TABOO TABOO TABOO HARVEY NICHOLS RESEARCH DOCUMENT DENA SEVERO
2
CONTENT PAST AND PRESENT SEGMENT OVERVIEW TARGET AUDIENCE TEXTILE WASTE INSPIRATION AND PROCESS - ORIGINAL IDEA -PEEPSHOWS -AMSTERDAM -TRACEY EMIN SLOW FASHION -REFORMATION -MISHA NONOO -CHNGE -BOYISH JEANS -JEU ILLIMITE TABOO EVENT LAUNCH, BROCHURE AND PR REFLECTIVE STATEMENT
3
6-9 10-11 12-13 14-17 20-21 22-25 26-27 28-29 32-33 34-35 36-37 38-39 40-41 44-59 60-75 76-77
4
PAST & PRESENT 5
THE PAST. First opened in Knightsbridge in 1831, sourcing the most desirable and edge cutting designer brands. Internationally recognised as UK’s premier fashion retailer and premium food and wine offer and award-wining restaurants. One of the most famous department stores in both London and the world, along with Harrods, Selfridges, and Liberty, Harvey Nichols sells fashion, accessories, beauty products, wine, and food from its flagship and chain story. Harvey Nichols began life in 1831, when Benjamin Harvey opened a small linen shop in a terraced house in Knightsbridge. Four years later he expanded into the building next door, as the business grew. In 1841, the Nichols half of the equation came onto the scene, when Harvey employed James Nichols. Four years later, he was promoted to management, and joined the family in 1948 when he married Harvey’s niece. After the death of Harvey in 1850, his wife Anne began a partnership with Nichols, and the store became Harvey Nichols & Co. After the deaths of both Anne and Nichols in 1972 and 1973, Harvey’s son Benjamin Charles Harvey became the sole partner. He quickly set about with further expansion, buying up an entire block between Seville Street and Sloane Street in 1874. In 1889, he demolished the building to create a purpose-built department store — the building Londoners know today. The store opened a range of new departments in 1919, including fancy lace, hosiery, and haberdashery, but suffered in the Suffragettes’ window smashing campaign, being bought by Debenhams in 1920.
6
7
8
THE PRESENT. Harvey Nichols has 7 stores in the UK and Ireland – London, Edinburgh, Leeds, Manchester and smaller stores in Bristol and Dublin including a Beauty Bazaar in Liverpool in 2012. International stores overseas (6), Riyadh, Dublin, 2 in Hong Kong, Doha Festival City and one in Kuwait. Code of Conduct Harvey Nichols is committed to sustainable and responsible practice across all areas of its business, ethical sourcing is an important part of the programme. Animal Sourcing and Principals Harvey Nichols joined the sustainable luxury working group and adopted the animal sourcing principles. Committed to the sustainable and responsible practice across all area of its business. Ethical sourcing is important part of the programme. H. Nichols believe that these principles should apply throughout the animal sourcing supply chain, including the catching, maintaining, breeding, raising, transportation, handling and slaughter of live animals. Committed to ethical practices in the catching, maintaining, breeding, raising, transportation, handling, and slaughter of animals in our leather, fur and exotic skins supply chains. We believe that all such animals, while taking into account their species’ needs, should benefit from: Freedom from hunger and thirst, by ready access to fresh water and a diet for full health and vigour Freedom from discomfort, by providing an appropriate environment including shelter and a comfortable resting area Freedom from pain, injury or disease, by prevention or rapid diagnosis and treatment Freedom to express normal behaviour, by providing sufficient space, proper facilities and company of the animal’s own kind Freedom from fear and distress, by providing conditions and treatment that avoid mental suffering
9
FEMALE SEGMENTS OVERVIEW CAREER CLIMBERS
FEMALE BOSSES
WANTS IT ALL
Purchase Behaviour:
Purchase Behaviour:
Purchase Behaviour:
In Life
In Life:
AVERAGE AGE: 24
AVERAGE AGE: 52
-Planned and purposeful -Considered -They hunt down specific items -Open-minded on new looks -Purchases are driven by price -Purchases are driven by quality
-They constantly want to be challenging and strive to be better -Adventurous spirit -Spontaneous lifestyle
In Addition:
-Tech-driven and always online -Inspiration in more likely to be taken from real life -Socialising is a big part of their life
-Constantly strive for perfection -Aspire to be young at heart, but will stay in their comfort zones
In Addition:
AVARAGE AGE: 31
-Impulsive -Open-minded on new looks -Purchases are driven by convenience and style -E-commerce for clothing
In Life:
-They constantly want to be challenging and strive to be better -Adventurous spirit -Spontaneous lifestyle
-Tech-driven and always online -Inspiration comes from aspi- In Addition: -Tech-driven and always onrational content line -Health concious -Inspiration in more likely to be taken from real life -Socialising is a big part of their life
10
MALE SEGMENTS OVERVIEW WELL DRESSED PROF.
