Erin Morgan - Final Major Project

Final Major Project Critical Journal 'A Midsummer Night's Dream' Name: Erin Morgan Student ID: C3476604 Course: Fashion Marketing (Level 6) Module: Visual Communication Tutor: Luci Clements & Caroline Hemingray Word Count: 7186

Figure 1 (Cover Page) Erin Morgan, Own Image.

Figure 2

Erin Morgan, Own Image.

2

ďťż

Contents 4 1.INTRODUCTION 6 7 8 13 16 22 28

2. RESEARCH 2.1 Brand: Zara 2.2 WGSN: S/S 20 Trend Research 2.3 WGSN: Colour Palette, Patterns and Accessories Research 2.4 Photographers, Stylists and Art Direction 2.5 Research: Competitor Look Books 2.6 Research: Zara Past Look Books

32 33 38 40

3. DESIGN DEVELOPMENT (EDITORIAL) 3.1 Editorial Mood Boards 3.2 Editorial Practise Shots 3.3 Editorial Images: Before & After

46

4. DESIGN DEVELOPMENT (COMMERCIAL)

46 48 49

4.1 Commercial Mood Board 4.2 Studio Shoot 4.3 CommercialImages: Before & After

51

5. FINAL CONCEPTS

60

6. CONCLUSION

61

7. BIBLIOGRAPHY

64

8. IMAGE BIBLIOGRAPHY



3

1. INTRODUCTION

FO R M Y F I N A L M A J O R P R OJ EC T ( F M P ) , I H AV E D EC I D E D TO R E S E A R C H G A R M E N T P R E D I C T I O N S F O R S / S 2 0 A N D P R O D U C E T H E M I N A WAY T H AT Z A R A WOULD. THIS WILL INCLUDE RESEARCHING AND SOURCING THE GARMENTS, STYLING AND SHOOTING THEM AND EDITING THE IMAGES BEFORE BEING P L A C E D W I T H I N M O C K- U P S O F T H E I R O N L I N E P L AT F O R M . T H I S P R OJ E C T W I L L C O N S I S T O F 2 H A LV E S : 1.

2.

E D I TO R I A L : P R O D U C I N G A N O N L I N E LO O K B O O K F O R Z A R A’ S ‘ S TO R I E S ’ SECTION OF THEIR WEBSITE. COMMERCIAL: STYLING AND SHOOTING THE CHOSEN GARMENTS IN A SIMILAR COMMERCIAL STYLE TO ZARA.

TO ACHIEVE THIS, I WILL BEGIN BY RESEARCHING ZARA AS A BRAND, LOOKING I N D E P T H AT T H E B R A N D S H I S T O R Y, T H E I R TA R G E T D E M O G R A P H I C A N D H O W T H E Y P R O M OT E T H E I R G A R M E N TS T H R O U G H LO O K B O O K S . A S I H AV E D EC I D E D T H AT T H E S E A S O N I W I L L S T Y L E F O R I S S / S 2 0 , I W I L L T H E N M O V E O N TO RESEARCHING PREDICTED TRENDS FOR THIS SEASON FROM WGSN; THIS RES E A R C H W I L L R A N G E F R O M G A R M E N TS , ACC E S S O R I E S , CO LO U R PA L E T T E S A N D PAT T E R N S A S W E L L A S T H E M E S . I P L A N TO G A I N I N S P I R AT I O N F R O M W G S N ’ S DESIGN DEVELOPMENT REPORTS FOR THIS SEASON AND SELECT 5 GARMENTS T H AT I B E L I E V E W I L L B E T H E M O S T P O P U L A R . O N E O F T H E S E G A R M E N T S W I L L B E ‘ T H E D R E S S ’ W H I C H W I L L B E T H E M A I N G A R M E N T O F T H E P R OJ E C T, PA R T I C U L A R LY T H E E D I T O R I A L H A L F W H E R E E A C H O F T H E O T H E R C H O S E N G A R M E N T S W I L L B E S T Y L E D A R O U N D D R E S S E S . I H AV E C H O S E N T H E D R E S S A S T H E M A I N G A R M E N T A S I T H A S F E M I N I N E C O N N O TAT I O N S O F B E A U T Y A N D C L A R I T Y, A N I M A G E T H AT I A M T R Y I N G TO P O R T R AY W I T H I N T H I S P R OJ E C T. I W I L L A L S O LO O K AT VA R I O U S S T Y L I S T S , P H OTO G R A P H E R S A N D A R T D I R E C T I O N E R S , A S WELL AS COMPETITOR LOOK BOOKS FROM H&M AND UNIQLO. TO ACHIEVE THE A I M O F T H I S R E A C H I N G Z A R A ’ S TA R G E T D E M O G R A P H I C , I W I L L A N A LY S E 3 O F T H E I R R E L E VA N T R EC E N T O N L I N E LO O K B O O K S TO S E E H OW E F F EC T I V E T H E S E ‘STORIES’ FROM THE BRAND ARE, AND HOW THEY ACHIEVE THIS SUCCESS. FROM THIS RESEARCH, I WILL BEGIN TO PIECE TOGETHER MOOD BOARDS W H I C H S H O W T H E S T Y L I N G O F G A R M E N T S , T H E C O LO U R PA L E T T E A N D M AT E R I A L S , P LU S T H E LO C AT I O N A N D A R T D I R E C T I O N F O R M Y S H O OT; T H I S O R G A N I S AT I O N W I L L K E E P M Y I D E A S O N T R A C K A N D P R E V E N T M E F R O M G O I N G O F F O N A TA N G E N T. T H I S O R G A N I S AT I O N W I L L A L S O H E L P I N K E E P I N G C O N S I S T E N C Y A C R O S S B OT H T H E E D I TO R I A L A N D C O M M E R C I A L PA R T S O F T H E P R OJ E C T. THIS CONSISTENCY WILL BE KEPT BY THE GARMENTS FROM THE EDITORI A L I M A G E S B E I N G D I S P L AY E D I N A M O C K- U P O F Z A R A’ S O N L I N E S TO R E , A N D T H R O U G H T H E W E B S I T E M O C K U P S R E S E M B L I N G Z A R A’ S TO A G R E AT E X T E N T. T H E S E M O C K- U P S W I L L B E C R E AT E D U S I N G W I X A S I A M T H E M O S T C O N F I D E N T W I T H U S I N G T H I S PA RT I C U L A R W E B S I T E B U I L D E R .

4

Figure 3 (Cover Page) Erin Morgan, Own Image.

Figure 3

Erin Morgan, Own Image.

1 .

Introduction

5

Figure 4

Look 05. Zara, Chasing The light, WOMAN, Spring Summer 19.

6

2. RESEARCH 

2.1 BRAND: ZARA Under the umbrella of Grupo INDITEX, Zara opened their first store in A Coruña, Spain back in 1975 and now operates over 2,200 stores across 96 markets. Zara’s strategy is to “offer cutting edge fashion at affordable prices” (Harbott, 2011) to their target demographic aged 18-34 who have a low-mid range income, majority of whom are female. The brand values their close customer relationship, putting them at the core of their unique business model which features quick design response to customer needs and upcoming trends. By creating approximately 12,000 styles per year through identifying a trend, producing garments and having them prepared for sale within thirty days; Zara meets the needs of its customers who have “an appetite to wear what’s new, chic and straight off the runway” (Winckel, 2013).

Zara stands out from its competitors due to the brands minimal advertising efforts and the use of its e-commerce platforms as its main form of advertising, displaying the majority of its content through images/ videos on their website and social [media]; thus embracing the brands ethos of ‘less is more’. Unlike its competitor brands who assumed online content could be produced quickly and cheaply, Zara invested in exceptional online and social content; using these e-commerce channels to not only sell products but to tell stories and portray the brands core values: beauty, clarity, functionality and sustainability. It is these core values that I am going to take into consideration when producing my fmp; looking at the portrayal of beauty and clarity through certain garments, materials, colour palette, location and art direction.

Due to Zara’s prominent international presence, the brand does not feel the need to use any advertising techniques that include broadcast media, high fashion magazines such as Vogue or any celebrity/ top model endorsement. This decision on Zara’s marketing approach derives from the belief that conventional advertising does not bring added value to their customer base (Tungate, 2005). Instead, they have created their own aesthetically pleasing world within their stores through strategic use of music, lighting and stylish in-store/ window displays.

Figure 5

Look 09. Zara, Chasing The light, WOMAN, Spring Summer 19.

2.1

Brand: Zara

7

2.2 WGSN: S/S 2020 TREND RESEARCH Although the focal garment of this fmp project is ‘the dress’, styling various other garments and accessories around the dress and aside from it, is important when producing a successful editorial look book. In order to achieve similar high fashion looks that Zara create within their online stories [look books], I have chosen 3 other suitable garments that have been predicted for SS20 by WGSN within their design development trend predictions for this season; these include trousers, knitwear and skirts.

Figure 6

WGSN, Design Devlopment S/S 20: Dresses

Figure 7

WGSN, Design Development S/S 20: Trousers, Shorts & Jumpsuits 8

Figure 8

WGSN, Design Development S/S 20: Skirts.

Figure 9

WGSN, Design Development S/S 20: Knitwear 2.2

W G S N : S / S 2 0 2 0 t R E ND r E S E ARC H

9

S/S20 Trend Research: The Dress As previously discussed in the Introduction section, ‘The Dress’ is the main focal point of the look book I will produce.

Within their Design Development journal for S/S 20, WGSN have predicted the popularity of multiple dress styles including the mini prairie, the sheer layer dress and the pleated maxi; these three styles all fit in with Zara’s core values of beauty and clarity due to the feminine connotations that arise from the silhouette, materials and colour palette.

The Prairie Dress

It is common fashion knowledge that each year during spring when the festival season is just around the corner, the bohemian theme re-evolves and floaty, lightweight, patterned materials become popular once again. WGSN have predicted the return of the Prairie dress for S/S 20 with its fresh look, mini & midi length, tiered panels and intricate details making the garment a key summer must have. The woven jacquard fabrics predicted will be used to give a subtle, homely texture

Figure 10

Louisa Dje (Instagram), The Prairie Dress.

The Pleated Maxi

WGSN have also predicted the drop of the pleated maxi in summer 2020 for women and young women, perfectly fitting with Zara’s target demographic in which my look book will be aimed at. The tiered A-line shape of the garment is a perfect go to for summer occasion wear with the pleating emphasising the romantic ruffles and tiers and the semi-sheer chiffon materials offering lightness and daintiness.

Figure 11

WGSN, The Pleated Maxi.

The Sheer Layered Dress

The sheer layer dress is predicted to drop in spring 2020.

With lightweight chiffon materials forming the opportunity to create both tulle layers and layered styles without the heaviness due to the season. WGSN have predicted the sheer layer dress to be styled over shift dresses to create a veiled effect or styled to add depth with printed underlays.

Figure 12

Vogue Portugal, The Sheer Layered Dress.

10

S/S20 Trend Research: Trousers WGSN have predicted multiple styles of trousers, shorts and jumpsuits in their design development for S/S 20, multiple of which fit perfectly with the feminine style I will be creating throughout the look book.

The wrap waist and cropped paperbag trouser are the perfect holiday pants with the linen, cotton and tencel blends offering both lightweight yet volumising fabrics.

These trousers show both comfort and style, drawing attention to the waist through draping and gathering; when paired with cropped lengths, the two styles emphasise the feminine physique.

Figure 13

WGSN, The Cropped Paperbag Trouser.

Figure 14

Boden, The Cropped Paperbag Trouser.

Figure 15

WGSN, Drape and Flare Skirt..

S/S20 Trend Research: Skirts A variety of different style skirts have been predicted for women and young women in S/S 20 by WGSN. These include the sarong skirt which, similar to the wrap waist trousers, emphasise the waist through the material wrapping and draping. Similar to the sheer layer dress, is the predicted sheer-layer skirt which WGSN assume will be style over a mini skirt or slip dress and will have floral print; and also the predicted tiered maxi skirt which is similar to the tiered max dress. The fluted pencil skirt is also predicted, having evolved with drop hems and flared fluting, producing unusual trims and made from viscose to allow a lightweight drape. In line with this asymmetric silhouette is the drape & flare skirt, made from cotton poplin, the creative side plume on a midi skirt is created with a drawstring.

Figure 16

Solace London, Fluted Pencil Skirt.

2.2

W G S N : S / S 2 0 2 0 t R E ND r E S E ARC H

11

S/S20 Trend Research: Knitwear For S/S 20, WGSN have predicted multiple garments of knitwear that have been recreated to be suitable for the seasons weather. Fitting in with the dress as the focal garment, in particular the pleated maxi dress; WGSN have predicted the knitted halter neck dress which creates a unique style with the pleats and fitted waist emphasising an elegant, feminine silhouette. Sticking with femininity, the predicted knitted A-line top is relaxed yet pretty with boat & mock necks, ruffled sleeves and pointelle stitching on the body. The plated rib vest is also predicted for S/S 20 and is particularly suitable to get consumers festival-ready. Although this garment is viewed as sports/ leisure wear, the ribbed material and ruffled peplum style offer girly vibes. This garment also offers layering opportunities when styling, e.g. over a puff ball sleeve prairie dress to make the torso look smaller.

Figure 17

Figure 18

WGSN, The Knitted Maxi Dress.

12

WGSN, The Knitted A-line.

ďťż

Figure 19

WGSN, Co-ordinated Separates.

2.3 WGSN S/S 20 : COLOUR PALETTE, PATTERNS & ACCESSORIES RESEARCH

Figure 20

WGSN, Designing Emotion Colour Palette.

Figure 21

WGSN, Eckhaus Latta.

