PROGRESSIVE RESEARCH
ERIN GRIBBON
ERIN LOUISE GRIBBON AD5604 CONTEMPORARY FASHION COMMUNICATION
C 12 48 56 82 138 140 144 154 172 188 212 222 224 236 240 244 246 254 256 274 282 286 291 300 308 314
O
47 ROBBIE SPENCER 55 COLLABORATIONS WITH ROBBIE SPENCER 81 FIRST STYLING PHOTOSHOOT 137 DAZED AND CONFUSED 139 CHRISTOPHER SHANNON 143 SEMIOTICS IN FASHION 153 TONY GREEN 171 SECOND STYLING PHOTOSHOOT 187 SUPPORTING CONCEPT RESEARCH 211 FUTURE OF CONTEMPARY STORYTELLING 221 INTERVIEWS 2223 BACKGROUNDS 235 THIRD STYLING PHOTOSHOOT 239 CLOTHING 241 MARKETING LEVELS 245 COURSE LEADER FEEDBACK 253 SUPPORTING CONCEPT RESEARCH 255 TONY GREEN 273 FOURTH STYLING PHOTOSHOOT 281 DEVELOPMENT OF CONCEPT 285 CROQUES 291 STREET PHOTOGRAPHY 299 INTERVIEW DEVELOPMENT 307 VIDEOGRAPHY DEVELOPMENT 313 EXHABITION PHOTO 337 WASTED YOUTH -
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PROJECT PROJECT PROJECT
CONTEMPORARY FASHION COMMUNICATION RESEARCH
CONTEXT CONTEXT CONTEXT
FASHION HAS UNDERGONE A REVOLUTION IN THE DIGITAL AGE OF THE PANDEMIC. IT HAS DEMOCRATISED, DISRUPTED, AND EVEN SHIFTED THE BUSINESS MODEL OF THE TRADITIONAL FASHION SYSTEM. MOST FASHION INDUSTRY VETERANS HARDLY RECOGNISE THE INDUSTRY FROM A YEAR AGO. IN THIS PROJECT WE ARE ASKED IN THE FIRST INSTANCE TO RESEARCH DAZED AND ROBBIE SPENCER TO GAIN AN UNDERSTANDING OF THEIR STORYTELLING. WITHIN THE CONTEXT OF THEIR WORK, WE ARE EXPECTED TO CREATE AN EDITORIAL RESPONSE WITHIN THE NARRATIVE OF THE PUBLICATION USING THE SIGNATURE OF THE STYLIST. WHILST COMBINING BOTH STYLES TOGETHER WE ARE ALSO EXPECTED TO EXPLORE HOW THE FASHION COMMUNICATION INDUSTRY IS CHANGING AND HOW WE AS THE NEXT GENERATION OF COMMUNICATORS ARE GOING TO TACKLE THE NEW CHALLENGES FACING THE INDUSTRY.
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Robbie
describes
‘NEVER BEEN
BEENING SOLEY A COMMUNITY
‘ HE THAT
USHERED HAVE
and ‘ABILITY Robbies picture than
JUST OF
IN A DEFINED
NEW
TH
ha TO
FIND
BEAUTY
styling was often approach executing an i just from a a
Dazed A MAGAZINE, LIKE-MINDED
as
IT HAS CREATIVE
GENERATION OF HE ZEIGEST’
IMAGE Hach,
ad
ALWAYS PEOPLE’ MAKERS 2019
UNEXPECTED’
the BOF.
hed from a outward view image or space clothing point of
of the rather view.
IN
THE
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ABOUT
ROBBIE
ROBBIE BEGAN WORKING AT DAZED IN 2004 AND WORKED HIS WAY UP TO EDITOR OF THE MAGAZINE IN 2013. HE IS RENOWNED FOR HIS CONCEPTUAL DEPTH IN HIS WORK AND THE NEW PERSPECTIVE HE BRINGS TO A FASHION SHOOT. HE CREDITS HIS STYLE TO THOSE WHO HAVE COME BEFORE HIM QUOTING: ‘TO BE RESPECTFUL OF THE PEOPLE WHO CAN BEFORE YOU, YOU NEED TO LEARN FROM SOMEONE AND BE IN THE RIGHT ENVIRONMENT TO UNDERSTAND HOW THE INDUSTRY WORKS AND HOW TO COMMUNICATE. THEN YOU TAKE FROM THAT AND YOU GO AND FIND YOUR OWN POINT OF VIEW ON IT’
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ABOUT
ROBBIE
ROBBIE’S STYLE ADAPTS TO EACH SHOOT. HOWEVER, HE STAYS TRUE TO THE BRANDS NARRATIVE AND MAINTAINS AUTHENTICITY AND TRANSPARENCY. THIS HIGHLIGHTS THE BRANDS NATURAL AESTHETIC AND ALLOWS THE BRAND TO TELL/SHOW A CLEAR AND CONCISE CAMPAIGN ALONG SIDE THEIR ORIGINS AS AN ORIGINAL BRAND. MOST INSPIRED BY HIS 2010 SHOOOT FOR DAZED, HE COLLABORATED WITH BEN TOMS TO DEPICT ‘THE GARDEN OF EARTHY DELIGHTS’ INSPIRED BY 1970’S HIPPIE CULTURE. THE IMAGES ARE TAKEN IN BLACK AND WHITE SHOWING SEMI NUDE INDIVIDUALS IN SPRING NATURE DEPICTING A RAW YET POSTED STYLE.
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R
A
W
IN ITS NATURAL STATE, RED AND PAINFUL, STRONG AND UNDISGUISED, REALISTIC IN THE DEPICTION. ROBBIE’S STYLING IS LEFT VERY UNEDITED AND CONTAINS A RAW NATURED AESTHETIC SURROUNDING THE MODELS
H
U
M
A
N
DEFINED AS RELATING TO OR CHARACTERISTICS OF HUMANKIND OR SHOWING THE BETTER QUALITIES OF HUMANKIND. ROBBIE CAPTURES AN ALMOST ROMANTIC SIDE OF A HUMAN. HE CAPTURES THIS IN THE EYES OF THE MODEL AND KEEPING A NEUTRAL EXPRESSION ON THEIR FACE.
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S
P
A
RELATING TO AND HAVING AN AWARENESS OF YOUR THE BACKGROUND TO ALSO TELL PART PROPS OR COLOUR TO EXPRESS THE “I APPROACH STYLING FROM A SPACE, AS OPPOSED TO
T
I
A
L
OR OCCUPYING SPACE SURROUNDINGS AND ENVIRONMENT. ROBBIE ALLOWS OF THE STORY. OFTEN MINIMALISTIC HE CAN USE MOOD OF THE SHOOT NARRATIVE. ROBBIE QUOTES AN IDEA PURELY
OF FROM
EXECUTING AN A CLOTHING
IMAGE OR STANDPOINT”
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I
N
N
O
C
E
N
T
NOT GUILTY OF A CRIME OR OFFENCE, WITHOUT EXPERIENCE OF KNOWLEDGE FREE FROM MORAL WRONG OR SIMPLE OR NAIVE. ROBBIE CAPTURES INNOCENCE THE SAME WAY HE CAPTURES HIS HUMAN QUALITIES, SHOWING THE FRAGILE LINK BETWEEN THE TWO CONCEPTS. FOLLOWING YOUTH CULTURE, ROBBIE’S AESTHETIC OF INNOCENTS AND THE CONNOTATIONS SURROUNDING THE WORD, SHOWS THE INNOCENCE OF MORAL RIGHT AND WRONG AND SIMPLE CHILDHOOD NAIVETY.
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H U M A N I T Y HUMAN BEINGS COLLECTIVELY, A STATE OF BEING HUMAN OR THE LEARNING OF HUMAN CULTURE, LITERATURE, HISTORY, ART, MUSIC, PHILOSOPHY. SPENCER’S WORK HAS ESTABLISHED A VENERABLE AESTHETIC THAT IS REFLECTIVE OF OUR TIMES AND GLOBAL COMMUNITY THROUGH ITS DEEP CONCEPTUAL ROOTS AND DIVERSE CULTURAL REFERENCES.
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A D O L E S C E N C E THE PERIOD DURING WHICH A YOUNG PERSON DEVELOPS FROM A CHILD INTO AN ADULT, TRANSITIONAL STAGE OF PHYSICAL AND PSYCHOLOGICAL DEVELOPMENT. LINKING TO INNOCENTS, ROBBIE CREATES AN ADOLESCENT ATMOSPHERE AROUND THE STYLING IN HIS SHOTS, SHOWING A DEVELOPING STORY THROUGH THE PICTURE.
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D R A M A T I C SUDDEN AND STRIKING, INTENDING OR INTENDED TO CREATE A THEATRICAL EFFECT. ROBBIE STYLES IN A CERTAIN WAY WHICH CAPTURES A MOMENT IN THE STORY’S NARRATIVE WHICH LEAVES THE VIEWER WANTING MORE. HE CAPTURES THE PINNACLE MOMENT IN THE STORY’S NARRATIVE WHICH EXPLAINS HOW HE HAS BECOME SUCH A PROFOUND STYLIST OF HIS TIME
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P R O G R E S S I V E
DEVELOPING GRADUALLY OR IN STAGES, FAVOURING SOCIAL REFORM / CHANGE OR INNOVATION INVOLVING A SERIES OF SECTIONS FOR WHICH PARTICIPANTS SUCCESSIVELY CHANGE PLACE. -AN ADVOCATE OF SOCIAL REFORM P PROOF - EACH OF A SET OF PROOFS OF COLOUR WORK, SHOWING ALL THE COLOURS SEPARATELY AND THE CUMULATIVE EFFECT OF OVERPRINTING THEM.
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M E A N I N G F U L HAVE MEANING, SERIOUS, IMPORTANT OF WORTHWHILE, COMMUNICATING SOMETHING THAT IS NOT DIRECTLY EXPRESSED. NO STYLIST EVER GOES IN TO A SHOOT WITH OUT A PLAN OR AIM OF WHAT THEY WANT TO ACHIEVE. THEY DON’T NEED TO HAVE IT ALL FIGURED OUT BUT THERE WILL BE SOME MEANING BEHIND IT. ROBBIE IS VERY INDIRECT WITH THE WAY HE PERCEIVES A FASHION NARRATIVE AND IS NEVER DIRECTLY EXPRESSED WHICH IS WHY HIS STYLING IS MORE MEANINGFUL RATHER THAN JUST STATING THE OBVIOUS.