INDULGENT GENTLEMAN
MUST HAVES
Purchase Behaviour:
Purchase Behaviour:
Purchase Behaviour:
In Life
In Life:
AVERAGE AGE: 37
AVERAGE AGE: 42
-Values a better deal and are -Value convenince over money savvy with their money and will tend to indulge -Purchases are driven by price -Purchase are driven by qualiity
-Fast-paced and busy -Multi-tasking lifestyle -Very ambitious to succeed at their careers -Striving to be well-informed
In Addition:
-Tech-driven and always online
-Relaxed lifestyle -Enjoy all of it’s pleasures -Striving to be cultured -Ambitious which got them to the top
AVERAGE AGE: 32
-Want to be on trend -Impulsive -Open-minded about new looks -Purchase are driven by availability and aspiration
In Life:
-Fast-paced and busy -Multi-tasking lifestyle -Very ambitious to appear successful
In Addition:
-Tech-driven but occasionally online -Perfectionists -Health concious -Socialising is a big part of their life
11
In Addition:
-Tech-capable -E-commerce for event tickets and info/browsing -Health concious -Socialising is a big part of their life
TARGET
DIGITAL SAVANT
CURIOUS TRAVELLERS
NEW FEMININE
AVARAGE AGE: 28
AVARAGE AGE: 32
AVARAGE AGE: 28
-139 million are female -The product of China’s onechild policy
-74 million Chinese people live in tier 1 cities -Regions: Beijing, Shangai, Guangzhou and Shenzhen
-Regions: Saudi Arabia, UAE, Kuwait, Qatar and Bahrain -Often heiresses live the moment
Sociable and adventurous, seeks moments that can be shared digitallly, is a style leader in her peer group
Highly educared and well- travelled, favour international brands and demonstrate their success through spending habits
12
Progressive cool-hunters, like personalisations and seek out independant designers and emerging luxury brands
AUDIENCE
MR INDEPENDENT
NEXT GEN OR ‘FUERDAI’
AVARAGE AGE: 24
AVARAGE AGE: 35
MUST HAVES
-Made up of Gen Z and Millenials -China has 149 million Gen Z
-118 million Chinese men are HNW -60% of total HNW in China -Total asset estimated of £740 billion
-Regions: Saudi Arabia, UAE, Kuwait, Qatar and Bahrain -Mostly entrepreneur of self employed
Affluent young males, favour niche brands as a way of self-expression, value external validation when it comes to fashion
Wealthy creators who want to Confident and influential, step out of their family shad- free spirited, values contemporary trends and ow and make a change instagrammable experiences
13
AVARAGE AGE: 21
TEXTILE WASTE
WHAT IS IT?
THE PROBLEM
Textile waste is all materials that have been stated as unusable for its original purpose by the owner. For decades, companies have chosen to use nature, and in particular our rivers and oceans, as a dumping ground for hazardous chemicals. Communities living near textile manufacturing facilities face water pollution as a daily reality. Regulations have not always prevented the release of toxic chemicals into the environment, particularly in the Global South. That’s why companies need to commit to end the release of chemicals to stop tarnishing our rivers, lakes, lands, oceans and people.
If the fashion industry has the power to influence trends, then it also has the power to play a positive role in protecting the planet. Since July 2011, Greenpeace has secured commitments from international brands, retailers and suppliers to eliminate hazardous chemicals, including help to trigger policy changes in Europe and Asia. Eliminating toxic chemicals is just the start. From fast fashion to textile waste, we need the global textile industry to be a true ‘trend setter’, and take a stand on the environmental and human impact of fashion.
14
KEY FACTS
•Waste is at the heart of fashion – both the physical act of discarding materials and clothes and the ethos of junking items once ‘out of fashion’. •The industry pays less attention to waste than to other ecological issues, but research suggests better waste management could save it €4 billion per year. •Around 35% of materials in the supply chain end up as waste. •Consumer use, creates microfibre waste through washing synthetics – nearly 35% of microfibres polluting marine habitats come from this source. •More garments are bought and discarded than ever – 57% of these go to landfill.
ABOUT IT
Waste is at the very heart of fashion. It occurs all along the supply chain, throughout consumer use, right up to the end-of-use disposal. Underscoring this physical journey of waste is the central tenet of ‘being in or out of fashion’ – embedding the notion that it’s acceptable to discard a garment regardless of whether it is still functionally useful. Given this, it is perhaps surprising that relatively little attention is given to waste as a concept in the industry, according to recent research. If current technology were better deployed to tackle the problem of waste, the industry could save €4 billion per year up to 2030, the Pulse of the Fashion Industry report estimated in 2017. The potential for savings will be much higher if new recycling technologies are proven at a commercial scale
SUPPLY CHAIN
On average, 35% of all materials in the supply chain end up as waste before a garment or product reaches the consumer. This could be cutting waste, un-useable stock due to last-minute design changes, spoilage in transport, or excess stock that is not sold on the retail market and, at times, is incinerated by brands. Some of this waste is difficult to avoid. Unless the garment is designed to be ‘zero waste’, cutting the garment from the fabric will always generate some waste. Researchers estimate that even with conscious effort, leftover fabric could only be reduced to about 10% of materials used. The bigger the production run – and the bigger the garment – the more likely it is for leftover waste to be generated. It is not just fabric off-cuts. The intermediate stages of production generate significant amounts of water waste and ‘waste’ in the form of air emissions. For example, the Pulse Report has estimated that the fashion industry uses 79 billion cubic metres of water per year in its supply chain, most of which is released as polluted waste water.
