360 Campaign Book 3/8

6-9 Introduction 10-11 Who am I 12-15 Market Level 16-17 Campaign Influences- Hedi Slimane 18-19 Campaign Influences- Robbie Spencer 20-21 What is happening now… 22-23 70’s Punk Movement 24-27 Vivienne Westwood 28-31 Charles Jeffrey 32-33 Charles Jeffrey Art of Noise 34-37 Chopova Lowena 38-40 Mateo Velasquez 41-43 Gap in the market

44-45 How will I bridge the gap? 46-47 Why a collaboration? 48-49 What will it look like? 50-51 Target consumer- Generation Alpha 52-53 How will it be produced? 54-55 What is my role and why? 56-59 Primary test shoots 60-61 Timeline 62-63 Artefact 64-65 Summary 66-67 References 68-69 Image References

Nothing is ever linear with Eleanor. I said this at the beginning of my Brand Me book. And I believe I have confirmed this.

INTRODUCTION

See, as a thief of comparison, as a person who fears perception and being different from the rest, I am often critical. Critical that my journey doesn’t align perfectly, like others tend to do so. My journey combines the twists, turns, doubts, and deliberation. It encompasses a process where the clues are very much widespread, alike a join the dot colouring page, and I work progressively to discover them, the finished picture being my 360 campaign. My journey doesn’t conform with others, yet neither does my brand.

This 360-campaign book continues the navigation from Brand Me, embracing my thought processes and research culminations. It details the influences (in brands and creatives) I have acquired, the continual reflections and analysis to ensure my outcome is backed up, and a result of an end product which is unique. Unique to Brand Eleanor, an epitome of who she is and her path towards an FMP.

This module I have devised a personal plan, accumulating the findings I have learned about myself from my Summer Research and Brand Me projects so far, and delving into these at a greater extent to underpin the foundations of my next module- Brand Management. This book will disclose my visions come to life, through a conceptual scope but with minimalistic qualities, utilising a plethora of primary and secondary sources to authenticate it’s prospective for a Generation Alpha consumer. Through a 3-way collaborative process, a gap in the market will be bridged and transcended into an industry where originality and nostalgia will be the perforce for survival.

A tricky question, to say the least. A journey of Summer Research and Brand Me has supported me in investigating the roots of Brand Eleanor.

Brand Eleanor is a multifaceted and complex kind. It pushes the boundaries beyond personal measure but incorporates its originating substructure- one which is shy, clean cut and in the comfort zone of minimalism. It has a narrative which is communicated through visual storytelling and unearths a confidence which celebrates individuality and expression. Brand Eleanor urges the unconventional, despite the fear of judgment. It can lack belief but has masses of capability, drive, and willingness to be different from the rest.

WHO AM I?

FINALISED MARKET LEVEL...

It was simple to delineate the luxury market as the level I will be aiming my 360 campaign towards. My work throughout university has highlighted multiple luxury designers and creatives, all of which have sparked my interest and built the foundations to where I am sitting right now. The luxury market is a part of the industry I aspire to work in, gravitating my way up from the position I am currently working at in the outside world. However, I feel the luxury market by itself can limit my creative margins, and for me to excel on this course, I believe discerning this market level through a conceptual lens will broaden my horizons and push my potential farther. I have the willingness to drive myself and improve my confidence through these modules so when approaching industry after university, I will have numerous career avenues I can venture down with a newfound bravery as a conclusion of this work.

A study by a student in Hong Kong University, defined conceptual fashion as “fashion in finding yourself, in presenting the authentic nature of

your internal and external self. Not reflection on the observation and evaluation of others, but instead personal sensation and enjoyment, and fashion as a medium to achieve this.” (S. Au, 2018). I entail for my work to hold a reflection of myself, a piece which can not be replicated by another. It will stand for my values as a creative and act as an expression for my past, turning it into something beautiful and memorable.

My research has detailed an emphasis for timeless designs and wardrobe staples which can transcend from year to year, mostly fabricated within the luxury sector which prides itself on high quality, craftsmanship, limited distribution, and durability. Data has revealed the luxury fashion segment in the UK is projected to grow by 3.00% annually from 2023-2027, with online purchasing seeing more custom than in-store (Statista, 2022). Supplementing a conceptual spin will embrace originality features and unique forms of expression which the upcoming cohort of Generation Alpha will appreciate and purchase into, thus allowing potential for this market sector to cultivate further.

Gender fluidity and androgynous design has been a common denominator within my work and findings. I like my outcomes to show representation and combine both menswear and womenswear in an inclusive approach. The brands I have conducted research on already, have designs which are of an androgynous style, adaptable for all individuals to feel comfortable in their garment choices. The art of androgyny allows a community to be as one, without labels and stereotypical behaviour. My brand has a non-conformist approach, therefore catering for this market sits perfectly alongside a conceptual market level which envelops selfexpression too.

Introducing myself to the Creative Direction of Hedi Slimane allowed me to revisit the rebellious side of my persona. The French born, Italian-Tunisian fashion designer is known for disrupting the fashion industry, causing conversations to flair as a reaction to his work ethics. Slimane has youth culture running through the veins of his grunge collections, associating an urban, music influence throughout. He currently holds the reigns of Celine, injecting an androgynous appeal through skinny silhouettes and sartorial references reverting back to the 1970’s glam rock subculture consistently. I admire how Hedi Slimane is unafraid of perception, something I am starting to learn from. He blurs the attitudes towards gender and produces collections so both genders exist comfortably in the clothing. He quotes “I’d like men to think about evolving into something more sophisticated, more seductive. To explore the possibility of an entirely new masculinity” (Slimane, n/d). Throughout my projects, I have attempted to break down stereotypical notions associated with masculinity, continuing to investigate how designers are reinterpreting their visions to suit upcoming generations demanding androgynous tastes.

