modern consumer with its use of digital media (see Anon, n.d. Design Council: Online). It is a fashion forward brand and forward within the industry. Burberry invites you to be part of the Burberry brand. The digital media has introduced a younger audience, a new generation, as well as strengthening ties with existing customers. It is the leading brand and is now leading others. 22
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BURBERRY IN THE THEN As well as keeping its own traditions, Burberry takes many inspirations from the past. With a broader shoulder, trim waist and hips and slim fitting skirts, the silhouette of the 1940’s was seen in the S/S 13 collection (see Stotler, 2012: Online). The
bright jewel and citrus shades covering the metallic, high shine, satin garments were inspired by 40’s and 50’s images. “I have been looking at all these incredible Norman Parkinson photographs from the 40’s and 50’s. He did all these very saturated colours,” (Bailey, 2012: Online). Trench coats, corset dresses, capes, and strapless bathing suits, all created that 1940’s glamour, as if the scene was handpicked straight from an old movie.
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With herringbone tweed, stripes, cord skirts, peplum waists and emphasis on the hips, the Burberry Fall 12 collection offered something for everyone (Jones, 2012: Online). The collection also took inspiration from the past, with echoes of the thirties and forties, (Blanks, 2012: Online) and looks from the war years. Even the colour of fashion seemed to go to war, with olives, khaki’s, browns, burgundy and plum.
Both collections have taken inspiration from a pivotal
moment in history. With WW2 taking place from 1939-1945 this is relevant today with the Afghanistan war-taking place. In 1941 construction of the Heath Robinson, Bombe & the Colossus computer took place. This is now regarded as the first operational computer, relating to Burberry’s advances within its use of media and technology.
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“B U R B E R R Y C A N A L W A Y S F E E L F A M I L I A R . WE ALL KNOW WHAT TO EXPECT OF IT.”
Burberry is a long-lived European brand, with history and inherited values that are respected and re-interpreted in the product ranges. (Buckley, 2011, p2: Online). Therefore using history is anchored into the integrity of the Burberry brand to keep a seamlessly heritage and vintage look that the customers expect. So well established is the fashion house’s branding that Burberry can always feel familiar. We all know what to expect of it. (Dykes, 2012: Online) 28
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BURBERRY AND THE OTHER “Music is so important to Burberry, as it is to everyone”
exposing these emerging artists. Burberry posts videos and
(Christopher Bailey, Valenti, 2012: Online). Having a strong
updates on YouTube, twitter and Facebook to promote the
connection and relationship to music is vitally important to
emerging artists as well as having live Burberry gigs (see West,
Burberry as it adds the ‘other’; another dimension to what
2012: Online).
could be seen as just another clothing brand. Music is a
for the launch of the spring/summer 12-eyewear campaign.
vital part and influence to so many people’s lives. Therefore
One Night Only, Marika Hackman, Life in Film and the
using music and the emotional power it can withhold can
Daydream Club were the faces of the new campaign. They
create stronger relationships between the company and the
released an exclusive track and video each week and headlined
customer. The followers that the artists may already have can
Burberry gigs. The campaign highlights Burberry’s brand
be introduced to Burberry and Burberry can introduce new
ethos for supporting British talent (see West, 2012: Online).
music talent to its customers. The use of music also helps to
Highlighting the importance of the ‘other’ in the fashion
bring in a different customer, again giving it a stronger place
world are the words of Valenti, (Valenti, 2012:Online), “The
within the industry, with an ever-increasing following.
films continue to rack up hundreds of thousands in views and
I predict that Burberry’s music project will not only continue,
With this justification, the brand introduced
Burberry Acoustic, a collaboration with Burberry and selected
Furthermore music took the centre stage
but encourage other fashion houses to face the music!”
British artists. The collaboration is a way of promoting and Fig 24
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FROM BURBERRY TO TOPSHOP...
TOPSHOP IN THE NOW Topshop is undoubtedly the epitome of British high street fashion. It’s a retail phenomenon with fashion authority, bringing distinctive personality, innovation and style to the high street.