15
FACTS
• 35% of materials in garment supply chains are wasted • For every 100,000 people 100kg of microfibres are released through washing clothes • 57% of all discarded clothing ends up in landfill
CONSUMER USE WASTE
Each time a garment is washed as part of daily use, it releases thousands of tiny fibres that find their way through wastewater to the oceans. Although scientists have long noted microfibre or microplastics pollution, it is only now attracting wider public attention. Research shows that a chief culprit of this pollution is clothing made from synthetics (polyester, polyethylene, acrylic, elastane). It is estimated that washing synthetic textiles releases almost 35% of the microplastics (plastic particles less than 1mm in diameter) that are accumulating in marine habitats around the world. Experiments using domestic washing machines demonstrated that a single garment can produce more than 1,900 fibres per wash – although fibre shed varies with the type of fabric, whether it is a blended fibre, and the use of different garment construction techniques. The rate of shedding also appears to differ with clothing age (1.8 times higher for older garments) and washing machine type (5.3 times more shedding from a top-loading machine). A study conducted for Patagonia estimated that for every 100,000 people, up to 110kg of microfibres would be released into local waterways daily, which is equivalent to the pollution caused by approximately 15,000 plastic bags
16
End-of-use waste
The average consumer now buys 60% more items of clothing than in 2000, but each garment is kept for half as long as consumers discard items more quickly. These buying habits contribute to the 39 million tonnes of post-consumer textile waste that is generated (at a minimum) worldwide each year – primarily in the form of garments. What happens to the discarded clothing? Four fifths go into the waste disposal stream and one fifth goes into recycling and sorting streams. • Of that vast majority of clothes in the waste disposal stream, roughly 70% will go to landfill and 30% will be incinerated. • Of the fifth destined for recycling/sorting: roughly half is recycled; 40% is re-used as second-hand clothing; and the remaining 10% in fact ends up in the waste stream. In terms of the bigger picture of all discarded clothing, this breakdown means that only 10% overall is recycled, only 8% is re-used as second-hand clothing – but 57% is sent to landfill. 17
18
INSPIRATION
& PROCESS 19
ORIGINAL IDEA
THE PITCH
THE NAME ‘TABOO’ ORIGIN I initially chose the name Taboo as the whole idea behind this is about sustainability. I believed that making a contradiction would make the idea behind it stand out.
A CAT WALK 6 BRANDS AND A WORKSHOP The initial idea was to create an event with a catwalk and a workshop to engage people into the idea of sustainability. For the catwalk, I was going to create an exclusive clothing line for HN with a collaboration of 6 sustainable brands; including: Reformation, Jeu Illimite, Misha Nonoo, Boyish Jeans and Jehu-Cal. The workshop, was to create vegan dye for clothes. A small and easy workshop using just vegetables.
THE EVENT AT OXO TOWER Researching into Harvey Nichols I came across the OXO tower, owned by HN and next to the river. Known for their bar and food and also their private venue for events. Knowing about this, I wanted to launch the event at OXO.
20
FEEDBACK
For my formative review, my feedback was not the best. It was not a complete disaster but it was not good either. I was told by the client and tutors that there was too much going on and that I was losing track of the brief. It got to a point, where all the ideas flatlined into one. I was told that if I wanted to carry on with the idea, that I had to focus and pin-point the main thing. Then, I followed it with everything else and organised it. In my head, everything was clear or so I thought but I was not quite understood, perhaps I was not delivering properly. After days of trying to sort out the order of the event details and what my main focus was I decided to completely change the idea, to an extend. I kept the clothing line and developed from there.
WHAT HAPPENED NEXT? The following week after the Formative Review, we had one-on-one tutorials with our tutor, Tony. Discussing the ideas with him, the sound of taboo for the name of the project sounded quite promissing. One thing lead to another and by looking up the actual meaning of ‘taboo’, peepshows came to mind. The whole idea of peepshows made me think, I started doing research on the Red District of Amsterdam and Peepshows.
21
22
P E E P S H O W S 23
WHAT WE KNOW THE BEGINNING The term Peep Show comes from Peeping Tom, the sneaky Coventry tailor who, disobeying the proclamation of the count, made a hole in the shutters to see Lady Godiva riding naked through the streets of the city. The Peep Show, also known as a peep show box or raree (rarity show), can be traced back as early as the 15th century in Europe with Leon Battista Alberti. Another example, known as the perspective box, can be found in the 17th century so-called “Dutch Golden Age painting” where, through the manipulation of perspective, was created an illusion of three-dimensionality usually within a room. But the most well-known form of Peep Show, born from the need to satisfy their tastes with the sense of sight, was mobile. The spectator, through one or more spyholes, could look into a wooden box, inside which followed each of the images that were driven by the travellers.
WHAT IS INSIDE? The interior of the boxes, to simulate the theatrical scenes, was richly decorated. While the images passed before the viewer’s eyes, some actors recited to the rest of the curious public what was happening in the mysterious box. The Chinese Peep Show, which caught on in the 19th century, was known as ‘pulling foreign picture cards’. In respect to the classic Peep Show, it foresaw that the general public was entertained with puppet shows or images of the strange, the exotic and the out-of-the-ordinary. In Ottoman Syria there existed a form of Peep Show called Sanduk a ‘wonder box’ that the walking was carrying on his back. In this case, on the box were six holes through which viewers could observe backlit scenes illuminated by a central candle. These boxes generally showed contemporary stories or scenes of paradise and the invalid.
