Final Year Visual Report Proposals

Visual Report Proposals. emily drinkeld n056045 fig.1

The FCP Triangle

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S Self-promotion work and developing an overall design recipe/branding, showing sense of self

EXECUTIONS Finalized outcomes and integrated communication CREATIVE CONCEPT Creative interpretation of The Big Idea THE BIG IDEA An idea that disrupts and creates impact to achieve the stated aim CONTEXT Insight-led strategy from Primary and Secondary Research

Trend forecasting Physical cartograms/prediction

Zine making – the alternative subculture content, photography, creative process, design recipe, tone of voice, physical making of the zine

Written pieces which require no visualisation

Digital editing Website coding

Combining design with tone of voice in a visual manner

Not pushing myself enough to combine written and visual elements

Presenting a sense of self through imagery

Too focused on a finalized visual outcome as opposed to research/ backbone. I need to refocus on the Context of the FCP triangle

Branding – using this to apply something to a particular brand, creating a brand in itself or coherently applying a recipe across different platforms Exploring the digital world – impacts and future for print?

Other elements of technology aside from imagery – i.e. macro marketing factors such as social and cultural factors like music and film

O fig.2 Own image, 2016. The FCP Triangle

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fig.3 Own image, 2016. Personal SWOT Analysis 01.

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In terms of specific content, fusing my degree work with my own personal interests and preferences is something which I have found to be successful and exciting throughout the course. I have found that over various past projects when I have injected my own personal interests there has been a sense of vivacity and they have come to life. My passion for music stemmed from the learning of various instruments over both my primary and secondary education, as well as my family constantly driving me to follow my passions. As I’ve grown, this has manifested itself into a love for various eras both musically and stylistically, and experiencing live music is an unforgettable experience; something which I intend to research further for my final year project.

As a visually driven individual, I’ve found that my personal strengths often align with my interest in the arts and illustration. I have discovered through my time as an FCP student that the most gratifying and therefore successful elements thus far have included the physical creation of items such as props as well as the digital development of colour recipes, line illustration and also editing. This has therefore led me to believe that I would most likely enjoy a career in a similar sector; strong visuals and creating graphic content is what drives me as an individual whether it be through illustrating work of others or collecting primary photography myself. The job role of a digital editor, visual merchandiser or content-creator therefore appeals to me the most. The development of identity and a

coherent tone of voice also intrigues me and is something which I have thoroughly enjoyed creating throughout the course, this primarily being put into context through my selfpromotion work as well as designing a brand identity for a first-year perfume project. This therefore leads me to believe that perhaps creating a brand or perhaps re-branding something entirely is something which I would want to achieve. Combining both my love for visuals with a developing tone of voice leads me to consider careers in sectors such as social media, as this would allow me to create content as well as ensuring that it is brand-specific and completely consistent over a variety of different platforms. Finally, website design interests me enormously, as through the development of my own blog over the past

Fig. 4: Own image, 2016. Self-Promotion [collage and illustration] 03.

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4 years I have learnt elements of HTML and CSS Coding. Again this combines my interests through both creating the physical content and design recipe and showing a strong sense of self, which is something that could span across a variety of platforms and also incorporate physical products. For example, interning with Raw Print has provided me with a strong foundation and yearning for independent magazines and creating something physical and tactile. The research behind more alternative articles, as well as creating something which is aesthetically pleasing and photographically consistent, inspires the idea of creating my own published piece of work and would in turn reflect my aspiration of an editor and content creator, in particular in terms of imagery and visuals.

“Recognising the effect of social and cultural trends is extremely important for those working in fashion design, buying and marketing. Film, television, music and art can all have a significant impact.”

Fig.5: Festival image

(Posner, Marketing Fashion 2011 p.66) 05.

“Music draws emotional connection and can define you into a certain subculture thus helping define “it shows a person’s who you are.” true personality and colours”

“A song can bring personal memories to someone” 06.

is an opportunity being missed in terms of providing a fully immersive and multisensorial experience throughout the whole process of a musical event?