For colour palettes, patterns and accessories in S/S 20, WGSN have predicted the theme of Designing Emotion; this theme reveals how combining craftsmanship and technology can turn everyday garments into everyday staple pieces. Sustainable textures include bamboo and straw, thus causing the return of traditional craft techniques allowing accessories such as bags to be created in sculptural forms. The colour palette for Designing Emotion “offers contempoFigure 22 rary updates on a range of pastels” (WGSN, WGSN, Super Yaya.

2018), which will set the colour palette for the clothing I will be styling. These pastel colours are sandwiched between neutral tones and warm brown tones, which highlight the colours of the sustainable materials Figure 23 WGSN, Girard Studio. used to create the unique bags mentioned previously.

Under the theme of Designing Emotion, WGSN have predicted the arrival of patterns and prints which discover the connection between craft and nature. These patterns and prints will explore “soft vintage prints, organic shapes and stripped-back patterns,” (WGSN, 2018). The predicted prints are particularly diverse with scenic and geometric prints offering an alternative to florals with these authentic styles producing a faded 1970’s themed palette. Under the Designing Emotion theme are sub-themes for patterns and prints, the few that have influenced my ideas for my fmp look book include Barely-There Blooms, Crafted and Reshaped. Barely-There Blooms will use subtly tactile florals to update minimalistic collections with a timeless appeal, whilst the prediction of Crafted patterns will highlight the floral nature inspiration through embellishment and lace. On the other hand, away from florals are the geometric patterns of the predicted Reshaped sub-theme; this will see the resurgence of abstract shapes, bold colour prints and large scale patterns.

2.3

W G S N s / s 2 0 : c o lo u r Pa l e t t e , Pat t e r n s & A c c ess o r ies Rese a r c h

13

Figure 25

Miyerh, Very Common Very Enough.

Figure 24

WGSN, Queit Comfort. Loeil.

Figure 26

Fragmentario, Anatto Dyed Scarf.

Accessories: Quiet Comfort

Figure 27

WGSN, Mujerhoy.

For Footwear and Jewellery S/S20, WGSN have forecasted the sub-theme of Quiet Comfort under their Designing Emotion theme. Predicted within this sub-theme are “familiar and comfortable items that are elevated for the contemporary market” using materials such as linen and vegetable-tan leathers in neutral tones that are used contrastingly to create depth. Predicted accessories include slipper heels and bucket bags which offer traditional elegance and fit well within the S/S season due to their transitional style; thus making these accessories greatly suited to the styling I will be producing.

14

Figure 28

WGSN, Missoni.

Figure 29

WGSN, Elle Australia.

Figure 30

WGSN, Sophie Buhai, hair Collection.

Accessories: Ephemeral Romance

Figure 31

Max Mara, Resort 19.W

Another predicted sub-theme for this season is Ephemeral Romance; this theme has inspired me the most in the styling ideas I have produced and will be bringing to life. WGSN have forecasted the use of pleated and corrugated effects in soft leather bags and footwear to create a relaxed look and add volume. The palette consists of delicate, soft pastel colours including lilacs, baby pinks/blues and pale yellows; when paired with a pearlised finish and added to jewellery and hair accessories, these colours create nostalgic feminine references.

2.3

W G S N s / s 2 0 : c o lo u r Pa l e t t e , Pat t e r n s & A c c ess o r ies Rese a r c h

15

2.4 PHOTOGRAPHERS, STYLISTS AND ART DIRECTION

"Just like fashion by its very nature, meanings associable with fashion are abstract and diverse.

But images give them forms and weight that make ideas easier to envision and feel."

- Vict:onary, 2011.

Opposite Page Figure 32-35 16

Claire Harrison, Photographer. Bird of a Feather. 

32.

33.

Claire Harrison (Photographer)

34.

2.4

35.

P h o t o g r a phe r s , S t y l is t s a n d A r t Di r e c t i o n Rese a r c h .

17

36.

Petra Collins (Photographer)

37.

Figure 36 & 37

Petra Collins, Vogue.

18

ďťż

38.

Jodie Nellist (Stylist)

39.

Figure 38 & 39

Jodie Nellist, Neutrals.

2.4

P h o t o g r a phe r s , S t y l is t s a n d A r t Di r e c t i o n Rese a r c h .

19

40.

Figure 40 & 41

Ursula Lake, Art Director.

Ursula Lake (Art Director) 41.

20



Figure 42 & 43

Adelaide Turnbull, Secret Garden.

42.

Adelaide Turnbull (Art Director)

43.

2.4

P h o t o g r a phe r s , S t y l is t s a n d A r t Di r e c t i o n Rese a r c h .

21

2.5 RESEARCH: COMPETITOR LOOKBOOKS

44.

45.

47.

46.

Figure 44-47

H&M, A Printed Summer Romace.

22



H&M: A Printed Summer Romance H & M H AV E A S I M I L A R F E M A L E TA R G E T D E M O G R A P H I C A S Z A R A D O, TA R G E T I N G W O M E N A G E D 1 5 - 3 0 B Y O F F E R I N G H I G H FA S H I O N AT LO W P R I C E S TO WA R D S G E N E R AT I O N Y, W H O A R E V I E W E D A S B E I N G “A M B I T I O U S W I T H H I G H B U Y I N G P O W E R ” ( D E L I R I U M , P. N . D ) . T H I S D E M O G R A P H I C V I E W S S H O P P I N G A S A S O C I A L A C T I V I T Y T H AT T H E Y E N J O Y, O F T E N S H O P P I N G AT M U LT I P L E S T O R E S I N O N E TRIP AND PURCHASING NEW ITEMS OF CLOTHING EACH SEASON TO ENSURE T H E Y A R E U P TO D AT E W I T H T H E L AT E S T T R E N D S .

H & M P R O M OT E T H E I R P R O D U C T S T H R O U G H FA S H I O N A B L E C A M PA I G N S , F O R E X A M P L E , T H E I R ‘A P R I N T E D S U M M E R R O M A N C E ’ C A M PA I G N F R O M S / S 1 8 . T H I S C A M PA I G N I S S U I TA B L E F O R M E TO D R AW I N S P I R AT I O N F R O M A S I T R E F L E C T S T H E ‘ B A R E LY T H E R E B L O O M S ’ A N D ‘ R E S H A P E D ’ P AT T E R N S P R E D I C T E D B Y W G S N F O R S / S 2 0 , B E I N G S T Y L E D A N D S H OT I N A N E D I TO R I A L M A N N E R TO P O RT R AY T H E D R E A M Y, C H I C S U M M E R S T Y L E ; S I M I L A R T O T H E D R E A M Y, F E M I N I N E S U M M E R S T Y L E I A I M TO P O RT R AY I N M Y O W N I M A G E S .

I H A V E N O T O N LY B E E N I N S P I R E D B Y T H E S T Y L I N G I N T H E S E I M A G E S , B U T B Y T H E LO C AT I O N A N D A R T D I R E C T I O N . T H E F LO R A L S U M M E R G A R D E N R E F L E C T S N AT U R A L B E A U T Y A N D P R E T T I N E S S ; D U E TO T H E M O D E L B E I N G D R E S S E D I N F LO R A L PAT T E R N S A N D P L A C E D W I T H I N T H I S S E T T I N G , I T C O U L D B E A R G U E D T H AT S H E I S A PA R T O F N AT U R E A N D T H E B E A U T Y T H AT I T B E H O L D S . I A M O F T H E O P I N I O N T H AT T H E S E I M A G E S W H E R E TA K E N D U R I N G G O L D E N H O U R D U E TO T H E C A R E F U L P O S I T I O N I N G O F T H E M O D E L TO C R E AT E S H A D O W S T H AT H I G H L I G H T H E R F E M I N I N E F E AT U R E S . T H E S E S H A D O W S A L S O C R E AT E D E P T H W I T H I N T H E I M AG E W H E N PA I R E D W I T H T H E D E P T H O F F I E L D P H OTO G R A P H Y F E AT U R E , M A K I N G T H E I M A G E LO O K 3 - D I M E N S I O N A L .

2.5

Rese a r c h : C o m pe t i t o r L o o k B o o k s

23

Uniqlo: Spring & Summer 2019 U N I Q L O I S A B R A N D T H AT P R I D E S I T S E L F O N B E I N G “ M A D E F O R A L L” A N D T H E R E F O R E N OT H AV I N G A TA R G E T D E M O G R A P H I C ; H O W E V E R , A C U S TO M E R P R O F I L E C R E AT E D F O R T H E B R A N D S H O W S T H AT T H E M O S T P O P U L A R I N T E R E S T I N U N I Q LO C U S TO M E R S I S A P PA R E L A N D FA S H I O N . T H E B R A N D S M A I N F O C U S I S TO M A S S P R O D U C E A F FO R DA B L E BA S I C S I N A VA R I E T Y O F CO LO U R S C AU S I N G S O M E P E O P L E TO C A L L I T “J A PA N ’ S A N S W E R TO G A P ” ( D U R I S I N , M . 2 0 1 3 ) .

A C C O R D I N G TO F O R B E S ( 2 0 1 2 ) , U N I Q LO I S T H E F O U R T H L A R G E S T R E TA I L E R B E H I N D G A P, H & M A N D I N I D I T E X , T H U S T H E R E F O R E C A U S I N G Z A R A T O B E O N E OF THE BRANDS MAIN COMPETITORS. S I M I L A R TO Z A R A , T H E B R A N D C R E AT E S O N L I N E LO O K B O O K S F O R I T S C O N S U M E R S TO S E E S TA P L E G A R M E N T S A N D H O W T H E Y A R E S T Y L E D . F O R T H E I R S / S 1 9 LO O K B O O K , U N I Q LO S H OW O F F T H E I R “ M O S T A M B I T I O U S PA L E T T E TO D AT E ” ( U N I Q LO, N . D . ) W I T H T H E C O M B I N AT I O N O F D E E P S AT U R AT E D E A R T H TO N E S A N D T I N T E D H U E S O F F E R I N G A P L AY F U L A S P E C T. T H I S PA L E T T E R E F L E C T S T H E N E U T R A L A N D WA R M B R O W N TO N E D PA L E T T E T H AT W G S N H AV E P R E D I C T E D F O R S / S 2 0 , S H O W I N G T H AT T H I S C O LO U R PA L E T T E W I L L T R I C K L E D OW N I N TO T H E N E X T Y E A R ; H E N C E T H E R E A S O N I H AV E S T U C K W I T H T H E S E TONES WHEN CHOOSING ACCESSORIES TO STYLE MY OWN IMAGES. A LT H O U G H I W I L L N O T S T Y L E M Y C H O S E N G A R M E N T S S I M I L A R T O H O W T H E B R A N D S T Y L E S I T S G A R M E N T S A R O U N D A J A PA N E S E S T R E E T- S T Y L E I M AG E , T H E I M AG E S F R O M T H I S LO O K B O O K ( S E E N O N T H E R I G H T ) H AV E I N S P I R E D M E WHEN STYLING AND SHOOTING MY OWN IMAGES DUE TO HOW THE BRAND C H O O S E S G A R M E N T S O F O N E PA RT I C U L A R C O LO U R ; S T Y L E S T H E M I N WAY S T H AT M A K E T H E M T H E F O C A L P O I N T O F T H E I M A G E . T H E A C C E S S O R I E S S E E N I N T H I S I M A G E S I . E . T H E S T R A W S U N H AT, PA I R E D W I T H T H E P R E D I C T I O N O F S U S TA I N A B L E M AT E R I A L S F O R A C C E S S O R I E S F R O M W G S N H A S G AV E M E T H E I N S P I R AT I O N TO F I N D A C C E S S O R I E S O F S I M I L A R M AT E R I A L S B U T U N U S U A L S H A P E S , S T I C K I N G W I T H T H E N E U T R A L CO LO U R PA L E T T E .

24

Figure 48-51

Uniqlo: Spring & Summer 2019.

48.

49.

50.

51.

2.5

Rese a r c h : C o m pe t i t o r L o o k B o o k s

25

52.

53.

54.

55.

Figure 52-55

Pull and Bear: Instant Paradise S/S 19.

26

ďťż

Pull and Bear: Instant Paradise S/S 19 A LT H O U G H I T C O U L D B E A R G U E D T H AT P U L L A N D B E A R I S N O T A C O M P E T I T O R OF ZARA DUE TO THEM BOTH BEING BRANDS UNDER THE INDITEX NAME, IT I S C L E A R T H AT T H E B R A N D C R E AT E S AT L E A S T A S M A L L A M O U N T O F C O M P E T I T I O N D U E TO I T S TA R G E T D E M O G R A P H I C , G A R M E N T S A N D H O W T H E S E G A R M E N T S A R E S T Y L E D . P U L L A N D B E A R S TA R G E T D E M O G R A P H I C A R E E D U C AT E D A D O L E S C E N T S A N D Y O U N G A D U LT S , T H I S D E M O G R A P H I C M A K E S U P H A L F O F Z A R A’ S TO O. T H E S E C O N S U M E R S A R E FA S H I O N S AV V Y Y E T V E RY C O N S C I O U S O F P R I C E , T H E R E F O R E T H E B R A N D N E E D TO K E E P U P TO D AT E W I T H T R E N D S A N D O F F E R T H E M AT A F F O R D A B L E P R I C E S W H I L S T S TAY I N G C O N S C I O U S O F T H E I R FA S H I O N A B L E B R A N D I M AG E .