24
Other common subjects of Peep Show worldwide, presented animals, far-off landscapes, classical theatre scenes, masks, ceremonies or court festivals, figures in transformation such as from angels to devils, and-of course- pictures of indecent scenes. In 1894 the first machines that reproduced slides of naked women’s movement were built. A few years later, during the early years of ‘900, even Thomas Alva Edison, the inventor of the light bulb, made some movies depicting erotic situations in common contexts. Subsequently, starting from this idea, in 1972 in New York the first live Peep Shows opened. Unlike the classic striptease, the viewer could see women in dishabille through windows. Though less common, the Peep Show still came to be used inside certain establishments. The female performer, placed in the center of a circular stage around which were arranged the private cabins, strips and often has sexual relations with another artist. The viewer enters the money in the machine and the window is opened for a predetermined time.
CARNIVAL IN GRANVILLE, WEST VIRGINIA 1938 25
D I S T R I C T
L R I E G D H T
26
ABOUT De Wallen is the largest and best known red-light district in Amsterdam. It consists of a network of alleys containing approximately three hundred one-room cabins rented by prostitutes who offer their sexual services from behind a window or glass door, typically illuminated with red lights and blacklight. Window prostitution is the most visible and typical kind of red-light district sex work in Amsterdam. What I really liked about the red light district, is the look of it and combination of neon lights inside the booths. I want the interior of the booths to resemble the red light district, almost as if you travelled all the way to Amsterdam inmediatelly without leaving Harvey Nichols, but also add a touch of elegance with the classic cabaret/burlesque style. Add some red velvet to it and silk with a glimpse of gold.
27
A M S T E R D A M
28
TRACEY EMIN
Tracey Emin came to prominence as one of the loose grouping of contemporary artists popularly referred to as YBAs (Young British Artists). This group of artists, also including Damien Hirst, Sarah Lucas and Angus Fairhurst, often exhibited together and collaborated. Emin’s work is uninhibited in the way it absorbs and reflects her personal life- whether in seminal installations such as Everyone I Have Slept With 1963-1995 and My Bed, her early performances and videos such as Why I Never Became a Dancer, or her writings. Emin has always been inspired by expressionist painters Edvard Munch and Egon Schiele, although her work is also explicitly feminist.Viewing her work generates a experience of intimacy as a result of Emin’s emotional honesty in reflecting on meaningful moments from her life. Tracey Emin was born in London in 1963, and today she lives and works in London and France. Her work takes many different forms of expression, including needlework, sculpture, photography, drawing, painting, video and installation.
WHY HER?
I love they way Emin portrays her work, with such feeling and expression. She is very erotic to an exretnd, and her work has always caused me curiosity. I remembered her neon work and I instantly knew it worked perfectly with my idea. - I want to collaborate with her and use her neon quotes for Harvey Nichols display windows. I like seeing the glass half empty, so I thought of using her words but with a different mean to hers. ‘Never Again’ - Tracey Emin Due to the fact that her neon work is based about love, the way I could potentially use this quote in a sustainable way, is ‘never again burn down the waste stock’ ‘never again pollute our waters’ Essentially, I would like to collaborate and use Emin’s neon work and display them on the windows at Harvey Nichols in a certain way that shall be explained further on.
29
FASHION 30
ECO
SUSTAINABLE
BRANDS 31
Reformation puts sustainability at the core of everything we do. We invest in green building infrastructure to minimize our waste, water, and energy footprints. By providing on-the-job training and opportunities for growth, we also invest in the people who make this revolution possible.
FIVE CATEGORIE: A–Allstars
ENERGY-EFFICIENCY
B fibers are almost all natural or recycled fibers.
Natural fibers that are rapidly renewable, plant-based and have a potential for circularity.
B–Better than most
We source electricity offsets from 100% wind power suppliers and use LED lighting and Energy Star-rated appliances in our offices.
C–Could be better
Fibers in the C category are better alternatives than more commonly used fibers, but not as innovative.
RECYCLING
D–Don’t use unless certified
We recycle, compost organic wastes, and recycle or donate our textile scraps whenever possible. Zero waste is our goal. Right now, we recycle about 75% of all our garbage. Our goal is to reach over 85%. Every little thing adds up.
D’s require certifications for raw material cultivation (i.e. organic), animal welfare, traceability or wet processing (i.e. Bluesign)
E–Eww, never
E fibers are too environmentally or socially intensive, and don’t meet our sustainability criteria. We’ll only source these fibers if they are necessary for specific fabric construction and performance and we try to use <10%.
FABRIC
To keep our supply chain as sustainable as possible, we make sure our suppliers take social and environmental standards seriously. By sourcing locally when possible, and screening all of our suppliers, we minimize environmental impacts and ensure there’s no unfair or unsafe labor that goes into making our clothes.
Our goal is to make 75% of our products with A & B fibers.
REF FIBER STANDARDS
FABRICS USED
Up to 2/3 of the sustainability impact of fashion happens at the raw materials stage - before the clothes have actually been made. Fiber selection also affects how you’re going to wash the garment, and potentially recycle it one day - both important factors to consider when it comes to the environmental impact. That’s why we have Ref standards, or basically different classifications based on their combined social and environmental impact.
-TENCEL™ -TENCEL ™ X REFIBRA™ -TENCEL™ Modal -Linen -Recycled cotton -Organic cotton -Recycled cashmere -Alpaca -Deadstock & vintage
32
33
â&#x20AC;&#x153;Less Waste. More Personal. A Wardrobe for Women on the Go.â&#x20AC;?
