Report printers by Eve Ogilvie Jones

Behaviour Change

Eve Jones

Content

Introduction - pg 1 Methodology - pg 2 Brands/companies that are leading the way in behavior change - pg 3 - 6 i-D - The future of fashion - pg 7- 8 The oppression of women - pg 9 - 12 Tom Ford - pg 13 - 14 Calvin Klein - pg 15 - 16 Dolce & Gabbana - pg 17 - 18 American Apparel - pg 19 - 20 How consumer behaviour will change - pg 21 - 24 Chosen brand and consumer - pg 25 - 26 Conclusion - pg 27 - 28 References - pg 29 - 30 Illustrations - pg 31 - 32 Bibliography - pg 33 - 36 Appendix A1 - pg 37 - 41 Appendix A2 - pg 42 - 46

Eve Ogilvie Jones FASH20031: Communication & Message Module leader: Sarah Lewington Word count: 2594

FIG. 2, future fashion i-D (2013)

FIG. 3, smart phone, i-d (2013)

o cti

d o r Int

As a female fashion communicator in the industry, I feel I have a significant responsibility to consider the â&#x20AC;&#x2DC;normsâ&#x20AC;&#x2122; surrounding the ways in which females are portrayed and depicted in fashion, and therefore have the potential to help change these notions. Learning from brands such as i-D and their innovative advertising techniques, I will use their inspiration to give the female consumer control in relation to the images they are subjected to in fashion communication.

PG 1

g o l o

ho t e

Method

When Who

Physical questionnaires will be used as information can be collected quickly, they are easy to analyse, responders have time to think about their answers (not under immediate pressure) and they are simple to administer to the chosen target group. I will aim to find out if women feel fashion advertising oppresses women in regards to how they are depicted and if they think they have control over the fashion advertising they are subjected to.

Ethics Evaluation of method

Females agedSee appendix A1 23rd Dec 2013 – 20th January 2014 between 18 for consent forms - 28 and the scanned 10 questionnaire results.

A focus Group will be 10th January used as instead of the 2014 researcher asking each person to respond to a question, the group are encouraged to talk to one another. It will encourage asking questions, exchanging views and commenting on each other’s experiences and opinion. I will aim gain a greater understanding of the women’s views on two fashion adverts from four current designers and brads. This will include encouraging the group to discuss if the images portray the women in them negatively or positively and how they think the women are depicted in the adverts.

Jessica Lloyd See appendix – 19years A2 for consent old. forms and transcription. Alice Stacey – 22 years old. Hannah Cussans – 24 years old.

PG 2

This method of primary research was successful as it was easy to get the questionnaires out to the age range I wanted. However, there could be an element of bias in these results as they were all given out to people who either lived in Nottingham or Newcastle and geographical location can sometimes effect opinions. Some answers given on the questionnaire lacked detail and led to a focus group being conducted. Overall, I have gained a greater awareness of women’s views on how women are portrayed in fashion advertising, if they are influenced by this and if they feel like they have control over the images they see.

This method of research was very successful. The focus group meant more information was gained about how specific adverts from designers such as Tom Ford made the women feel and the conversational nature of the focus group meant ideas were developed and explored further through discussion.

nie pa om s/c nd Bra l re ta ha

st he

din

ea e ng

io av

yi wa PG 3

Behaviour change can occur through using innovative and creative advertising methods that will encourage consumers to change their attitudes, therefore change their behaviour. Brands that have been testament to this have been Dove’s use of customer satisfaction within their ‘Campaign for real beauty’, Patagonia’s use of ‘projects not campaigns’ and i-D’s pioneering digital fashion show. These are all proof that behavior change is a strong technique to captivate an audience and communicate a message. In June 2005 Unileiver launched Dove’s ‘Real Beauty’ campaign in an effort to redefine their consumer behaviour and attitudes surrounding their beauty products and their core brand values. Mr Philippe Harousseau, Dove’s marketing director, explained how ‘We want to challenge the definition of Beauty. We want to defy the stereotype that only the young, blonde and tall are beautiful.’ Dove’s campaign for real beauty is an effort to try and achieve ‘consumer satisfaction (Unilever, 2012)’. Satisfaction is a ‘person’s feeling of pleasure and disappointment that result from comparing a product’s perceived performance (or outcome) to their expectations (Unilever, 2012)’. This is a continuous process that brands have to ensure goes beyond a consumer buying the product but also has to convert the entire ownership experience of buying into a brand