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THE GIRL CRUSH F A C T O R. With Topshop being a fast moving brand, their creative stakeholder is forever changing. For Christmas they took on Kate Bosworth. Bringing the sparkle of Hollywood to Topshop screens, Kate starred in a short, digital music video campaign. The song is available as a free download, the make up is on sale and the custom-made dress will be a made to order purchase from February 2013 to celebrate the opening of the Topshop LA store. Using the Hollywood actress brought the aspiration factor to the brand, “There is still no greater inspiration than our icons. Women have always aspired to look and feel like the stars of the silver screen and we wanted to capture that emotion and the magic of Topshop to celebrate the festive season.” (Cooke, 2012: Online).
One of Topshops most famous creative stakeholders
is Kate Moss. Being a premier style icon of our time, she is one of Britain’s most famous models; the muse of our generation (Cartner-Morley, 2010: Online) and this is what she gave to the brand in 2007 when the successful Topshop collection was released. Based on her wardrobe, the collection interpreted her individual and eclectic style. It went on for 14 collections, over 3 years, making that one celebrity endorsed collection that has lasted. 37
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“L I K E A C A T H E D R A L F O R S H O P P E R S W O R S H I P P I N G T H E L A T E S T L O O K S .�
Oxford Circus is the destination of the Topshop flagship store. Like a cathedral for shoppers worshipping the latest looks (Anon, n.d: Online), the store keeps its fast moving image with a hair salon, nail bar, cafĂŠ and tailoring service, as well the
clothes of course. The store captures the energy and excitement of the brand, as well as the essence of London, with it embodied within the store layout (Buckley, 2011, p5: Online). With the brands personality continuing instore the relationship between the brand and the consumer is strengthened, and with all the features and quirkiness of the store, it becomes a destination to be visited and experienced.
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Starting in 1964, Topshop perhaps lacks the heritage and
live streaming. Topshop was creating social entertainment
standing of Burberry in the industry. However it was in
and offering a personalized live streaming experience.
2005 that Topshop secured its place among the traditional
In partnership with Facebook users could customize the
leading brands; Topshop Unique was added to the Fashion
clothes and accessories that appeared there and then on
week calendar, a premium offering from the high street
the catwalk as well as capturing and sharing their favourite
giant. “At the time, no high street was showing at London
looks with the camera button (see Chilvers, 2012: Online).
Fashion Week, so it was quite exciting, but equally quite a
Furthermore again taking inspiration from the fashion giant,
risky thing to do…because we were putting our head above
Burberry, Topshop is allowing the clothing, the models
the parapet a bit…people could easily come back and say
make up and the soundtrack to be pre ordered as the show
what are you doing…you’re rubbish, you’re just high street.”
is being streamed live, ensuring that this is fashion we really
(Buckley, 2011, p5: Online) However Topshop Unique is
can wear. More than 2 million people from 100 countries
now one of the most important shows on the very much “in
tuned in, while more than 200 million people were exposed
the now” London Fashion week calendar, proving it is more
to its content (Indvik, 2012: Online). These are all ways of
than capable of sitting alongside the big names of the runway
making the legion of fans behind Topshop more inclusive
(Morton, 2005: Online).
and engaged to the brand and the fashion show experience,
Following in the confidant and current footsteps
giving them a front row seat. Topshop’s status is a reflection
of Burberry Prorsum, Topshop hopped onto the interactive
of how drastically the balance of power in the British fashion
live stream bandwagon for it’s spring/summer 13 show. The
industry has shifted. High street stores, once banished to
show was streamed online, on the Topshop website, twitter
looking through the keyhole at “proper” fashion, are now
page and Facebook as well as its Oxford Circus flagship
dining at the high table. (Cartner-Morley, 2012: Online)
store. The buzz behind this show wasn’t just due to the
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TOPSHOP IN THE THEN Despite having less tradition and heritage to Burberry, similarities with Burberry come with mirroring the customer from the ‘now’ to the ‘then.’