S I M I L A R T O Z A R A , P U L L A N D B E A R P R O D U C E T H E I R L O O K B O O K S D I G I TA L LY A N D H AV E T H E I R C A M PA I G N S O N L I N E , U S I N G T H E I R OW N W E B S I T E P LU S S O C I A L M E D I A P L AT F O R M S S U C H A S FA C E B O O K , I N S TA G R A M A N D YO U T U B E . T H I S I S D U E T O T H E I R TA R G E T D E M O G R A P H I C B E I N G T E C H N O L O G I C A L LY A D E P T A N D E N T W I N E D I N T H E S O C I A L M E D I A / D I G I TA L A G E . T H E B R A N D S O N L I N E LO O K B O O K S A R E L AY O U T I N A S I M I L A R F O R M AT TO Z A R A’ S W I T H I M A G E S A P P E A R I N G F R O M D I F F E R E N T D I R EC T I O N S A S T H E U S E R S C R O L L S D OW N T H E PAG E .

T H E S E LO O K B O O K S A L S O C O N TA I N A M I X O F I M A G E S , G I F S A N D V I D E O S , T H I S VA R I E T Y O F CO N T E N T W I L L K E E P T H E U S E R E N G AG E D A S O P P O S E TO I F I T W E R E J U S T I M A G E S . T H I S I S S O M E T H I N G I W I L L TA K E I N TO C O N S I D E R AT I O N WHEN PRODUCING MY OWN WORK. P U L L A N D B E A R S I N S TA N T PA R A D I S E S / S 1 9 LO O K B O O K S H O W S T H E I R G A R M E N T S S T Y L E D I N A W AY T H AT P R O D U C E S T R E N D Y, S U M M E R Y B E A C H V I B E S , A LO O K I W I L L T R Y TO C R E AT E W I T H I N M Y O W N W O R K . A G A I N , T H E N E U T R A L CO LO U R PA L E T T E P R E D I C T E D BY WG S N C A N B E S E E N W I T H I N T H I S CO LO U R PA L E T T E Y E T I T I S PA I R E D W I T H T H E C O N T E M P O R A R Y U P D AT E D PA S T E L S T H E Y PREDICTED TOO; SIMILAR TO THE STYLING IN THIS LOOK BOO, I WILL COMBINE B OT H T H E S E C O LO U R PA L E T T E S T H R O U G H C R E AT I N G C H I C , F E M I N I N E LO O K S W I T H PA S T E L PA L E T T E C LOT H I N G A N D E A RT H TO N E D ACC E S S O R I E S . T H E G A R M E N T S I N T H I S LO O K B O O K S H O W H O W C E R TA I N S T Y L E S W I L L T R I C K L E D O W N I N TO S / S 2 0 , I . E . T H E M A X I D R E S S A N D B R I G H T K N I TS , B OT H O F W H I C H H AV E BEEN PREDICTED BY WGSN IN THEIR S/S 20 DESIGN DEVELOPMENT REPORTS.

2.5

Rese a r c h : C o m pe t i t o r L o o k B o o k s

27

2.6 RESEARCH: ZARA PAST LOOKBOOKS Dress Up! Spring-Summer trf 2019 56.

57.

58.

28

Figure 56-59 Zara, Dress Up!

59.



The Summer Dress, Spring-Summer 2019 60.

61.

Figure 60-63

Zara, The Summer Dress.

63.

62.

2.6

Rese a r c h : z a r a p a s t l o o k b o o k s

29

Chasing the Light, Spring-Summer Woman 2019 Figure 64-67

30

64.

65.

66.

67.

ďťż

Zara, Chasing the Light.

A S P R E V I O U S LY M E N T I O N E D , Z A R A D I F F E R S G R E AT LY F R O M I T S C O M P E T I T O R S ON AN ADVERTISING LEVEL DUE TO ITS LACK OF PRESENCE IN BROADCAST ME D I A A N D FA S H I O N M A G A Z I N E S . I N S T E A D T H E B R A N D R E A C H E S T H E I R TA R G E T D E M O G R A P H I C B Y F O L L O W I N G T H E I R E T H O S O F ‘ L E S S I S M O R E ’, P R O D U C I N G O N L I N E C O N T E N T F O R T H E I R E - C O M M E R C E A N D S O C I A L M E D I A P L AT F O R M S .

T H I S I N C LU D E S T H E O N L I N E LO O K B O O K S O R ‘ S TO R I E S ’ T H AT T H E Y C R E AT E FOR THEIR WEBSITES WHICH SHOW EACH NEW COLLECTION THROUGH TELLING A S T O R Y V I S U A L L Y ; F O R E X A M P L E , T H E I R ‘ D R E S S U P ! ’, ‘ T H E S U M M E R D R E S S ’ AND ‘CHASING THE LIGHT’ STORIES. T H E ‘ C H A S I N G T H E L I G H T ’ S TO R Y H A S B E E N M Y M A I N I N S P I R AT I O N W H E N P R O DUCING THE IDEAS FOR THIS PROJECT AND CARRYING IT OUT DUE TO EACH A S P E C T O F T H E L O O K B O O K R E F L E C T I N G B E A U T Y, C L A R I T Y A N D F E M I N I N I T Y. T H E LO C AT I O N O F T H E S H O OT F O R T H I S S TO R Y C A P T U R E D M Y AT T E N T I O N F I R S T W I T H T H E FA R M / C O U N T RYS I D E S E T T I N G I N S P R I N G R E F L EC T I N G C O N N OTAT I O N S O F F R E S H N E S S A N D N E W L I F E , T H I S G AV E M E T H E I D E A TO S H O OT M Y P R O J E C T I N T H E PA R K D U R I N G G O L D E N H O U R O N A B R I G H T S P R I N G D AY, T Y I N G I N W I T H T H E S / S 2 0 S E A S O N M Y P R OJ E C T I S F O R . T H E C O N N OTAT I O N O F FRESHNESS CAN BE SEEN IN THE MODELS MINIMAL MAKEUP AND HAIR WHICH H I G H L I G H T H E R T R U E B E A U T Y A N D F E M I N I N E F E AT U R E S ; T H E S E F E AT U R E S A R E P H Y S I C A L LY H I G H L I G H T E D B Y T H E S U N D U E T O C L O S E U P I M A G E S B E I N G A R G U A B LY TA K E N D U R I N G G O L D E N H O U R . I W I L L P R O D U C E S H O T S S I M I L A R TO THE CLOSE UP SHOTS OF THE EMBELLISHED GARMENTS AS MANY OF THE M AT E R I A L S I W I L L B E S T Y L I N G H AV E I N T E R E S T I N G D E S I G N S A N D T E X T U R E S , I . E . P L E AT I N G , K N I T T E D, T H I S W I L L G I V E VA R I E T Y TO T H E I M A G E S A S O P P O S E T O H A V I N G S O L E LY B O D Y S H O T S . T H E A R T D I R E C T I O N I N T H E S E I M A G E S I S V E R Y S I M P L I S T I C Y E T E F F E C T I V E , I T I S S O L E LY T H E M O D E L A N D T H E L O C AT I O N W I T H B A R E LY A N Y P R O P S ; I N M Y O P I N I O N , T H I S S I M P L I C I T Y K E E P S T H E I M A G E S LOOKING CLEAN AND FOCUSED ON THE GARMENTS BEING STYLES. Z A R A’ S ‘ D R E S S U P ! ’ S TO R Y I S O N E T H AT R E P R E S E N T S S U M M E R C H I C I N A J U N G L E I N S P I R E D S E T T I N G , C O M B I N I N G PA L E P I N K S A N D B O L D PAT T E R N S W I T H A V E R Y G R E E N , L E A F Y LO C AT I O N . I H AV E B E E N I N S P I R E D B Y H O W Z A R A S T Y L E A N D S H O OT T H I S S E A S O N S A C C E S S O R I E S I N T H I S S H O OT, PA I R I N G S U N G L A S S E S WITH A BEACH SHELL GLASSES CHAIN TO PRODUCE A SIMPLE YET EDITORIAL L O O K . T H E S T O R Y O F ‘ T H E S U M M E R D R E S S ’ F I T S P E R F E C T LY W I T H M Y I D E A T O H AV E D R E S S E S A S T H E M A I N G A R M E N T I N M Y P R OJ E C T. T H I S S TO R Y S H O W S V A R I O U S D R E S S E S B E I N G S T Y L E D I N A S I M P L I S T I C M A N N E R T O S U I T M U LT I P L E D I F F E R E N T S O C I A L S I T U AT I O N S A N D L O C AT I O N S ; A LT H O U G H I W I L L N O T B E S H O OT I N G AT D I F F E R E N T LO C AT I O N S , I P L A N TO S H O OT AT D I F F E R E N T PA R T S O F T H E PA R K I . E . BY T H E L A K E / C A S T L E / F LOW E R G A R D E N , C H O O S I N G W H I C H D R E S S S U I T S E A C H LO C AT I O N T H E M O S T. T H E S E O N L I N E LO O K B O O K S A L S O I N C LU D E G I F S A N D S H O R T V I D E O S T H AT P L AY O N R E P E AT, E I T H E R B E H I N D T H E I M A G E S O R A S A PA R T O F T H E I M A G E L AY O U T. T H E U S E O F T H I S M E D I A G I V E S VA R I A N C E A N D H O L D S T H E A U D I E N C ES INTEREST FOR A LONGER AMOUNT OF TIME. WHEN SHOOTING MY IMAGES, I P L A N TO U S E M Y P H O N E TO C R E AT E S H O R T V I D E O S T H AT I W I L L C O N V E R T I N TO GIFS USING EITHER A GIF MAKER APP OR IMOVIE.

2.6

Rese a r c h : z a r a p a s t l o o k b o o k s

31

Figure 68

Erin Morgan, Own Image.

3. DESIGN DEVELOPMENT 32



(EDITORIAL)

Figure 75

Mint Velvet, Lilac Pleated Skirt.

3.1 EDITORIAL MOOD BOARDS Colour Palette, Textures and Materials The main inspiration for each part of this mood board has come from WGSN’s predictions for S/S 20. The colour palette I have created reflects the updated array of pastels and neutral earthly tones WGSN have predicted under their ‘Designing Emotion’ theme.

78.

Figure 76

Blinds-2go, English Oak Blind.

Figure 77

Zazzle, Lilac Animal Print.

Figure 78

Fabric Mart, Pink Floral Lace.

Figure 79

Amazon, Blue Knit.

Figure 80

Free Pik, Blue Water Colour.

69.

75.

70.

79.

71.

76.

72.

73.

74.

Figure 69-74

80.

77.

Not only do these pastels have girlish connotations, when paired with the earthly tones they suit both the S/S season and the bright park location where my shoot will take place. The inspiration for the chosen materials and patterns seen here has come from the WGSN design development of garments predicted for S/S 20. Through styling these materials (wool, pleated sheer e.g.) together through layering them and patterns, I will create texture and depth within the images.

Pantone.

3.1

Editorial Mood Boards

33

Styling: Garments and Accessories

83.

81.

82.

84.

88.

86.

85.

89.

87.

90.

34

ďťż

94.

91.

92.

95.

93.

Within these 3 mood boards I have begun to plan and put together garments and accessories that I will style my model in for the editorial shoot of this project. This styling has been influenced by both the predicted styles of WGSN and the research I have done into Zara and other brands look books, as well as stylists. The second and third mood boards seen here have mostly been influenced by Zara’s ‘Chasing the Light’ campaign, with white and pastel coloured garments being styled with straw/wooden accessories to create a minimalistic style, yet one that will be portrayed editorially due to the location and art direction these outfits will be combined with.

The combination of floaty materials and dresses, paired with wooden / straw woven accessories has come from the stylist Jodie Nellist in her ‘Neutrals’ campaign (Figures 38 & 39) ; here Nellist pairs white and cream garments with earthly toned accessories and props to create a minimalistic yet effective campaign that serves femininity and cleanliness. Photographer and Stylist Petra Collins has inspired the hair accessories I plan to style (Figure 86) within her vogue campaign (Figure 36 & 37) as I feel these accessories look very soft and delicate when shot correctly and paired with the correct garments.

Figure 81

Figure 86

Figure 91

Figure 82

Figure 87

Figure 92

Lucy Rose, Lilac Neck Tie. Xpress Buy, Bamboo Bag.

Figure 83

Zara, Pleated Dress.

PLT, Gold Leaf Headband.

Figure 88

Pixel Scapper, Pink Glitter Splat. Primark, Pearl Drop Earrings.

Figure 84

Figure 89

Figure 85

Figure 90

Zara, Embroidered Dress.

Asos, Fringed Hem Top.

Figure 93

New Look, Woven Floppy Hat.

Figure 94

New Look, Pink Glitter Body Suit. Pixel Scrapper, Blue Glitter Splat. Pixcel Scrapper, AutumnArt. New Look, Blue Pleated Skirt.

3.1

Miss Selfridge, Tan Sandals.

Figure 95

Asos, Woven Flat Sandals.

Editorial Mood Boards

35

97.

Art Direction, Location and Props 96.

98.

100.

99.

101.

36



This mood board involves indeas and inspiration that I have had for the art direction, location and props for the editorial shoot in my fmp.

As S/S 20 is the season that I will be shooting for, I plan to carry out the shoot in Roundhay park, Leeds. As glimmers of spring are slowly creeping through with spouting daffodils and golden hour evenings, this location will provide me with the opportunity to tell the story of freshness and femininity. The inspiration for this location has come from Zaras ‘Chasing the Light’ story, Adelaide Turnbull’s ‘Secret Garden’ campaign and Clare Harrisons ‘A Bird of a Feather Campiagn’; all of which reflect beauty and clarity through being shot on location in a floral garden of some sort. After consideration and research, I have decided to not use any props due to the potential of making the image look untidy and the props looking out of place, I feel like this untidiness could be caused by the already busy location and the amount of things there will be to look at in the frame of the image; i.e. greenery, the lake, flowers.