Stemming from my personal passion for music, this research question has been developed from a series of initial thoughts and my own enthusiasm for the musical world. Defining different music genres is increasingly difficult and the actual difference between each is constantly shrinking. As musicians begin to blend a variety of different musical styles, we see the barriers between each begin to break down and sub-genres are created. This in itself poses the question of whether we can identify these styles at all. Linked to this is the ideology of a particular genre being associated with a specific type of personality. For example, the undeniable link between the Mods and Rockers of the 60’s with music seen a complete generation devote their style, tastes and overall identity to a particular style of music. Now, the sheer variety in music means that our generation has been brought up around a more collective style; the division between crowds is no longer as prominent as it used to be and so individuals now flit around various social groups and have developed a more eclectic taste.

marketing brings together ideology on the future of technology and the senses, as well as leaning towards my interest of creating a particular brand identity.

New technological advances have now led to ‘The Scenthesizer’ being put into development whereby DJ’s are able to “pump out different scents into a dancing space that match the mood of the music and evolve with it” (FACT Magazine, Nov.2013). This connects these two emotive drivers seamlessly and evolves into a multi-sensorial experience for music enthusiasts, reinforcing the macro trend of technology becoming one with human nature.

From this, I am interested in the ideology of music events and the atmosphere and hype around them. In terms of music festivals, why is a certain type of crowd drawn? Why are different festivals known for a particular vibe or energy? The ambiance and mood of many different events could solely be the reasoning behind attending, regardless of the actual line up or events happening. This aura created around not just festivals but a variety of different musical experiences is wholly sensual and completely relies on the gut instinct of human nature.

The element of unexplored sense in such an event therefore links to the origins of music being something which is not only heard but also felt; it runs deeper than simply something on the surface and is something provocative.

A combination of the senses to create a full experience is something which was recently touched upon by Food Futurologist Morgaine Gaye during a university guest lecture talk. Her insight into the blending of branding with food and brands using olfaction within their

“First and foremost its really about providing a type of narrative, a type of experience for people” DJ Funkbast*rd, DJ/Producer at Darker than Wax

Fig. 7: Scenthesizer Fig. 6: Own image, 2016. Cartogram [photograph]

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How can the senses be engrained into such events seamlessly while provoking an interest into technology? Throughout recent years, the growth in technology has been unbelievable however we are no longer excited by it as a westernized population; we expect it. Trend drivers such as Burberry have pushed for the connection between technology and fashion, however this rise in technology means that the divide between the digital and real world is shrinking. A macro trend has therefore developed from this of people wanting to return to their roots with a focus on the connection of the mental and physical self. It is through this that the ideology of unused senses comes to the fore, as through this search for ‘the self’ individuals want to be able to connect with the world on a sensory level. This is most certainly the case in the world of fashion, as predicted through Trend Union books forecasting for the coming three years, most notably through the more transparent materials and flesh tones to reflect connotations of purity, mental translucence and neutrality. It can therefore be predicted that the future of this idea lies in the

sensory experience, possibly leading to in-store or on-location interactions for brands at festivals or music events.

When we smell something our noses have a direct neural passageway to our brains

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– Terry Jacobson, Scent engineer at Scentair

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The association we carry with smell is also mimicked throughout the senses; taste, particular visuals and also audible cues could all be considered to merge music together with the body. A fully immersive experience is therefore created for consumers, as a brand identity becomes more of an entity in itself; it is expanded beyond simply a name to thoughts, feelings and emotions. This therefore takes tone of voice and the idea of a brand identity to a completely different scale, and creates an opportunity for the adaptation of a brand to go alongside festivals in collaboration with them to provide a sensory experience. It is this that I have investigated further through primary research. From the questionnaire conducted as primary research, it was incredibly interesting to note that the experience and environment was seemingly most important behind the music itself, as 30% of participants rated it as the main reason to attend a festival closely behind 44% of participants attending for the music and headliners.

As well as this, a large majority of participants used emotive and interactive

experiences as their most unforgettable memory from a festival as opposed to simply stating the event or act’s name, attending “to make memories” and for “the whole vibe and atmosphere mixed with the music” as opposed to the music alone. This means that audience participation coupled with the overall atmosphere and excitement of the event is what attracts most to festivals.

Therefore, the emotional attachment to music and undeniable link it has with memory reinstates the idea of a fully immersive experience being the most successful and impactful.

“An outdoor arena Coldplay concert. The Atmosphere was incredible. It was chucking it down and no one gave a fuck. Everyone was drenched and singing their hearts out. The honesty of the musicians and evidence of personality alongside the wholesome experience meant that the gig was incredible. Plus everyone got given a flashy wrist band that connected everyone as a group every one lit up together in a sea of sparkly lights. That was amazing.”