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C U L T U R E D CHARACTERISED BY REFINED TASTE, THE ARTS AND OTHER MANIFESTATIONS OF HUMAN INTELLECTUAL ACHIEVEMENT, THE IDEAS, CUSTOMS, AND SOCIAL BEHAVIOUR OF A PARTICULAR PERSON OF SOCIETY OR THE ATTITUDES AND BEHAVIOUR CHARACTERISTICS OF A SOCIAL GROUP. ROBBIE’S STYLES FOR MANY DESIGNERS AND BRANDS AND CAPTURES THE BRANDS CULTURE NARRATIVE IN A NEW PROFOUND WAY EACH TIME. ROBBIE’S TALLET TO CAPTURE A STORY THROUGHOUT HIS CAREER DEPICTS THE CULTURAL MOVEMENTS WE’VE WITNESSED.
RAW MY INITIAL VISUAL IDEA OF RAW WOULD SHOW AN UNEDITED PHOTO USING NATURAL LIGHT TO HIGHLIGHT KEY FACIAL FEATURE. KEEPING MUTED AND NATURAL TONES AND COLOUR WHEN CAPTURING THE IMAGE. I WOULD FOCUS ON THE EYE TO TELL THE STORY. MY INSPIRATION OF THIS CAME FROM BOTH IDEAS.
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ROBBIE DURING HIS TIME AT DAZED CREATED MANY OF IT’S IMPACTFUL COVER NARRATIVES. HE SURROUNDED HISELF WITH A NEW GENERATION OF CREATIVES THAT HELPED HIM DEFINE THE ZEITGEIST AND GIVE MEANING TO THE TARGET AUDIENCE: YOUTH CULTURE.
PROGR
RESSIVE
SP
ROBBIE OFTEN MAKES USE OF BACKGROUNDS IN HIS WORK TO HELP DEPICT THE NARRATIVE. FOCUSING LESS ON CLOTHING AND MORE ON THE BACKGROUNDS TO TELL THE STORY, ROBBIE LIKES TO TELL HIS STORIES BY OFTEN KEEPING A SIMPLIFIED STRUCTURE OF THE IMAGE AND USING BACKGROUNDS AND OBJECTS TO TELL THE NARRATIVE.
PATIAL
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BEN
TOMS
QUIET, PROLIFIC PHOTOGRAPHER BEHIND SOME OF THE DECADES MOST NORM - BUSTING EDITORIALS. KNOWN FOR HIS DRAMATIC CAPTURE OF AN IMAGE, HE REMAINS AUTHENTIC TO HIS RAW CAPTURES AND MAINTAINS A CONSTANT CONNECTION BETWEEN MODEL AND CAMERA.
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OLIVER
HADIEE
PEARCH
FASHION PHOTOGRAPHER AND FILMMAKER OLIVER HADIEE PEARCH, BUILDS HIS IMAGES UPON CHARACTER, ENERGY AND CLASSICISM. ENSURING AUTHENTICITY AND INNOVATION ARE AT THE CORE OF THE IMAGE NARRATIVE. HE’S BEEN NOTED FOR HAVING A KNACK FOR AESTHETIC AND HAVING AN ENGLISHMAN’S DRY RICH WIT, OFTEN ALSO HAVING A RELAXED HUMOROUS APPROACH TO BOTH HIS SUBJECTS AND WORK
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ARNAUD
LAJEUNIE
FROM PARIS, ARNAUD LAJEUNIE FOCUSES HIS LENS ON THE INTIMATE MOMENTS THAT DON’T ALWAYS MAKE THE CUT IN FASHION. ‘INJECTING FASHION WITH A TOUCH OF THE SURREAL’ KNOWN FOR HIS INNATE EYE AND PROPENSITY FOR CAPTURING THE UNEXPECTED, HE FAVOURS CHANCE IN HIS WORK, OFTEN LAYERING HIS IMAGES IN SUBTLE WAYS THAT CAN BE EASILY MISSED. HE IS NOTED FOR HIS EYE FOR THE BEAUTIFUL AND BIZARRE.
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AIM: REPLICATE ROBBIES STYLING AND
BEGIN TO UNDERSTAND HIS STYLING CHARACTERISTICS
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ABOUT
DAZED
BRITISH STYLE MAGAZINE DAZED + CONFUSED COVERS MUSIC, FASHION, FILM, ART, AND LITERATURE, PRODUCING STORIES ACROSS ITS PRINT, DIGITAL AND VIDEO BRANDS. FOUNDED IN 1991 BY JEFFERSON HACK AND RANKIN, IT HAS BUILT A STRONG REPUTATION FOR GROUNDBREAKING EDITORIALS. DAZED INSPIRE THE UPCOMING GENERATION TO CONSTANTLY EXPLORE CULTURE AND TRENDS IN THEIR ENVIRONMENT IN ORDER TO DISCOVER THEIR OWN IDENTITY.
ABOUT
DAZED
WHERE POP CULTURE MEETS THE UNDERGROUND OPERATING ON THE FAULT LINES OF THE POP CULTURE MAINSTREAM AND THE CREATIVE UNDERGROUND, DAZED SETS A RADICAL NEW AGENDA FOR FASHION TITLES IN PRINT. OVER ALMOST 3 DECADES, IT HAS BROUGHT TOGETHER ESSENTIAL VOICES FROM DIFFERENT GENERATIONS TO ITS PAGES, INTERPRETING THE FASHION, MUSIC, FILM AND ART YOU NEED TO SEE, HEAR, AND FEEL RIGHT NOW.
S W
1) STRONG THEME AND NARRATIVE CARRIED THROUGHOUT ITS ISSUES 2) STRIKING VISUALS 3) COVERS SENSITIVE TOPICS OFTEN TABOO 1) ONLY KNOW IN THE FASHION SPHERE 2) NEEDS TO MODERNISE IT COMMUNICATIONS MODEL IN ORDER TO KEEP UP WITH ITS OWN YOUTH TARGET AUDIENCE.
O T
1) EXPAND AND EXPLORE THE METAVERSE AND BEGIN TO APPLY THEIR MONOMASS RESEARCH TO THEIR ISSUES TO STAY A HEAD OF COMPETITORS 2) FOCUS ON UP COMING SOCAIL PLATFORMS AND ENSURE AUTHENTICITY ACROSS THEM 1) OTHER MAGAZINES COVERING THE SAME CONTENT 2) MAINTAIN ITS CLUB KIDS ROOTS AND NOT BECOME WATERED DOWN WITH MAINSTREAM TRENDS AND STORIES
THE STORY OF A GAN THE EPICENTER OF ARTS SCENE, WH SPIRIT OF BRITART CHANGED THE FAC
NG OF CLUB KIDS AT AN UNDERGROUND HO CAPTURED THE AND BRITPOP AND CE OF PUBLISHING
CLUB
KIDS
THE1980”S GAVE BIRTH TO A CULTURAL MOVEMENT THAT ELECTRIFIED THE FASHION LANDSCAPE AND REVOLUTIONISED THE FREEDOM WE HAD TO INDIVIDUALLY EXPRESS OURSELVES. ‘WHEN THE CLUB KIDS CAME ALONG, WE BROUGHT THIS IDEA THAT OUR IDENTITY WAS ENOUGH’ -WALT CASSIDY ‘YOU’RE INTERESTING LOOKING BUT WHAT DO YOU DO?’ REFLECTED IN TODAYS YOUTH CULTURE OF MUSIC, DRUGS, GENDER, POP CULTURE AND SCOIAL MEDIA WE STRUGGLE TO FIND OUR OWN WAY TO FIND OUR IDENTITIES. AS A LOST GENERATION WE ARE OFTEN RIDICULED BY OLDER GENERATIONS NICKNAMING US AS ‘SNOWFLAKE’. LEFT TO SOLVE PAST GENERATIONS GLOBAL ISSUES MANY HAVE TAKEN ON A FORM OF YOUTH REBELLION TO EXPRESS THEMSELVES JUST LIKE CLUB KIDS IN THE 190’S. THIS IS DAZED’S DEMOGRAPHIC. DAZED WAS BORN FROM A GANG OF CLUB KIDS AT THE EPICENTRE OF AN UNDERGROUND ARTS SCENE. AS GEN Z EMERGE FROM AN EPICENTRE OF GLOBAL DISASTERS ARE WE ABOUT TO WITNESS A NEW MODERN CLUB CULTURE ERA OR ARE WE ABOUT TO WATCH A MODERN YOUTH CULTURE EXPLODE INTO OUR FASHION LANDSCAPE.
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HYPER-CONNECTIVITY MULTIPLE MEANS OF COMMUNICATION, A GREATER THAN NORMAL NUMBER OF BRAIN AREAS ARE ACTIVATED AT THE SAME TIME, A HYPERCONNECTED WORLD IS A CROSS-INDUSTRY, UMBRELLA PLATFORM THAT CONNECTS THE DOTS ACROSS INDUSTRY PROJECTS AND HELPS US UNDERSTAND AND MANAGE SOCIAL, ECONOMIC AND POLITICAL CONSEQUENCES OF DIGITAL TECHNOLOGY. DAZED ACTS AS THIS ‘UMBRELLA’ THAT CONNECTS CREATIVE TOGETHER IN BUSINESS TERMS BUT IN TERMS OF A MAGAZINE AND ITS AUDIENCE, IT CONNECTS YOUTHS ACROSS THE GLOBE, DESPITE LANGUAGE AND CULTURAL BARRIERS. DAZED INCORPORATES DIFFERENT CULTURES OF IMPORTANCE IN ITS NARRATIVES AND CONNECTS YOUTH ACROSS THE WORLD AND MAKES THEM AWARE OF BLOBAL ISSUES.
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S E L F - S U RV E I L I A N C E THE ATTENTION ONE PAYS TO ONES BEHAVIOUR WHEN FACING THE ACTUALITY OF AN IMMEDIATE OBSERVATION BY OTHERS WHOSE OPINION HE OR SHE DEEMS AS RELEVANT. DAZED FOCUSES ON THE SELF-SURVEILLANCE OF THE YOUTH CULTURE. LOOKING AND LISTEN TO WHAT GEN Z ARE WANTING AND RESPONDING TO THEM BY GIVING THEM A VOICE AND PLATFORM TO SPEAK THROUGH.
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I D E N T I T I E S THE FACT OF BEING WHO OR WHAT A PERSON OR THING IS, CHARACTERISTICS DETERMINING WHO OR WHAT A PERSON IS, A TRANSFORMATION THAT LEAVES AN OBJECT UNCHANGED. DAZED HOLDS A STRONG BRAND NARRATIVE WHCIH IS CRUCIAL WHEN MAINTAINING A TARGET AUDIENCE. THEY HAVE KEY IDENTITIES WITHIN THEIR BRANDING SUCH AS CLUB KID CULTURE, EDGEY, BOLD AND YOUTH CULTRE. THATS THE THINGS THAT MAKES DAZED DAZED. ITS IDENTITY IS WHAT MAKES ITS NARRATIVE STAND OUT COMPARE TO OTHER MAGAZINES.