As I have only worked in the studio on past projects, I have the potential worry of not creating effective art direction on location. By looking at the work of Turnbull and Harrison and seeing how they have modelled garments similar to those that I have chosen(Figures 96-98), I have been inspired to take images where you can see movement within the garment. I will achieve this by having the model spinning when wearing flowing garments of clothing, shooting the material as she twirls and also by having the model sat/lay down to capture how the lines of the chosen pleated garments flow.

Zara’s ‘Chasing the Light’ story has inspired me to take images both inside and outside on location to add variance to the shot, these images do not have to be taken inside completely but potentially in abandoning buildings/out buildings; all of which will still be relevant to the theme and style in question. The close up shots taken of buildings/scenery in this story is something that I will also do, I am of the opinion that it makes the viewer feel a part of the story and almost takes them to the location in a

Figure 96 & 97

ATurnbull, Secret Garden.

Figure 98

C Harrison, Bird of a Feather.

Figure 99

Gardenia, Daffodil Types.

Figure 100

Zara, Chasing the Light Plants.

Figure 101

Zara, Chasing the Light Gif. 3.1

Editorial Mood Boards

37

3.2 EDITORIAL PRACTISE SHOTS

3.1 EDITORIAL

I had issues with the lighting of my images at first due to the camera being set up to suit the studio lighting the previous day; However, these issues were resolved by firstly lowering the ISO of the camera so that the lense was letting in less light; this also prevented the images from looking grainy. As it was evening and the natural lighting was constantly changing, I set the camera to automatic settings so I could save time between taking images and did not need to constantly adjust the settings. However, as it began to get darker and I was taking images under shelter such as trees, I was in need of using the flash yet I could not seem to get the images to stop looking grainy. Unfortunately, this happened each time I used the Flash regardless of what ISO setting I set and I therefore couldn’t achieve the images I was aiming for and had to change plans.

Figure 102 - 104

Erin Morgan, Own Image.

38

ďťż

L MOOD BOARDS As multiple of the images were shot during golden hour, I struggled to carefully place myself at the right angle to achieve the image I wanted as my shadow was continuously in the image (seen above). I took many of these images at several different angles, even waiting for the sun to move around to see if that help, however it did not. I was of the opinion that I could edit my shadow out of the images using Photoshop, potentially the clone stamp tool yet this proved to be difficult due to the flowerbed in the background.

Due to the location of the shoot and the nice weather, there was a lot of people around who kept walking into the images. This could not be helped therefore me and my model had to wait for people to pass by, or move locations. Due to this, I lost opportunities in terms of good location and natural lighting. This issue could not be resolved as if I was to shoot at an earlier, less busy time of day I would not have been able to achieve the golden hour lighting needed and the nice weather.

Figure 105 & 106

Erin Morgan, Own Image.

3.1

Editorial Mood Boards

39

3.3 EDITORIAL IMAGES: BEFORE & AFTER Before

After

Figure 107 & 108 Erin Morgan.

This image was captured during golden hour to create warm tones within the image. With the model facing directly towards the sun, the sunlight was able to highlight facial features such as the tip of her nose and chin; it also allowed the sunhat to cast shadows across her face giving the image a more 3-dimensional edge and her features to be well defined whilst the sunlight is still flattering.

I captured this image by setting the white balance on my camera to ‘cloudy’ and shooting with a wide aperture, I took multiple images in this position due to the sun moving and the lighting changing every couple of minutes. To warm the natural hues within the image, I lowered the brightness to -30 and upped the contrast to +20 using Adobe Photoshop, I also upped the saturation to +10.

Using this CAD software, I edited the models skin; due to her facing directly towards the sunlight, imperfections such as blemishes on her skin were shown quite prominently. I smoothed the models skin using the spot healing brush tool and used copy layer & invert > vivid light > high pass = 24 > Gaussian blur = 3 > create mask > select brush tool & paint over where you want to smooth > opacity 75%.

40

Figure 109 & 110 Erin Morgan.

Before

After

This image was also taken during golden hour, however the model was positioned with her back facing away from the sun; thus creating a soft, glowing effect. The negative of this positioning was my own shadow interfering with the images as I was taking them, I tried standing in various different areas yet found this could not be avoided in order to capture the model at this angle. If I was to do this again, I would give myself time to capture multiple images as the sun was moving i.e. when it is higher/lower to see if I could avoid capturing my own shadow. In order to emphasise the warm tones created during golden hour, I slightly edited the image on Photoshop lowering the brightness to -5, raising the contrast to +10; as well as raising the saturation levels to +15 and lowering the lightness to -5. I also used the healing brush tool to remove the marks on the models legs caused by kneeling on the grass and the leg seam of her jeans; whilst doing this, I noticed the bobble around the models wrist. Although I tried using the clone stamp tool to edit out the bobble, I found it extremely difficult due to the angle of the models wrist; if I had more time with this project, I would aim to become greatly confident in using the clone stamp tool to remove complex areas such as this.

3.3

E d i t o r i a l I m a ges : B e f o r e & A f t e r

41

Figure 111 & 112

Erin Morgan, Own Image

Before

After

In this image I used Photoshop to lower the brightness to – 50 and raise the contrast to +60, as well as raising the vibrance to +55 and the saturation to +10. The depth of field in the image, paired with the daffodils facing opposite directions makes the image look almost 3-dimensional. Unfortunately, I could not get many images of other flowers which I wanted to do due to the time of year; however, as this look book is being created for S/S 20 I felt that the daffodil is a great representation of the beginning of spring and the warmer weather beginning.

In the image below I lowered the brightness to -30 and raised the brightness to +40, as well as raising the vibrance to +30 and the saturation to +12. Through editing the image I have been able to draw attention to the shadows created through pairing the unique bag with careful positioning in the sun.

After

Figure 113

Erin Morgan, Own Image 42

ďťż

Figure 114 & 115

Erin Morgan, Own Image

Before

After

In this image I used Photoshop to lower the brightness to -20 and raised the contrast levels to +30, I also raised the vibrance to 15 and the saturation to 29; I have raised these levels to brighten the image as it was rather dull due to the image being taken at evening time. I also used the healing brush tool to remove any imperfections from the models face. I am not 100% satisfied with how the images in this outfit came out due to the lighting which makes the models hand look a different colour to her face; I did not realise this until the shoot was over and I did not have time to complete another shoot due to cold/dull weather and time.

In the image below I lowered the brightness of this image to -35 and to raised the contrast to +40. I also reduced the hues of the image to -9 and the lightness to -10, whilst raising the saturation to +20; by doing this I have been able to make the blue within the image more prominent. The depth of field in this image, paired with the pattern on the garment adds depth to the image.

After

Figure 116

Erin Morgan, Own Image 3.3

E d i t o r i a l I m a ges : B e f o r e & A f t e r

43

Before

After

Figure 117 & 118

Erin Morgan, Own Image.

In this image I lowered the brightness to -10 and raised the contrast to +30; I also raised the vibrance to +20 and the saturation to +10. These alterations improved the colours in the image, making the blue, green and orange tones more prominent. As the model had a bruise on her arm, I had to use the spot healing tool to remove this as well as multiple blemishes. I am happy with how this image turned out with the sunset reflecting orange tones on the lake and the model being perfectly positioned so that the pearl earring hangs over the grass and stands out on the greenery.

I continued to edit the rest of my images for the editorial part of my fmp in this manner, editing the brightness, vibrance etc to brighten the images and emphasise the colours within them. Any imperfections of the models skin such as blemishes and bruises have been removed using the technique discussed on page 40. Multiple images needed the use of the clone stamp tool for small issues such as to hide tags left on the clothing.

44

ďťż

3.3

E d i t o r i a l I m a ges : B e f o r e & A f t e r

45

4. DESIGN DEVELOPMENT (COMMERCIAL)

4.1 COMMERCIAL MOOD BOARD

119.

46

122.

120.

121.



123.

The colour palette and chosen garments used for my commercial shoot are identical to those used in the editorial part of this fmp, therefore I felt no need to create mood boards based on this.

However, the mood board above focuses on Zara’s art direction of various garments including, dresses, pants and accessories. Zara turn out over several collections per year and release hundreds of new garments each season meaning their styling has to be quick and simple; yet you would not be able to tell from the commercial images on their website. Although these garments are commercially styled for a e-commerce platform, the art direction itself is extremely editorial with models holding crazy poses. These unique poses seem to be purposeful in showing off the garment, for example, you can see the images above containing dresses show the excess material and pleating of the dress through movement. When it comes to movement within images, Zara are not afraid of their models features or the garments being slightly blurred, thus adding even more movement to the images without the use of multimedia. Before heading into the studio to take my own images, I found similar garments on the Zara website and saved the images on my phone for art direction inspiration whilst in the studio. When gaining inspiration from Zaras art direction, I searched the internet and their online platforms to find their in house stylists and photographers as I was interested in seeing their work for other brands aside from Zara but unfortunately this information could not be found.

Through producing this research of Zara’s commercial styling, I have seen their website contains a flat lay of each individual product. This is something I could not produce due to the make shift studio I was using to shoot these commercial images, the lighting was not effective enough and I did not have any spotlights that could be used. Some images show the garment hanging, again I did not have anything that I could use to reproduce these images within the studio I was using; however, looking back I realise I could have potentially used the clothing rail and then removed the rail around the garment on Photoshop, although with this comes the risk of the images looking messy if not done perfectly.

Figure 119

Zara, Floral Printed Dress.

Figure 120

Zara, Raffia Hat.

Figure 121

Zara, Pleated Trousers.

Figure 122

Zara, Contrast Pleated Dress.

Figure 123

Pics Art, Glitter Sticker.

4 . 1 C o m m e r c i a l M o o d B o a r d

47

4.2 STUDIO SHOOT

Figure 124

Erin Morgan, Own Image.

Unfortunately due to the busy time of the semester, the large professional photography studio was not available, therefore I worked in the smaller studio. As this studio is in a large classroom, I was not cramped and had a large workspace for everything I needed for the shoot and it was extremely quiet with no distractions. However, I did encounter multiple issues in terms of lighting, the layout of the studio and what I was able to achieve.

Due to the studio being built inside a classroom that does not have heavy black out curtains, a lot of light was coming in and effecting the outcome of the shoots images; yet we managed to fix this issue through using sufficient artificial lighting. As the images being taken where for an online commercial platform, I chose to use spotlights with a white backdrop, suiting Zara’s existing commercial style. Through combining a white backdrop with 2 strong spotlights pointed towards the model, I was able to create an over exposed bright white background . Not only does this make the images look neat and clean, but also makes any future editing a lot easier. The only issue I had with the backdrop here was the white paper was at the end of the roll and bits of it was torn or marked, this is something I will edit out of my final images to neaten them up.

As mentioned previously, there was certain things I could not achieve in this studio such as flat lays, this was due to only having basic equipment and not enough lighting. I was also unable to drastically change the settings on the camera and lighting once the photography technicians had left me alone due to not having help on hand if needed and also having a short time slot in the studio.

48

ďťż

4.3 COMMERCIAL IMAGES: BEFORE & AFTER Figure 125 - 126

Erin Morgan, Own Image.

Before

After

Figure 127 - 128

Erin Morgan, Own Image.

For the majority of these images, I raised the brightness/contrast to 20 and the vibrance/saturation to 10 as I found this adjustment was suited throughout all of the images due to them being taken in the same studio with the same lighting. The only time I did not higher the vibrance and saturation was when I found the models skin to be looking a slight orange shade due to the studio lighting. With each of the up close shots of the material, I had to change the colour balance of the images to match the image to the correct colour of the garment: I think that this changed due to not enough light reflecting off the material as the lense was so close that it prevented it.

4 . 3 C o m m e r c i a l I m a ges : B e f o r e & A f t e r

49

Figure 129 - 130

Erin Morgan, Own Image.

Before

After

Figure 131 - 132

Erin Morgan, Own Image.

Due to the model having a few blemishes and spots on her chest and face, I used the spot healing tool to get rid of these; I find that this is the most time effective method and also doesn’t leave the models skin looking over edited. I also used this tool to rid of any bruising on the models arms and legs. This tool came in handy when editing the background of the images, as mentioned previously the white paper used had multiple holes in, marks and creases on; the spot healing tool aided me in getting rid of these issues and cleaned up the background in no time.

50

ďťż

Figure 133

Erin Morgan, Own Image.

5.

FINAL CONCEPTS

5 . Fi n a l C o n c ep t s

51

5.1 EDITORIAL

52



H TT P S : // E R I NCLAR E MOR G AN . W I X S I T E . COM / FM P E D I TOR I AL

5.1 Editorial

53

54



5.1 Editorial

55

5.2W COMMER-

56



H TT P S : // E R I NCLAR E MOR G AN . W I X S I T E . COM / FM P COMM E RC I AL

5 . 2 W COMM E RC I AL

57

58



5 . 2 W COMM E RC I AL

59

6.