The spring/summer 11 collection saw the 70’s was back with vengeance; there were “Biba-esque” bouffant Afros
(Alexander, 2010: Online), frizzed out to epic proportions, flared, billowy trousers, trumpet sleeves, maxi lengths, and jumpsuits galore (Bumpus, 2010: Online). The studio 54 esque (see Vernon, 2010: Online) like show gave a dose of disco, a dash of glam rock and a sprinkling of festival show girl. Looking back into the 70’s was relevant as it was a time of a bad economy, similar to the economy of today. The Vietnam war was ongoing, mirroring the Afghanistan war of today. But with this floaty and floral collection with the hippy look and feel of the 70’s, it offers escapism of these mirroring factors, bringing optimism to the now. Topshop is restoring the faith back into the critics and customers.
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The fall 11 show was low hemlines, high necklines, and peter pan collars, pinstripes and spot print galore. Like a scene
from 101 Dalmatians, puppy love met 1930’s America (Anon, n.d, Fashionetc: Online), with art deco and 30’s skyline prints. This 1930’s inspired show was perfectly relevant to the now. The economy was in downfall after the wall street crash, like the economy of today, WW2 broke out like the continuing Afghanistan war, and Nazism began to rise like the uprising that took place in Tunisia. Using the past within the now restores hope of getting through worse times, but it also brings more history to the brand. Being a relatively new company it adds a heritage feel that customers know and love.
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TOPSHOP AND THE OTHER Within Topshop, fashion and music have always gone hand
at events, for example Delilah performed in the Oxford Circus
in hand. Topshop blurs the lines between fashion and music,
window for Vogue’s Fashion Night Out (see Anon, 2012,
engaging with music by styling in the aesthetic of an artist,
SourceWire: Online), and Topshop even has its own radio
or genre of music. For example, Topshop has a girl crush
station.
obsession with Lana Del Rey. Since she hit the scene, her
sultry, retro style, has made it’s way into everything Topshop
Topshop fashion shows, instore and online videos. This
including trends, styling and even their magazine cover.
increases the emotive connection as well as continuing
Unless you had been living under a rock, the Lana Del Rey
Topshop’s innovative and distinctive personality across all
madness was everywhere, and Topshop had fallen for her
aspects.
too, so by engaging with this trend they became part of the
obsessed phenomenon, that was taking hold of everyone.
younger customer. Connecting with music also adds another
aspect to the Topshop brand, bringing a newer element,
As well as this a live DJ can sometimes be found in
the Oxford Circus store, performances take place instore and
The music is also vitally important within all the
The digital element of using music brings in a fresher,
making it exciting for the customer again.
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These two British powerhouse brands, Topshop and Burberry are from two completely different worlds, yet these two worlds do collide. Burberry is the top luxury brand for leading the way in all things fashion forward and tech savvy, and across the border a similar story is being told with Topshop being the leading high street store. Both brands have come a long way keeping successful and current through social media, instore experience and creative stakeholders. Bailey has re crafted Burberry’s formerly stodgy image as a desirable and contemporary mixture of London meets flirtatious femininity (Chase-Marshall, 2012: Online), whilst Topshop has come from being a retailer of cheap and tatty vest tops into arguably the most important fashion brand in this country (Buckley, 2011, p6: Online). The real question is, can either brand truly separate the ‘now’ from the ‘then?’ ‘Now’ is always a progression from ‘then’, with both brands also revisiting and mirroring the ‘then’ within the ‘now’. Perhaps it is not ‘then’ or ‘now’ but more so looking to the future? As for the ‘other’, both brands demonstrate that music is to undoubtedly become much less of an ‘other,’ and instead simultaneous to fashion.