“Dazed has survived – even th that creative Britain is good don’t just reflect the times a shape the times. And that’ The
hrived – by doing all the things d at... Successful magazines around them, they also help s what’s Dazed has done.” Guardian
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A U T H E N T I C UNDISPUTED ORIGIN AND NOT A COPY, MADE OR DONE IN THE TRADITIONAL OR ORIGINAL WAY; OR IN A WAY THAT FAITHFULLY RESEMBLES AN ORIGINAL, THE EXTENT TO WHICH CULTURES HAVE INFLUENCED EACH OTHER.THE IS NO OTHER MAGAZINE OUT THERE THAT CAN COMPETE WITH DAZED. DAZED STAYS TRUE TO ITS CREATORS’ ORIGINS OF CLUB CULTURE. OFFERING YOUTH CULTURE, A PLACE WHERE IT CAN REBEL WITH IN FASHION AGAINST SOCIAL ISSUES IN THE WORLD. BY DAZED BUILDING AN AUTHENTIC PLATFORM IT STRENGTHENS THEIR NARRATIVE AND ALLOWS THEM TO TELL A STRONGER VISUAL NARRATIVE.
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Y
O
U
T
H
MIDDLE-CLASS YOUTH HAVE ROMANTICISED POVERTY, AN EARLY STAGE IN THE DEVELOPMENT OF SOMETHING.DAZED’S MISSION IS EMPOWERING YOUTH THROUGH CREATIVITY. DAZED GIVE A VOICE TO THE YOUTH AND WHILE GIVING THEM A VOICE IT BEGINS TO DEVELOP THE ZIGEST. DAZED CONSUMERS ARE OUTSPOKEN AND DON’T FOLLOW THE TREND. GEN Z ARE THE NEXT UPCOMING SOCIETY AND ARE BEGING TO DEVELOP THE NEW WORLD. DAZED MAGAZINE SUPPORTS THE NEW GEN Z SOCIETY VISUALLY THROUGH ITS PAGES AND SUPPORTS AND VOICES THE OPIONS AND ISSUES THAT MATTER TO GEN Z. GEN Z ARE CONSTANTLY EXPLORING CULTURE AND TRENDS IN THEIR ENVIRONMENT AND AMONG THEIR PEERS IN A QUEST TO DISCOVER THEIR OWN IDENTITY AND PERSONA.
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CROSS-POLLINATION OF CULTURE
THE EXTENT TO WHICH CULTURE HAVE INFLUENCED EACH OTHER. DAZED HAVE MULTIPLE EDITORIALS IN DIFFERENT CULTURES GIVING THEM A WIDE EYE VIEW OF GLOBAL GEN Z ISSUES IN DIFFERENT CORNERS OF THE WORLD. CONSTANTLY EXPLORING CULTURE AND TRENDS.BY DAZED GIVING A VOICE TO DIFFERENT CULTURES THERE IS GOING TO BE OVERLAPS RESULTING IN THE CROSS-POLLINATION OF CULTURE. THIS STRENGTHENS THE CONNECTIONS OF GEN Z AND MAKES THEM THE NEXT HYBRID OF SOCIETY.
WE DON’T REFLECT CULTURE
WE
MAKE
IT
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H
O
P
E
THEIR TARGET AUDIENCE, GEN Z, HAS WENT THROUGH THE MOST HISTORICAL BUSY PERIOD SINCE WORLD WAR 2, MANAGING THROUGH, A COVID PANDEMIC, WARS, ECONOMIC COLLAPSES, AND SOCIAL/POLITICAL MOVEMENTS SUCH AS BLM. DAZED HAS BEEN THERE TO COVER IT ALL. THROUGH THEIR VISUALS AND EDITORIALS THEY HAVE GAVE HOPE TO GEN Z THAT THEIR FUTURE DOESN’T LOOK AS BLEAK AS GEN X ARE SAYING.
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STREET
CULTURE
DAZED OFTEN PORTRAY A BRITISH STREET CULTURE VISUALLY THROUGHOUT THEIR MAGAZINE. ESPECIALLY IMPORTANT IN LONDON, YOUTH CULTURE IS BROUGHT UP OFTEN IN COUNCIL ESTATES AND IT’S IMPORTANT FOR DAZED TO CAPTURE THE LONDON STREET CULTURE TO ALLOW THEM TO HAVE A VOICE TO SPEAK THROUGH ON A GLOBAL STAGE.
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E D G E Y DAZEDS CLUB CULTURE COMES WITH AN EDGEY AESTHETIC. DAZED ALLOWS MINORITY CULTURES IN YOUTH CULTRE TO BE SEEN AND HEARD.
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CLUB
CULTURE
DAZED HAS ALWAYS CHAMPIONED THE ARTISTS, POP PHENOMENONS AND PROVOCATEURS WHO DEFINE THE TIMES. STARTING IN 1991 IN THE MAGAZINE BEGAN OPERATING ON THE FAULT LINES OF THE POP CULTURE MAINSTREAM AND THE CREATIVE UNDERGROUND. BUILT UPON THE BRITSH CLUB CULTURE SCENE THEY GREW IN TO A MAGAZINE GIVING A VOICE TO THE UP AND COMING, WHICH MIGHT NOT HAVE BEEN ACCEPTED AT THE TIME.
YOUT
TH
H
HOPE
EDGEY
Y
These are cover stories that start conversations . . . .
D
a z e d Summer 2019 Photography by Willy Vanderperre Styling by Robbie Spencer
Dazed & Confused Vol 2 Issue 52 August 2007 Photography by Mariano Vivanco Styling by Nicola F o r m i c h e t t i
Dazed & Issue September Photography Nick Styling Katy
Confused 46 1998 by Knight by England
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THE CREATIVE BEHIND DAZED
AGENCY COVERS
NEW SCHOOL AGENCY FOUNDED BY SAM ROSS IS PROOF OF THEIR OWN CONCEPT BUILT AROUND THE IDEA OF A COMMUNITY OF UNIQUE INDIVIDUALS WHO’S VARIOUS CREATIVE DISCIPLINES COMPLEMENT EACH OTHER. SAM ROSS’S BUSINESS SUCCESS HEAVILY RELIES ON CENTAL SAINT MARTINS, MANY WHOM WORK FOR DAZED. ‘THE VISION OF DAZED RIGHT NOW IS UNDER RAW MATERIALS’ NEW SCHOOL AGENCY EMBODIES DAZED’S CREATIVE CULTURE OF COMBINING MULTIPLE TALENTS TO CREATE A UNIQUE CREATIVE CULTURED COMMUNITY OF LIKE MIDED INDIVIDUALS.
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CHRISTOPHER SHANNON CHRISTOPHER SHANNON IS AN ENGLISH FASHION DESIGNER SPECIALISING IN MENSWEAR. GRADUATING FROM CENTRAL SAINT MARTINS, SHANNON WAS AWARDED A PLACE ON SCHEDULE AT LONDON FASHION WEEK AT THE TOPMAN-SPONSORED MAN SHOW. SHANNON IS KNOWN FOR HIS STRONG LINK TO HIS HERITAGE IN NORTHERN CULTURE, ORIGINALLY ORIGINATING FROM LIVERPOOL HIMSELF. HE HAS REWORKED SHELL SUITS AND SPORTS PIECES IN NEW FABRICATIONS, WITH A NOD TO NORTHERN STYLE AND MARKET STALL BOOTLEGGING, INCORPORATING REVERSIBLE ELEMENTS: SOMETHING HE DESCRIBES AS ‘REFINED SCALLYISM’.
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S E M I O T I C S THE STUDY OF FASHION AND HOW HUMANS SIGNIFY SPECIFIC SOCIAL AND CULTURAL POSITIONS THROUGH DRESS ‘THE SCIENCE OF THE LIFE OF SIGNS IN SOCIETY’ FERDINAND DE SAUSSURE. CLOTHING IS A NON-VERBAL SIGN THAT CAN BE INTERPRETED DEPENDING ON THE CONTEXT, SITUATION OR CULTURE. ROBBIE USES SEMIOTICS THROUGH EITHER PROPS OR THE USE OF HIS ENVIRONMENT. DAVID DOWNTON, FASHION ILLUSTRATOR, TELLS HIS STORYS THROUGH COLOUR HELPING HIM TO TELL THE STORY BEHIND THE PAINTING. THIS IS SOMETHING I WANT TO EXPLORE THROUGH ROBBIES STYLING.
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THE MEANING THE COLOUR FOLLOWING EMMAS LECTURE ON SEMIOTICS IN FASHION, I CHOSE TO LOOK AT THE MEANING OF COLOUR AND WHAT IT REPRESENT IN YOUTH CULTURE AND WIDER SOCIETY. APPROXIMATELY 60-90% OF THE INITIAL ASSESSMENT OF THE CUSTOMERS IS BASED ON COLOR. I CHOSE THE PRIMARY COLOURS RED AND BLUE. THE COLOUR RED EVOKES POSITIVE ASSOCIATIONS FORMING AN INITIAL OPINION OF THE BRAND. RED IS A POWERFUL COLOUR, AND CAN STAND ALL BY ITSELF BUT BLUE AND RED MAKE THE MOST POWERFUL CORPORATE COLOURS.
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TONY
GREEN
AFTER TONYS WORKSHOP HE GAVE ME THE IDEA OF EXPLORING THE AESTHETIC OF OLD DRIVE-IN MOVIES. CAPTURING THE ESSENCE OF THE OLD FILMING STYLE AND QUALITY OF THE FILM I BEGAN VIDEOING AN OLD MOVIE COUNTDOWN. THE VIDEO CREATED AN INTERESTING EFFECT WHICH I WANT TO CARRY THROUGHOUT THE PROJECT. HOWEVER, I WON’T BE RELATING MY MAGAZINE SHOOT TOWARDS ANY FILM REFERENCES DIRECTLY.