FIG. 4, Real Beauty, Dove (2012)

(The times business case studies, 2013: online). Dove uses customer satisfaction through their ‘real beauty’ campaigns to allow their consumer to believe they are buying into a diverse and moral company. However, there has also been a negative reaction to this campaign many bloggers and journalists slating Dove’s campaign as untruthful and patronising. This reaction was specifically centered towards Dove’s viral video ‘Real beauty sketches’ as there was a feeling that the advertisement ‘shows women as their own enemies rather than victims of a sexist society (Griner, 2013: online)’ and that the advertisement is contradicting as ‘these ads still uphold the notion that, when it comes to evaluating ourselves and other women, beauty is paramount (Stampler, 2013:online)’. Concluding that if the subject of diversity or notions of beauty are being tackled it has to be done sincerely and ensures the message is for the good of the consumer not just to sell a product. I will learn from this within my advertising strategy.

PG 4

Patagonia’s use of ‘projects not campaigns’ shows how they achieve behaviour change through using projects their consumers can connect to. ‘Projects not campaigns’ is effective mainly because consumers are ‘Fatigued by traditional marketing messages, people are far more likely to get involved with a cause they connect with. So brands are increasingly investing in projects, not campaigns, to show what they stand for and encourage a more meaningful connection with audiences (Kapoor, 2012: online)’ This marketing strategy, which could be thought of as being shocking, saw Patagonia release posters and a PR campaign in the run up to Christmas advising customers: ‘don’t buy this jacket’. A case study on the website Marketing Week, analyses this project from Patagonia, and explains how ‘the message was intended to encourage people to consider the effect of consumerism on the environment and purchase only what they need.’ European marketing director Jonathan Petty furthers justifies the brand’s marketing decision by explaining how ‘we help consumers change their behavior for the better by encouraging them to make more considered purchases (Marketing Week, 2013: online)’. However, the project did gain some negativity in the media. Tim Nudd the Senior Editor for Adweek stated that ‘sure, telling people not to buy is a stunt—but it also surely did hurt Patagonia’s sales, at least short term (Nudd, 2011: online).’ I will learn from this in my own advertising strategy by ensuring my advertising project is not just to sell but also to liberate the consumer and build the brand’s moral sincerity.

PG 5

FIG. 5 Dont buy this jacket, Patagonia (2011)

PG 6

FIG. 6 digital model, i-d (2013)

The British publication, i-D has recently used inventive technology to create a digital and interactive fashion show. This was to advertise the launch party for the company’s reinvented online presence, i-D.co. The event showed an innovative and interactive fashion show, featuring designs from three British fashion designers (Fashion World, 2013: online). The fashion show used holograms of three models inside a diorama (a scene/ space with three-dimensional figures, museum exhibit.) Projections of the influences behind the designer’s collections transformed the environment around them. A multi-dimensional musical experience enhanced the show’s digital and futuristic atmosphere (i-D, 2013: online). The show was made interactive by inviting the audience to

i-D - The future of fashion

‘haptically draw on the diorama using the Samsung Galaxy Note 3, after which they could interact with and create their own personal fashion shows using the main diorama alongside one of three scale models. Playing with buttons on the devices’ touchscreens allowed attendees to choose their designer, design and environment, while swiping allowed them to rotate the model and apply audio filters. Using your cursor, you can re-create and personalize your own interactive fashion show (i-D, 2013: online)’. Combing pioneering technology, creative fashion, digital inventiveness, original music and set design, a collaborative spectacle for the audience was produced.