HEDI SLIMANE

For me, there are no definitions to what menswear and womenswear should be. Slimane encircles this, taking inspiration from David Bowie, Joan Jett and Marc Bolan and directing them currently at a Millennial and Generation Z market. Slimane thinks ahead of the curve, he provides collections which youth will want, not what is desired in trends today. His work is a statement and voice for changing society and its norms.

How can more traditional, contemporary brands stuck in their notions of heritage and craftsmanship, transcend, and take influence from Hedi Slimane’s actions? How can they establish a voice and be recognised by Generation Alpha?

ROBBIE SPENCER

Styling is an aspect I want to concentrate on within my FMP. Resonating with an androgynous market and non-conformist tastes, the work of Robbie Spencer was something I was excited to revise. I wished to explore how he executed rebellious qualities and notions of nostalgia within an editorial format, and how I can learn from this to communicate to an audience.

Styling goes beyond the boundaries of sourcing and putting garments onto a model. It engages powerful storytelling techniques- how can layering this or how can adding this compliment the narrative we are intending to show? As the former creative director of DAZED and Senior Fashion Editor of AnOther Magazine, Robbie Spencer’s work has demonstrated more visionary and edgier appeal, combining innovation and unorthodox styling with emerging talent and an art background to establish images which push the envelopes of fashion and inspires to provoke surprise. His styling engages a youthful enthusiasm, thus communicating greatly to current generations. It often resorts back to the DNA of subcultures and the idea of defying social norms, areas which I aspire to replicate in my upcoming work. Figure 1 is a styling shoot he produced for DAZED magazine, labelled Gutter Punks. For me this image has a conceptual essence, revitalising the punk era through tartan patterns, studded accessories, and deconstructed clothing, whilst remaining quite minimal in photography.

Figure 1: Robbie Spencer Gutter Punks styling shoot Photograph by Casper Sejerson

In an exclusive interview, Spencer iterates the uncertainty of the future of print “I believe the only way to secure a future is to continue to inspire the industry and our readers through visual language” (Spencer, 2013). Going forward, I must consider how I communicate my imagery meticulously in order to attract the attention of younger consumers. If I am to engage with other brands or creatives, how will we story-tell a strong narrative through styling?

There is an underlying pattern of subculture references within my research too. In the Contemporary Fashion module, I dipped my feet into the MODS and Teddy Boy movements, learning how fashion was exploited by youths as a voice for standing against economic, societal, and political expressions. It communicated an identity which synthesised the demands of individuals and their anger with what was happening in the world around them. Music and art were a huge influence behind these subcultures, inspiring the fashion choices of the ‘gangs’ greatly. Despite their looks being feared at the time, deconstructionist fashion elements are continuing to appear in resurgences within fashion design, especially in the work of contemporary designers Rei Kawakubo and Martin Margiela- a continuous revival and form of expression, identity and belonging to a community.

Society today is enduring its second financial recession within the space of 2 years. We are observing the struggling of communities, companies and impacts which will be passed onto the younger cohorts. Industries are rallying their frustrations through strike action, demanding change from authorities through pay rises and improved working conditions. Since individuals are continuing to be misheard and overlooked, could we see a resurgence for rebellion? We are irrefutably being masked by false hope from governmental figures whilst desperately clutching on straws for survival. The current Generation Alpha, already have climate issues, sustainability challenges and economic backlogs from the Covid 19 pandemic, will an additional recession tip them over the edge and encourage them to create a stand in the near future, using fashion as their voice for change? It isn’t the first-time youth have taken matters into their own hands, could history repeat itself? Could a revolution of the punk scene be cascading down on the fashion industry?

WHAT IS HAPPENING NOW?

The punk movement of the 70’s was a defiance and artistic, cultural movement against similar societal conditions we are experiencing now. This period in Britain was noted to be extremely depressing, with leader of the Sex Pistols band John Lydon recalling the nation to be “run down with trash on the streets and total unemploymentjust about everybody was on strike” (Lydon, n.d). Society and the economy were declining, and individuals expressed little hope for their futures.

The hippie movement of the 60’s provided a false utopia which frustrated beings, urging them to react against their motives and aesthetics. The authorities provided little reassurance and concealed the problems the public were facing, heightening anger and aggression even more. Punk unified these communities who felt ignored and fearful for their prospective. It stood as a personality and freedom for people of low income and unemployed status. Punk became an anti-fashion shift demonstrating the raw realities society was facing, unfiltered and unmasked.

70’S- PUNK MOVEMENT

Where fashion was once designed in the studios, the punk revolution abolished traditions and began in the streets. The clothing was a mode for attracting attention and causing offence. At this era, garments were typically kept unspoiled and dirtfree. These principles were eradicated, however, through deconstructed fabrics, frayed edges, and defacing prints upon t-shirts and vests. Individuals used their fashion choices as a representation of their emotion and a contestation to the previous movements and ongoing constrictive social and economic conditions. Their style was purposely outlandish, subverting usual dress norms and replacing it with a shock factor. Accessories including studs, leather, bondage, and safety pins were fashioned alongside body piercings to reject prettiness and old glamour styles. The feelings of restriction and entrapment were unleashed, spreading across the suburbs, provinces, and cities of the UK, creating an alliance which were fearmongered and for once, stood as a vast threat to the authorities and socialist system.