34
THE BIG PICTURE
LONGETIVITY:
MN believes that the future of the fashion industry will look radically different than it does today. Aims to help build that future by pioneering on-demand manufacturing practices, maintaining a commitment to sustainability and female empowerment, and investing in the power of community and personal connection.
Nonoo’s intention is for her designs to last for years, even decades, before being discarded. Committed to pursue the level of quality and attention to detail that will enable her clothes to wear well, and her minimalistic approach lends itself well to pivotal wardrobe pieces that stand the test of time. She also intentionally design clothes that can be styled in multiple ways and for diverse occasions, allowing them to be worn repeatedly without losing their sense of freshness.
ON-DEMAND
On-Demand is a method of manufacturing in which goods are only produced when they are required, rather than in large batches.
ETHICAL FACTORIES:
Non-negotiable, Nonoo only works with factories that conduct business in an ethical way, paying a fair local wage, with strict no child labor policies, and providing good lighting, ventilation, breaks, and all other basic elements of a healthy work environment. Nonoo employees visit Nonoo’s factories themselves to ensure that these practices are carried out, in addition to considering third party accreditations.
Most fashion companies produce large quantities of inventory, a practice that reduces per-piece production cost but often leaves them saddled with excess product at the end of the season. This extra product is put on sale, marked down repeatedly, and if consumers still won’t buy, it’s dumped in landfills or burned, adding significant pollution to our planet.
POLY AND SYNTHETIC MATERIALS:
When you place an order with MN, you aren’t getting an item that’s been sitting around poly-bagged in a warehouse for months. You’re getting something made specially for you and only you in a vetted, ethical factory one garment at a time.
Actively working on reducing the amount of plastic in her supply chain, from removing plastic packaging to finding alternative materials and substituting recycled poly where possible. However, she has chosen to continue to utilize poly and some other synthetic materials in the weave of some of her clothing, as it increases the durability and comfort of the garments. Nonoo’s clothes are designed to be worn many times over the course of a woman’s busy life, and the fabrications must be able to withstand the wear and tear of a hectic schedule with ease.
SUSTAINABILITY WASTE REDUCTION:
Fashion waste doesn’t only come from excess product - excess fabric can be a significant polluting factor as well. To reduce fabric consumption MN sources deadstock fabrics, excess rolls of material that mills have left over after their busy seasons. For fabrics that MN uses across multiple styles she utilises greige goods, undyed yarns that then MN dyes in small batches to give it more flexibility and ensure less waste.
Nonoo offers a variety of pieces made with sustainable and biodegradable fabrics, such as silk, cashmere, and cotton.
35
3
36
0%
SHIRTS ARE MADE WITH 100% ORGANIC COTTON
HARSH CHEMICALS
305
HARMULF PESTICIDES AVOIDED
500
CONVENTIONAL COTTON
On average, it takes more than 700 gallons of water to make in t-shirt from conventional cotton. This is the amount of water one person would drink over 2 and a half years.
GALLONS OF WATER SAVED
62%
By choosing oraganic cotton for CHNGEâ&#x20AC;&#x2122;s initial line, CHNGE used zero harmful chemicals or pesticides while also saving over 500 gallons of water for every shirty they have produced. CHNGE has also used 62% less energy, and has 70% less acidification potetial than conventional cotton shirts.
LESS ENERGY
70%
CHNGE, also offsets all their carbon emissions from their productions and use, (washing and drying) to make the shirts 100% carbon neutral.
LESS ACIDIFICATION POTENTIAL
100%
CARBON EMISSIONS OFFSET
37
Boyish Jeans is a collection of sustainable women’s denim founded by California native, Jordan Nodarse. Designed in Los Angeles, each collection is centered on vintage silhouettes with a modern update, all available at an attainable price point. Inspired by the stylish women who often describe their personal style as “Boyish”, the brand utilizes men’s fabrics and fits tailored for a woman’s body when creating all collections. Boyish focuses on product quality, fit, and authentic washes to create styles reminiscent of your favorite pair of vintage jeans with an updated, fresh design and feminine fit.
Why are jeans so bad for the environment?
Jeans use up to 1,800 gallons of water to make one pair. Thats about 500 billion gallons of water just for the jeans sold in the USA every year. Boyish jeans only use 1/3 the amount of water that regular denim uses and recycle all the water so no water is polluted in our process.
At the core of all Boyish collections lies a deep commitment to leaving as little impact on the earth as possible. Therefore, Boyish utilizes ethical and sustainable practices when developing and manufacturing its products. All jeans are produced with sustainable fabrics through a completely environmentally-friendly and cruelty-free process. Boyish Jeans’ efforts in sustainable fashion include working with ethical factories, using less harmful chemicals during the dyeing process, utilizing one-third of the amount of water typically needed to produce a pair of jeans, and working exclusively with recycled fabrics and materials for everything put out by the brand. From hangtags and hardware to the polybags they are shipped in, everything put forth by Boyish Jeans is thought through to ensure there is minimal impact on our environment. Doing its part to reduce waste in one of the most polluting industries in the world - fashion, Boyish Jeans aims to set the standard for production practices and encourage others to join in the movement. A brand that feels good to buy and even better to wear, the only impact Boyish leaves on the planet is good jeans.