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Chilvers, S. 2012. Topshop to turn London fashion week show into facebook ‘entertainment’, the Guardian. Available at: http:// www.guardian.co.uk/fashion/2012/sep/12/topshop-london-fashion-week-facebook [Accessed 30 December 2012] Cohen, M. 2012. Burberry: How it is going tech savvy, The Times of India. Available at: http://articles.timesofindia.indiatimes. com/2012-12-28/strategy/36035870_1_burberry-angela-ahrendts-luxury-brands [Accessed 13 January 2013] Cooke, J. 2012. Kate Bosworth sings Christmas track for Topshop campaign, Brand Republic. Available at: http://www. brandrepublic.com/news/1162674/Kate-Bosworth-sings-Christmas-track-Topshop-campaign/?DCMP=ILC-SEARCH [Accessed 15 January 2013] Copping, N. 2012. Catch Me If You Can. Vogue, 179, pp.57-60. Donaldson, A. 2011. Cara Delevingne gets dressed and shares her secrets, Fashion Telegraph. Available at: http://fashion.telegraph. co.uk/news-features/TMG8589426/Cara-Delevingne-gets-dressed-and-shares-her-secrets.html [Accessed 11 January 2013] Dykes, D, P. 2012. Burberry Prorsu brings on the volume for Autumn 2012, Fashionising. Available at: http://www.fashionising. com/runway/b--burberry-prorsum-aw-12-20413.html#70 [Accessed 30 December 2012] Huntington-Whitely, R. (2010) Christopher Bailey, Interview Magazine. Available at: http://www.interviewmagazine.com/fashion/ christopher-bailey-burberry/#_ [Accessed 29 December 2012) Indvik, L. 2012. Millions watch online video of Topshop London fashion week show. Available at: http://mashable.com/2012/09/16/topshop-livestream-ss2013/ [Accessed 30 December 2012] Jones, D. 2012. Burberry Prorsum A/W 2012, Vogue. Available at: http://www.vogue.co.uk/fashion/autumn-winter-2012/ready-towear/burberry-prorsum [Accessed 11 January 2013] Morton, C. 2005. Topshop Unique, Vogue. Available at: http://www.vogue.co.uk/fashion/spring-summer-2006/ready-to-wear/ topshop-unique [Accessed 11 January 2013] Posner, H. 2011. Marketing Fashion. London: Laurence King Publishing Ltd Stotler, N. 2012. Burberry Prorsum S/S 2013, Stylesight. Available at: http://blog.stylesight.com/runway/burberry-prorsum-15 [Accessed 11 January 2013] Valenti, L. 2012. Christopher Bailey’s Burberry Acoustic Project Highlights Britain’s Emerging Music Artists, The Vogue Vibes. Available at: http://www.thevoguevibes.com/2012/08/christopher-baileys-burberry-acoustic-project-highlights-britains-emergingmusic-artists [Accessed 15 January 2013] Vernon, P. 2010. No sign of Kate… , the Guardian. Available at: http://www.guardian.co.uk/lifeandstyle/2010/sep/19/londonfashion-week-topshop-collection [Accessed 12 January 2013] West, H. 2012. Burberry’s Bands, Vogue. Available at: http://www.vogue.co.uk/news/2012/04/04/burberry-bands-music-tracks--sunglasses-pictures [Accessed 15 January 2013]
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LIST OF IMAGES Fig 1. Mario Testino, online 2012. Burberry S/S12 campaign image. Available at: http://fashiontographer.com/burberry-ss12-c/ [Accessed 18 January 2013] Fig 2. Mario Testino, online 2011. Burberry “Nude� Fall 2011 campaign image. Available at: http://fashiongonerogue.com/burberrynude-fall-2011-collection-cara-delevingne [Accessed 18 January 2013] Fig 3. Mario Testino, online 2011. Burberry Body Fragrance campaign image. Available at: http://thebeautygypsy.com/tag/ burberry-body [Accessed 18 January 2013] Fig 4. Mario Testino, online 2011. Burberry Body Fragrance campaign image. Available at: http://www.thebeautymodel. com/2012/03/beauty-ad-dict-burberry-body.html [Accessed 18 January 2013] Fig 5. Anon, online 2012. Burberry Fall 12 catwalk images. Available at: http://www.stylestreetstalker.com/2012/02/lfw-burberryprorsum-show.html [Accessed 18 January 2013] Fig 6. Anon, online 2012. Burberry Fall 12 show front row guests. Available at: http://esthersbeautyblog.co.uk/ef-medispa-opensits-doors-to-fashions-most-wanted/burberry-show-2012-front-row [Accessed 18 January 2013] Fig 7. Anon, online 2011. Burberry S/S 12 show backstage twitter image. Available at: http://www.pocket-lint.com/news/42137/ burberry-twitter-tweetwalk-london-fashion [Accessed 18 January 2013] Fig 8. Anon, online 2012. Burberry 121 Regent Street instore. Available at: http://www.haberdasherstandard.com/2012/09/ burberry-now-open-at-regent-street.html [Accessed 19 January 2013] Fig 9. Anon, online 2012. Burberry 121 Regent Street store. Available at: http://sosogay.co.uk/fashion/fashion-round-up-11september-2012/ [Accessed 19 January 2013] Fig 10. Anon, online 2012. Burberry 121 Regent street instore. Available at: http://www.haberdasherstandard.com/2012/09/ burberry-now-open-at-regent-street.html [Accessed 19 January 2013] Fig 11. Mario Testino, online 2012. Burberry Regent street store collection. Available at: http://www.haberdasherstandard. com/2012/09/burberry-now-open-at-regent-street.html [Accessed 19 January 2013] Fig 12. Mario Testino, online 2012. Burberry Regent street store collection. Available at: http://www.haberdasherstandard. com/2012/09/burberry-now-open-at-regent-street.html [Accessed 19 January 2013] Fig 13. Mario Testino, online 2012. Burberry S/S 12 campaign image. Available at: http://www.justjared.com/photogallery/2614280/eddie-redmayne-burberry-ads-01 [Accessed 18 January 2013] Fig 14. Anon, online 2012. Burberry S/S 13 catwalk images. Available at: http://www.ella-lapetiteanglaise.com/london-fashionweek-ss13-day-4-part-2/ [Accessed 18 January 2013] Fig 15. Anon, online 2012. Burberry S/S 13 catwalk images. Available at: http://www.style.com/fashionshows/complete/S2013RTWBURBERRY [Accessed 18 January 2013] Fig 16. Anon, online 2012. Burberry S/S 13 catwalk images. Available at: http://www.style.com/fashionshows/complete/S2013RTWBURBERRY [Accessed 18 January 2013] Fig 17. Anon, online 2012. Burberry S/S 13 catwalk images. Available at: http://www.style.com/fashionshows/detail/S2013RTWBURBERRY [Accessed 18 January 2013] 58
Fig 18. Anon, online 2012. Burberry Fall 12 catwalk images. Available at: http://www.style.com/fashionshows/complete/ F2012RTW-BURBERRY[Accessed 18 January 2013] Fig 19. Anon, online 2012. Burberry Fall 12 catwalk images. Available at: http://www.style.com/fashionshows/complete/ F2012RTW-BURBERRY [Accessed 18 January 2013] Fig 20. Anon, online 2012. Burberry Fall 12 catwalk images. Available at: http://www.style.com/fashionshows/detail/F2012RTWBURBERRY [Accessed 18 January 2013] Fig 21. Fig 19. Anon, online 2012. Burberry Fall 12 catwalk images. Available at: http://www.style.com/fashionshows/complete/ F2012RTW-BURBERRY [Accessed 18 January 2013] Fig 22. Mario Testino, online 2012. Burberry S/S 12 campaign image. Available at: http://modatutkusu.net/burberry-2012-ilkbaharyaz.html [Accessed 18 January 2013] Fig 23. Mario Testino, online 2012. Burberry eyewear campaign summer 12. Available at: http://www.designscene.net/2012/04/ burberry-eyewear-summer-2012.html [Accessed 19 January 2013] Fig 24. Mario Testino, online 2012. Burberry eyewear campaign summer 12. Available at: http://www.designscene.net/2012/04/ burberry-eyewear-summer-2012.html [Accessed 19 January 2013] Fig 25. Mario Testino, online 2012. Burberry eyewear campaign summer 12. Available at: http://www.designscene.net/2012/04/ burberry-eyewear-summer-2012.html [Accessed 19 January 2013] Fig 26. Anon, online 2012. Factory Girl. Available at: http://insideout.topshop.com/2012/07/factory-girl [Accessed 19 January 2013] Fig 27. Anon, online 2012. Kate Bosworth Christmas Campaign 12. Available at: http://neneilovef.blogspot.co.uk/2012/12/katebosworth-for-topshops-debut.html [Accessed 19 January 2013] Fig 28. Anon, online 2008. Kate Moss for Topshop. Available at: http://trendland.com/kate-moss-for-topshop/# [Accessed 19 January 2013] Fig 29. Anon, online 2008. Kate Moss for Topshop. Available at: http://trendland.com/kate-moss-for-topshop/# [Accessed 19 January 2013] Fig 30. Anon, online 2012, Topshop Instore. Available at: http://www.sparklestyle.co.uk/2012/04/maarten-van-der-horst.html [Accessed 19 January 2013] Fig 31. Anon, online 2009, Topshop Instore. Available at: http://www.fashionindie.com/sneak-peek-topshop-soho/ [Accessed 19 January 2013] Fig 32. Anon, online 2012. Topshop Flagship store. Available at: http://shinesquad.me/2012/09/13/topshop-takes-oxford-streetstore-to-global-audience/ [Accessed 19 January 2013] Fig 33. Anon, online 2010. Topshop Fall 2010 backstage. Available at: http://www.julian-andrews.com/preview.php?photo_id=28 [Accessed 20 January 2013] Fig 34. Anon, online 2012. Topshop S/S 13 catwalk show. Available at: http://www.style.com/fashionshows/complete/S2013RTWTOPSHOP [Accessed 20 January 2013] Fig 35. Anon, online 2010. Topshop S/S 11 catwalk show. Available at: http://www.style.com/fashionshows/complete/S2011RTWTOPSHOP [Accessed 20 January 2013]
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Fig 36. Anon, online 2010. Topshop S/S 11 catwalk show. Available at: http://www.style.com/fashionshows/complete/S2011RTWTOPSHOP [Accessed 20 January 2013] Fig 37. Anon, online 2010. Topshop S/S 11 catwalk show. Available at: http://www.style.com/fashionshows/complete/S2011RTWTOPSHOP [Accessed 20 January 2013] Fig 38. Anon, online 2010. Topshop S/S 11 catwalk show. Available at: http://www.style.com/fashionshows/complete/S2011RTWTOPSHOP [Accessed 20 January 2013] Fig 39. Anon, online 2010. Topshop S/S 11 catwalk show. Available at: http://www.style.com/fashionshows/complete/S2011RTWTOPSHOP [Accessed 20 January 2013] Fig 40. Anon, online 2010. Topshop S/S 11 catwalk show. Available at: http://www.style.com/fashionshows/complete/S2011RTWTOPSHOP [Accessed 20 January 2013] Fig 41. Anon, online 2011. Topshop Fall 11 catwalk show. Available at: http://www.style.com/fashionshows/complete/F2011RTWTOPSHOP [Accessed 20 January 2013] Fig 42. Anon, online 2011. Topshop Fall 11 catwalk show. Available at: http://www.style.com/fashionshows/complete/F2011RTWTOPSHOP [Accessed 20 January 2013] Fig 43. Anon, online 2011. Topshop Fall 11 catwalk show. Available at: http://www.style.com/fashionshows/complete/F2011RTWTOPSHOP [Accessed 20 January 2013] Fig 44. Anon, online 2011. Topshop Fall 11 catwalk show. Available at: http://www.stylebistro.com/runway/ London+Fashion+Week+Fall+2011/Topshop+Unique/Details/W8EKH7LWqQQ [Accessed 20 January 2013] Fig 45. Anon, online 2011. Topshop Fall 11 catwalk show. Available at: http://www.style.com/fashionshows/complete/F2011RTWTOPSHOP [Accessed 20 January 2013] Fig 46. Anon, online 2011. Topshop Fall 11 catwalk show. Available at: http://www.style.com/fashionshows/complete/F2011RTWTOPSHOP [Accessed 20 January 2013] Fig 47. Anon, online 2013. Topshop Rave New World. Available at: http://www.trendhunter.com/trends/rave-new-world-topshop [Accessed 20 January 2013] Fig 48. Anon, online 2013. Topshop Rave New World. Available at: http://www.trendhunter.com/trends/rave-new-world-topshop [Accessed 20 January 2013] Fig 49. Anon, online 2013. Topshop Rave New World. Available at: http://www.trendhunter.com/trends/rave-new-world-topshop [Accessed 20 January 2013]
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