With high inflation figures and continual media scares, the UK are facing similar advertisement. As a young adult myself, I can resonate with the fear and uncertainty the generations of that era faced. If we are consistently being ignored by officials who have the power to make change, we stand to question: what hope do the youth have left? Could Generation Alpha be the call for help society will so desperately demand in the upcoming years?

The punk movement was a complex genesis, and it was often contended who and what were the initial causes for its spawn. One of the Britain’s most influential and tenacious designers, Vivienne Westwood, was cited as an instrumental figure for defining and marketing the punk visual identity. The industry pioneer recollected no previous fashion knowledge before her explosive appearance on the punk scene. Westwood was a primary school teacher raised in the small village of Tintwistle, spending her adolescent years enduring the hardships and poverty of post-war. I feel this is why Vivienne had such great passion for driving the punk contestation- she could resonate with the youth of the day and how they were feeling during the socio-economic and political catastrophes enveloping the country. She understood how it felt to live hard and worry about what was to occur next.

Her encounter with Malcolm McLaren in 1965 changed her life and British culture interminably. The couple acted as business acquaintances, opening a boutique in 1971 which idealised the rejection of conformity and demand for liberation the generation of the period craved. The store was situated in Kings Road, Chelsea- much in the disgust of the rich and bigoted. It was a socialised meeting point for thousands of rebellious beings who abominated capitalism and British materialism, wanting to reflect an axiom.

Westwood played the role of seamstress, establishing clothes which were considered risqué territory and deviant of sexual practices. Many pieces were sold to prostitutes and individuals with underground provocative tastes, “capturing and commodifying the energy of iconoclastic tendencies of the movement” (Price, 2004). Garments were fabricated from rubber, leather, latex, and tartan, providing head turning embellishments through safety pins, bondage, bum flaps, and hobble straps. Insulting and challenging graphics were screen printed upon tees including swastikas and defacement of the former monarch’s face. The notion was to provoke, to strike conversation and secure publicitythey did exactly that.

Malcolm McLaren created a prosperous relationship between music and fashion by taking the radical New York rock n roll aesthetic and launching the Sex Pistols. The protest-band were a crafty marketing technique for the SEX shop, wearing the graphic garments to match the crude charm of the band.

Could this be something I look into further for creating a statement FMP- combining the eclectic arts of music and fashion?

To extend my research of punk subculture further, I began to explore contemporary designers who took great influence from the movement and have readapted it to suit a consumer today. Glaswegian, Scottish designer and radical creative, Charles Jeffrey was an emerging artist I had acknowledged at the beginning of university. At this time, his designs were somewhat outlandish to me- an area I’d have been afraid to scope into. It is priding to see how my journey has travelled and flipped to boast a bigger confidence for unconventional and conceptual work.

CHARLES JEFFREY

Charles Jeffrey’s designs are rooted within his Scottish heritage- something which is transcended through his collections and has an obvious sentimentality to his vision. As a graduate of Central Saint Martins, Jeffrey soon became a Senior Contributing Fashion Editor for LOVE magazine- a publication recognisable for its highly-visualist editorial imagery and curated his own label Loverboy, an amalgamation of his heritage, punk influences, and cult club night. Described by Sarah Mower of American Vogue as the “upholder of all that is human, creative and cheerful about British Fashion” (Somerset House, 2016) Charles Jeffrey infuses a colourful tension and experimentation to the chaotic and aggressive natures of punk dressing. He communicates the preservation of non-conformity to youths today, demonstrating

how fashion can act as voice of identity and unrestricted creativity through runways which are highly performance based and provide an immersive experience. I appreciate this and can understand how designers, like Jeffrey, are readjusting fashion norms to suit a consumer wanting more than just clothes. His work embodies androgynous styles through luxury craftsmanship and tailoring, showing how high fashion isn’t lost through DIY and extravagant approaches to design.

How could traditional brands aiming towards a millennial consumer learn from this? Could their pieces suit a Generation Alpha if they had a supplemented essence of drama or voice? How could they adapt their practices to adhere to a Generation wanting more?

ART OF NOISE

Providing a modernised twist on the likes of Vivienne Westwood, Charles Jeffrey has recently collaborated with the music industry for his A/W22 Art of Noise collection. The Sex Pistols proved highly successful for gaining additional publicity towards the SEX store of the 1970’s. Charles Jeffrey has engaged in a similar methodology in uniting music with fashion to supplement an extra essence of culture and novelty to his work. The 8-song album is coincided with a music video as exhibited in figure 2. I refer to the songs as eclectic and comparable to his brand image. The genres vary from classical to industrial to disco; encapsulating the continual shifts his brand makes in shaking up the industry and works with emerging artists who champion originality and bring rawness to the fashion scene- something I believe Generation Alpha will deeply value.

What I found intriguing about this collaboration is the depth behind its narrative. Jeffrey explained how he thought about sound meticulously and how it affects a being in 3 ways- physically, culturally, and emotionally. Here, he has used music to enrapture an audience, to take them on a journey, almost like a hypnosis, and immersed them into the multifarious rhythms, connecting garments with people through sound. This is an innovative mode of communication and an aspect which could be cool to take forward towards my FMP.