Fig. 8: Coldplay

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The CONSUMER DEMOGRAPHIC VARIABLES This consumer is aged 18-24 and can be male or female or even genderless, with an open and much more carefree attitude than generations before them.

They are most likely a student or recent graduate from the skilled working class to the middle class in terms of social grade classification.

GEOGRAPHIC VARIABLES They live in an urban location, as they need to be surrounded by a diverse and exciting range of arts in order to stay occupied and absorbent to the trends around them. Thus choosing to live in larger metropolitan cities such as London or Berlin whereby such an array of areas can be easily accessed.

PSYCHOGRAPHIC & BEHAVIORAL VARIABLES They are appreciative of coincidence, good karma and positive zen. Not a future planner, their forward-thinking stems from their open creativity as they aspire simply to be happy and create something extraordinary for others to marvel at. They see themselves as the alternative one of their social group, and tend to follow their own path rather than value the opinion they give of themselves to others. Often an impulse buyer, this consumer follows their heart and leaves the thinking till later, meaning that their passion for live music and the exhilaration of a crowd drives them to create new entities rather than follow the rules of other people.

USAGE & BENEFIT VARIABLES This type of consumer is not particularly brand loyal in the sense that they shop for whatever they find visually pleasing or aesthetically intriguing. They are more likely to use the digital world to seek out more individual pieces from smaller vintage online marketplaces or Etsy shops. A similar attitude is adopted here to music events; as opposed to religiously attending one particular festival they opt for the event with the most versatile line up, alternative location and possibility for fun.

Fig. 9: female consumer

Fig. 12: Methodology Table

Fig. 11: Curve of Innovation

Following Rogers’ Diffusion of Innovations (Posner, Marketing Fashion 2011 p.119), the consumer who experiences this innovation will be that of the early adopters. Often comfortable with their own sense of self and style, they have attended a particular festival because they know that they are surrounded by their ‘own people’ and want to seek out breathtaking and hairraising experiences for themselves and their own tribe. In terms of consumer trends, they are a part of Generation G as the “growing online culture allows them to share, give, engage, create and

collaborate” (Posner, Marketing Fashion 2011 p.121). The digital expansion has meant that the world collectively becomes smaller and these individual creatives are able to easily and quickly share their concepts with the early and late majority.

Over the summer I plan to continue primary research in the form of a field study at Detonate festival and also Leeds festival, as I feel this will give me the most content in terms of primary photography, quotations and first-hand experience. It will allow me to interpret what a festival could be lacking in terms of this sensory experience, and how the rise in technology could work together with music to provide a fully immersive experience through creating something emotive and exhilarating. As well as this, I will be able to consider the idea of involving a brand or adapting a brand

Fig. 10: Male consumer 11.

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to fit with such an event and how this involvement of technology alongside something completely humanized and soulful could potentially change the perception of brand tone of voice and identity.

In such an interconnected society, is it still plausible to consider the notion of subculture or has technology developed more stylized ‘style tribes’?

“Teenagers are now so satiated by the plethora of entertainment on offer that they don’t feel the need to rebel through dress or ritual” (Barton, C. 2012 - The Guardian)

Fig. 13: Own image, 2016. Cartogram [photograph]

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Fig. 14: Skinhead

Fig. 15: Mod

Fig. 16: Rocker

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Having formerly looked at subculture through a zine-making project as well as previously when studying both psychology and sociology, the very notion of a subculture’s emergence into society intrigues me massively. The once segregated societies within society itself became essential to one another and their existence despite completely alternative views against one another.

It is now not a question of what or who these subcultures are, but if they even exist anymore full stop. The punks, hippies and rebels of previous eras have lost their permanence through the development of a new age and also perhaps most prominently the growth in technology. Increased social media has meant that we now have more information than ever at our fingertips, meaning that individuals are able to connect with people across the other side of the world and discuss opinions with a whole new group. This concept of a smaller world in turn allows for less segregation and the merging of once prominent subcultures to even more diversified groups. However, the crossover between these groups is

now so unrecognizable that the term Today you can buy the subculture in itself is redundant, and so it is now plausible to refer to these identical leather jacket groups as tribes. The macro trend of and drainpipe jeans worn conformity vs. individuality comes into play here too, as while individuals used on every Ramones album, to conform into one specific group we however, by doing so you are now blur these barriers and express our representing consumerism own individualistic attitudes with even more likeminded people. The ideology through a fashion statement that there is now nothing big enough rather than a set of ideals. or shocking enough to jolt an entire (Greer, R. 2016 - Kids of Dada Magazine) generation into rebelling against society supports the fact that we have become desensitized to the media and are no longer forced into an idealistic society but encouraged to individually pursue our own futures.