CONCLUSION

I H A D A L AT E S TA R T TO T H I S P R OJ E C T D U E TO P E R S O N A L R E A S O N S A N D T H E N C H A N G I N G M Y I D E A O N M U LT I P L E O C C A S I O N S D U E T O M Y O R I G I N A L I D E A BEING WELL OVER THOUGHT AND IMPOSSIBLE TO CARRY OUT IN THE PERIOD O F T I M E T H AT I H A D . A L L O F T H E S E I D E A S H A D T H E T H E M E O F F E M I N I T Y AT T H E C E N T R E A N D T H A T I S W H Y I C H O S E Z A R A A S T H E B R A N D F O R M Y F M P. I T I S A B R A N D T H AT A LWAY S C O M E S TO M I N D W H E N T H I N K I N G O F R E TA I L E R S W H O P O R T R AY C L A R I T Y, B E A U T Y A N D F E M I N I N I T Y. T H E R E S E A R C H O F P R E D I C T E D T R E N D S T H AT F O L LO W E D S E T T H E G R O U N D R U N N I N G F O R T H I S P R OJ E C T. AFTER PRODUCING A LARGE AMOUNT OF RESEARCH OF GARMENTS, COLOUR P A L E T T E S , O T H E R P R O F E S S I O N A L S W O R K A N D L O O K B O O K S , I F I N A L LY C A M E U P W I T H T H E N A M E ‘A M I D S U M M E R N I G H T ’ S D R E A M ’ ; I T H O U G H T T H I S WA S B E S T S U I T E D A S I T H A S FA I R Y TA L E / S H A K E S P E A R I A N L I K E C O N N OTAT I O N S T H AT P O R T R AY M A G I C A N D B E A U T Y. R O U N D H AY PA R K T U R N E D O U T TO B E T H E P E R F E C T LO C AT I O N F O R M Y E D I TO R I A L S H O OT, W I T H T H E S U N N Y W E AT H E R P R O D U C I N G G R E AT N AT U R A L L I G H TI N G , P A R T I C U L A R LY F O R G O L D E N H O U R . T H E O N LY D O W N S I D E T O T H E G O O D W E AT H E R WA S T H E A M O U N T O F P E O P L E I N T H E PA R K AT T H E T I M E , H O W E V E R T H I S C O U L D N OT H AV E B E E N AV O I D E D . I F I WA S TO C R E AT E T H I S P R OJ E C T A G A I N , I W O U L D C H O O S E A M O R E P R I VAT E LO C AT I O N S U C H A S T H E G A R D E N S OF AN OLD MANOR HOUSE. I THINK THE EDITORIAL IMAGES I PRODUCED W H E R E E X T R E M E LY S U C C E S S F U L I N P O R T R AY I N G T H E S T O R Y O F ‘ A M I D S U M M E R NIGHT’S DREAM’ WITH THE FEMININE BEAUTY BEING HIGHLIGHTED THROUGH THE STYLING AND ART DIRECTION OF THE CLOTHING AND MODEL. A F T E R C A R R Y I N G O U T M Y C O M M E R C I A L S H O O T I W A S N O T E N T I R E LY H A P P Y W I T H T H E O U TCO M E O F M Y I M AG E S . T H I S WA S D U E TO H AV I N G TO U S E T H E S M A L L E R S T U D I O W H E R E T H E L I G H T I N G WA S N OT G R E AT D U E TO N AT U R A L L I G H T I N G , A N D T H E B A C K D R O P D I RT Y/ C R E A S E D . H O W E V E R , I C O N T I N U E D TO WORK WITH THESE COMMERCIAL IMAGES, CHOOSING THE MOST SUCCESSFUL AND USING PHOTOSHOP TO EDIT ANY INCONVENIENCES CAUSED. I AM EXT R E M E LY H A P P Y W I T H H O W T H E S E C O M M E R C I A L I M A G E S T U R N E D O U T I N T H E END, I BELIEVE THEY REPRESENT ZARA AS A BRAND BOTH THROUGH STYLING A N D A R T D I R E C T I O N . A S M E N T I O N E D E A R L I E R , T H E O N LY T H I N G I W O U L D H AV E A D D E D TO T H I S W O U L D B E F L AT L AY S A N D I M A G E S O F T H E G A R M E N T S FREE-HANGING .F I HAD THE OPPORTUNITY TO WORK IN THE LARGER STUDIO, I C H O S E TO U S E W I X A S M Y W E B S I T E B U I L D E R A S I H AV E U S E D I T S E V E R A L T I M E S I N T H E P A S T A N D F E E L F A I R LY C O N F I D E N T W O R K I N G W I T H I T. I F E E L T H AT T H I S C O N F I D E N C E I S R E F L E C T E D I N M Y M O C K- U P S W I T H T H E PA G E S T U R N I N G O U T A S P L A N N E D A N D T H O S E T H AT I H AV E C R E AT E D R E S E M B L I N G T H E Z A R A W E B S I T E A L M O S T I D E N T I C A L LY. H O W E V E R , U P O N P U B L I S H I N G M Y W E B S I T E I N OT I C E D T H AT T H E L I N K S TO T H E OT H E R PA G E S D I D N OT W O R K DUE TO ISSUES WITH THE HEADER OVER LAPPING SOME OF THE MEDIA. THE O N LY W AY T O R E S O LV E T H I S I S S U E W A S T O M A K E T H E H E A D E R M O V E W I T H T H E P A G E , U N F O R T U N AT E LY T H I S D I F F E R S F R O M T H E Z A R A W E B S I T E W H E R E T H E H E A D E R I S F R O Z E N A N D T H E M E D I A M O V E S A R O U N D I T. T H I S I S S O M E T H I N G I WILL CONTINUE TO RESEARCH A FIX FOR IN CASE THE SAME PROBLEM OCCURS IN ANY FUTURE PROJECTS. OVERALL, I AM VERY HAPPY WITH HOW MY FINAL MAJOR PROJECT HAS COME TO G E T H E R A N D I B E L I E V E I H AV E AC H I E V E D M Y A I M S . I T R E F L EC TS A L L O F M Y IDEAS AND THE INFLUENCES FOR THESE IDEAS CAN BE SEEN WITHIN BOTH E D I TO R I A L A N D C O M M E R C I A L S E C T I O N S O F T H E P R OJ E C T. T H E O U TC O M E S W O U L D R E A C H Z A R A’ S TA R G E T D E M O G R A P H I C A S T H E Y P O R T R AY Z A R A’ S B R A N D VA LU E S A N D I M AG E M E N T I O N E D I N T H E B R A N D R E S E A R C H .

60

Figure 134

Erin Morgan, Own Image.

7.

7.

BIBLIOGRAPHY B I B L I O G RA P H Y

61

• CORREA, A. (2018). WOMEN'S ACCESSORIES, FOOTWEAR & JEWELLERY FORECAST S/S 20: DESIGNING EMOTION. [ONLINE] WGSN, P P . 1 - 5 . A V A I L A B L E A T : H T T P S : // W W W - W G S N - C O M . E Z P R O X Y . L E E D S B E C K E T T. A C . U K / C O N T E N T/ B O A R D _ V I E W E R / # / 8 0 2 5 7 / PA G E / 1 [ A C CESSED 25 MAR. 2019].

• C U B E YO U ( N . D. ) . C U S TO M E R P R O F I L E U N I Q LO ' S FA N S I N T E R E S T S & P A S S I O N S . [ O N L I N E ] C U B E Y O U . A V A I L A B L E A T : H T T P : // C U S T O M E R - P R O F I L E . C O M /A P PA R E L- A N D - FA S H I O N / C L O T H I N G / U N I S E X / UNIQLO-CUSTOMER-PROFILE.HTML [ACCESSED 6 APR. 2019].

• D E L I R I U M , P. ( N . D . ) . M A R K E T I N G S T R AT E G Y H & M . [ O N L I N E ] A C A D E M I A 2 0 1 9 , P P . 3 - 6 . A V A I L A B L E A T : H T T P S : // W W W . A C A D E M I A .

E D U / 1 2 8 8 1 1 7 2 / M A R K E T I N G _ S T R AT E G Y _ H _ A N D _ M [ A C C E S S E D 6 APR. 2019].

• D U R I S I N , M . ( 2 0 1 3 ) . H O W C LO T H I N G C H A I N U N I Q LO I S TA K I N G O V E R T H E W O R L D . [ O N L I N E ] B U S I N E S S I N S I D E R . AVA I L A B L E AT: H T T P S : // W W W . B U S I N E S S I N S I D E R . C O M / T H E - S T O R Y - O F - U N I Q L O 2 0 1 3 - 4 ? R = U S & I R = T # U N I Q L O S - S L O G A N - I S - M A D E - F O R - A L L- A N D -T H E S T O R E - I S - K N O W N - F O R - I T S - R A I N B O W - C O L O R E D - C A S U A L- W E A R FOR-MEN-WOMEN-AND-KIDS-10 [ACCESSED 6 APR. 2019].

• H A R B O T T, A . ( 2 0 1 1 ) . A N A LY S I N G Z A R A ’ S B U S I N E S S M O D E L . [ O N L I N E ] D I G I T A L C I O . A V A I L A B L E A T : H T T P S : // H A R B O T T . C O M / A N A L Y S I N G - Z A R A S - B U S I N E S S - M O D E L- 6 E E 7 5 5 6 9 9 A 7 0 [ A C C E S S E D 2 0 M A R .

2019].

• I N D I T E X . C O M . ( N . D . ) . Z A R A . [ O N L I N E ] A V A I L A B L E A T : H T T P S : // W W W. I N D I T E X .C O M /A B O U T- U S / O U R - B R A N D S / Z A R A [ AC C E S S E D 2 0 MAR. 2019].

• M A S T E R M I N D : A RT D I R EC T I O N , FA S H I O N S T Y L I N G A N D V I S I O N A RY P H O T O G R A P H Y. ( 2 0 1 1 ) . 1 S T E D . H O N G K O N G : V I C T I O N : W O R K S H O P LTD .

• ROSS, A. (2018). DESIGN DEVELOPMENT S/S 20: DRESSES. [ONLINE] W G S N , P P . 5 - 1 3 . A V A I L A B L E A T : H T T P S : // W W W - W G S N - C O M . E Z P R O X Y. L E E D S B E C K E T T. A C . U K / C O N T E N T/ B O A R D _ V I E W E R / # / 8 0 9 0 7 / PAG E / 1 [ACC E S S E D 2 2 M A R . 2 0 1 9 ] .

• ROSS, A. (2018). DESIGN DEVELOPMENT S/S 20: KNITWEAR. [ONL I N E ] W G S N . A V A I L A B L E A T : H T T P S : // W W W . W G S N . C O M / C O N T E N T / B OA R D _ V I E W E R / # / 8 0 5 8 7 / PAG E / 1 [ACC E S S E D 2 2 M A R . 2 0 1 9 ] .

• ROSS, A. (2018). DESIGN DEVELOPMENT S/S 20: SKIRTS. [ONL I N E ] W G S N . A V A I L A B L E A T : H T T P S : // W W W . W G S N . C O M / C O N T E N T / B OA R D _ V I E W E R / # / 8 0 8 8 5 / PAG E / 1 [ACC E S S E D 2 2 M A R . 2 0 1 9 ] .

• R O S S , A . ( 2 0 1 8 ) . D E S I G N D E V E LO P M E N T: T R O U S E R S , S H O RT S & J U M P S U I T S . [ O N L I N E ] W G S N . A V A I L A B L E A T : H T T P S : // W W W . W G S N .

C O M / C O N T E N T/ B O A R D _ V I E W E R / # / 8 1 0 6 4 / PA G E / 1 [ A C C E S S E D 2 2 MAR. 2019].

62

• S L O M A N , P. A N D B L A N K S , T. ( 2 0 1 3 ) . N E W F A S H I O N P H O T O G R A P H Y. LONDON : P R E S T E L .

• T U N G AT E , M . ( 2 0 1 2 ) . FA S H I O N B R A N D S : B R A N D I N G S T Y L E F R O M A R M A N I T O Z A R A . 3 R D E D . [ E B O O K ] L O N D O N : KO G A N PA G E . AVA I LA B L E A T : H T T P S : // W W W - D A W S O N E R A - C O M . E Z P R O X Y . L E E D S B E C K E T T. A C . U K / R E A D O N L I N E / 9 7 8 0 7 4 9 4 6 4 4 7 9 [ A C C E S S E D 8 M A R . 2 0 1 9 ] .

• UNIQLO U 2019 SPRING/SUMMER COLLECTION | UNIQLO. (N.D.).

UNIQLO U 2019 SPRING/SUMMER COLLECTION | UNIQLO. [ONLINE] A V A I L A B L E A T : H T T P S : // W W W . U N I Q L O . C O M / U N I Q L O U 1 9 S S / U K / E N / LOOKBOOK/ [ACCESSED 6 APR. 2019].

• WAT K I N S , H . ( 2 0 1 8 ) . W O M E N ' S P R I N T S & G R A P H I C S F O R E C A S T S / S 2 0 : D E S I G N I N G E M O T I O N . [ O N L I N E ] W G S N . A V A I L A B L E A T : H T T P S : // W W W - W G S N - C O M . E Z P R O X Y. L E E D S B E C K E T T. A C . U K / C O N T E N T/ B OA R D _ V I E W E R / # / 8 0 0 7 7 / PAG E / 1 [ACC E S S E D 2 8 M A R . 2 0 1 9 ] .

• W I N C K E L , S . ( 2 0 1 3 ) . B R A N D P R O F I L E : Z A R A . [ O N L I N E ] E L I T E D A I LY. A V A I L A B L E A T : H T T P S : // W W W . E L I T E D A I L Y . C O M / W O M E N / B R A N D PROFILE-ZARA [ACCESSED 21 MAR. 2019].

7.

B I B L I O G RA P H Y

63

Figure 135

Erin Morgan, Own Image.

8. IMAGE BIBLIOGRAPHY 64



1.

E R I N MOR G AN , O W N I MA G E .

2.

E R I N MOR G AN , O W N I MA G E .

3.

E R I N MOR G AN , O W N I MA G E .

4.

Z A R A ( 2 0 1 9 ) . LO O K 0 5 , C H A S I N G T H E L I G H T, W O M A N , S P R I N G S U M M E R 1 9 . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W . Z A R A . C O M / U K / E N / W O M A N - E D I T O R I A L- 7 - L 1 4 6 2 . H T M L ? V 1 = 8 3 3 1 3 8 [ A C C E S S E D 2 1 MAR. 2019].