Figure 2 :

Charles Jeffrey A/W22 Art of Noise music video

Photograph retreived from Vogue

Charles Jeffrey has demonstrated through this collection the importance of remaining ahead of the curve and contemplating fresh, unparalleled moves in the industry. Taking inspiration from this, could combining two of the most influential creative industries of music and fashion and using them to push brands into a future prospective be a potential concept I analyse further?

I wanted to identify an emerging designer who was redefining punk and transcending the cultural movement through a contemporary taste to a younger generation, like Charles Jeffrey. I feel this would support me massively in observing what designers are already toying with today if I was to take this notion forward. Within my research scope, I discovered Chopova Lowenaan English-Bulgarian label established by visionary designers Emma Chopova and Laura Lowena.

Chopova Lowena juxtaposes Bulgarian folklore and 1980’s rock climbing with additional punk insouciance to explore an anthropological approach to design. Their punk connotations are somewhat softer in comparison to the 1970’s way of dressing, it engages a playfulness and youthful enthusiasm in an array of colours and fantastical appeal. I admire the eclectic and unique taste of Chopova Lowena. They are breaking conventions through unusual formats of working, taking subcultures and refreshing them whilst integrating their own personal flair. In an interview with the New York Times newspaper, the duo reveal how they source inspiration from obscure Facebook groups which collect images of traditional dress and niche sports like wrestling and skydivingutilising their findings to blend them both whilst supplementing their own spin.

What disconnects the brand even further from the likes of Charles Jeffrey, is their passion for sustainability and ethical manufacturing. The extensive layering of their garments is handmade from recycled materials and deadstock fabrics by a community of artisans in Bulgaria. I think it is important for me to take influence from Chopova Lowena as they are creating a platform for originality through made to measure designs, where one garment will never look the same as the other, whilst implicating sustainable practices and a voice for the youth to be individual through an amalgamation of folkloric craftsmanship and subculture references.

CHOPOVA LOWENA

Chopova Lowena pride themselves on brand identity, thus the reasoning as to why they initially disregarded runway viewings and focused on becoming a name without the need for a show- in my opinion, this is a great strategy of tactical marketing as it builds up anticipation for when they later open their collections up to the viewer eye.

The S/S23 collection was their first appearance on the catwalk. It was compelling to observe how they put their youthful interpretation and heavy metal whimsicality within a performance as well as clothing. This

runway epitomised the brands’ identity to a T- fusing an array of elements from heritage, modernity, punk chaos, and festival. I maintained my focus more on the punk connotations to the collection since this is an avenue, I am interested in taking forward towards my finalised concept. Models entered the space, stomping to punk music, fashioning tartan skirts, oversized safety pins and cartoon graphics- accentuating a heavy naivety, playfulness, and rendition to the subculture. As stipulated by MatchesFashion “balance, unexpected unity and authenticity are design values that ground their theatrical appeal” (MatchesFashion, n.d). I feel Chopova Lowena fully immersed their brand identity and values within this collection, channelling androgynous design, energy and anarchy with a sports appeal and Bulgarian tradition.

I shared a great fondness for the graffiti features and visual graphics manipulated onto the designs of their products, it resonated a lot with the work of Charles Jeffrey too, enhancing a youthful element to punk- it’d be interesting to take inspiration from this and replicate a similar aspect within my own test shoots.

How can emerging brands like Chopova Lowena be pushed further into the industry to enhance recognition, credibility, and a larger target market?

MATEO VELASQUEZ

As mentioned at the start of this book, my research goes beyond the immeasurable at times and I often lose myself upon the masses I have collated. I feel I have stamped down on this and found connections in my work more appropriately in this module. Whilst digging into the punk notion and androgynous design, I tasked myself to unearth more obscure designers who hadn’t yet met ultra-phenomenon and were masked amongst the popularised flocking the search bars. For me these emerging designers hold a vision and identity which is just as important, and I was keen to explore how younger creatives are enveloping this through imagery and design choices, as well as their fresh ideas to take inspiration from.

Central Saint Martin’s graduate, Mateo Velasquez is a Colombian-born menswear designer I stumbled across in my research. His work vividly reminded me of a fusion between Vivienne Westwood and Charles Jeffrey, encouraging the maximalist side of my brand to want to explore the nonconformity of gender roles and conceptual appeal to his collections even further. Delving into his background, I found a deep connection and admiration for the purposes of his label, Velasquez. Founded in 2019, Velasquez aimed to define a new and rejuvenated masculinity which bends stereotypical boundaries and embraces a space Mateo Velasquez wished to have had when moving to London at the age of 17. His brand is one of empowerment, community, and safety, aiming to provide a voice for unapologetic self-belief, transparency, and expression. His collections are materialised from recycled and second-hand pieces- something he is incredibly passionate about and matters he wants to educate his audience about. In an interview with ‘Fucking Young!’ Velasquez stipulates “my mission is to prove that we can keep creating, we can continue to express ourselves creatively but doing so responsibly” (Velasquez, 2021). Velasquez is one of many emerging designers determined to do something for the ongoing sustainable crisis rupturing the future of the industry. He is a solid example of what generations are wanting from fashion today, and its not just a pretty garment anymore!