PG 7

This event held by i-D gave the consumer creative choices by allowing them to select and create their own fashion show. Giving the consumer control over what they were subjected to, allowed them to change their usual behaviour when at a fashion show. I will specifically

look at this use of technology and advertising and use it as inspiration for future advertising that could change behavior in diversity within the fashion industry.

FIG. 7, hologram of model, i-d (2013)

PG 8

FIG 9, Rinso, (2010) FIG. 10, Fridge door handles, (2009) FIG. 8, Hoover, (2006)

In regards to the area I will focus on as a fashion communicator, I will look to challenge the notions of female oppression and identity portrayed in the fashion industry. In order to assess the issue of female oppression currently in fashion it is relevant to look at the issue through recent history. I will be specifically looking at the lack of control the female consumer has over the fashion images she is subjected to. Using references from De Beauvoir’s ‘The Second Sex’ (1949) and ‘The Feminine Mystique’ (1963) by Betty Friedan the notion of men oppressing women in society will be explored. The manner in which women are specifically portrayed in fashion will be discussed by using ‘Fat is a feminist issue’ by Susie Orbach (1978). ‘The Second Sex’ by De Beauvoir discuses the primary notion that men oppress women by characterising them as the object, the other, while the man is the main subject. De Beauvoir talks about how men are essential and superior compared to women being inessential and inferior. She stresses the point that women are not born ‘feminine’ but are shaped by external male influences. This notion of men shaping women became an essential element to how females were communicated in the fashion industry. This is further demonstrated when De Beauviour writes about the problem with oppression of women being a male problem, showing how femininity has been devised by man. Despite the ‘The Second Sex’ being written in 1949 these issues remain applicable to modern day feminism. The 1950’s demonstrated how male influences and cultural expectations have defined women. During the Second World War millions of women went into work to take over the male role in the work place, the men PG 9

Th n sio res

pp eo n me wo of FIG. 11, Hollywood, (2010)

having been called to serve in the war (History Learning site, 2005: online). However, after the War most women were thrown back into domesticity and by the 1950’s we had the ‘housewife’. ‘The Feminine Mystique’ by Betty Fribegins describes ‘the problem that has no name’ this being the extensive discontent and sadness of women in the 1950s and early 1960s. Within chapter two Friedan explains that most of the editorial decisions regarding women’s magazines were made by men. Most magazines wrote stories and articles showing women as either a content housewife or a doomed professional. FIG 8 shows a content housewife receiving a hoover for Christmas. The message, ‘Christmas morning she’ll be happy with a hoover’ is most likely directed to the husband or a male, showing the controlling and oppressive influence the media had over women in the 1950’s. FIG 9 and FIG 10 show housewives smiling to the camera to show their supposed happiness in their housewife role. This created the term the ‘feminine mystique’: referring to women who devoted their lives to being housewives and mothers being naturally more satisfied women. An interesting concept to compare to the 1930’s where women were often shown in magazines as independent and career driven. FIG 11 and FIG 12 show the women on the cover of magazines from the 30’s to be fulfilled and liberated women in roles other than housewives. It could be argued therefore that historically there was a digression rather than a progression in the protrayal of women in the media over this period.

PG 10

FIG. 12, Cosmopolitan, (2011)

100% of the responders agreed that they thought ‘the ways in which females are depicted in the fashion industry is wrong’

100% of the participators responded no to the question:

‘Do you feel like you have any control over the way women are depicted in fashion advertising?’