5.

Z A R A ( 2 0 1 9 ) . LO O K 0 9 , C H A S I N G T H E L I G H T, W O M A N , S P R I N G S U M M E R 1 9 . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W . Z A R A . C O M / U K / E N / W O M A N - E D I T O R I A L- 7 - L 1 4 6 2 . H T M L ? V 1 = 8 3 3 1 3 8 [ A C C E S S E D 2 1 MAR. 2019].

6.

WGSN (2018). DESIGN DEVELOPMENT S/S 20: DRESSES. [IMAGE] A V A I L A B L E A T : H T T P S : // W W W . W G S N . C O M / C O N T E N T / B O A R D _ V I E W E R / # / 8 0 9 0 7 / PAG E / 1 3 [ACC E S S E D 2 1 M A R . 2 0 1 9 ] .

7.

WGSN (2018). DESIGN DEVELOPMENT S/S 20: TROUSERS, SHORTS & J U M P S U I T S . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W . W G S N . C O M / C O N T E N T/ B O A R D _ V I E W E R / # / 8 1 0 6 4 / PA G E / 1 3 [ A C C E S S E D 2 1 M A R .

2019].

8.

WGSN (2018). DESIGN DEVELOPMENT S/S 20: SKIRTS. [IMAGE] A V A I L A B L E A T : H T T P S : // W W W . W G S N . C O M / C O N T E N T / B O A R D _ V I E W E R / # / 8 0 8 8 5 / PAG E / 1 2 [ACC E S S E D 2 2 M A R . 2 0 1 9 ] .

9.

WGSN (2018). DESIGN DEVELOPMENT S/S 20: KNITWEAR. [IMA G E ] A V A I L A B L E A T : H T T P S : // W W W . W G S N . C O M / C O N T E N T / B O A R D _ V I E W E R / # / 8 0 5 8 7 / PAG E / 1 3 [ACC E S S E D 2 1 M A R . 2 0 1 9 ] .

1 0 . D J E , L . ( 2 0 1 8 ) . I N L O O O O V E W I T H T H I S D R E S S . [ I M A G E ] AVA I LA B L E A T : H T T P S : // W W W . I N S T A G R A M . C O M / P / B L 5 4 M P Q H O E 8 / [ A C CESSED 21 MAR. 2019].

1 1 . W G S N ( 2 0 1 8 ) . P L E A T E D M A X I . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W - W G S N - C O M . E Z P R O X Y. L E E D S B E C K E T T. A C . U K / C O N T E N T/ B O A R D _ V I E W E R / # / 8 0 9 0 7 / PAG E / 7 [ACC E S S E D 2 2 M A R . 2 0 1 9 ] .

1 2 . V O G U E P O R T U G A L ( 2 0 1 8 ) . V O G U E P O R T U G A L , S H E E R L AY E R E D D R E S S . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W - W G S N - C O M . E Z P R O X Y .

L E E D S B E C K E T T. A C . U K / C O N T E N T/ B O A R D _ V I E W E R / # / 8 0 9 0 7 / PA G E / 6 [ACCESSED 22 MAR. 2019].

1 3 . W G S N ( 2 0 1 8 ) . C R O P P E D PA P E R B A G T R O U S E R S . [ I M A G E ] AVA I LA B L E A T : H T T P S : // W W W . W G S N . C O M / C O N T E N T / B O A R D _ V I E W E R / # / 8 1 0 6 4 / PAG E / 9 [ACC E S S E D 2 2 M A R . 2 0 1 9 ] .

8 . iMA G E B I B L I O G RA P H Y

65

1 4 . B O D E N ( N . D . ) . C R O P P E D PA P E R B A G T R O U S E R S . [ I M A G E ] AVA I LA B L E A T : H T T P : // W W W . B O D E N . C O . U K / E N - G B / C L E A R A N C E / W O M E N S - P E T I T E - R A N G E / T R O U S E R S -J E A N S / T 0 1 4 0 / WO M E N S - PA P E R B AG - C R O P -T R O U S E R S [ AC C E S S E D 2 2 M A R . 2 0 1 9 ] .

1 5 . E U D O N C H O I ( 2 0 1 8 ) . D R A P E A N D F L A R E S K I R T. [ I M A G E ] AVA I LA B L E A T : H T T P S : // W W W . W G S N . C O M / C O N T E N T / B O A R D _ V I E W E R / # / 8 0 8 8 5 / PAG E / 8 [ACC E S S E D 2 2 M A R . 2 0 1 9 ] .

1 6 . S O L A C E LO N D O N ( N . D . ) . N O E S K I R T P I N K . [ I M A G E ] AVA I L A B L E AT: H T T P S : // W W W . S O L A C E L O N D O N . C O M / N O E - S K I R T - P I N K - 1 0 0 9 9 . H T M L [ACCESSED 22 MAR. 2019].

1 7 . W G S N ( 2 0 1 8 ) . S A LVAT O R E F E R R A G A M O P R E - S U M M E R 2 0 1 9 K N I T T E D M A X I . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W . W G S N . C O M / C O N T E N T/ B O A R D _ V I E W E R / # / 8 0 5 8 7 / PA G E / 3 [ A C C E S S E D 2 2 M A R . 2 0 1 9 ] .

1 8 . W G S N ( 2 0 1 8 ) . E L E V E N S I X A - L I N E T O P. [ I M A G E ] A V A I L A B L E AT : H T T P S : // W W W . W G S N . C O M / C O N T E N T / B O A R D _ V I E W E R / # / 8 0 5 8 7 / PAG E / 6 [ACC E S S E D 2 2 M A R . 2 0 1 9 ] .

1 9 . W G S N ( 2 0 1 8 ) . W G S N C O O R D I N AT E D S E PA R AT E S . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W . W G S N . C O M / C O N T E N T / B O A R D _ V I E W E R / # / 8 0 5 8 7 / PAG E / 9 [ACC E S S E D 2 2 M A R . 2 0 1 9 ] .

2 0 . WG S N ( 2 0 1 8 ) . WG S N D E S I G N I N G E M OT I O N CO LO U R PA L E T T E S / S / 2 0 . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W - W G S N . C O M . E Z P R O X Y .

L E E D S B E C K E T T. A C . U K / C O N T E N T/ B O A R D _ V I E W E R / # / 8 0 2 5 7 / PA G E / 3 [ACCESSED 28 MAR. 2019].

2 1 . W G S N ( 2 0 1 8 ) . E C K H A U S L A T T A . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W - W G S N - C O M . E Z P R O X Y. L E E D S B E C K E T T. A C . U K / C O N T E N T/ B O A R D _ V I E W E R / # / 8 0 0 7 7 / PAG E / 8 [ACC E S S E D 2 8 M A R . 2 0 1 9 ] .

2 2 . W G S N ( 2 0 1 8 ) . S U P E R YAYA F L O R A L . [ I M A G E ] AVA I L A B L E AT: H T T P S : // W W W - W G S N - C O M . E Z P R O X Y . L E E D S B E C K E T T . A C . U K / C O N T E N T / B OA R D _ V I E W E R / # / 8 0 0 7 7 / PAG E / 6 [ACC E S S E D 2 8 M A R . 2 0 1 9 ] .

2 3 . W G S N ( 2 0 1 8 ) . G I R A R D S T U D I O . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W - W G S N - C O M . E Z P R O X Y. L E E D S B E C K E T T. A C . U K / C O N T E N T/ B O A R D _ V I E W E R / # / 8 0 0 7 7 / PAG E / 9 [ACC E S S E D 2 8 M A R . 2 0 1 9 ] .

2 4 . W G S N ( 2 0 1 8 ) . Q U I E T C O M F O R T LO É I L . [ I M A G E ] AVA I L A B L E AT: H T T P S : // W W W - W G S N - C O M . E Z P R O X Y . L E E D S B E C K E T T . A C . U K / C O N T E N T / B OA R D _ V I E W E R / # / 8 0 2 5 7 / PAG E / 4 [ACC E S S E D 2 5 M A R . 2 0 1 9 ] .

25. MIYERH (2018). MIYERH VERY COMMON VERY ENOUGH. [IMAGE] A V A I L A B L E A T : H T T P S : // W W W . I N S T A G R A M . C O M / P / B G C P Y A Q B Q M 5 / [ACCESSED 25 MAR. 2019].

66

2 6 . F R A G M E N TA R I O ( 2 0 1 7 ) . A N AT T O DY E D S C A R F I N M E TA L M A G A Z I N E . . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W . I N S T A G R A M . C O M / P / B W W WA L L B A B T/ [ A C C E S S E D 2 5 M A R . 2 0 1 9 ] .

2 7 . W G S N ( 2 0 1 8 ) . M U J E R H O Y . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W - W G S N - C O M . E Z P R O X Y. L E E D S B E C K E T T. A C . U K / C O N T E N T/ B O A R D _ V I E W E R / # / 8 0 2 5 7 / PAG E / 4 [ACC E S S E D 2 5 M A R . 2 0 1 9 ] .

2 8 . W G S N ( 2 0 1 8 ) . M I S S O N I . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W W G S N - C O M . E Z P R O X Y. L E E D S B E C K E T T. A C . U K / C O N T E N T/ B O A R D _ V I E W E R / # / 8 0 2 5 7 / PAG E / 5 [ACC E S S E D 2 5 M A R . 2 0 1 9 ] .

2 9 . W G S N ( 2 0 1 8 ) . S O P H I E B U H A I H A I R C O L L E C T I O N . [ I M A G E ] AVA I LA B L E A T : H T T P S : // W W W - W G S N - C O M . E Z P R O X Y . L E E D S B E C K E T T . A C . U K / C O N T E N T/ B O A R D _ V I E W E R / # / 8 0 2 5 7 / PA G E / 5 [ A C C E S S E D 2 5 M A R .

2019].

3 0 . W G S N ( 2 0 1 8 ) . E L L E A U S T R A L I A . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W - W G S N - C O M . E Z P R O X Y. L E E D S B E C K E T T. A C . U K / C O N T E N T/ B O A R D _ V I E W E R / # / 8 0 2 5 7 / PAG E / 5 [ACC E S S E D 2 5 M A R . 2 0 1 9 ] .

3 1 . M A X M A R A ( 2 0 1 8 ) . M A X M A R A R E S O RT 1 9 . [ I M AG E ] AVA I L A B L E A T : H T T P S : // W W W . I N S T A G R A M . C O M / P / B J M R G L F B 3 O C / [ A C C E S S E D 2 5 MAR. 2019].

3 2 . H A R R I S O N , C . ( N . D . ) . B I R D O F A F E AT H E R . [ I M A G E ] AVA I L A B L E AT : H TT P S : // W W W . CLA I R E H ARR I S ON P H OTO G RA P H Y . COM / S TORY / B I R D - O F- PA R A D I S E / [ACC E S S E D 2 8 M A R . 2 0 1 9 ] .

3 3 . H A R R I S O N , C . ( N . D . ) . B I R D O F A F E AT H E R . [ I M A G E ] AVA I L A B L E AT : H TT P S : // W W W . CLA I R E H ARR I S ON P H OTO G RA P H Y . COM / S TORY / B I R D - O F- PA R A D I S E / [ACC E S S E D 2 8 M A R . 2 0 1 9 ] .

3 4 . H A R R I S O N , C . ( N . D . ) . B I R D O F A F E AT H E R . [ I M A G E ] AVA I L A B L E AT : H TT P S : // W W W . CLA I R E H ARR I S ON P H OTO G RA P H Y . COM / S TORY / B I R D - O F- PA R A D I S E / [ACC E S S E D 2 8 M A R . 2 0 1 9 ] .

3 5 . H A R R I S O N , C . ( N . D . ) . B I R D O F A F E AT H E R . [ I M A G E ] AVA I L A B L E AT : H TT P S : // W W W . CLA I R E H ARR I S ON P H OTO G RA P H Y . COM / S TORY / B I R D - O F- PA R A D I S E / [ACC E S S E D 2 8 M A R . 2 0 1 9 ] .

3 6 . C O L L I N S , P. ( N . D . ) . P E T R A C O L L I N S V O G U E . [ I M A G E ] A V A I L A B L E A T : H T T P : // W W W . P E T R A C O L L I N S . C O M / V O G U E - M E / [ A C C E S S E D 2 8 MAR. 2019].

3 7 . C O L L I N S , P. ( N . D . ) . P E T R A C O L L I N S V O G U E . [ I M A G E ] A V A I L A B L E A T : H T T P : // W W W . P E T R A C O L L I N S . C O M / V O G U E - M E / [ A C C E S S E D 2 8 MAR. 2019].

8 . iMA G E B I B L I O G RA P H Y

67

3 8 . N E L L I S T, J . ( N . D . ) . J O D I E N E L L I S T N E U T R A L S . [ I M A G E ] AVA I L A B L E A T : H T T P : // J O D I E N E L L I S T . C O M / N E U T R A L S [ A C C E S S E D 2 8 M A R . 2 0 1 9 ] .

3 9 . N E L L I S T, J . ( N . D . ) . J O D I E N E L L I S T N E U T R A L S . [ I M A G E ] AVA I L A B L E A T : H T T P : // J O D I E N E L L I S T . C O M / N E U T R A L S [ A C C E S S E D 2 8 M A R . 2 0 1 9 ] .

4 0 . L A K E , U . ( N . D . ) . U R S U L A L A K E , A R T D I R E C T O R . [ I M A G E ] AVA I LA B L E A T : H T T P S : // W W W . U R S U L A L A K E . C O M / N E W - P A G E [ A C C E S S E D 2 9 MAR. 2019].