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AIM: FOCUS ON COLOUR AS A FORM OF YOUTH EXPRESSION
THIS PHOTO WAS TAKEN UNEXPECTEDLY AFTER MY CAMERA FLASH TURNED ON. I LOVE THE COLOURS IT SHOWS AND LINKS WELL WITH EMMA’S LECTURE ON SEMIOTICS
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USING POWDERED PAINT OFTEN USED AT FESTIVALS I USED TO HIGHLIGHT THE EYE IN THIS PHOTO
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USING GLASS I PLACED OVER THE PROJECTOR I LAYERED DIFFERENT COLOURS OVER THE FACE, AGAIN TRYING TO HIGHLIGHT THE EYES TO TELL THE STORY
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YOUTH
CULTURE
DAZE’S MONOMASS ERA REVEALS RECENT BEHAVIOUR CHANGES IN RESPONSE TO COVID-19. MONOMASS IS COINED TO DESCRIBE HYPER-INDIVIDUALISM AND MASS TRENDS EXISTING EQUALLY AND COMFORTABLY TOGETHER, ANALYSING HOW SOCIAL MEDIA HAS CHANGED THE WAYS WE AS GEN Z ARTICULATE OUR IDENTITIES. IT BELIEVES THE PANDEMIC HASN’T CREATED A DYSTOPIA; IT’S REVEALED ONE. ‘BEAUTY CAN BE FOUND IN AMATEURISM, AND DISCOVERING VULNERABILITY IN THE CREATIVE PROCESS’
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WHAT MAKES GEN Z DIFFERENT ? ‘LIVING
BEYOND
THE
BOX’
GENERATION Z AT THE TIP OF THEIR FINGERS TIPS HAVE A GLOBAL PLATFORM IN WHICH THEY CAN VOICE THEIR OPINIONS AND IDEAS. THIS ALREADY PUTS THEM BEYOND THE BOX. FROM GENERATION X BEING TOLD THEY WILL BE SEEN AND NOT HEARD GENERATION Z CAN AND WILL BE BOTH SEEN AND HEARD IN A WAY NOT KNOWN BEFORE. WHATEVER PAST GENERATIONS HAD DONE GENERATION Z CAN NOW DO FROM THEIR BEDROOMS WHETHER IT BE PRODUCING MUSIC OR MODELLING, WE CAN TRANSFORM OU PASSIONS INTO A LIVING. WE DEVELOP OUR OWN PERSONAL BRAND THE MINUTE WE JOIN SOCIAL MEDIA. AND SOCIAL MEDIA IS CONSTANTLY ASKING FOR OUR OPINION. OUR FREEDOM OF SPEACH IS GREATER THAN PAST GENERATIONS. ANDD THROUGH THE FREEDOM OF SPEACH AND SOCAIL MEDIA WE DESIRE A GEATER NEED FOR AUTHENTICITY.
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MENTAL
HEALTH
SNOWFLAKE, ORIGINATING FROM CHUCK PALAHNLUK’S 1996 CULT BOOK ‘FIGHT CLUB’. OFTEN USED TO REFER TO A GENERATION SAID TOO BE EASILY OFFENDED, ATTENTION SEEKING AND LACKING RESILIENCE. ‘SNOWFLAKE’ ITSELF REFERS TO THE UNIQUENESS OF EACH SNOWFLAKE, THE IDEA THAT SOMETHING SO BEAUTIFUL CAN BE SO FRAGILE. DURING THE PANDEMIC, GEN Z BARED THE MENTAL HEALTH BURDEN THE OST, DISRUPTING IMPORTANT YEARS OF THEIR LIVES. ITS ESTIMATED THAT IN THE US, ALMOST TWO-THIRDS OF YOUNG ADULTS ARE SUFFERING FROM MENTAL HEALTH ISSUES. ‘FOR THE PEOPLE AGED BETWEEN THE AGE OF 21 AND 25 THIS S A TIME OF EXPANSION IN THE LIFE, WITH NEW CONNECTIONS AND NEW THINGS. THAT IS ALL BEING HALTED. I THINK THIS IS A HARD TIME FOR PARTS OF LIFE TO STAND STILL WHEN THERE IS NORMALLY JUST THIS FASTPACED DEVELOPMENTAL TIME WHERE SO MUCH IS HAPPENING SOCIALLY AND PROFESSIONALLY’ - DR SARAH LIPSON
“You are not special. You are not a beautiful and unique snowflake. You are the same organ
nic and decaying matter as everyone else” – Fight Club’s Tyler Durden bluntly informs us.
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THE
INFLUENCER
IS
DEAD
AFTER COVID-19 AND BLM WE HAVE BEGAN TO QUESTION THE VALUES AND MODELS IN WHICH OUR SOCIETY IS BUILT UPON. CELEBRITIES AND INFLUENCERS LACK MEANING AND SUBSTANCE AND STRUGGLE TO POST MEANINGFUL CONTENT. GEN Z AND EVEN ALPHAS ARE FINDING THE NEED TO CONNECT WITH SOMETHING REAL AND EXPOSED WHICH HAS LED TO THE VICIOUS CYCLE OF ‘CANCLE CULTURE’. GONE ARE THE GLOSSY LIFESTYLES OF MAGAZINES AND MEDIA. WE NOW LOOK TOWARDS MORAL LEADERS WHO ARE ADVOCATES FOR SOCIAL CHANGE. WE NEED REAL ICONS WITH ALL THEIR FLAWS OUT AND WHO ARE NOT EXPECTED TO KNOW ALL THE ANSWERS BUT MAKE THE NECESSARY DECISIONS TO DRIVE THE CHANGE WE NEED. ON INSTAGRAM THERE IS AN OPEN ACCOUNT CALLED @DEATHOFTHEINFLUENCER ALLOWING ANYONE TO POST ON THE ACCOUNT. THE INFLUENCER CULTURE FOR GENERATION Z STEMED FROM THEIR CLASSROOM CULTURE. WHAT THE KIDS AT THE TOP OF THE CLASSROOM HIERARCHY SAID GOES. THE DESIRE TO ESCAPE THIS CULTURE HAS SPARKED THE END OF THE INFLUENCER AS T H E N E E D F O R T R A N S P A R E N C Y A N D F R E E D O M A C R O S S S O C I A L M E D I A H A S G R O W N .
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MODERN CULTURES LOOKING AT DIFFERNT CULTURAL MOVEMENTS WHICH HAVE SHAPED TODAYS MODERN SOCIETY AND INFLUENCED OUR CULTURE TODAY. AMERICANISATION// AMERICAN IDEAS AND CULTURE SPREAD ON A GLOBAL BASIS DUE TO THE UNITED STATES BEING BORN IN THE MODERN ERA INDIVIDUALISM// LIFE, LIBERTY AND THE PURSUIT OF HAPPINESS. INDIVIDUALISTIC CULTURE WAS BORN FROM THE DECLARATION OF INDEPENDENCE AND THE FRENCH REVOLUTION. THESE EVENTS DEFINED THE MODERN INDEPENDENT CULTURE. ANOMIE// INDIVIDUALISM PROVES PEOPLE WITH LESS DIRECTION. SOME INDIVIDUALS ARE LEFT FEELING LOST AND DISCONNECTED WITH LITTLE SENSE OF SHARED MEANING. ANOMIE IS COMMON IN MODERN SOCIETIES. MODERN ART// POP ART AND HYPER-REALISM AMONG OTHER ART MOVEMENTS BEGAN WITH A SMALL GROUP OF PEOPLE WHO WANTED TO CHALLENGE THE STATUS QUO OF THE ART WORLD. THIS CULTURAL MOVEMENT SPREAD AND BECAME ACCEPTED AS HIGH CULTURE.
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NORTHEN CULTURE NORTHERN ENGLAND HAS A MYRIAD OF CULTURAL MOMENTS AND RICH HERITAGE: PUTTING THEM ON THE FASHION MAP. NORTHERN CULTURE OFTEN DEPICTS MASCULINITY, MUSIC, DOMESTICITY, AND SPORTSWEAR. SO MUCH OF THE NORTHERN CULTURE IS FOCUSED ON THE YOUNG WHITE MALE CREATING A NOSTALGIC AESTHETIC. ADAM MURRY COMMENTED ON BRITISH FASHION CULTURE BEING FOCUSED ON LONDON AS ‘QUITE BORING AND LAZY’ ‘THERE IS A CLEAR LACK OF INFRASTRUCTURE OUTSIDE OF LONDON’ THE ROLLERS IN HAIR THING OFTEN SEEN IN NORTHERN CULTURE HAS BECOME A CLICHE IN ITSELF AND IS OFTEN DEPICTED IN A DEROGATORY WAY.
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MODERN CLUB CULTURE CLUB CULTURE HAS CHANGED MAJORLY FROM ITS ORIGINS. MODERN CLUB CULTURE HAS LESS FREEDOM BEING SHOWN THROUGH CLOTHING BUT IT INSTED SHOWN THROUGH THE CONSUMPTION OF ALCOHOL AND NARCOTICS. THE ORIGINS OF YOUTH CULTURE WERE BUILT UPON BEING ABLE TO DRESS FREELY IN ORDER TO BE ABLE TO TRUELY SHOW WHO YOU ARE. SINCE THE GROWTH OF ONLINE FAST FASHION AND FAST FASHION TRENDS THERES LESS VARIATION IN THE CLOTHING WORN. IS THIS WHY MODERN CULB CULTURE HAS TURNED TO THE LARGER CONSUMPTION OF ALCOHOL AND DRUGS THAN WAS SEEN AT THE BEGINNING OF THE CULTURE. IS THIS THE ONLY CURRENT WAY TO BE ABLE TO BE WHO YOU ARE WITHOUT THE SOCIAL ANXIETY OF JUDGMENT ?
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FUTURE OF THE MAGAZINE GEN Z ARE LOOKING FOR TRUSTED MEDIA. THERE’S BEGINNING TO BE A STRONG RETURN TO MAGAZINES, BOOKS, AND PODCASTS - PEOPLE ARE DESPERATE TO SELFEDUCATE. 60% OF PEOPLE SAY THE MOTIVATION TO BUY PRINT MAGAZINES IS THE TACTILITY OF THE DESIGN: TO BE ABLE TO HOLD IT IN YOUR HANDS. THIS IDEA LINKS TO THE 31% OF CHINESE RESPONDENTS ARE BUYING MAGAZINES AS COLLECTABLES, MEANING THAT WE COULD SEE THE MAGAZINE FORMAT BLENDING INTO THE COFFEE TABLE LOOK BOOK. THIS COULD LEAD TO THE POSSIBILITY OF THE LOOK BOOK CAPTURING A HISTORIC MOMENT OF TIME AND BECOMING MORE MEANINGFUL.