38
39
“UNLIMITED GAME”
40
Production
All of our fabrics are dead stock, not produced for production. Each Jeu Illimite piece is produced in small quantity batches. Each product bio will show detail of production & quantity. All Ready-to-Wear is made locally and ethically in Los Angeles. Our trimmings such as buttons & zippers are dead stock & sourced locally in Los Angeles. All of our leather goods use dead stock leathers.
Packaging
Our Jeu Illimite zip bags & poly bags are Recyclable & Reusable. Our Jeu Illimite embossed craft paper hang cards are bio-degradable.
Shipping Packaging
Our packing slips are placed on bio-degradable paper cards. Please remove the printed packing slip stick from the card to recycle. Our poly bags & cardboard boxes are 100% recyclable. Please remove the printed packing slip stick from the bag to recycle. Our white bubble mailers are made of paper & plastic bubble wrap - to recycle please separate the shipping label and bubble wrap from the paper exterior. All of our work environments are ethical.
41
42
TABOO
43
44
WHAT IS TABOO? Taboo consists on an exclusive clothing line at and for Harvey Nichols, formed by five different sustainable brands. Each season, from A/W to S/S, these brands will change in order to create new pieces for the future new collections of Taboo. The five brands being; Reformation, Misha Nonoo, CHNGE, Boyish Jeans, and Jeu Illimite. Taboo’s main focus is to make Harvey Nichols not only youthful but also sustainable. The goal is to attract the new target audience into the stores. For Taboo’s first collection, each named brand will design an outfit with 5 items of their own creations.
WHAT’S NEX T ? In order to give this clothing line the attention it deserves, there are a few steps following to make it big. - PEEKABOO - TRACEY EMIN COLLABORATION - PR CAMPAIGN - EVENT
45
PEEKABOO WHAT IS PEEKABOO?
PROCESS
Peekaboo, is an installation at Harvey Nicholsâ&#x20AC;&#x2122; lowest floor. It is a circular shape. Within, 5 booths, a booth for each of the brands of the Taboo collection. Each booth will be decorated like a vintage peepshow booth, red silk and velver and also a stage. All booths will have an arc on the side wall, creating a connection from booth to booth; giving space for a moving track where mannequins will be placed on. Each booth will have a mannequin or a animatronic mannequin, depending on the ocasion. Normal mannequins will stay during the season, where as the animatronic mannequins will only be on show whenever there is a new collection coming out. For each collection there will be an event and with it, an animatronic mannequins dancing on a stage.
I used sketchup software to create Peekaboo. Started by creating an elipse for the base and worked my way up. Added colour to give an illusion as to what the colour are and added a spiral staircase to show the viewer the way in and out of this unique peepshow. In centre of the pentagon, you have windows into the booth for the customer/viewer to watch the show. On the track, which goes around in a circle connecting all booths, mannequins will be placed. For the event, an animatronic mannequin will give the spectator a show. Each mannequin will have an outfit by one of the collaborating brands and will dance different coreographies to make the show more entertaining. These dancing mannequins will dance around Peekaboo on the moving track so the audience does not have to move to peek on the different brands.
Peep Windows
Moving Track Elevated, on top of the stage. Once events are over, tracks are removed and mannequins are placed on stage on a fixed pose.
Entrance/ Exit
46
PEEKABOO
‘Animation made on Fuse of the Misha Nonoo outfit. This represents what the animatric mannequins would look like’ 47
EXTERIOR
Black wall with neon signs/quotes from collaborating brands and how they are contributing in sustainability.
Entrance/ Exit
48
INTERIOR
Staff access point to Peekaboo. Through this door, the staff will be able to access the mannequins and change them and/or arrange them.
Opened doors where the moving track goes through
Here is well the audience will be sitting. Peep Hole/ Windows 49
ANIMATRONIC MANNEQUINS
50
ADM UK LTD. The Cyberquin journey began 20 years ago with founder Darren Saundersâ&#x20AC;&#x2122; vision to develop a novel marketing tool to revolutionize the visual merchandising industry. ADM UK Ltd manufacture dynamic animatronic display models for visual merchandising and marketing applications. Our Cyberquin product range includes male and female running, walking, cycling and skiing mannequins with a range of different finishes and head designs to represent the customers brand. We collaborate with our customers to design exclusive and customised animatronic models and displays. We offer in depth consultation throughout the development process to ensure all design objectives are meet. We consult in depth with our customers to understand their exact design concept and market positioning and create bespoke animatronic Mannequins to suit the unique identity of the brand.
51
52
INSIDE THE BOOTH
53
FOR CHNGE: The facts below, will be designed to look neon and will be placed on one of the walls indicating that the booth behind it, is for CHNGE.
0%
FOR REFORMATION:
HARSH CHEMICALS
‘Electricity offsets from 100% wind power suppliers’
305
‘We recycle, compost organic wastes, and recycle or donate our textile scraps’
500
‘We invest in green building infrastructure to minimize our waste, water, and energy footprints’
HARMULF PESTICIDES AVOIDED
GALLONS OF WATER SAVED
62%
LESS ENERGY
70%
LESS ACIDIFICATION POTENTIAL
100%
CARBON EMISSIONS OFFSET 54
WHAT IS THE DESIGN? The outside walls of Peekaboo will be completely black. The idea for this walls is to have in neon lights the selected quotes of Tracey Emin’s neon work (that will be used on the window displays) along with each brands selected quotes of their sustainable facts.