4 1 . L A K E , U . ( N . D . ) . U R S U L A L A K E , A R T D I R E C T O R . [ I M A G E ] AVA I LA B L E A T : H T T P S : // W W W . U R S U L A L A K E . C O M / N E W - P A G E [ A C C E S S E D 2 9 MAR. 2019].

42. TURNBULL, A. (N.D.). ADELAIDE TURNBULL, SECRET GARDEN. [ I M A G E ] A V A I L A B L E A T : H T T P : // A D E L A I D E T U R N B U L L . C O M / G A L L E R I E S / IN-BLOOM/ [ACCESSED 30 MAR. 2019].

43. TURNBULL, A. (N.D.). ADELAIDE TURNBULL, SECRET GARDEN. [ I M A G E ] A V A I L A B L E A T : H T T P : // A D E L A I D E T U R N B U L L . C O M / G A L L E R I E S / IN-BLOOM/ [ACCESSED 30 MAR. 2019].

4 4 . H & M ( 2 0 1 8 ) . A P R I N T E D S U M M E R R O M A N C E . [ I M AG E ] AVA I L A B L E A T : H T T P S : // W W W 2 . H M . C O M / E N _ U S / L I F E / F A S H I O N / T H E - T R Y O U T / A PRINTED-SUMMER-ROMANCE.HTML [ACCESSED 30 MAR. 2019].

4 5 . H & M ( 2 0 1 8 ) . A P R I N T E D S U M M E R R O M A N C E . [ I M AG E ] AVA I L A B L E A T : H T T P S : // W W W 2 . H M . C O M / E N _ U S / L I F E / F A S H I O N / T H E - T R Y O U T / A PRINTED-SUMMER-ROMANCE.HTML [ACCESSED 30 MAR. 2019].

4 6 . H & M ( 2 0 1 8 ) . A P R I N T E D S U M M E R R O M A N C E . [ I M AG E ] AVA I L A B L E A T : H T T P S : // W W W 2 . H M . C O M / E N _ U S / L I F E / F A S H I O N / T H E - T R Y O U T/A - P R I N T E D - S U M M E R - R O M A N C E . H T M L [ A C C E S S E D 3 0 M A R . 2 0 1 9 ] .

4 7 . H & M ( 2 0 1 8 ) . A P R I N T E D S U M M E R R O M A N C E . [ I M AG E ] AVA I L A B L E A T : H T T P S : // W W W 2 . H M . C O M / E N _ U S / L I F E / F A S H I O N / T H E - T R Y O U T / A PRINTED-SUMMER-ROMANCE.HTML [ACCESSED 30 MAR. 2019].

4 8 . U N I Q L O ( N . D . ) . U N I Q L O S P R I N G S U M M E R 2 0 1 9 . [ I M A G E ] AVA I LA B L E A T : H T T P S : // W W W . U N I Q L O . C O M / S G / S T Y L I N G B O O K / # / W O M E N / [ACCESSED 30 MAR. 2019].

4 9 . U N I Q L O ( N . D . ) . U N I Q L O S P R I N G S U M M E R 2 0 1 9 . [ I M A G E ] AVA I LA B L E A T : H T T P S : // W W W . U N I Q L O . C O M / S G / S T Y L I N G B O O K / # / W O M E N / [ACCESSED 30 MAR. 2019].

5 0 . U N I Q L O ( N . D . ) . U N I Q L O S P R I N G S U M M E R 2 0 1 9 . [ I M A G E ] AVA I LA B L E A T : H T T P S : // W W W . U N I Q L O . C O M / S G / S T Y L I N G B O O K / # / W O M E N / [ACCESSED 30 MAR. 2019].

68



5 1 . U N I Q L O ( N . D . ) . U N I Q L O S P R I N G S U M M E R 2 0 1 9 . [ I M A G E ] AVA I LA B L E A T : H T T P S : // W W W . U N I Q L O . C O M / S G / S T Y L I N G B O O K / # / W O M E N / [ACCESSED 30 MAR. 2019].

5 2 . P U L L A N D B E A R ( N . D . ) . I N S TA N T PA R A D I S E S / S 1 9 . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W . P U L L A N D B E A R . C O M / G B / M A N / E D I T O R I A L S / I N S TA N T- PA R A D I S E - S S % C 2 % B 7 2 0 1 9 - C 1 0 3 0 1 8 7 5 4 6 . H T M L [ A C CESSED 30 MAR. 2019].

5 3 . P U L L A N D B E A R ( N . D . ) . I N S TA N T PA R A D I S E S / S 1 9 . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W . P U L L A N D B E A R . C O M / G B / M A N / E D I T O R I A L S / I N S TA N T- PA R A D I S E - S S % C 2 % B 7 2 0 1 9 - C 1 0 3 0 1 8 7 5 4 6 . H T M L [ A C CESSED 30 MAR. 2019].

5 4 . P U L L A N D B E A R ( N . D . ) . I N S TA N T PA R A D I S E S / S 1 9 . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W . P U L L A N D B E A R . C O M / G B / M A N / E D I T O R I A L S / I N S TA N T- PA R A D I S E - S S % C 2 % B 7 2 0 1 9 - C 1 0 3 0 1 8 7 5 4 6 . H T M L [ A C CESSED 30 MAR. 2019].

5 5 . P U L L A N D B E A R ( N . D . ) . I N S TA N T PA R A D I S E S / S 1 9 . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W . P U L L A N D B E A R . C O M / G B / M A N / E D I T O R I A L S / I N S TA N T- PA R A D I S E - S S % C 2 % B 7 2 0 1 9 - C 1 0 3 0 1 8 7 5 4 6 . H T M L [ A C CESSED 30 MAR. 2019].

56. ZARA (2019). DRESS UP! SPRING SUMMER TRF 2019. [IMAGE] A V A I L A B L E A T : H T T P S : // W W W . Z A R A . C O M / A L / E N / T R F - E D I T O R I A L- 3 - L 9 1 3 . H T M L ? V 1 = 8 2 8 3 4 0 [ A C C E S S E D 3 0 M A R . 2 0 1 9 ] .

57. ZARA (2019). DRESS UP! SPRING SUMMER TRF 2019. [IMAGE] A V A I L A B L E A T : H T T P S : // W W W . Z A R A . C O M / A L / E N / T R F - E D I T O R I A L- 3 - L 9 1 3 . H T M L ? V 1 = 8 2 8 3 4 0 [ A C C E S S E D 3 0 M A R . 2 0 1 9 ] .

58. ZARA (2019). DRESS UP! SPRING SUMMER TRF 2019. [IMAGE] A V A I L A B L E A T : H T T P S : // W W W . Z A R A . C O M / A L / E N / T R F - E D I T O R I A L- 3 - L 9 1 3 . H T M L ? V 1 = 8 2 8 3 4 0 [ A C C E S S E D 3 0 M A R . 2 0 1 9 ] .

59. ZARA (2019). DRESS UP! SPRING SUMMER TRF 2019. [IMAGE] A V A I L A B L E A T : H T T P S : // W W W . Z A R A . C O M / A L / E N / T R F - E D I T O R I A L- 3 - L 9 1 3 . H T M L ? V 1 = 8 2 8 3 4 0 [ A C C E S S E D 3 0 M A R . 2 0 1 9 ] .

60. ZARA (2019). THE SUMMER DRESS SPRING-SUMMER 2019. [IMA G E ] A V A I L A B L E A T : H T T P S : // W W W . Z A R A . C O M / A L / E N / W O M A N - E D I T O R I A L- 5 - L 1 1 0 1 . H T M L ? V 1 = 9 1 4 0 0 4 [ A C C E S S E D 3 0 M A R . 2 0 1 9 ] .

61. ZARA (2019). THE SUMMER DRESS SPRING-SUMMER 2019. [IMA G E ] A V A I L A B L E A T : H T T P S : // W W W . Z A R A . C O M / A L / E N / W O M A N - E D I T O R I A L- 5 - L 1 1 0 1 . H T M L ? V 1 = 9 1 4 0 0 4 [ A C C E S S E D 3 0 M A R . 2 0 1 9 ] .

62. ZARA (2019). THE SUMMER DRESS SPRING-SUMMER 2019. [IMA G E ] A V A I L A B L E A T : H T T P S : // W W W . Z A R A . C O M / A L / E N / W O M A N - E D I T O R I A L- 5 - L 1 1 0 1 . H T M L ? V 1 = 9 1 4 0 0 4 [ A C C E S S E D 3 0 M A R . 2 0 1 9 ] .

8 . iMA G E B I B L I O G RA P H Y

69

63. ZARA (2019). THE SUMMER DRESS SPRING-SUMMER 2019. [IMA G E ] A V A I L A B L E A T : H T T P S : // W W W . Z A R A . C O M / A L / E N / W O M A N - E D I T O R I A L- 5 - L 1 1 0 1 . H T M L ? V 1 = 9 1 4 0 0 4 [ A C C E S S E D 3 0 M A R . 2 0 1 9 ] .

6 4 . Z A R A ( 2 0 1 9 ) . C H A S I N G T H E L I G H T. [ I M A G E ] AVA I L A B L E AT: H T T P S : // W W W . Z A R A . C O M / A L / E N / W O M A N - E D I T O R I A L - 7 - L 1 4 6 2 . H T M L?V1=833138 [ACCESSED 30 MAR. 2019].

6 5 . Z A R A ( 2 0 1 9 ) . C H A S I N G T H E L I G H T. [ I M A G E ] AVA I L A B L E AT: H T T P S : // W W W . Z A R A . C O M / A L / E N / W O M A N - E D I T O R I A L - 7 - L 1 4 6 2 . H T M L?V1=833138 [ACCESSED 30 MAR. 2019].

6 6 . Z A R A ( 2 0 1 9 ) . C H A S I N G T H E L I G H T. [ I M A G E ] AVA I L A B L E AT: H T T P S : // W W W . Z A R A . C O M / A L / E N / W O M A N - E D I T O R I A L - 7 - L 1 4 6 2 . H T M L?V1=833138 [ACCESSED 30 MAR. 2019].

6 7 . Z A R A ( 2 0 1 9 ) . C H A S I N G T H E L I G H T. [ I M A G E ] AVA I L A B L E AT: H T T P S : // W W W . Z A R A . C O M / A L / E N / W O M A N - E D I T O R I A L - 7 - L 1 4 6 2 . H T M L?V1=833138 [ACCESSED 30 MAR. 2019].

6 8 . E R I N MOR G AN , O W N I MA G E .

6 9 . PA N T O N E ( N . D . ) . PA N T O N E 2 3 3 9 C . [ I M A G E ] AVA I L A B L E AT: H T T P S : // W W W . P A N T O N E . C O M / C O L O R - F I N D E R / 2 3 3 9 - C [ A C C E S S E D 1 0 APR. 2019].

7 0 . PA N T O N E ( N . D . ) . PA N T O N E 5 2 9 C . [ I M A G E ] AVA I L A B L E AT: H T T P S : // W W W . P A N T O N E . C O M / C O L O R - F I N D E R / 5 2 9 - C [ A C C E S S E D 1 0 APR. 2019].

7 1 . PA N T O N E ( N . D . ) . PA N T O N E 3 5 7 7 C . [ I M A G E ] AVA I L A B L E AT: H T T P S : // W W W . P A N T O N E . C O M / C O L O R - F I N D E R / 3 5 7 7 - C [ A C C E S S E D 1 0 APR. 2019].

7 2 . PA N T O N E ( N . D . ) . PA N T O N E 2 4 6 0 C . [ I M A G E ] AVA I L A B L E AT: H T T P S : // W W W . P A N T O N E . C O M / C O L O R - F I N D E R / 2 4 6 0 - C [ A C C E S S E D 1 0 APR. 2019].

7 3 . PA N T O N E ( N . D . ) . PA N T O N E 1 5 5 C . [ I M A G E ] AVA I L A B L E AT: H T T P S : // W W W . P A N T O N E . C O M / C O L O R - F I N D E R / 1 5 5 - C [ A C C E S S E D 1 0 APR. 2019].

7 4 . PA N T O N E ( N . D . ) . PA N T O N E 7 5 7 2 C . [ I M A G E ] AVA I L A B L E AT: H T T P S : // W W W . P A N T O N E . C O M / C O L O R - F I N D E R / 7 5 7 2 - C [ A C C E S S E D 1 0 APR. 2019].

7 5 . M I N T V E LV E T ( N . D . ) . L I L A C P L E AT E D S AT I N S K I R T. [ I M A G E ] AVA I LA B L E A T : H T T P S : // W W W . M I N T V E L V E T . C O . U K / P R O D U C T / L I L A C - P L E A T E D - S AT I N - S K I R T/ 1 6 2 0 2 [ A C C E S S E D 1 0 A P R . 2 0 1 9 ] .

70



76. BLINDS-2GO (N.D.). ENGLISH OAK WOODEN BLIND. [IMA G E ] A V A I L A B L E A T : H T T P S : // W W W . B L I N D S - 2 G O . C O . U K / W O O D EN-BLINDS/13/ENGLISH-OAK.HTML [ACCESSED 10 APR. 2019].

7 7 . Z A Z Z L E ( N . D . ) . L I L A C A N I M A L P R I N T. [ I M A G E ] AVA I L A B L E AT : H TT P S : // W W W . Z A Z Z L E . COM / L I LAC _ AN I MAL _ P R I NT _ FA B RIC-256057625993316596 [ACCESSED 10 APR. 2019].

7 8 . FA B R I C M A R T ( N . D . ) . P I N K F LO R A L L A C E . [ I M A G E ] AVA I L A B L E AT: H T T P S : // W W W . F A B R I C M A R T F A B R I C S . C O M / S O F T - B A L L E T - P I N K - 1 0 0 P O LY E S T E R - F L O R A L- L A C E - F A M O U S - D R E S S - D E S I G N E R - 5 4 W . H T M L [ A C CESSED 10 APR. 2019].