Fig. 17: Punk

For primary research, I conducted an experiment whereby I offered participants the chance to put forward their opinions anonymously and I recorded their answers. This was to try and gage whether people thought that subculture was still existent in our society and if so how it was relevant to them. All were aged 18-23 so in the same range as the consumer, however I found some key issues with my form of research for example not many people came forward to par-ticipate. This may be because they didn’t believe that it was going to fully anonymous, or they simply may have not answered truthfully in case of answering incorrectly. This is something which I will tackle in future research, however for the majority the respondees seemed to be-lieve that they were not a part of a particular subculture regardless of their existence within society. This however in itself echoes the idea of a lack of subculture and promotes the individ-ualistic stance which is now taken by many people in society.

Fig. 18: Tape Recorder

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“subcultures share the same clothing taste and have greater understanding of who they are and they type of people they attract”

“I’m not part of one. I have more than one group of friends and dress for myself, not for others.”

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“The art of attempting to impress others with the self-image that one is intending and attempting to express; getting others to see one as one wants to be seen, with respect to intentions, attitudes, status, access to resources, and so on”

I have absolutely no clue about fashion therefore I cannot belong to anything unless it’s subconscious, which is a possibility”

(Goffman, 1959 on Impression Management)

Fig. 19: Goffman

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The CONSUMER

Fig. 22: Curve of innovation

Fig. 23: Own image, 2016. Methodology table (see appendix)

GEOGRAPHIC VARIABLES This consumer is able to live anywhere and project their own idealized view of themselves easily, however a more suburban location is preferable to still be in reach of the consumerism and heightened perception of social status.

DEMOGRAPHIC VARIABLES The consumer here is aged 15-24 as the access to social media and the internet broadens to a younger generation. Both male and female, they are a part of the ‘selfie’ generation and can be from any social class within society, most likely being a student or still in education.

USAGE AND BENEFIT VARIABLES They seek out products with some sort of status-identifier and yearn for those with a branded name or logo that could be relevant to their own tribe. Incredibly loyal to their own defined list of brands, the concept of price sensitivity is almost completely forgotten about as they strive to paint an image of themselves no matter what the means.

PSYCHOGRAPHIC AND BEHAVIOURAL VARIABLES Their self-image is incredibly important to them, and the opinion of others is valued highly. Their purchasing behaviour can be solely for status or to capture that one Instagram photo to get likes. Their language of hashtags and emoji’s is reflective of their social aspirations to climb higher on the ladder even if it is literally unattainable but achievable through the amount of followers online.

Fig. 20: Consumer hashtag

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Following Rogers’ Diffusion of Innovations (Posner, Marketing Fashion 2011 p.119), Over summer, I intend to carry on researching social media and it’s impacts through this consumer sits within the early majority. While they conform to social media direct in-terviews and more focus groups. As well as this, a survey on the way in which and feel a need to impress and conform, their youth and thus connection to the individuals see themselves as a part of a group or style tribe would prove beneficial technological world means that they are not lagging behind and are still a defined part and interesting to my re-search. Finally, my own personal interest into coherent of a social group. They are influencers of the late majority and laggards, however still branding opens the discussion of whether or not a brand should be created with a not completely in control of their own wants as a consumer. particular style tribe in mind to see if a set of ideals can still be written for such a group.