The Pretty in Punk collection Velasquez designed really jumped out to me for its nods towards the 70’s and Charles Jeffrey. Figures 3 and 4 are some of my favourite images. They categorise the origins of punk through tartan prints, slick gelled Mohicans, and restrictive accessories. I was interested in observing the makeup in conjunction with the styling of this shoot. It demonstrated how recyclable clothing can still look effortlessly original and readapted to suit any style. Velasquez associated the Pretty in Punk collection to be “a way to allow our bodies to confront and disrupt the landscape to reclaim our visibility” (Velasquez, 2021). This shows his firm desire for change towards masculinity categorisations and an urge for individuality and freedom through expression. Velasquez has given me great inspiration which I can trial for my test shoots and take forward with me towards my final outcome. Could Velasquez’s

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Figure 5: Charles Jeffrey illustration

Retrieved from: Art Gallery

WHAT IS THE GAP...

SURVIVAL OF THE FITTEST

The future of the fashion industry is an exciting one, but it is also one which is lost in the unknown. Brands are in a fight for survival as we delineate a new consumer fast approaching, with specific needs and requirements from retailers. But we are also seeing a commencement of bolder creatives, individuals ready to approach the industry as a stage for voice, dictation, and fresh ideas too. My research into my comfort zone focused in on luxury, signature brands which thrive on minimalistic tastes, clean cut silhouettes and unparalleled craftsmanship, and left me with great concern that these labels have little to no notion for adapting their current ways to verge into the depths of higher competition and demand, thus highlighting a significant gap. A gap which can ultimately see them decline and lose the race against other designers who are stepping miles ahead of the curve. These brands rely on their traditions of heritage and value to tackle their contenders and remain significant. But will this be enough, will the impending consumer of Generation Alpha suffice to the latter or will they want more?

Technologies are advancing and requisitions are changing, it is vital for brands to maintain notified in these shifts of behaviour and modify their ways to remain relevant and prosperous. The likes of Jil Sander have a synonymous name for themselves in the fashion domain, but what about on the outside of this? As millennial marketed and stripped back, not only in aesthetic, but in marketing strategies too, will such brands struggle to get their name through the barriers of brands already making their mark and propelling towards a Generation Alpha cohort.

As stated, Jil Sander is one of these brands preparing for decline in upcoming years. Targeting themselves towards a millennial market, the label is significant steps behind other neighbouring brands of similar tastes and identities. Jil Sander flourishes itself on neutral palettes, punctilious craftsmanship and sharp yet pure tailoring. To perceive them from a creative eye, Jil Sander designs are beautiful, in my opinion. They are clean, uncomplicated, and present a uniform. But this is exactly where it is going wrong. The German label provides little else than simply prestigious silhouettes.

JIL SANDER

I observed into the Jil Sander marketing, comparing it to the brands I looked at previously who sat either side. Their social media presence notably lacked in brand to consumer connection, only posting campaign work and new product featuring’s. This is a great marketing strategy to sell and bring attention to collections but there was no personal gravitation through BTS, reels or stories which would impel an onlooker to want to explore their profiles more and feel a meaningful attachment to the brand. See, it is terrific that they maintain the influx of millennial custom who buy into the brand today, but what about in the future- who will they cater to when they have parted their ways with the audience they have now?

Collaboration is an area the brand has dipped into in the past, as a method for propelling themselves outwards into a wider consumer market and receiving higher recognition. I believe these collaborations worked well for them to an extent, but I don’t agree in that they partnered with the right brands to get their label shouted about- which is where my ideas as a creative step in.

For my finalised 360 campaign idea, I will be taking this brand and giving it the revitalisation, it so desperately requires, propelling it forward and transcending it to a Generation Alpha consumer and a different market level which has originality and daring approaches at its core.

How will I do this?

Through a 3-way collaborationsomething never been seen before in the industry and sure to get the Jil Sander name in the conversations of future consumers’ mouths.

WHY A COLLABORATION?

I believe collaboration is the way forward for Jil Sander as it offers as much consumer acknowledgment surrounding the brand as possible, which collaborations are notoriously successful for. “Brand collaborations are growing in popularity because they’re a royalty-free way for brands to reach new but relevant audiences. Brand collaborations are innovative because they require the brands taking part to create something new and compelling for each other’s audiences” (Harris, 2022). By introducing a 3-way coaction, the Jil Sander reputation will reach far and wide, fabricating something authentically new in the industry and cause to spark fashionista conversation.

Collaborations are also successful since they have limited quantities of product and little time frame to purchase into them. They are a tactful marketing strategy to urge consumers into thinking they can not live without the product, and it will be an investment worth masses of value periods down the line, which is true. The Adidas and Kanye West partnership for YEEZY is a perfect example of this. Uniting sportswear, the music industry, celebrity, and social media in a single compound proved to be one of the most powerful combinations the industry has seen. The YEEZY boost trainers became a sought-after shoe, which sold out consecutively within minutes, thus giving consumers the sense of individuality and flaunt knowing they had bagged a product extremely difficult to get your hands on. I believe this will be highly suitable for Jil Sander since they value themselves in luxury, credibility and worth- crucial elements this 3-way compilation will embody.

My research enabled me to think outside the box when it comes to this collaboration. I wanted it to push myself and the boundaries of the brands involved whilst staying ahead of the curve on multiple levels. I believe by amalgamating two of the biggest artistic industries of fashion and music, it will initiate an excellent solution for Jil Sander’s poor awareness since it will extend the company farther and into the fields of new consumerism. This is the same for the brands I intend on collaborating Jil Sander with too- it’s a win/win for all included!