“I want brands to provide content that teaches and inspires. To learn something.” - DAZED AUDIENCE
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PREDICTION OF FASHION C O M M U N I C AT I O N WHEN LOOKING AT BRAND COLLABORATIONS, 37% OF GEN Z BELIEVE THAT EXPERIENCE IS IMPORTANT TO THEM, MANY BELIEVING THAT LUXURY IS NONESSENTIAL, MEANING WE WILL BE SEEING MORE HI LO COLLABORATIONS SUCH AS BALENCIAGA X CROC. WITH THE LUXURY MARKET SET TO DROP 35%. HOWEVER, TO RECOVER, LUXURY BRANDS MUST IMPROVE THEIR ONLINE PRESENCE AND TAILOR THEIR APPROACH TO WHAT YOUNG PEOPLE FIND IMPORTANT AND ENSURE ITS AUTHENTIC AND CONCISE ACROSS ALL PLATFORMS. AS BRANDS BECOME A PART OF A BIGGER CULTURAL CONVERSATION AND BECOME AN INFLUENTIAL FORCE FROM WITHIN 70% SAID HAVING A POINT OF VIEW IS WHAT MAKES A BRAND INFLUENTIAL THE KEY CAMPAIGN NEWNESS,
CHARACTERISTICS OF A SUCCESSFUL PROMOTION ARE: EMOTION, EXPERIMENTATION, NARRATIVE, AUTHENTICITY AND UNIQUENESS
“As magazines find their new es the internet era we find dig They no longer replicate a of the web but are creati from the old. We see the mediums still living strong
stablished selves in the wake of gital covers taking the fore. static format on the pages ing new media experiences e importance of traditional in other areas of culture.”
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CONTEMPORARY STORYTELLING CONTEMPORARY STORY TELLING HAS GROWN OVER THE PAST THREE YEARS DUE TO THE PANDEMIC. BRANDS AND BUSINESSES HAVE HAD TO COME UP WITH NEW WAYS TO KEEP THEIR AUDIENCE ENGAGED. THE DIGITALISATION OF FASHION AND MAGAZINES HAS INCREASED AND WE ARE LAUNCHING THE FASHION INDUSTRY IN TO THE METAVERSE.STORY TELLERS ARE NOW EXPERIMENTING IN NEW WAYS, SUCH AS NIKE WHO HAVE DEVELOPED THEIR FIRST 3D OOH CAMPAIGN TO CELEBRATE THE BIRTHDAY OF THE AIR MAX SHOE. THE REALITY THAT WE COULD BE SEEING MORE OF THESE TYPES OF ADVERTISING WHERE IT BE I THE PHYSICAL WORLD OF VIRTUAL WORLD IS WHAT MAKE THIS PROJECT EXCITING TO EXPERIMENT WITH IN A MAGAZINE FORMAT.
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L O O K B O O K TRYING TO DEFINE THE AESTHETIC FOR MY LOOK BOOK AND OVERALL PROJECT OUTCOMES WAS TRICKY. I WAS TRYING TO COMBINE TWO VERY DIFFERENT ELEMENTS IN TO ONE HARMONIOUSLY. A RAW AUTHENTIC AESTHETIC ALONGSIDE THE DIGITAL ASPECT IS WHAT I PLANNED FOR MY GEN Z PROJECT, INCORPORATING BOTH OF THESE ELEMENTS WAS CRUCIAL AS MY TARGET AUDIENCE WAS GEN Z AND THEIR DESIRES’ FAVOURED THE RAW, TRANSPARENT ALMOST MORE POETIC AESTHETIC OVER THE DIGITAL, HOWEVER, I COULDN’T NOT JUST IGNORE IT WHEN TALKING ABOUT GEN Z, ESPECIALLY SINCE THE METAVERSE IS STILL PROMINENT IN OUR MARKETING AND COMMUNICATION FUTURES EVEN IF IT IS JUST A PASSING TREND. IT HELPED ME TO ANALYSE COLOURS IN PAST EDITS I HAD DONE AND I DECIDED TO FOLLOW MY COLOUR SCHEME FROM MY FINAL EXHIBITION PIECE.
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D
I
G
I
T
A
L
THE DIGITAL ASPECT OF MY PROJECT I WAS OVERALL VERY PLEASED WITH AS IT SHOWS THE NATURAL RELAXED SIDE TO GEN Z. THE INTERVIEWS SHOWED A JUXTAPOSITION/ OXYMORON OF CALMNESS THE INTERVIEWS SHOWED COMPARED TO THE TOPICS THEY WERE ASKED ABOUT AND COMMENTED ON. MY SECOND DIGITAL ASPECT OF GIFS DEPICTS WHAT I ENVISION OF DIGITAL FRONT COVERS. AS THE WORLD OF FASHION COMMUNICATION EVOLVES MAGAZINES HAVE EVOLVED ON A DIGITAL ASPECT TO ALLOW TARGET AUDIENCES TO READ THEIR MOST LOVED MAGAZINES ONLINE. HOWEVER, IT IS TO BE SAID THAT THE MAJORITY OF GEN Z STILL APPRECIATE A PHYSICAL MAGAZINE TO HOLD.
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M E T A V E R S E
OVERHYPED OR UNDERESTIMATED THE GOOD THE BAD AND THE GLITCHY UTOPIA OR DYSTOPIA THE METAVERSE IS A CONCEPT THAT IS STILL BEING SHAPED BY TECH GIANTS. CURRENTLY OVER HYPERD, ITS NOT LIKELY TO REACH MAINSTREAM FOR AT LEAST 10 YEARS. THE MAIN REASON GENERATION Z AND ALPHA USE THESE ONLINE SPACES IS TO CONNECT WITH OTHERS AND EXPRESS THEMSELVES IN MORE WAYS. BRANDS CAN BEGIN TO SPEAK TO NEW COMMUNITIES AND CORSS OVER EXISTING AUDIENCES
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M E T A V E R S E DIGITALLY NATIVE GENERATION Z VIEW THE METAVERSE NOT AS ANOTHER LIFE BUT AN EXTENSION OF THEIR CURRENT ONE. AT THE MOMENT THE METAVERSE CAN BE USED TO BUY DIGITAL GOODS THAT CAN BE USED TO SIGNAL STATUS AND CULTURAL COOLNESS. WE’VE SEEN FAST FASHION BRANDS SUCH AS PRETTY LITTLE THING BEGIN TO DEVELOP THEIR BRANDS AND INCLUDE DIGITAL MODELS SHOWCASING THEIR CLOTHES. HOWEVER, I STILL BELIEVE THE IDEA OF THE METAVERSE AND FASHION COLLABORATING TOGETHER AND IMMERSING ON THE SAME PLATFORM STILL HAS MANY FLAWS THAT NEED CREATIVELY AND SUSTAINABLY SOLVED.
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AS THE METAVERSE EXPANDS WITH AVATARS AND IDENTITY IT WILL BECOME A SHARED VIRTUAL SPACE FOR HUMANS TO CONNECT, INTERACT AND EXPRESS THEMSELVES. THE METAVERSE CREATES FREEDOM AND OPPORTUNITIES FOR SELF EXPRESSION. COMMUNITIES SUCH AS WORLD OF WOEMN, DIGI-GXL AND THE INSTITUTE OF DIGITAL FASHION ARE DRIVING THE WAY FOR INCLUSIVITY, DIVERSITY AND SELF-EXPRESSION. TAG WARNER, CEO OF GAY TIMES, COMMENTED THAT ‘WHEN SOCIAL MEDIA PLATFORM EXPLODED, MANY LGBTQ+ PEOPLE FOUND A SPACE IN MEDIA NOT PREVIOUSLY AFFORDED TO THEM.
WE ARE EVOLVING CONNECTING PEOPLE, PLACES AND THINGS IN A VIRTUAL AND PHYSICAL AUGMENTATION. FASHION AND BEAUTY ARE LEADING THE WAY WITH BRANDS SUCH AS RALPH LAUREN, PRETTY LITTLE THING AND BALENCIAGA/FORTNITE. COMPANIES ARE BEGINNING TO UNDERSTAND THAT THEY WILL NEED METAVERSE STRATEGIES AND TEAMS IN ORDER NOT TO MISS A POSSIBLE OPPORTUNITY. EVEN IF THE METAVERSE IS JUST A PASSING POINT IN FASHION HISTORY.
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METAVERSE V.S Y
DIGITALLY NATIVE GENERATION Z V LIFE BUT AN EXTENSION OF THEIR METAVERSE CAN BE USED TO BUY DI SIGNAL STATUS AND CULTURAL COO BRANDS SUCH AS PRETTY LITTLE BRANDS AND INCLUDE DIGITAL MO HOWEVER, I STILL BELIEVE THE ID COLLABORATING TOGETHER AND IMME HAS MANY FLAWS THAT NEED CREA
YOUTH CULTURE
VIEW THE METAVERSE NOT AS ANOTHER R CURRENT ONE. AT THE MOMENT THE IGITAL GOODS THAT CAN BE USED TO OLNESS. WE’VE SEEN FAST FASHION THING BEGIN TO DEVELOP THEIR ODELS SHOWCASING THEIR CLOTHES. DEA OF THE METAVERSE AND FASHION ERSING ON THE SAME PLATFORM STILL ATIVELY AND SUSTAINABLY SOLVED.
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I N T E R V I E W S I USED THE INTERVIEWS TO BEGIN WITH TO COVER THE DIGITAL ASPECT OF THE MAGAZINE HOWEVER WHEN FILMING MY FIRST INTERVIEW THE ANSWERS I WAS GETTING REALLY SUPPORTED AND UNDERLINED WHAT I HAD RESEARCHED AND BACKED UP MY NARRATIVE FOR MY DAZED X ROBBIE PROJECT. INTERVIEWING GEN Z TUNRED OUT TO BE THE TURNING POINT FOR MY PROJECT. THE INTERVIEWS PERFECTLY DEFINED THE ASPECT OF ROBBIE THAT I WANTED TO CAPTURE, RAW, AUTHENTIC, TRANSPARENT AND REALISTIC. THE INTERVIEWS MADE ME REALISE THAT EVERY GEN Z IS FEELING THE SAME, INCLUDING ME. LOST
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QUEST
1. TODAYS DATE 2. NAME 3. HOW DO YOU FEEL RIGHT NOW 4. WHAT ARE YOU DOING IN YOUR LIFE RIGHT NOW 5. DO YOU THINK YOU WOULD’VE DONE SOMETHING DIFFERENT IF COVID DIDN’T HAPPEN 6. ARE YOU HAPPY WITH THE DIRECTION YOU HAVE GONE IN 7. DO YOU THINK COVID HAS AFFECTED YOUR MENTAL HEALTH 8. WHAT ARE YOUR GOALS FOR THE FUTURE 9. WHAT DO YOU THINK ABOUT INFLUENCERS AND CANCEL CULTURE 10. WHAT DO YOU KNOW ABOUT THE METAVERSE
TIONS DURING THE COURSE OF ASKING THE INTERVIEW QUESTIONS I RESPONDED TO WHAT THE PERSON IN FRONT OF ME WAS SAYING. I DIDN’T WANT TO RIDGLY STICK TO THE INTERVIEW QUESTIONS THEY WERE MORE OF A GUIDE. WHEN THE INTERVIEWER SAID SOMETHING OF INTEREST I WOULD DELVE DEEPER AND ASK THEM ABOUT THEY SAID WHAT THEY SAID. IT HELPED MAINTAIN THE RELAXED AUTHENTIC FEELING.