PG 11

The oppression of women in the media and more specifically the fashion industry is argued to be at its worst in the 21st century. ‘Fat is a feminist issue’ by Susie Orbach explores this problem, ‘Since women are taught to see themselves from the outside as candidates for men, they become prey to the huge fashion and diet industries that first set up the ideal images and then exhort women to meet them (Orbach, 1978: p20)’. The pressure the fashion industry puts on most women has forced females to believe they can only be happy if they look, act and feel a certain way, to consequently impress the male gaze. Orbach further explores this notion by looking at how ‘style in clothes change seasonally, so women’s bodies are expected to change to fit these fashions (Orbach, 1978: p21)’. This notion was also discussed at the Feminism in Fashion talk at the Victoria & Albert museum (2013). During this talk Caryn Franklin stated that ‘Advertisers have little empathy for the end users – the young are being conditioned to only see smooth skin as an acceptable ideal (the womens room blog, 2013: online)’. Again, reinforcing the idea that currently, women have little control of the unrealistic portrayal of women they are subjected to within fashion. To gain a more in depth understanding of female’s awareness, views and opinions on the issue of oppression of females in the fashion industry I asked 8 females aged between 18-29 to fill out a questionnaire on this subject. I chose this age range as this is the age group who I feel will be more receptive to the advertising strategy I will use to try and change behaviour. I have included important statistics generated from these questionnaires. See appendix A1 for all the results from the questionnaires. Both of these statistics show that there is a need to change the depiction of women and the lack of the control the female consumer has over the fashion adverting she is subjected to.

PG 12

Fashion designers and brands such as Tom Ford, Calvin Klein, Dolce & Gabbana and American Apparel, to name a few, have all created fashion images that oppress, over sexualise and depict woman as an object rather than a human. By analysing and studying fashion advertisements from these current designers, we see that females are still being oppressed in the fashion industry today. Completing a focus group looking at how a group of females respond to these images will also help to gain a greater understanding.

m To

FIG. 13, perfume, Tom Ford (2013)

PG 13

rd Fo

FIG 13 and FIG 14 show advertising campaigns for Tom Ford perfume and menswear. The hyper sexualized images show a naked women’s body as an object for Tom Ford to advertise his product on. When I showed these two images to a focus group of females between 1828 and asked their opinion on the adverts, some of the group’s responses included Jess stating,

‘Well obviously Tom Ford is very glamorous, but I don’t think you need a naked body to sell this. Shouldn’t need a vaginia or boobs to sell perfume. However, the images are glamorous like the brand (Lloyd, 2014).’ From this it can be concluded that these images by Tom Ford seem unnecessary to the female consumer but due to the brand’s image she feels like this almost justifies it. Showing how shocking images are become more accepted from certain brands.

FIG 14 mensware, Tom Ford (2013)

PG 14

These adverts by Calvin Klein show extremely skinny models in sexual positions and connote the notion that women have only one purpose: the sexual object. When the focus group was asked to respond to these images, a response from Hannah included:

‘They make me feel fat (laughter) (Cussans, 2014).’ This response can conclude that this female consumer has been specifically influenced, in regards to her own body image, by the advertisements from Calvin Klein. This shows the extent in which fashion advertisements can affect women’s confidence and mind set.

PG 15

FIG. 15, Kate Moss, Calvin Klein (2013)

Calvin Klein

FIG. 16, group shot, Calvin Klein (2010)

PG 16

FIG 17 and FIG 18 are adverts by Dolce and Gabbana. FIG 18 shows one naked women surrounded by clothed men. The focus group discussed these images and Jess stated:

â&#x20AC;&#x2DC;For me, the image where the woman is the only person naked makes the women totally separate from the men. Like the women are less important or are just used in the advert for their sexuality not the content of their personality (Lloyd, 2014).â&#x20AC;&#x2122; From this quote from the focus group it can be established that there is a problem in the oppression and depiction of women fashion advertisement.