Fig. 21: Consumer selfie

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List of Illustrations Fig. 1: Own image, 2016. Self-promotion banner [illustration] Fig. 2: Own image, 2016. The FCP Triangle [illustration and text] Fig. 3: Own image, 2016. Personal SWOT Analysis [illustration and text] Fig. 4: Own image, 2016. Self-Promotion [collage and illustration] Fig. 5: Festival image Available at: http://www.ampthemag.com/amplify-solutions/10092/ [Accessed May 31st 2016] Fig. 6: Own image, 2016. Cartogram [photograph] Fig. 7: Scenthesizer Available at: http://djworx.com/heineken-414/ [Accessed May 31st 2016] Fig. 8: Coldplay Available at: http://www.huffingtonpost.co.uk/2012/11/09/coldplay-mylo-xyloto-concert-cinema_n_2100838.html [Accessed May 31st 2016] Fig. 9: Female Consumer Available at: https://ayliholidays.files.wordpress.com/2013/05/festival-girls.jpg [Accessed May 31st 2016] Fig. 10: Male Consumer Available at: http://www.vogue.com/slideshow/13284661/coachella-street-style/#1 [Accessed May 31st 2016] Fig. 11: Curve of Innovation Available at: https://relinquishment.org/category/innovation/ [Ac-cessed May 31st 2016] Fig. 12: Own image, 2016. Methodology table (see appendix) Fig. 13: Own image, 2016. Cartogram [photograph] Fig. 14: Skinhead Available at: http://www.slate.com/blogs/behold/2014/03/26/derek_ridgers_78_87_london_youth_looks_at_the_punk_movement_in_london_ photos.html [Accessed May 31st 2016] Fig. 15: Mod Available at: https://www.reddit.com/r/OldSchoolCool/comments/36hp7n/mods_in_brighton_1960s/ [Ac-cessed May 31st 2016] Fig 16: Rocker Available at: http://www.influx.co.uk/features/rockers-revenge2/ [Accessed May 31st 2016] Fig. 17: Punk Available at: http://www.digitalartsonline.co.uk/news/graphic-design/punk-london-festival-celebrates-art-design-fashion-music-on-movements-40thanniversary/ [Ac-cessed May 31st 2016] Fig. 18: Tape recorder Available at: http://recording.org/threads/vintage-cadenza-reel-to-reel-tape-recorder-portable.49745/ [Accessed May 31st 2016] Fig. 19: Goffman Available at: http://www.partecipiamo.it/cultura/vito_mauro/aforismi/erving_goffman_00001.htm [Ac-cessed May 31st 2016] Fig. 20: Consumer hashtag Available at: http://lachynicolson.com/2014/10/selfie/ [Accessed May 31st 2016] Fig. 21: Consumer selfie Available at: http://microapps.com/blog/how-to-become-instagram-famous/ [Accessed May 31st 2016] Fig. 22: Curve of Innovation Available at: https://relinquishment.org/category/innovation/ [Ac-cessed May 31st 2016] Fig. 23: Own image, 2016. Methodology table (see appendix)

References • Dramaturgy. (2016). Boundless. [online] Available at: https://www.boundless.com/sociology/textbooks/boundless-sociology-textbook/social-interaction-5/ understanding-social-interaction-50/dramaturgy-316-10348/ [Accessed 1 Jun. 2016].

• FACT Magazine: Music News, New Music. (2016). Don’t just feel the music, smell it with The Scenthesizer. [online] Available at: http://www.factmag. com/2013/11/30/dont-just-feel-the-music-smell-it-with-the-scenthesizer/ [Accessed 28 May 2016].

• Greer, R. (2016). THE ONLINE REVOLUTION. [online] Kids of Dada. Available at: http://www.kidsofdada.com/blogs/magazine/9361771-the-online-revolution [Accessed 29 May 2016].

• Jacobson, T. (2016). THE SCENTHESIZER. [online] YouTube. Available at: https://www.youtube.com/watch?v=2ESaf39TVvw [Accessed 28 May 2016].

• Lonergan, P. (2015). Phantasmagoria.

• Nagesh, A. (2013). Lost Decade: Fashion and Subculture in the 1980s. [online] Apollo Magazine. Available at: http://www.apollo-magazine.com/lost-decade/ [Accessed 2 Jun. 2016].

• Posner, H. (2011). Marketing Fashion. London: Laurence King.

Bibliography • Barton, C. (2012). How sound and smell can create perfect harmony. [online] the Guardian. Available at: https://www.theguardian.com/science/2012/oct/22/ sound-and-smell-create-harmony [Accessed 2 Jun. 2016].

• Bigge, R. (2016). Can subcultures still thrive in the glare of the digital age? | Toronto Star. [online] thestar.com. Available at: https://www.thestar.com/ news/2008/06/01/can_subcultures_still_thrive_in_the_glare_of_the_digital_age.html [Accessed 1 Jun. 2016].

• Crossman, A. (2016). Backstage And Frontstage. [online] About.com Education. Available at: http://sociology.about.com/od/B_Index/g/Frontstage.htm [Accessed 2 Jun. 2016].

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• Drury, J. (2016). Striking Photos Show 80s London Subculture. [online] Londonist. Available at: http://londonist.com/2016/05/striking-photos-show-80s-londonsubculture [Accessed 1 Jun. 2016].