7 9 . A M A Z O N ( N . D . ) . B L U E K N I T . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W. A M A Z O N . C O M / H O M E - C O M F O R T S - L A M I N AT E D - K N I T T I N G - B A C K GROUND/DP/B01B4RKOGC [ACCESSED 10 APR. 2019].

8 0 . F R E E P I K ( N . D . ) . B L U E WAT E R C O LO U R B A C KG R O U N D . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W . F R E E P I K . C O M / P R E M I U M - P H O T O / H A N D - PA I N T E D - WAT E R C O LO R - B A C KG R O U N D _ 3 7 4 6 5 9 6 . H T M [ A C CESSED 10 APR. 2019].

8 1 . L U C Y R O S E ( N . D . ) . L I L A C N E C K T I E T O P. [ I M A G E ] A V A I L A B L E AT : H T T P S : // S H O P L U C Y R O S E . C O M / P R O D U C T S / L I L A C - T I E - N E C K - T O P [ A C CESSED 10 APR. 2019].

8 2 . X P R E S S B U Y ( N . D . ) . W O M E N M U LT I C O L O U R H A L F R O U N D W O V E N B A M B O O W O O D E N B A G . [ I M A G E ] A V A I L A B L E A T : H T T P S : // X P R E S S B U Y S H O P. C O M / P R O D U C T S / W O M E N - H A L F - R O U N D - W O V E N - B A M B O O WOODEN-BAG [ACCESSED 10 APR. 2019].

8 3 . P I X E L S C R A P P E R ( N . D . ) . P I N K G L I T T E R S P L AT. [ I M A G E ] AVA I L A B L E A T : H T T P S : // W W W . P I X E L S C R A P P E R . C O M / J A N E T - S C O T T / D E S I G N S / O H B A B Y- B A B Y- P I N K - G L I T T E R - S P L AT- A S S E T- S H A P E - C U T O U T- S TA M P - E M B E L L I S H M E N T- B R U S H [ AC C E S S E D 1 0 A P R . 2 0 1 9 ] .

8 4 . N E W LO O K ( N . D . ) . PA L E P I N K G L I T T E R L A C E B O DY S U I T. [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W . N E W L O O K . C O M / U K / W O M E N S / C L O T H I N G / TO P S / PA L E - P I N K- G L I T T E R - L A C E - B O DYS U I T/ P/ 6 0 0 1 3 3 7 7 2 ? C O M P=BROWSE [ACCESSED 10 APR. 2019].

8 5 . N E W LO O K ( N . D . ) . PA L E B L U E P L E AT E D M I D I S K I R T. [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W . N E W L O O K . C O M / U K / W O M E N S / C L O T H I N G / S K I R T S / PA L E - B L U E - P L E AT E D - M I D I - S K I R T- / P/ 6 0 6 5 3 0 6 4 5 ? C O M P = SEARCH [ACCESSED 10 APR. 2019].

8 6 . Z A R A ( N . D . ) . P L E A T E D D R E S S . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W. Z A R A . C O M / U K / E N / P L E AT E D - D R E S S - P 0 7 3 8 5 1 2 2 . H T M L?V1=8743260&V2=1180427 [ACCESSED 10 APR. 2019].

8 . iMA G E B I B L I O G RA P H Y

71

87. PRETTY LITTLE THING (N.D.). KELSA GOLD LEAF HEADBAND. [IMA G E ] A V A I L A B L E A T : H T T P S : // W W W . P R E T T Y L I T T L E T H I N G . C O M / K E L S A GOLD-LEAF-HEADBAND.HTML [ACCESSED 10 APR. 2019].

8 8 . P R I M A R K ( N . D . ) . P E A R L D R O P E A R R I N G S . [ I M A G E ] AVA I L A B L E AT: H T T P S : // W W W . P R I M A R K . C O M / E N - U S / P R O D U C T / P E A R L - D R O P - E A R RINGS,D35397149645977 [ACCESSED 10 APR. 2019].

8 9 . P I X E L S C R A P P E R ( N . D . ) . B A B Y B L U E G L I T T E R S P L AT. [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W . P I X E L S C R A P P E R . C O M / J A N E T - S C O T T / D E S I G N S / O H - B A B Y- B A B Y- B L U E - G L I T T E R - S P L AT- A S S E T- S C AT T E R - E M B E LL I S H M E N T- B R U S H - S T R O K E [ AC C E S S E D 1 0 A P R . 2 0 1 9 ] .

9 0 . M I S S S E L F R I D G E ( N . D . ) . S A R A TA N M U LT I S T R A P H E E L E D S A N D A L S . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W . M I S S S E L F R I D G E . C O M / E N / M S U K / P R O D U C T/ S H O E S - 2 9 9 0 4 9 / H E E L S - 6 5 4 6 0 4 1 / S A R A -TA N M U LT I - S T R A P - H E E L E D - S A N D A L S - 8 3 7 9 9 9 4 [ A C C E S S E D 1 0 A P R . 2 0 1 9 ] .

91. ZARA (N.D.). EMBROIDERED DRESS WITH RUFFLE TRIM. [IMA G E ] A V A I L A B L E A T : H T T P S : // W W W . Z A R A . C O M / U K / E N / E M B R O I D E R E D - D R E S S - W I T H - R U F F L E -T R I M - P 0 2 6 7 0 2 0 1 . H T M L?V1=11395311&V2=1180427 [ACCESSED 10 APR. 2019].

9 2 . A S O S ( N . D . ) . S T R A D I V A R I U S F R I N G E D H E M T O P. [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W . A S O S . C O M / S T R A D I V A R I U S / S T R A D I VA R I U S - F R I N G E D - H E M -TO P - I N - B LU E / P R D / 1 2 3 8 3 2 4 9 ? C L R = B LU E & SEARCHQUERY=&CID=2637&GRIDCOLUMN=2&GRIDROW=1&GRIDS I Z E = 3 & P G E = 1 & P G E S I Z E = 7 2 &T O TA L S T Y L E S = 1 4 4 4 [ A C C E S S E D 1 0 A P R .

2019].

93. NEW LOOK (N.D.). ROSE GOLD WOVEN STRAW EFFECT FLOPP Y H A T . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W . N E W L O O K . C O M / U K / W O M E N S /A C C E S S O R I E S / H AT S / R O S E - G O L D - W O V E N - S T R AW - E F F E C TF LO P P Y- H AT/ P/ 6 1 9 3 9 6 6 9 4 ? C O M P = B R O W S E [ A C C E S S E D 1 0 A P R . 2 0 1 9 ] .

9 4 . P I X E L S C R A P P E R ( N . D . ) . A U T U M N A R T- G L I T T E R S P L AT T E R . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W . P I X E L S C R A P P E R . C O M / S H A R O N - D E W I - S T O L P/ D E S I G N S /A U T U M N A R T- G L I T T E R - S P L AT T E R - G R A P H I C - E L E M E N T- S P L AT- G L I T T E R - PA I N T- A U T U M N - A R T [ A C C E S S E D 1 1 A P R . 2 0 1 9 ] .

9 5 . A S O S ( N . D . ) . F R A N L E AT H E R W O V E N F L AT S A N D A L S . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W . A S O S . C O M / A S O S - D E S I G N /A S O S - D E S I G N - F R A N - L E AT H E R - W O V E N - F L AT- S A N D A L S / P R D / 1 1 0 7 1 2 7 0 ? C L R = TA N & S E A R C H Q U E R Y = S A N D A L S & G R I D CO LU M N = 3 & G R I D ROW = 1 3 & G R I D S I Z E = 3 & P G E = 1 & P G E S I Z E = 7 2 &TO TA L S T Y L E S = 1 9 6 6 [ A C C E S S E D 1 0 A P R . 2 0 1 9 ] .

96. TURNBULL, A. (N.D.). ADELAIDE TURNBULL, SECRET GARDEN. [ I M A G E ] A V A I L A B L E A T : H T T P : // A D E L A I D E T U R N B U L L . C O M / G A L L E R I E S / IN-BLOOM/ [ACCESSED 30 MAR. 2019].

72



97. TURNBULL, A. (N.D.). ADELAIDE TURNBULL, SECRET GARDEN. [ I M A G E ] A V A I L A B L E A T : H T T P : // A D E L A I D E T U R N B U L L . C O M / G A L L E R I E S / IN-BLOOM/ [ACCESSED 30 MAR. 2019].

9 8 . H A R R I S O N , C . ( N . D . ) . B I R D O F A F E AT H E R . [ I M A G E ] AVA I L A B L E AT : H TT P S : // W W W . CLA I R E H ARR I S ON P H OTO G RA P H Y . COM / S TORY / B I R D - O F- PA R A D I S E / [ACC E S S E D 2 8 M A R . 2 0 1 9 ] .

9 9 . G A R D E N I A ( N . D . ) . D A F F O D I L . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W. G A R D E N I A . N E T/ P L A N T- VA R I E T Y/ D A F F O D I L-T Y P E S [ A C C E S S E D 10 APR. 2019].

1 0 0 . Z A R A ( 2 0 1 9 ) . C H A S I N G T H E L I G H T - P L A N T S . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W . Z A R A . C O M / U K / E N / W O M A N - E D I T O R I A L - 7 - L 1 4 6 2 .

HTML [ACCESSED 10 APR. 2019].

1 0 1 . Z A R A ( 2 0 1 9 ) . G I F C H A S I N G T H E L I G H T . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W . Z A R A . C O M / U K / E N / W O M A N - E D I T O R I A L - 7 - L 1 4 6 2 . H T M L [ACCESSED 10 APR. 2019].

1 0 2 . E R I N MOR G AN , O W N I MA G E .

1 0 3 . E R I N MOR G AN , O W N I MA G E .

1 0 4 . E R I N MOR G AN , O W N I MA G E .

1 0 5 . E R I N MOR G AN , O W N I MA G E .

1 0 6 . E R I N MOR G AN , O W N I MA G E .

1 0 7 . E R I N MOR G AN , O W N I MA G E .

1 0 8 . E R I N MOR G AN , O W N I MA G E .

1 0 9 . E R I N MOR G AN , O W N I MA G E .

1 1 0 . E R I N MOR G AN , O W N I MA G E .

1 1 1 . E R I N MOR G AN , O W N I MA G E .

1 1 2 . E R I N MOR G AN , O W N I MA G E .

1 1 3 . E R I N MOR G AN , O W N I MA G E .

1 1 4 . E R I N MOR G AN , O W N I MA G E .

1 1 5 . E R I N MOR G AN , O W N I MA G E .

1 1 6 . E R I N MOR G AN , O W N I MA G E .

1 1 7 . E R I N MOR G AN , O W N I MA G E .

8 . iMA G E B I B L I O G RA P H Y

73

1 1 8 . E R I N MOR G AN , O W N I MA G E .

1 1 9 . Z A R A ( N . D . ) . F L O R A L P R I N T D R E S S . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W . Z A R A . C O M / U K / E N / F L O R A L - P R I N T - D R E S S - P 0 1 1 6 5 1 9 0 .

HTML?V1=11526940&V2=1180427 [ACCESSED 10 APR. 2019].

1 2 0 . Z A R A ( N . D . ) . R A F F I A H A T . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W. Z A R A . C O M / U K / E N / R A F F I A - H AT- P 0 0 0 4 9 0 0 7 . H T M L?V1=8127551&V2=1180421#ORIGIN=SIMILAR [ACCESSED 10 APR. 2019].

1 2 1 . Z A R A ( N . D . ) . P L E A T E D T R O U S E R S . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W . Z A R A . C O M / U K / E N / P L E A T E D - T R O U S E R S - P 0 4 3 8 7 0 4 4 . H T ML?V1=7887230&V2=1180429 [ACCESSED 10 APR. 2019].

1 2 2 . Z A R A ( N . D . ) . C O N T R A S T P L E A T E D D R E S S . [ I M A G E ] A V A I L A B L E A T : H T T P S : // W W W . Z A R A . C O M / U K / E N / C O N T R A S T - P L E A T ED-DRESS-P04886009.HTML?V1=10985509&V2=1202501 [ACCESSED 10 APR. 2019].

1 2 3 . P I C S A R T ( 2 0 1 7 ) . G L I T T E R S T I C K E R . [ I M A G E ] A V A I L A B L E A T : H T T P S : // P I C S A R T . C O M / I / S T I C K E R - G L I T T E R - S P L A T - F R E E T O E D I T - F R E E TO E D I T- 2 3 3 6 0 4 2 5 5 0 0 0 2 1 2 [ AC C E S S E D 1 0 A P R . 2 0 1 9 ] .

1 2 4 . E R I N MOR G AN , O W N I MA G E .

1 2 5 . E R I N MOR G AN , O W N I MA G E .

1 2 6 . E R I N MOR G AN , O W N I MA G E .

1 2 7 . E R I N MOR G AN , O W N I MA G E .

1 2 8 . E R I N MOR G AN , O W N I MA G E .

1 2 9 . E R I N MOR G AN , O W N I MA G E .

1 3 0 . E R I N MOR G AN , O W N I MA G E .

1 3 1 . E R I N MOR G AN , O W N I MA G E .

1 3 2 . E R I N MOR G AN , O W N I MA G E .

1 3 3 . E R I N MOR G AN , O W N I MA G E .

1 3 4 . E R I N MOR G AN , O W N I MA G E .

1 3 5 . E R I N MOR G AN , O W N I MA G E .

74



8 . iMA G E B I B L I O G RA P H Y

75