Dolce & Gabbana

PG 17

FIG. 17, D&G (2013)

FIG. 18, baroque group shot, Dolce and Gabbana (2011)

PG 18

American Apparel is known for its controversial and sexually charged advertisements. FIG 19 and FIG 20 show some of the brands most explicit and controversial adverts. Both of these adverts signify the brand is oppressing women by suggesting women are purely sexual objects. When discussing this with the focus group Hannah stated,

â&#x20AC;&#x2DC;So degrading. Its really depressing

how we have to consume these images, we donâ&#x20AC;&#x2122;t have a choice they are just forced on us (Cussans, 2014).â&#x20AC;&#x2122; This determines that females are frustrated at the lack of control they have over the images of women they see in fashion advertising. When these images are all around us how do women escape this depiction the fashion industry is advertising? This lack of control is the main concept to the advertising campaign I will use in order to challenge the behaviour surrounding this notion.

PG 19

FIG. 19, Now Open, American Apperal (2012)

eri

ca n

rel

PG 20

FIG 20, Socks, American Apperal (2010)

How consumer behaviour will change

Using the futuristic digital fashion show concept by i-D a retail advertising space will be created in store. This will challenge and go against the usual unrealistic images of models used for advertising fashion. In order to challenge this ‘norm’ a digital and interactive retail space will allow women the opportunity to choose the music, the background and the model on which the clothes in that store are displayed and advertised. By creating a personal and realistic image the consumer will be empowered to own and control the advertising they are subjected to. This strategy will help diminish the restraints that are placed on female consumers and will allow behaviour change in regards to what influences women to purchase clothes. This advertising space will be inspired by the diorama that was used in the future fashion show by i-D: • The diorama will be part of the visual merchandising of the store. • The space will be synchronized with smart phones so consumers can interact with the space from their own personal phone. • Music played from the diorama can be chosen from personal iTunes or Spotify accounts or from YouTube. • The background of the set will be made of screens so the consumer can choose photos from social media sites or directly from their phone or use personal designs. Most importantly the consumer can choose the model on which the clothes are advertised on. They will have the option of using Bodymetrics technology to scan their body. Bodymetric technology allows consumers to ‘Step into the Bodymetrics Pod and have your body carefully mapped into hundreds of measurements and contours (Bodymetrics, 2014: online)’. This will then create a hologram of the consumer, which will be projected into the diorama, displaying the clothes sold in the store. Alternatively the consumer can choose a model of any PG 21

FIG. 21, Digital interaction, i-d (2013)

size, colour and age. Enabling the consumer to gain creative control over the advertising she is subjected to. The in-store diorama will aim to change the consumer behavior when in store, the advertising that affects their purchases and most importantly challenge the lack of diversity in advertising. This change in behaviour will be caused by three factors: fun, motivation and ease. Due to this projectâ&#x20AC;&#x2122;s fun and highly interactive nature, the consumers will be encouraged to interact. Using fun as a behaviour change strategy has been used successfully by

PG 22

various companies, for example Volkswagen who invented the ‘fun theory’. Volkswagen’s ‘fun theory’ is ‘the thought that something as simple as fun is the easiest way to change people’s behavior for the better. (The fun theory, 2011: online)’ The ‘fun theory’ is a combination of videos that captures behaviour change due to making an ordinary day activity fun. This included the ‘Bottle Bank Arcade Machine’ and ‘The World’s Deepest Bin’. The in-store diorama will also change behaviours through fun as it allows people to be part of the advertising process using a fun and collaborative technique. Motivation and ease also contribute to how the diorama will change behaviour, these two factors come hand in hand. This is explained on the website The Consumer Psychologist, ‘In order to change peoples behavior there are two key factors we can influence; Motivation and Ease. The higher the motivation, and the Easier it is, then the more likely that behavior will occur (Ferrier, 2011)’. The in-store diorama will motivate the consumer to interact by using elements of fun, which will consequently make the behavior change easy.