• Dylan Wray, D. (2014). What Does Music Smell Like? Well, Unsound’s Ephemera Project is Bottling it | Thump. [online] Thump. Available at: https://thump.vice. com/en_uk/article/unsound-ephemera-scent-installation-kode9-ben-frost-interview [Accessed 2 Jun. 2016].

• FACT Magazine: Music News, New Music. (2016). Don’t just feel the music, smell it with The Scenthesizer. [online] Available at: http://www.factmag. com/2013/11/30/dont-just-feel-the-music-smell-it-with-the-scenthesizer/ [Accessed 28 May 2016].

• Gonzalez, L. (2013). DJs Pair Music With Scents To Create A New Clubbing Experience [Video] - PSFK. [online] PSFK. Available at: http://www.psfk.com/2013/11/ scented-clubbing-experience.html [Accessed 1 Jun. 2016].

• Greer, R. (2016). THE ONLINE REVOLUTION. [online] Kids of Dada. Available at: http://www.kidsofdada.com/blogs/magazine/9361771-the-online-revolution [Accessed 29 May 2016].

• Jacobson, T. (2016). THE SCENTHESIZER. [online] YouTube. Available at: https://www.youtube.com/watch?v=2ESaf39TVvw [Accessed 28 May 2016].

• Lonergan, P. (2015). Phantasmagoria.

• Medd, J. (2016). Music technology has changed – but do we actually listen to songs differently?. [online] Newstatesman.com. Available at: http://www. newstatesman.com/culture/books/2016/05/music-technology-has-changed-do-we-actually-listen-songs-differently [Accessed 1 Jun. 2016].

• Nagesh, A. (2013). Lost Decade: Fashion and Subculture in the 1980s. [online] Apollo Magazine. Available at: http://www.apollo-magazine.com/lost-decade/ [Accessed 2 Jun. 2016].

• Petridis, A. (2014). Youth subcultures: what are they now?. [online] the Guardian. Available at: https://www.theguardian.com/culture/2014/mar/20/youthsubcultures-where-have-they-gone [Accessed 1 Jun. 2016].

• Pettinger, L. (n.d.). Work, consumption and capitalism.

• Posner, H. (2011). Marketing Fashion. London: Laurence King.

• Rettner, R. (2010). Brain’s Link Between Sounds, Smells and Memory Revealed. [online] Live Science. Available at: http://www.livescience.com/8426-brain-linksounds-smells-memory-revealed.html [Accessed 1 Jun. 2016].

• Sternheimer, K. (2012). Everyday Sociology Blog: Rethinking Goffman’s Front Stage/Back Stage. [online] Everydaysociologyblog.com. Available at: http://www. everydaysociologyblog.com/2012/05/rethinking-goffmans-front-stageback-stage.html [Accessed 1 Jun. 2016].

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Appendix Methodology Table 1

Methodology Table 2

Festivals Questionnaire - Primary Research

Briefly, why?

Festivals aren’t necessarily just about the music for me, the environment is a big factor because when you’re with your friends and a little boozy you just enjoy spending time together and having a laugh. Of course it helps if it’s good music though!!

I don’t do drugs, I’m not that into music. Would be there for the wholesome experience and banter- FOOD, FASHION and a get away.

To see them live Live by the sesh, die by the sesh I am paying a lot of money so I want to make sure the music is good :) Because it’s a different experience to watch a band live Seeing a range of artists and bands in one place is perfect The whole vibe and atmosphere mixed with the music I want to see specific bands To make memories To have a good time with friends Love live music It’s cheaper than a summer holiday abroad Paying a lot of money so want to pay for people you actually want to see Because I wouldn’t want to go by myself For the experience of seeing lots of my favourite bands all in one place I wouldn’t pay 100’s of pounds to go and see a headline act that I didn’t like!

Because I don’t want to go alone lol I wouldn’t want to attend a festival I didn’t like the genre of

Why? Because sometimes opposites attract! It’s nice to be with someone who has different interests so you can both try new things!

Music draws emotional connection and can define you into a certain subculture this helping define who you are.

Because it portrays your personality People are all different, why should someone’s music taste influence who I associate myself with. I associate myself with good people, whether they like the same music as me is irrelevant.

Music plays a big part in the way people dress, act and what they do..