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COODIE
&
CHIKE
I BECAME INSPIRED BY JEEN - YUHS DOCUMENTARY ON NETFLIX PRODUCED BY COODIE AND CHIKE, FOLLOWING KANYE WEST’S LIFE AND RISE TO FAME. THE FOOTAGE IS KEPT AUTHENTIC AND TRANSPARENT, SOMETHING WHICH I ASPIRED TO DO IN THE INTERVIEWS. I PLANNED TO ADAPT THE STYLING OF ROBBIE SPENCERS SHOOT WITH FRANK OCEAN INTO VIDEOGRAPHY IN THE HOPE THAT IT WOULD UNDERPIN ALL MY RESEARCH SO FAR AND ASLO HELP ME INCORPORATE AN INTERACTIVE ELEMENT IN TO THE MAGAZINE FOR THE VIEWERS. IMAGINE OPENING THE MAGAZINE WITH FRANK OCEAN ON THE COVER AND THEN HIS INTERVIEW FOR THE MAGAZINE PLAYS ON THE FIRST PAGE.
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RESPONSE TO
INTERVIEWS
THE INITIAL RESPONSE TO THE INTERVIEW QUESTIONS GENERATION Z SEEMED STRESSED AND UNRELAXED, HOWEVER AS THE INTERVIEW WENT ON AND I TREAT IT MORE LIKE AN CONVERSATION THAN AN INTERVIEW THEY RELAXED AND THE INTERVIEW FLOWED MORE NATURALLY.
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B A C K G R O U N D S
FOR MY SHOOT IVE CHOSEN 3 POSSIBLE LOCATIONS. ALL CAN BE INCORPORATED INTO DAZED’S AESTHETIC OF YOUTH CULTURE. S T R E E T THIS LOCATION LINKS WITH DAZED’S STREET CULTURE AND ALSO HAS CONNOTATIONS LINKING TO NORTHERN CULTURE. IT WOULD ALLOW ME TO DEVELOP MY NARRATIVE FURTHER AND INCORPORATE GRAFFITI WORK. COINCIDING WITH DAZED’S AESTHETIC. SCHOOL SPORTS HALL HAVING SEEN A SHOOT INSPIRED AND LOCATED IN A SCHOOL HALL. I LOVED THE LIGHTING AND BELIEVE ROBBIES STYLE WOULD WORK WELL. IT WOULD ALSO LINK WELL WITH TH MENTAL HEALTH ASPECT AND HOW MOST GEN Z LEFT SCHOOL AND DURING THE PANDEMIC WERE EXPECTED TO GROW UP WITHOUT EXPERIENCING THE WIDE WORLD. S T U D I O THIS LOCATION HAS ALREADY PROVED EFFECTIVE SINCE I WANTED TO EXPERIMENT WITH COLOUR AND PROJECTION. HOWEVER, IT DOESN’T ALLOW ME TO BE AS EXPERIMENTAL AND ONLY LETS ME DEVELOP MY CONCEPT SO FAR.
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AIM: TO EXPLORE MY AESTHEIC IN A DIFFERENT LOCATION
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PHOT
TOSHOOT
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PHO
OTOSHOOT
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C L O T H I N G DESPITE ROBBIE SPENCER FOCUSING ON HIS SURROUNDINGS ON PHOTOSHOOTS I WANT THE CLOTHING TO DEPICT DAZED’S SENSE OF STYLE. I COULD EITHER CHOSE A STRAIGHTFORWARD STREET STYLE OR DEPICT CURRENT YOUTH CULTURE TRENDS.
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MO
ODERN FASHION MARKETING LEVELS THE HIRARCY OF THE FASHION PYRAMID IS QUICKLY BECOMING AN OUT OF DATE MODEL. WHITH RAPID TECHNOLOGICAL ADVANCES IN THE FASHION INDUSTRY AND CONSUMER MORALS AND WANTS CHANGING. Haute Couture: Handmade garments made to fit individual customers creating the one and only garment. Using the finest Materials along with top craftsmen with years of experience. Luxury: Not handmade but produced, however there is limited availability, so they still provide the feeling of exclusivity and importance. Bridge Brands: Top high-street brands offering simplistic minimalistic pieces. High quality with affordability in mind for the consumer. High Street: Designing their product, sending it to be manufactured and into retail stores. little thought behind sustainability and awareness of the effects of manufacturing. Economy: Fast fashion and mass-produced inexpensive materials to save money and time to be produced by machines and frequently adapts to trends.
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TRACY
HALL
MY INPUT FROM MY TUTOR AFTER OUR MEETING WAS THAT DESPITE ROBBIE STYLING FROM A BACKGROUND PERSPECTIVE INSTEAD OF A CLOTHING ONE I SHOULDN’T COMPLETELY IGNORE THE CLOTHING AS THEY CAN ADD TO THE AESTHETIC AND HELP UNDERPIN THE NARRATIVE OF THE SHOOT.
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JAMIE
HAWKESWORTH
JAMIE HAWKESWORTH IS A BRITISH FASHION AND DOCUMENTARY PHOTOGRAPHER KNOW FOR CAPTURING THE EASE AND AWKWARDNESS OF A SITUATION. JAMIE HAS AN AESTHETIC OF DEFIANTLY TRADITIONAL MERGING DOCUMENTARY AND STREET PORTRAITURE AND HAS WORKED WITH ROBBIE SPENCER IN SHOOTS. AT FIRST GLANCE, HIS PICTURES CAN OFTEN APPEAR CASUAL, EVEN MUNDANE, BUT THEY ARE INFORMED BY AN ACUTE ATTENTION TO LIGHT AND COLOUR. HE USES AN ANALOGUE FILM CAMERA WHICH IS ONE OF THE REASONS AS TO WHY I HAVE CHOSEN TO LOOK AT HIS WORK AND INCORPORATE IT INTO MY VIDEOGRAPHY STYLING. DESPITE WANTING TO KEEP A MODERN TAKE ON MY CONCEPT TO KEEP A STRONG LINK TO DAZED I BELIEVE MY CONCEPT HAS A LINK TO YOUTH NOSTALGIA AND JAMIE’S PHOTOGRAPHY STYLING WOULD BE A PERFECT FIT FOR MY INTERVIEW’S AESTHETIC.
REAL LIFE PHOTOGRAPHY AMIE HAWKESWORTH AESTHETIC CAPTURES REAL LIFE, AN AESTHETIC I WANT TO SHOW IN MY FINAL OUTCOME. YOUTH CULTURE IS ALL ABOUT AUTHENTICITY AND THE LIFE BEHIND THE SCENES. JAMIES WORK CAPTURES THIS ELEMENT BRILLIANTLY IN A RAW NATURAL LIGHT SOMETHING WHICH ROBBIE INCORPORATES IN HIS STYLING
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F**KING
YOUNG
FUCKING YOUNG BEGAN AS AN INSPIRATIONAL PLATFORM FOCUSING ON YOUTHFUL AESTHETICS DERIVED FROM MANLY HEMISPHERES. OUR FREEDOM ALLOWED US TO MERGE ESTABLISHED WITH EMERGING ARTISTS, THUS AIDING THE LATTER REACHING THEIR OWN PUBLIC. ITS UNIQUE POSITION ALLOWS IT TO GIVE SPACE AND COVERAGE TO BIG NAMES IN THE INDUSTRY AS WELL AS EMERGING ARTISTS AND RISING STARS. THEIR FOCUS ON YOUTH CULTURE AND SUPPORTING AND CELEBRATING YOUTH IS ONE OF THE REASONS WHY I CHOSE TO LOOK AT THIS MAGAZINE WHILE COLLABORATING ALSO WITH DAZED. LIKE DAZED THEY SHARE A CLUB CULTURE / PUNK AESTHETIC.
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TONY GREEN WORKSHOP TONYS SECOND WORKSHOP REALLY HELPED ME DISCOVER MY CREATIVE DIRECTION FOR THE FINAL STRECH OF MY PROJECT. EXPERIMENTING WITH LOCATION, BACKDROP AND LIGHTING THE PHOTOS WE TOOK HAVE REALLY HELPED ME WHEN RECREATING AND EDITING THEM IN PHOTOSHOP. INSTEAD OF TRYING TO CREATE POLISHED PHOTO’S OFTEN FOUND IN VOGUE EDITORIALS, WE FOCUSED ON CAPTURING THE MODEL MID SHOT. WE ALSO LOOKED AT PREVIOUS SHOOTS AND EDITED THEM BASED UPON THE AESTHETIC I’D BEGAN AIMING FOR.
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AIM: TO CAPTURE THE RAW AESTHETIC OF YOUTH CULTURE
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DEVELOPMENT THROUGH DEVELOPING MY PHOTOSHOOT OUTCOMES IN PHOTOSHOP I’VE FOUND A WAY TO INCORPORATE THE MULTIVERSE BUT STILL HAVE AN AUTHENTIC AESTHETIC. I’VE CHOSEN TO ADAPT AND UPDATE THE IDEA OF AUTHENTIC AND THROUGH ROBBIES STYLING I’M GOING TO FOCUS ON CERTAIN ASPECTS OF THE PHOTOS INSTEAD OF THE WHOLE IMAGE SO I CAN DEPICT EMOTION THROUGH BODY FEATURES E.G THE EYES
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C
R
O
Q
U
E
NOW THE CROQUES MAY SEEM IRRELEVANT TO MY SUBJECT MATTER, HOWEVER THERE AE TWO REASONS AS TO WHY IVE CHOSEN THE TEDDY HEAD FOR MY CROQUES. LOOKING AT YOUTH CULTURE AND HOW COVID-19 HAS EFFECTIVELY FORCED GENERATION Z AND ALPHA GENERATION TO GROW UP QUICKER AND SINCE BEING PUT IN A LOWDOWN THE LAST OF OUR ADOLESCENT TEEN YEARS WERE TAKEN AWAY FROM US. USING THE TEDDY BEAR HEAD AS THE FOCUS POINT FOR MY CROQUES LINKS BACK TO A SIMPLE CHILDHOOD MEMORY. I ALSO WANTED TO LINK IN THE STREET CULTURE AESTHETIC AFTER COMING ACROSS AN ARTICLE ‘Are Streetwear Teddy Bears The Next Big Thing?’ TALKING ABOUT ‘PALM ANGELS’ A BRAND WHICH IS PROMINANT WITHIN GENERATION Z AT THE MOMENT.