IDEA

This collaboration invigorates a shock factor to the industry. Jil Sander has never gone out of its comfort zone of minimalism and muted tones, rarely adventuring with colour. This will change that. By inviting Charles Jeffrey into the mix, the brand will disrupt the traditional associations of fashions minimalism and provide a voice for Generation Alpha to express their frustrations. By going against the conformities of their brand, it will establish conversation and publicity, which is needed for the label. Maintaining heritage notions and the androgynous styles of Jil Sander, Charles Jeffrey will combine his Scottish roots whilst integrating a punk subculture essence through additions like deconstructed fabrics and gender bending styles. This will be appreciated by Generation Alpha who are looking to nostalgia for comfort as well as providing them a collection to purchase into and cause controversy. The face of this campaign and engaging the music industry within, is Matty Healy of the 1975. Healy is recognised for his daring and unusual performances, often causing slur in the media, thus attracting attention to his pop rock band. He is an extremely popular figure within youth generations today and has modelled numerous times for editorial imagery so is the perfect face for the campaign. His music will feature in the background of film, reels and BTS shoots, promoting his band alongside Jil Sander and Charles Jeffrey.

WHAT WILL IT LOOK LIKE?

1- A 3-way collaboration between Jil Sander, Charles Jeffrey and Matty Healy

IDEA 2- A 3-way collaboration between Jil Sander, Mateo Velasquez and Machine Gun Kelly

This second idea envelops similar characteristics to the first, however with an additional sustainable focus administered by Mateo Velasquez through second hand pieces, deadstock materials and charity shop findings. Again, maintaining the heritage and androgynous tastes of Jil Sander, Velasquez will contribute a softer form of protest in the collaboration, utilising the clothing as a voice for self-expression, originality and a stand against the societal and economic conditions Generation Alpha will face in the near future. A punk association will be supplemented through tartan prints and oversexualised styling- unconforming from the usual minimalist tastes known with Jil Sander. Machine Gun Kelly braces a pop-punk style already, similar to what Velasquez produces, therefore being a suitable face for this collaboration. It will also bring an element of shock since rappers are often associated with typical masculine stereotypes which will be heavily broken down to suit Generation Alphas idealisations in this.

TARGET CONSUMER

My campaign entails to be ahead of the curve in its response and as I am determined to push my own boundaries in what I produce, scoping into the newest cohort and adapting to their tastes instead of the Generation I belong in, Generation Z, will permit this. They are the voices who will be demanding change in the industry from the overburdening of consecutive crises, financial fears and climate problems associated with the fashion domain and the outside world. They are currently being titled as the catalysts for making a difference in society, but this sudden surge of immeasurable reliance could soon make them rebel, just as the youth did in the 1970’s. My campaign is one of non-conformity, pushing the traditional from its norms and conjuring projection of voice through clothing and music combined. It relies heavily on nostalgia, something Generation Alpha will seek comfort in amidst the fears of their prospective.

As the cohort embodying children born from 2010 onwards, the eldest is currently 13 years old. My campaign is entailed for a future collaboration, thus making them a suitable market since youth are formulating their own opinions from an early age- “they are independent when it comes to making their own decisions and they expect their individual needs and preferences to be taken into account” (Iberdrola, 2021) further demonstrating their demanding nature and dominating behaviour to have everything as they please. This situates them as the perfect consumer for the collaboration as they will be enticed towards clothing which rebels when they don’t get their own way out of society. Furthermore, with their demands for originality and authenticity already being notified, a 3-way collaboration will most certainly spark their interests and compel them to purchase into the brands and gain a noticeability for the Jil Sander label.

As digital natives presently seeing the world through the eyes of TikTok and Instagram, Generation Alpha will be following the footsteps of influences, like Machine Gun Kelly and Matty Healy already through these platforms, particularly the latter as he was recently trending for his eclectic and non-conformist performances on stage!

Gen Alpha are recorded to be “the most diverse generation in history, looking for representation and inclusivity and helping people as the number 1 priority for 12–15-year-olds” (Nuttall, 2022”). All the brands I am taking forward (Jil Sander Charles Jeffrey and Mateo Velasquez) have elevated values for communalising genders through androgynous fashion. Velasquez and Jeffrey most notably have strong beliefs and advocation for LGBTQIA+. Generation Alpha will appreciate brands who stand for this, hence concluding why they will be the target market for my FMP.

HOW WILL IT BE PRODUCED?

My Final Major Project will be conducted as an editorial shoot since I performed greatly in this aspect within the previous module of Contemporary Fashion. I will be partaking in two shoots, one in a studio setting and the other in a landscape, perhaps street setting. As an anxious individual and a keen perfectionist, I would like to ensure my imagery is correct to my liking and nothing less. The final image combines all the research and hard work I have endured over my university period, and I am determined for it to be a strong representation of me and my brand.

The studio allows me to play with technological components as well as lighting features, and I am to expect an image of great quality within this environment. However, I would also like to experiment with an outside scenery as the punk subculture highly associated with my collaboration was street-bred and I would like to relive this nostalgic element to push the reality of my image further.

The encapsulated content and imagery will be placed within a magazine format too as I wouldn’t want to neglect the career path I originally envisioned when entering this course. Journalism and magazine copyrighting is still a possibility for a venture I would like to operate in when I graduate, so I would therefore like to have a portfolio of my work which showcases my skills in this area that I can take with me to prospective employers.