PG 23

FIG 22, The Fun Theory (2009)

PG 24

FIG. 23, Marks and Spencer, (2013)

Chosen brand and consumer

PG 25

In order for a brand to install this advertising space as part of their in-store visual merchandising they will have to actively seek innovation and diversity. Many brands would benefit from this idea but Marks and Spencer will be the chosen brand to endorse and benefit from this pioneering advertising space. This brand is already challenging the ‘norms’ in the lack of diversity in fashion advertising. An article from real business titled ‘Brands that are increasing embracing diversity’ stated that a ‘ fashion retailer that has recently took the spotlight through its autumn/ winter campaign is Marks and Spencer. Strong females in business and popular culture like Sheryl Sandberg and Caitlin Moran, are influencing a new generation of women and are asking them to challenge existing norms and roles.’ This campaign celebrates ‘British women from diverse backgrounds (Schwing, 2014: online)’ Steve Sharp, Creative Director at M&S added: ‘We wanted to mark this moment with a confident statement about UK style (M&S, 2013: online)’. Marks and Spencer’s existing morals and advertising surrounding diversity is the leading factor as to why the interactive advertising would coincide with the brand’s existing marketing strategy. It will also push Marks and Spencer in regards to innovation and technology. Although the technology will be new for the store, it will

attract the younger consumer who Marks and Spencer are trying to reach through using celebrities such as Ellie Goulding and Rosie Huntington Whitely in recent advertisement campaigns. A consumer age range of 18-28 will be most responsive to this advertising strategy due to its digital nature. However, this advertising will encourage all ages of women to interact with the diorama. This may be one of the limitations of the digital advertising space as not all Marks and Spencer’s consumers may be ‘techsavy’. There would also be a concern that not all Marks and Spencer’s customers would have a smart phone to be able to interact with the space but reading the statistic from mobilemarketing.com that ‘7 in 10 People in the UK Now Own a Smartphone (Styles, 2013: online)’ means that 70% of their customers would be able to react with the space. Marks and Spencer have a high consumer market of 54 to 65-year old women and‘more than half, 54 per cent, of 54 to 65-year olds now own a smartphone too. (Styles, 2013: online)’ The Marks and Spencer’s consumer would therefore be receptive to the technology used to interact with the digital advertising space.

PG 26

Con

clus

ion

Through combining behaviour change theories and innovative advertising and technology an inventive and exciting advertising concept has been created to challenge the oppression of women specifically in fashion advertising. This advertising concept empowers and liberates the female consumer and gives her control over the types of advertising she is subjected to, by allowing her to choose the model, music and background of instore advertising. Looking into the future this advertising model will aim to change the female consumerâ&#x20AC;&#x2122;s lack of control in fashion advertising and will help challenge the undiverse and oppressive nature of this industry.

FIG. 24, digital model and lights, i-d (2013)

PG 27

FIG 25, model in black and white, i-d (2013)

PG 28

Anon. (2001). Women in World War Two. Available: http://www.historylearningsite.co.uk/women_WW2.htm. Last accessed 23rd Dec 2013. Anon. (2011). The fun theory. Available: http://www. thefuntheory.com. Last accessed 17th Jan 2014. Anon. (2013). Feminism in Fashion: is it possible?. Available: http://www.thewomensroomblog. com/2013/03/03/feminism-in-fashion/. Last accessed 18th Dec 2013.

M&S. (2013). ONLY M&S: MARKS & SPENCER INVITES YOU TO ‘MEET BRITAIN’S LEADING LADIES’. Available: http://corporate.marksandspencer.com/investors/ press_releases/only_m_s_marks_spencer_invites_you_ to_meet_britains_leading_ladies. Last accessed 6th Jan 2014. Marketing Week. (2013). Case study: Patagonia’s ‘Don’t buy this jacket’ campaign. Available: http://www. marketingweek.co.uk/trends/case-study-patagonias-dontbuy-this-jacket-campaign/4005451.article. Last accessed 3rd Jan 2014.

Nudd, T. (2011). Ad of the Day: Patagonia The brand declares war on consumerism gone berserk, and admits its own environmental failings. Available: http://www. adweek.com/news/advertising-branding/ad-daypatagonia-136745 . Last accessed 15th Dec 2013. Schwing, M. (2014). Brands are increasingly embracing diversity. Available: http://realbusiness.co.uk/ article/25141-brands-are-increasingly-embracingdiversity-. Last accessed 6th Jan 2014.