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S
T
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E
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STREETWEAR IS A LARGE PART OF YOUTH CULTURE SO AFTER TAKING SOME OF MY STYLING PHOTOS IN THE STUDIO I DECIDED MY NEXT LOCATION WOULD INCLUDE A NOD TO STREET CULTURE. WHEN THINKING OF STREET CULTURE, I INSTANTLY THINK OF THE RED BRICK WALL AND BELIEVED THAT THIS WOULD BE A LARGE IMPROVEMENT IN MY PLAIN WHITE BACKGROUND AND BELIEVED IT WOULD ALSO CREATE MORE OF AN INTERESTING BACKDROP TO DAZED’S FRONT COVER. IT ALSO INCLUDED THE WAY THAT ROBBIE USES HIS SURROUNDINGS TO TELL THE NARRATIVE AND I REALLY WANTED TO SHOW A LINK TO YOUTH CULTURE THROUGH THE STREET CULTURE.
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INTERVIEW DEVELOPMENT WHEN FILMING MY FIRST INTERVIEW I WENT IN WITH 10 PLANNED QUESTIONS AND LISTENED TO WHAT THEY INITIALLY SAID. FROM THERE I BRANCHED OFF AND BEGAN TO EXPLORE THEIR OPINIONS AND VIEWS AROUND KEY WORDS THEY SAID, WHICH LINKED WELL WITH MY RESEARCH. I WANTED TO FIND OUT THE OVERALL ZEITGEIST IN YOUTH CULTURE AND FIND LINKS IN EACH INDIVIDUAL’S OPINIONS AND HIGHLIGHT ANY KEY DIFFERENCES.
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INTERVIEW DEVELOPMENT MY INDUSTRY TUTOUR THEN GAVE ME THE IDEA OF CAPTURING STILL SCREENSHOTS FROM THE INTERVIEWS. THE FOLLOWING PHOTOS CAPTURE THE EMOTION THAT WAS SHOWN THROUGH ALL THE INTERVIEWS. HAPPINESS. DESPITE THE SERIOUS UNDERTONE OF HOW OUR FUTURES HAVE BEEN AFFECTED THEY ALL DISPLAYED HOPEFULNESS TROUGH THEIR SMILES AND LAUGHS.
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VIDEOGRAPHY
DEVELOPMENT
WHEN RESEARCHING INTO HOW OTHER CREATIVES INTERVIEWED THEIR SUBJECTS, I STUDIED VANITY FAIR’S ROLLING 5-YEAR INTERVIEWS WITH BILLIE EILISH AND COODIE & CHIKE’S DOCUMENTARY FOOTAGE ON KANYE. BOTH CARRY AN AUTHENTIC AESTHETIC WHICH A WANT TO PORTRAY WHEN CONDUCTING THE INTERVIEWS TO CONNECT THE UNDERLYING DESIRE IN YOUTH CULTURE: AUTHENTIC AND TRANSPARENT.
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VIDEOGRAPHY
DEVELOPMENT
OVERALL, I BELIEVE THAT THE VIDEOS CAPTURED MY RESEARCH PERFECTLY. WITHOUT THE INTERVIEWS SAYING ANYTHING YOU CAN SEE THEIR TRUE EMOTIONS ON THEIR FACES AND THE WORDS THEY DO SPEAK THE TRUTH OF THE EFFECTS THAT COVID HAS HAD ON THEM AND THEIR WORLD AROUND THEM. KEEPING THE BLACK AND WHITE AESTHETIC ALLOWED ME TO HIGHLIGHT THEIR EYES TO SHOW A CLEARER EMOTION. SOMETHING WHICH ROBBIE DOES IN THIS STYLING AND DIRECTING. THE INTERVIEWS ALSO CAPTURE THE TO TONE DAZED CARRIES IN ITS EDITORIALS. OFTEN WEIRD AND WONDERFUL THE MESSAGE BENEATH THEM IS ALWAY MEANINGFUL AND SERIOUS TO THE CULTURES IN YOUTH.
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EXHABITION DEVELOPMENT THE DEVELOPMENT OF MY EXHIBITION PHOTO HAS THE SAME MEANING BEHIND IT AS THE OTHER STYLING SHOOTS BUT IT HAS A VERY DIFFERENT AESTHETIC FROM THE REST OF THE PROJECT. IT STILL FOCUSES ON THE TRANSPARENT AUTHENTIC STYLING I DESIRED FOR WASTED YOUTH, AN AESTHETIC WHICH ROBBIE CAPTURES EFFORTLESSLY HOWEVER I NEEDED TO LAYER A DIGITAL ASPECT OVER IT TO CAPTURE THE ELEMENT OF THE FUTURISTIC DAZED CULTURE. THIS LED ME TO HAVING TO TRY AN EDIT THE PHOTO DIGITALLY WHILST STILL MAINTAINING THE NATURAL BEAUTY OF TRANSPARENT YOUTH.
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EXHABITION
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BE WHO YOU ARE AND SAY WHAT YOU FEEL. BECAUSE THOSE WHO MIND DON’T MATTER AND THOSE WHO MATTER DON’T MIND.
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C O N T E X T WASTED YOUTH FOCUSES ON THE EFFECTS COVID-19 HAS HAD UPON GENERATION Z AND WILL HAVE UPON THE ALPHA GENERATION. DAZED HAS CHOSEN TO CONNECT ALL CULTURES IN YOUTH BY CHOOSING THIS TOPIC TO COVER IN ITS MOST RECENT ISSUE. USING ROBBIE SPENCER TO CAPTURE THE RAW FEELINGS THAT DAZED’S AUDIENCE HAVE ABOUT THE CURRENT WORLD THEY LIVE IN AND THE ISSUES THEY FACE TOGETHER AS A GENERATION. FROM THE STRUGGLES OF DAILY LIFE TO WIDER GLOBAL ISSUES LIKE WAR, THE EDITORIAL EXPLORES HOW YOUTH CULTURE SURVIVES IN THE CURRENT SOCIAL CLIMATE AND CONTINUES TO WORK TOWARDS THEIR FUTURES.
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ROBBIE WAS CHOSEN FOR THIS EDITORIAL. HIS WORK ETHIC AND ABILITY TO CAPTURE TRANSPARENCY AND CAPTURE A NARRATIVES AUTHENTICITY FIT PERFECTLY WITH DAZED’S DIRECTION FOR THIS EDITORIAL. THE IDEA OF VIDEOISING ROBBIES PHOTOS IN INTERVIEW FORMAT BRINGS THE PAGES TO LIVE IN THE MAGAZINE AND BEGINS TO HELP DAZED LAUNCH IN TO THE NEW INTERACTIVE MAGAZINE LANDSCAPE. THE INSPIRATION FROM ROBBIE CAME FROM HIS STYLING IN HIS FRANK OCEAN EDITORIAL FOR DAZED IN 2019, WHICH KEPT A TRANSPARENT AND NATURAL EFFORTLESS LOOK TO THE FRONT COVER.
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D A AND
Z E D CONFUSED
THE BRITISH STYLE MAGAZINE OFTEN PRODUCES EDGY EDITORIALS AND CONSTANTLY EXPLORES CULTURE AND TRENDS TO HELP THE YOUTH GENERATION DISCOVER THEIR IDENTITIES, HOWEVER FOR MY RESPONSE TO THIS TASK I WANTED TO CONNECT ALL OF YOUTH CULTURE REGARDLESS OF THEIR IDENTITIES AND CONCENTRATE ON A MATTER THAT HAS AFFECTED ALL OF US. KEEPING A SERIOUS UNDERTONE TO THE EDITORIAL STYLING I CHOSE TO GIVE GENERATION Z AND SOON GENERATION ALPHA WHAT THEY DESIRE IN FASHION AND COMMUNICATION, TRANSPARENCY. REFLECTING ON THIS I GAINED INSPIRATION FROM DAZED’S SUMMER 2019 EDITORIAL WHICH WAS SYTLED BY ROBBIE SPENCER HIMSELF.
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SOCIAL
MEDIA
YOU CAN TALK ABOUT GENERATION Z AND FUTURE GENERATIONS WITHOUT TALKING ABOUT SOCIAL MEDIA. INCORPORATING THIS INTO MY PROJECT WILL HELP ME BEGIN TO DIGITALISE MY MAGAZINE AND HELP REACH WIDER AUDIENCES. USING THE LIKES OF YOUTUBE, INSTAGRAM AND TICTOK, I AIMED TO DO DIFFERENT ASPECTS OF THE MAGAZINE WHETHER THAT BE PHOTOS, VIDEOS, GIF’S, OR WRITING. WITH DAZED FORECASTING THE DEATH OF THE INFLUENCER I WANTED TO EXPLORE WHAT WOULD SOCIAL MEADIA LOOK LIKE AFTER AND WOULD THIS LEAD TO THE TRANSPARENCY THAT THE FUTURE GENERATIONS DESIRE. WITH THE NEW APP LAUNCHED CALL ‘BE REEL’ IS THIS THE NEW WAY FOR POSTING ON SOCIAL MEDIA FOR YOUTH CULTURE?
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C O V I D - 1 9 WHEN CHOOSING A TOPIC TO TALK ABOUT IN MY EDITORIAL I NEEDED SOMETHING THAT CONNECTED ALL OF DAZEDS AUDIENCE TOGETHER. COVID-19 HAS AFFECTED ALL GENERATIONS BUT I BELIEVE THAT IT’S AFFECTED THE YOUNGER GENERATIONS THE MOST. I BEGAN TO EXPLORE THIS ASPECT IN THE FORM OF INTERVIEWS TO GET AN AUTHENTIC FEELING FOR WHAT EMOTIONS GENERATION Z. WE FEEL THAT AS A YOUNGER GENERATION WE WILL BE LEFT TO SOLVE THE WORLDS ISSUES THAT ARE LEFT BEHIND FROM PAST GENERATIONS. AFTER COVID-19 ALL GENERATION Z NOW WANT IS A VOICE ON A GLOBAL SCALE AND THAT THEY HAVE THE HOPE TO BUILD A BRIGHTER FUTURE FOR THEMSELVES. DAZED MAGAZINE GIVES THEM THAT VOICE ON A GLOBAL SCALE, WHICH IS WHY I THOUGH IT WAS A GIVEN THAT I COVERED A STILL PRESENT TOPIC IN THE GLOBAL WORLD.
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OUR
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WITH THE DOOM AND GLOOM OFTEN BROADC ASTED ON THE NEWS IT C AN BECOME HARD TO SEE HOW ANYONE C AN HAVE A BRIGHT FUTURE STARTING OFF IN ANY INDUSTRY. DAZED’S ORIGINS WERE BUILT IN CLUB KID CULTURE, A TIME ALSO TROUBLED BY GLOBAL WARMING, TERRORISM, HEALTH C ARE COSTS, GUN VIOLENCE AND THE RISE OF THE INTERNET USHERED IN A RADIC AL NEW ERA OF COMMUNIC ATION. WE ARE SEEING A REPEAT OF HISTORY WITH A NEW ERA OF COMMUNIC ATION AND AS OUR GENERATION ARE LAUNCHED INTO INDUSTRIES, WE WILL GAIN POWER OVER GLOBAL ISSUES AND ALSO GAIN A STRONGER HOLD OVER OUR FUTURES.