OUTSIDE THE BOOTH FOR MISHA NONOO: ‘Nonoo’s intention is for her designs to last for years, even decades’ ‘Quality and attention to detail’ ‘Nonoo only works with factories that conduct business in an ethical way’
55
WINDOW DISPLAY
The window display at Harvey Nichols will be simple but efficient to attract customers into the store. There will be 5 windows to promote Taboo. On each window a Tracey Emin neon quote that can be interpreted in other ways than just her own. To the right, ‘Never Again!’, this quote can be interpreted as never again use plastic per say. These quotes will create curiosity between the viewers, not only because of the quote but also because of the way is displayed. The window glass will be tainted in black, and there will be peep holes scattered all around the window at different heights. What the viewers will see its a projection with three scenes/slides. First, the neon quote followed by the Taboo logo and then ‘Basement floor’ which will indicate the floor Taboo is located in store. There will also be cabaret music within the window display, creating even more curiosity.
56
TABOO BASEMENT FLOOR 57
LOGO MOCKUPS
Above, 4 mockups of the Taboo logos. Experimenting with Photoshop to create the neon illusion.
58
MOCKUPS O T T U O B A S I
O O B A K E E P O P
6 9 5 0 0
E H T
E C N E M M O C
W O H S P E E P , N I N O E M O C
E G D I R B S T H G I N K 1 2 - 1 1 - 7 2
E L B A N I A T S U S
Y E V R A H
E V I L
, S L O H C I N
P E E P
. . . E R O M
T E K C I T
E E R F , S W O H S
. O N
S K N I R D
59
6 9 5 0 0
D N A
O O B A T
These are some eco-friedly tags for the Taboo collection, there isnâ&#x20AC;&#x2122;t a set selected yet, but I think I am leaning more towards the second one. I quite like the neon colour mix between them, it gives the design more edgyness to it. To the right, a mock-up of the event ticket.
60
EVENT LAUNCH & BROCHURE
61
TABOO HARVEY NICHOLS DENA SEVERO
62
PEEKABOO HARVEY NICHOLS DENA SEVERO
63
TABOO
YOU, HAVE BEEN INVITED TO THE EXCLUSIVE, THE ONLY, HARVEY NICHOLSâ&#x20AC;&#x2122; PEEPSHOW. A NEW COLLECTION IS BEING LAUNCHED. KEEP YOUR EYES WIDE OPEN, YOU WILL NOT WANT TO MISS THIS ONLY AVAILABLE 5 DAYS AT HARVEY NICHOLS LONDON SATURDAY 27TH NOVEMBER 2021 SATURDAY 04TH DECEMBER 2021 SUNDAY 05TH DECEMBER 2021 SATURDAY 11TH DECEMBER 2021 SATURDAY 18TH DECEMBER 2021
64
SCHEDULE SATURDAY 27TH NOVEMBER 2021 Session One - 11h-13h Session Two- 16h-18h SATURDAY 04TH DECEMBER 2021 Session One - 11h-13h Session Two- 16h-18h SUNDAY 05TH DECEMBER 2021 Session One - 11h-13h Session Two- 16h-18h SATURDAY 11TH DECEMBER 2021 Session One - 11h-13h Session Two- 16h-18h SATURDAY 18TH DECEMBER 2021 Session One - 11h-13h Session Two- 16h-18h
The previous spread, shows the cover of the Taboo/Peekaboo event invitation/brochure. To the left, we have the invitation descriptiion and above the schedule for it. I decided to keep the black and white theme and pop some colour with some of the neon quotes.
65
ITINERARY 11:00
VIEWERS WILL PRESENT THEIR TICKETS AT THE COUNTER ON THE BASEMENT LEVEL WHERE PEEKABOO IS LOCATED.
11:15
THE BAR WIILL OPEN, VIEWERS WILL BE ALLOWED TO ONE FREE DRINK.
11:30 VIEWERS WILL BE GUIDED AND SEATED IN PEEEKABOO.
11:45 THE SHOW BEGINS.
12:15 THE SHOW ENDS AND PEOPLE WILL BE GUIDED OUT OF PEEKABOO.
12:30
BAR WILL OPEN AGAIN AND VIEWERS WILL BE ABLE TO ENJOY THE EXHIBITION AS WELL AS LOOK AROUND THE BASEMENT FLOOR.
13:00
BAR WILL SHUT AND PEEKABOO WILL CLOSES ITS DOOR.
66
COLLECTION PRICE LIST MISHA NONOO
Friday Cami Blixton Jacket Kiki Pants Mary Jane Style Heels New York Handbag
£90 £400 £236 £160 £70
REFORMATION Perfect Vintage Top Veda Bad Leather Jacket Cynthia Relaxed Jeans Bianca Sunglasses Sienna Boots
£32 £505 £140 £100 £295
JEU ILLIMITE Sonia Button-Up Classic Blue Denim Jaques Linen Blazer Cherie Mini Bag Natalie Plexi-Globe Heels
BOYISH JEANS Dylan Storm Blue Top The Harvey-Royal Wedding Bailey Midnight Cowboy Wave Eco-Denim Cap White High Top Converse
CHNGE Have A Vasectomy Crop Power Of Love Sweater Violet Love Peace Pants Ribbed Beanie £180 Kid Not Guns Waste Backpack £60 £320 £240 £50
To the left, we have an itinerary of the event, step-by step. Easy to read, matches the theme and easy to follow. Above, we have the collection price list. Prices go from 2 digit number to 3, depending on the brand.