If I am to collaborate with Mateo Velasquez, I will need to consider the materials I am using throughout the styling to ensure they are all of a sustainable practice. Therefore, deadstock fabrics, second-hand and recycled pieces will be necessary to ensure I am being wholly transparent and fully portraying this collaborative project to its realist extent.

As this collaboration will be marketed to a luxury sector through a conceptual lens, additional features like props should be sourced or depicted if they will be supplemented as digital renditions alternatively.

If I was to collaborate ‘realistically’ with anyone on the outside, it would be a videographer too. I would like my visions to be captured in a film or extended BTS footage to showcase my journey and end product in a format which will suit its intended consumer who admires originality and authenticity.

WHAT IS MY ROLE AND WHY?

It is evident to me over my period at university that I like things a specific way and get heavily frustrated if they aren’t up to my expectations. I will therefore be taking a Creative Direction role for my FMP, overseeing every element involved. I will also take the lead in styling as this is a pivotal part of communicating the expression and voice my collaboration will stand for. Videography is not a strength of mine, but I will be pushing myself out my comfort zone over the coming weeks to improve on this. As stated in the page prior, I may collaborate with a videographer to secure some additional footage alongside any I take to ensure my vision is encapsulated through a marketing strategy suitable for Generation Alpha’s tastes.

Before delving headfirst into my FMP, I wanted to visualise how my 360 campaign can be interpreted through engaging in some test shoots. I used my mannequin as a demonstration model as I felt I could digitally manipulate the garments from this and combine them with secondary imagery as an extension to communicate my visions conceptually. Overall, I produced 3 separate shoots, all of which had an aim to capture inspiration from each of the brands I am taking forward. Here, I incorporated elements which were significant to their identities and wouldn’t be replaced as part of the collaborative process. I amalgamated them to establish designs, targeting the market sector of luxury through a conceptual lens and a consumer of Generation Alpha.

For shoot 1, I put my creative skills into play and took an unworn white tshirt left in my wardrobe and defecated it with graffiti designs and punk slogans. I feel this truly enveloped the work of Charles Jeffrey as it embraces a youthful enthusiasm towards design.

I then utilised an everyday essential (a bin bag) and manipulated it into a ‘leather-look’ knotted skirt, something simplistic which the Jil Sander label would produce. For me this feature added character through the knot component, bringing elevation to the styling and emphasising a conceptual nod suitable for my market sector. Scarves and tartan patterning were deadstock fabrics or collected from charity shops, taking note of Mateo Velasquez demand for transparency and sustainable practice. For future shoots, I will ensure all materials are of this custom.

Paper shaped cones and safety pins were lastly used to accessorise at the end, again adding a conceptual essence whilst integrating the nonconformist tastes of the 70’s punk era- thus engaging both brands of Charles Jeffrey and Mateo Velasquez and the styles of MGK and Matty Healy.

PRIMARY TEST SHOOTS SHOOT

Shoot 2 was fairly similar but embraced additional layering of second-hand fabrics and conceptual elements through accessory. I fabricated large ‘J’ and ‘S’ letters to bring Jil Sander in at a greater extent, although I still think this can be pushed further next time through clothing supplements like blazers and tailoring so it isn’t lost in the collaboration.

Taking influence from the punk manifestations of Charles Jeffrey and Mateo Velasquez, I created a paper spike choker to add more conceptual features and a defiance for the normal standard sized. The leather jacket contributed to the edgy modern day punk aesthetic alongside the biker boot. I attached the biker boot to urge the conceptualism factor, however its worn effect and unusual placement gives a storytelling notion for the audience to explore too.

SHOOT 3

Shoot 3 brought a little more youth and playfulness through additional colour components of purple, blue and red. I deconstructed a cardigan I navigated in a local charity shop, slicing it with multiple holes and fraying the fabrics. I attached either sides with chunky safety pins and paired with leather look biker leggings. Again, these all related to the quirky designs of Charles Jeffrey and Mateo Velasquez, as well as the styling of MGK and Matty Healy. My purpose for this shoot was to create a fun element fused with a conceptual notion which both brands reciprocate in their designs presently. The facial features characterised this whilst adding a nod of originality and expression which Generation Alpha will appreciate. Jil Sander’s androgynous taste is evidently shown too, however, as aforementioned, conscious efforts will be taken to ensure the brand is consistent throughout next time.

The standard CV no longer cuts it anymore, especially not within this industry. As creatives we have to reflect our skill base in visually exciting forms of communication and for my virtual calling card I have done so. Currently, I possess a fashion Instagram of all my former university work, demonstrating what I have learnt and the skills I have acquired. This highlights a journey of me as a starting creative. I now want to visualise to my audience who I am as a brand and my journey of my final stages as a student. For this, I have created another Instagram page, acting as a portfolio for my travels within this last year. Social media is pivotal in one’s day-to-day life, many companies look into your profiles to observe if you are a good fit for their roles and utilise these platforms to reach out to you too; thus, meaning a professional manner and care for what I post is necessary. I want this Instagram to exhibit the best of the best work I have produced and be a platform I am proud to present out in industry.

The logo is one which I have devised to suit my brand and market level of industry I want to work in. I have made it minimal and monotone as even the most conceptual brands have a logo which is smart and clean. My name is of French origins and links to my heritage and love for Parisian fashion which is why I have titled it as so.