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MENTAL
HEALTH
DURING THE PANDEMIC, MENTAL HEALTH ISSUES DRASTICALLY INCREASED. AS A SOCIAL GENERATION WE BECAME ISOLATED AND AS WE HAVE CAME OUT OF LOCKDOWN ITS CONTINUED TO HAVE A STRONG EFFECT ON OUR DAILY LIVES. BEING LABELLED BY MANY GENERATIONS AS THE ‘SNOWFLAKE’ GENERATION IS THERE ANY WONDER WHY GENERATION Z FEEL AGUISH AGAINST SOCIETY. THIS IS AN ISSUE I WANTED TO STRONGLY HIGHLIGHT IN THIS EDITORIAL OF DAZED AND DIDN’T WANT TO OVER-VISUALISE ROBBIES STYLING WHEN IT WAS THE NARRATIVE BEHIND THE EDITORIAL THAT WAS THE MAIN POINT.
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THE SERIOUS UNDERTONE IN THE PROJECT IT COUNTERACTED BY THE HOPE WE STILL DO HAVE FOR OUR FUTURES AND THAT IS AS A GENERATION, WE ARE ALL IN THE SAME BOAT TRYING TO MAKE THE BEST OUT OF A BAD SITUATION. THROUGHOUT MY INTERVIEW I CAPTURED STILL SHOTS OF THE SMILES. THIS CREATED A BEAUTIFUL ASPECT OF THE PROJECT AND I BELIEVE SHOWS THAAT HOW AS A YOUTH GENERATION WE ARE STRONG, VERSATILE AND HOPEFUL.
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About - fucking young! (2010) Fucking Young! Available at: https://fuckingyoung.es/about/ (Accessed: April 5, 2022). AnOther (no date) Robbie Spencer, Anothermag.com. Available at: https://www.anothermag.com/user/RobbieSpencer (Accessed: April 5, 2022). AnotherMan (no date) Remembering the club Kids, the last subculture of the analogue age, AnotherMan. Available at: https://www.anothermanmag.com/ life-culture/10936/the-club-kids-the-last-subculture-of-the-analogue-age-walt-cassidy (Accessed: April 5, 2022). Are streetwear teddy bears the next big thing? (no date) fyzzymag.com. Available at: https://fizzymag.com/articles/palm-angels-teddy-bear (Accessed: April 5, 2022). B., A. (2017) Louis mmxviii, Fucking Young! Available at: https://fuckingyoung.es/louis-mmxviii/ (Accessed: April 5, 2022). Betancourt, B. (2022) Netflix’s jeen-yuhs suggests the old Kanye and the new Kanye aren’t that different after all, Harper’s BAZAAR. Available at: https:// www.harpersbazaar.com/culture/film-tv/a39094875/netflix-jeenyuhs-coodie-chike-interview/ (Accessed: April 5, 2022). Christopher Shannon (no date) Showstudio.com. Available at: https://www.showstudio.com/contributor/christopher_shannon (Accessed: April 5, 2022). Christopher Shannon shop (no date) CHRISTOPHER SHANNON. Available at: https://www.shopchristophershannon.com/ (Accessed: April 5, 2022). Darcella, A. (2019) After 15 years, Robbie Spencer is stepping down from dazed, Daily Front Row. Available at: https://fashionweekdaily.com/robbie-spencer-dazed-magazine-exit/ (Accessed: April 5, 2022). Dazed (2008) Dazed & confused, Dazed. Available at: https://www.dazeddigital.com/info/article/824/1/dazed-confused (Accessed: April 5, 2022). Dazed (2014) #23 – Ben toms, Dazed. Available at: https://www.dazeddigital.com/projects/article/22497/1/23-ben-toms (Accessed: April 5, 2022). Dazed (2016) Ten Dazed covers that defined a moment, Dazed. Available at: https://www.dazeddigital.com/artsandculture/article/33219/1/ten-dazed-covers-that-defined-a-moment-dazed-25 (Accessed: April 5, 2022). Dazed (2018) Arnaud lajeunie, Dazed. Available at: https://www.dazeddigital.com/projects/article/39808/1/arnaud-lajeunie-photographer-biography-dazed-100-2018-profile (Accessed: April 5, 2022). Dazed (2019) Is the era of the influencer over, or just evolving?, Dazed. Available at: https://www.dazeddigital.com/life-culture/article/44850/1/influencer-era-over-evolving-instagram-bloggers (Accessed: April 5, 2022). Dazed (2020) Read Dazed Media’s trend report on the future of youth culture, Dazed. Available at: https://www.dazeddigital.com/life-culture/article/49601/1/read-the-dazed-media-trend-report-the-era-of-monomass (Accessed: April 5, 2022). Dazed (no date a) Jamie hawkesworth, Dazeddigital.com. Available at: https://www.dazeddigital.com/tag/jamie-hawkesworth (Accessed: April 5, 2022).
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Oliver Hadlee Pearch (no date) The Business of Fashion. Available at: https://www.businessoffashion.com/community/people/oliver-hadlee-pearch (Accessed: April 5, 2022). Oliver hadlee pearch (no date) I-d. Available at: https://i-d.vice.com/en_uk/topic/oliver-hadlee-pearch (Accessed: April 5, 2022). Oliver Hadlee Pearch – bandits production (no date) Banditsproduction.com. Available at: http://banditsproduction.com/director/oliver-hadlee-pearch/ (Accessed: April 5, 2022). Oliver Hadlee Pearch - Photographer (no date) MODELS.com. Available at: https://models.com/people/Oliver-Hadlee-Pearch (Accessed: April 5, 2022). {{pageTitle}} (no date) Roscoproduction.com. Available at: https://roscoproduction.com/stylists/robbiespencer (Accessed: April 5, 2022). Robbie Spencer (2018) Art Partner. Available at: https://www.artpartner.com/artists/style/robbie-spencer/ (Accessed: April 5, 2022). Robbie Spencer (no date a) The Business of Fashion. Available at: https://www.businessoffashion.com/community/people/robbie-spencer (Accessed: April 5, 2022). Robbie Spencer (no date b) Showstudio.com. Available at: https://www.showstudio.com/contributor/robbie_spencer (Accessed: April 5, 2022). Robbie Spencer (no date c) DSCENE. Available at: https://www.designscene.net/styling/robbie-spencer (Accessed: April 5, 2022). Robbie Spencer - fashion editor/stylist (no date) MODELS.com. Available at: https://models.com/people/robbie-spencer (Accessed: April 5, 2022). Robbie Spencer: The men (2011) 10 Magazine. Available at: https://www.10magazine.com/news/robbie-spencer-the-men/ (Accessed: April 5, 2022). Rodgers, D. (2022) What to look out for at the first ever Metaverse Fashion Week, Dazed Digital. Available at: https://www.dazeddigital.com/fashion/article/55742/1/first-metaverse-fashion-week-decentraland-crypto-grimes-auroboros-hugo-boss (Accessed: April 5, 2022). Stansfield, T. (2021) “A dynamic chaos”: A brief history of dazed, AnOther. AnOther Magazine. Available at: https://www.anothermag.com/fashion-beauty/13581/
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dazed-confused-magazine-history-30-jefferson-hack-rankin-katie-grand-rizzoli (Accessed: April 5, 2022). Stylist: Robbie Spencer (no date) Fashion Gone Rogue. Available at: https://www.fashiongonerogue.com/stylist/robbie-spencer/ (Accessed: April 5, 2022). The business of fashion (no date) The Business of Fashion. Available at: https://www.businessoffashion.com/organisations/qasimi/projects/fucking-young-magazine (Accessed: April 5, 2022). THE ERA OF MONOMASS (no date) Dazed Studio. Available at: https://dazed.studio/white-papers/the-era-of-monomass/ (Accessed: April 5, 2022). The future of: Fashion film (no date) Dazed Studio. Available at: https://dazed.studio/white-papers/the-future-of-fashion-film/ (Accessed: April 5, 2022). The Future of Magazine Publishing in the digital age (2010) Masters of Media | Research Blog Masters of New Media. Available at: https://mastersofmedia.hum.uva. nl/blog/2010/10/21/the-future-of-magazine-publishing-in-the-digital-age/ (Accessed: April 5, 2022). Unusual nudes and strange, glittering fashion photography from Arnaud Lajeunie (no date) Itsnicethat.com. Available at: https://www.itsnicethat.com/articles/arnaud-lajeunie-2015 (Accessed: April 5, 2022). WNIP (2019) Opinion: Magazines in 2035, What’s New in Publishing | Digital Publishing News. Available at: https://whatsnewinpublishing.com/opinion-magazines-in-2035/ (Accessed: April 5, 2022). (No date a) Oxfordstudent.com. Available at: https://www.oxfordstudent.com/2019/06/09/who-is-the-snowflake-generation-and-why-are-they-fun-to-hate/ (Accessed: April 5, 2022). (No date b) Simplicable.com. Available at: https://simplicable.com/en/modern-culture (Accessed: April 5, 2022).
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IMAGE
https://www.dazeddigital.com/artsandculture/article/33219/1/ten-dazed-covers-that-defined-a-moment-dazed-25 https://bckonline.com/2016/09/21/willow-smith-graces-cover-dazed-magazine/ https://www.allure.com/story/rihanna-dazed-magazine-cover-hairstyles https://www.dazeddigital.com/artsandculture/article/36958/1/autumn-2017-issue https://www.instagram.com/robbiespencer/ http://www.martiarcucci.com/fucking-young https://www.instagram.com/jamie.hawkesworth/ https://www.vanityfair.com/style/2021/06/jamie-hawkesworth-the-british-isles-book https://www.anothermag.com/art-photography/7879/preston-bus-station-by-jamie-hawkesworth https://www.vogue.co.uk/news/article/jamie-hawkesworth-july-2020-issue https://i-d.vice.com/en_uk/article/wx5jb5/see-inside-jamie-hawkesworths-monumental-new-book https://www.vam.ac.uk/blog/east/a-tool-to-study-and-appreciate-life-acquiring-the-photographs-of-jamie-hawkesworth https://www.vice.com/en/article/4awbkm/jeen-yuhs-netflix-documentary-missed-a-chance-to-tell-a-more-honest-story-about-kanye-west-and-whiteness
REFERENCE
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