I feel you can tell a lot about a person by their choice in music Everyone likes certain music and that can create connections with people It tells people more about you’re likes and you’re interests Music is a large role in personality and can define how you act dress etc People of all different personalities can share musical taste and vice versa Everyone is different There is so much more to a person than their taste in music, you can have completely different opinions to them but still be their best friend\ boyfriend or girlfriend Morals and values are more important in a person than taste in music Because people like multiple genres of music so how can they al define their personality Yes as it shows a person true personality and colours Because a song can bring personal memories to someone and that is why it’s Often, groups of friends all have different music tastes, so if music taste was the determinant of identity then there’d be a lot more sectionalism

Briefly, why?

It’s about the hype!! It’s fun to plan what to wear, who to go with,. And generally get hyped and excited about the event!

Festivals are usually a bit of a let down- I’ve only ever been to a shite local one full of stupid drunk teens.

Because it doesnt feel real All that build up for it to actually occur, nothing better. atmosphere is exciting, everyone is having fun, happy days!

Atmosphere The whole atmosphere was incredible Experiencing the event is the best, The atmosphere The build up/hype surrounding is a major part of an event In the moment Atmosphere The anticipation and the crowd is nearly always better as artists are never as good live It’s the actual event Because you’re in the moment experiencing it The pure buzz that you get from seeing an act live is like no other So you and your mates can chat about it The atmosphere

Do you think that events organisers could do anything to improve the experience of music festivals?

Stop the queues!! Queueing is the worst bit, id rather get there too early and not have to queue as long. It’s frustrating and totally ruins the mood Yes- make them more glam. Aha but seriously I’m not sure as I’ve never been to one... I guess have incentives for going- is there something cool you receive for attending?

Probably but not sure Cleaner portaloos and better weather Make it more about the music, I feel some gigs/festivals are losing that Cheaper food and drinks Yes, clashes are incredible annoying especially when you spend over £200 on a ticket Avoid queues/ cut them down More information No No No No Control the weather Bigger music tents Cheaper! More accessible! Crowd control! Big music tents!

Nah not really Ensure everyone is involved (as often there are people at the back of the crowd just flitting around)

In your own experience, what has been your most memorable event in terms of live music and why?

Coldplay concert- outdoor arena concert. Atmospher was incredible. It was chucking it down and no one gave a fuck. Everyone was drenched as singing their hearts out. The honesty of the musicians and evidence of personality alongside the wholesome experience and sorry if the gig was incredible. Plus everyone got given a flashy wrist band that connected everyone as a group- every one lit up together in a sea of sparkly lights. That was amazing.

T in the Park (only festival attended) - loved the atmosphere.

When my mate lobbed a bag of shit at someone’s tent at Download so they returned fire with a 12oz steak Isle of Wight festival- I had the best weekend ever! I was with my friends, listening to fab music in a beautiful place!

Seeing my favourite band on their first arena headliner because of the atmosphere from the crowd of it being their biggest achievement as a band and being able to appreciate the effort they’ve put into the show in terms of lighting and sound and overall showmanship The Killers, Jess Glynne and Calvin Harris. They connected with the audience really making the most of audience participation!

Reading festival, such a large event, enjoying with friends, great music and atmosphere.

Setting my favourite band because it was magical Anything outdoors has a better vibe Silent discos Rihanna pulling someone onto the stage caus it was so fun to watch Girls aloud when I was ten with my mum as I’ve been drunk for every one since Artic monkeys at Leeds festival SHEFFIELD Coldplay because of the spectacle they made of it, the show, the set, the atmosphere Drake at wireless 2015! The live set and performance was like nothing else that I’ve ever seen!

I haven’t got a memorable event. I don’t go enough to have one With all my closest friends watching my favourite band play. The atmosphere and the company definitely make it better

Interview transcription - Primary Research

Transcription of full statements used in part 2 primary research: “I think a style tribe is a collective group that move in a pattern and visually reflect one another. They share the same clothing taste and have greater understanding of who they are and they type of people they attract. I do not think I am a part of one because I have more than one group of friends and dress for myself, not for others.”

“I do believe they exist although I wouldn’t say I belong to a group my style widely varied” “Same, I have absolutely no clue about fashion therefore I cannot belong to anything unless it’s subconscious, which is a possibility” “I think that a style tribe is a group of people that all wear the same clothes to ‘fit in’. I don’t think I’m part of one because I wear clothes to suit my body type and compliment my figure over anything else.”

Consent Forms