To the left I have established an additional virtual calling card in the form of a website- for me a more professional mode of showcasing Brand Eleanor. I worked hard on making this interactive through animated features and links to my social platforms and Issuu throughout. The animation additions push the conceptual aspect of my brand and almost creates a 3-dimensional perception. This website along with the Instagram will be continually revitalised according to my aesthetic going forward and document the latest work I have accumulated.

Issuu QR

SUMMARY

I believe my 360 campaign is one which is unique and driving myself as a brand out of my comfort zone. As nerve racking as it sounds, it also excites me and I am intrigued to see how over the next coming months, my ideas and visions will become one. The notions I am taking forward are quite complex, so I must ensure that it is underpinned and communicated effectively in my FMP for its purpose to be understandable. Over the forthcoming weeks, I will be underpinning which of the ideas I will be taking forward and amending them if necessary, so it appeals to the intended target consumer and market level proposed. I believe I have succeeded the brief in that I have established a campaign which is ahead of the curve and raw within the fashion domain, I am now ready to implement this into a reality!

REFERENCES:

Barr, A. (2021, October 22). Mateo Velasquez reclaims leather and shows what can be done with recycled materials. Fucking Young! Retrieved December 2022, from https://fuckingyoung.es/mateovelasquez-reclaims-leather-and-shows-what-can-be-done-with-recycled-materials/

Blight, C. (2022, September 22). Discover why cross-brand collaborations are rising in popularity. The CEO Magazine. Retrieved December 2022, from https://www.theceomagazine.com/business/ marketing/brand-collaborations/

HUNGER. (2018, January 22). Heed the words of Hedi Slimane, his best quotes on style, masculinity and gender. HUNGER TV. Retrieved November 2022, from https://www.hungertv.com/feature/heed-thewords-of-hedi-slimane-his-best-quotes-on-style-masculinity-and-gender/#:~:text=%22I%20only%20 like%20luxury%20fashion,exception%20and%20rarity%20of%20it.

Iberdrola. (2021, April 22). Generation alpha will lead a 100% Digital World. Iberdrola. Retrieved December 2022, from https://www.iberdrola.com/talent/alpha-generation Joe SAU, Yu HAU (2018) Creation of Conceptual Fashion Design Process Model. J Fashion Technol Textile Eng 6:2. doi:10.4172/2329-9568.1000171

MATCHESFASHION. (n.d.). Chopova Lowena for women | shop online at matchesfashion us. Chopova Lowena. Retrieved December 2022, from https://www.matchesfashion.com/us/womens/designers/ chopova-lowena

Moskovic, S. (2013, June 12). Robbie's DAZED- Exclusive Preview & Interview. StackPath. Retrieved November 2022, from https://models.com/mdx/robbies-dazed-exclusive-preview-interview/

Nuttall, C. (2022, September 20). 5 Key Characteristics & Data of US generation alpha. GWI. Retrieved December 2022, from https://blog.gwi.com/marketing/us-gen-alpha-characteristics/#:~:text=They're%20 passionate%20about%20inclusivity,12%2D15s%20in%20the%20States.

Price, S. “Vivienne Westwood (born 1941) and the Postmodern Legacy of Punk Style.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/ vivw/hd_vivw.htm (October 2004)

Somerset House. (2016, September 6). Charles Jeffrey. Somerset House. Retrieved December 2023, from https://www.somersethouse.org.uk/residents/charles-jeffrey

Statista. (2022). Luxury fashion - united kingdom: Statista market forecast. Statista. Retrieved November 2022, from https://www.statista.com/outlook/cmo/luxury-goods/luxury-fashion/unitedkingdom?currency=GBP#revenue

Taylor, T. (2017, September). In what ways was punk a rebellion against the social conditions of the 1970s? The Bristorian. Retrieved November 2022, from https://www.thebristorian.co.uk/essays/1970s-rebellionpunk

Team, H. B. (2022, December 5). 12 emerging U.K. designers to put on your Radar. Hypebeast. Retrieved December 2022, from https://hypebeast.com/2022/12/12-u-k-designers-to-put-on-your-radar

Wilson, E. Bohemians: The Glamorous Outcasts (New Brunswick, N.J.: Rutgers University Press, 2000), p. 173.

IMAGE REFERENCES:

FIGURE 1: Studio Private. (n.d.). Gutter Punks. Gutter Punks Photographed By Casper Sejersen For Dazed & Confused. Retrieved 2022, from https://creativepool.com/studioprivate/projects/gutterpunks-photographed-by-casper-sejersen-for-dazed-and-confused-for-dazed-and-confused.

FIGURE 2: Kessler, A. (2022). Charles Jeffrey A/W22 Art of Noise model. 5 Things To Know About Charles Jeffrey Loverboy’s Music-Inspired AW22 Collection. Retrieved 2022, from https://media. vogue.co.uk/photos/620c246ba99369cc8e22dc5a/master/w_1600%2Cc_limit/loverboy4.jpg.

FIGURE 3: Velasquez. (n.d.). Velasquez Pretty in Punk shoot. Velasquez. Retrieved 2022, from https:// www.mateovelasquez.com/pretty-in-punk.

FIGURE 4: Velasquez Pretty in Punk shoot. (2018). The CSM Graduate Merging Punk Aesthetics With Queer Politics. Retrieved 2022, from http://cakeboymag.com/posts/mateo-velasquez-punkgraduate-collection.

Figure 5: NOW Gallery. (2017). Charles Jeffrey illustration. THE COME UP Charles Jeffrey. Retrieved 2022, from https://nowgallery.co.uk/exhibitions/the-come-up.