67
£48 £94 £168 £89 £60
£33 £40 £60 £25 £114
68
INSTAGRAM PR To the left, we have a mock-up of the Harvey Nichols’ official instagram page. For this mock-up, I added an extra ‘highlight’ - T. The T stand for Taboo and its highlight at the launch event, where the attendees tag Harvey Nichols. The feed’s theme is black, dark, myterious. there is Tracey Emins neon work, that can be interpreted in various ways. There are peep-holes, that only reveal the mannequins heads. The middle row, we reveal Taboo and Peekaboo. Also, in the centre, a peep-hole with the eye looking through and a slogan that says, ‘Come and Peek’.
69
The following animations are made on Fuse. I taught myself this programme in order to achieve a 3D visualisation of what the bionic mannequins would look like. I included this â&#x20AC;&#x2DC;nakedâ&#x20AC;&#x2122; mannequine as I decided to make the brochure more interactive. The mannequins that are wearing clothes, will be printed in acetate paper so it can be layered on top of this one, making the brochure more exciting and entertaining.
70
Using Fuse was very restricting thats why I could not do the original outfits I had in mind. Fuse is not an official programme and it is still on â&#x20AC;&#x2DC;tryoutsâ&#x20AC;&#x2122;. The clothes were limiting hence the outfits look quite plane. I could not change the style, so I had to work around it. I tried to research how to customise clothes but in order to do that, I would have to be doing a different course, as it is not that easy and quick todo. For Misha Nonoo, I decided to go simple yet elegant, a full black outfit with pops of colour on the shoes and handbag.
71
Reformation was a struggle, there were so many items I would have liked to use but as I said fuse was quite restricting. I ended up going for a black and white casual outfit, matched with a pair of sunglasses and a nice black leather jacket.
72
For Jeu Illimite, I knew from the very beginning that I wanted to include in the outfit the white blazer jacket. I paired it with a white light-feeling shirt and high wasted jeans. For the shoes and bag, I had to add them separately, as fuse does not do accesories like bags and does not do heels either.
73
For Boyish Jeans, I had the same issue as Misha Nonoo or any of the other ones. I had to base my outfit arround Fuse. Also, Boyish does not do shoes so I had to use converse (from the sustainable line -life is too short to waste) to finish my outfit. I tought of converse, as I know that Harvey Nichols supplies them in store. This is more casual and comfortable style outfit matched with a denim cap.
74
For the last mannequin, we have CHNGE. I believe this is my favourite outfit, even though is not my style. This outfit is more street style, more relaxed. CHNGE, does not do shoes either so I finished off the outfit with another style of converse from the same line mentioned before. I was not able to double layer either, unless, it was a fixed item like a t-shirt and jacket, which I used with the other mannequins. I had to add on the side, the sweater and backpack, to give the the idea of what the complete look would look like.
75
76
REFLECTIVE STATEMENT I believe an overall reflective statement is needed. I will be honest, I did struggle quite a bit with this unit. When we started this unit, I was messy. My ideas did not make any sense, if I was to go through my formative review, I would not have a clue what was going on. In a way, I happy it was going great to begin with. When I got my tutorâ&#x20AC;&#x2122;s and clientâ&#x20AC;&#x2122;s feedback, I was very frustrated and I do not even know why. I made sense, of course they where going to say to structure and make it bigger, I do not blame them. I was so wrapped up in my head with the initial idea that I lost the plot of it.
After I was fully recovered I got back on track, I cracked a programme that was a nightmare to work with, Fuse Beta. It kept crashing every time. I was really getting on my nerves and it was stressing me out. But, as I said, I managed. I taugh myself many things throught this unit and I am proud of it. I managed to create some weird intallation, that I was not even sure if it was going to work. Pleased to say now that, I think it does. Things started to fall into place and without the help from the tutors and the IT teachers, I do not know if would have made it.
The same day of the feedback I had to go work, and I remember I started going on about it and how I was not understood. It wa a quite evening at the pub and I stood next to a customer and started talking about ideas. How my tutor and I talked about Taboo subject and then I had a lightbulb moment. Inspiration striked, finally.
A week before we broke up for christmas, I got my results from surgery and it could have not been better news. I felt a weight had been lifted of my chest. I got so excited and happy that I was enjoying doing the project for the first time. Now, its the last week before submission and I feel happy and good about this. I have pretty muched finished the books and outcomes. I do not think I feel stressed but I think I am, maybe its the fact that this is it. The final year and that I am scared I will not be accepted on the MA course I want to do after graduating.
I was very impulsive with this new idea, I wanted to do what seemed impossible with my IT skills. For Taboo, I went further than I could have ever imagined. Through the past term, I had a few things in mind. I was not mentally there. Having to go to Hospital almost every two weeks and undertaking surgery in a foreign country was scary really. Through the recovery period I did not do as much as I could have done, but I was not feeling great and I could not get myself out of bed.
This is it, it is done now and no matter what, I am proud of my work.
77
DARE TO PEEP?
78