Beauvoir, S (1949). The Second Sex. Paris: Gallimard. Full book. Betty Friedan (1963). The Feminine Mystique. United States: W.W. Norton and Co.. Full book. Fashion World. (2013). i-D Showcases the Future of British Fashion with Fashion Event Read more about i-D Showcases the Future of British Fashion with Fashion Event. Available: http://www.broadwayworld.com/ bwwfashion/article/i-D-Showcases-the-Future-of-BritishFashion-with-Fashion-Event-20131125. Last accessed 23rd Dec 2013. Ferrier, A. (2011). How advertising changes behaviour ease versus motivation. Available:

Stampler, L. (2013). Why People Hate Dove’s ‘Real Beauty Sketches’ Video Read more: http://www.businessinsider. com/why-people-hate-doves-real-beauty-ad-20134#ixzz2qBnnlBdJ. Available: http://www.businessinsider. com/why-people-hate-doves-real-beauty-ad-2013-4 . Last accessed 22nd Dec 2013. Styles, K . (2013). 7 in 10 People in the UK Now Own a Smartphone. Available: http://mobilemarketingmagazine. com/7-10-people-uk-now-own-smartphone/#VJskBqPiDE 3r6Qkd.99. Last accessed 5th Jan 2014. Susie Orbach ( 1978). Fat is a feminist issue. Middlesex: Hamlyn Publishing. p20-21.

http://www.theconsumerpsychologist.com/2011/12/28/ how-advertising-changes-behaviour-ease-versusmotivation-2/. Last accessed 12th Dec 2013. Griner, D (2013). 5 Reasons Why Some Critics Are Hating on Dove’s Real Beauty Sketches Video Contrarian views on Ogilvy’s creation. Available: http://www.adweek.com/ adfreak/5-reasons-why-some-critics-are-hating-dovesreal-beauty-sketches-video-148772. Last accessed 22nd Dec 2013.

UNILEVER. (2nd Jan, 2012). UNILEVER’S real beauty campaign for dove. [PowerPoint slides]. Presentation available at: http://www.slideshare.net/m4mahe/ unilevers-real-beauty-campaingn-for-dove

i-D. (2013). Future Fashion. Available: http://i-d.vice.com/ en_gb/future-fashion. Last accessed 15th Dec 2013. Kapoor, N. (2012). Cause marketing . Available: http:// www.worldbrandcongress.com/WBC_2012/cause_ marketing.html. Last accessed 13th Dec 2013. PG 29

Refe ren

ces

PG 30

FIG. 15: Digital photograph, Kate Moss, Calvin Klein (2013). Available at: http://upload.wikimedia.org/ wikipedia/en/7/77/Kate_Moss_Calvin_Klein.jpg FIG. 16: Digital photograph, group shot, Calvin Klein (2010). Available at : http://focushubcourses.com/wpcontent/uploads/2010/10/Banned-Calvin-Klein-JeansSpring-Summer-2009-Ad-Campaign_2.jpg FIG. 17: Digital photograph, D&G (2013). Available at: http://images.fanpop.com/images/image_ uploads/D---G--S-S-2007-Campaign-Ad-dolce--26gabbana-132094_1133_850.jpg

FIG. 4: Digital photograph, Real Beauty, Dove (2012). Available at: http://developingcreativepractice.files. wordpress.com/2013/10/dove-campaign-for-realbeauty-2.jpg FIG. 5: Digital photograph, Dont buy this jacket, Patagonia (2011). Available at: http://www.youngdigitallab.com/wpcontent/uploads/2012/11/patagonia.jpg FIG. 6: Digital photograph, digital model, i-d (2013). Available at: http://i-d.vice.com/en_gb/look/gallery/565/ the-future-of-fashion-is-bright FIG. 7: Digital photograph, hologram of model, i-d (2013). Available at: http://i-d.vice.com/en_gb/look/gallery/565/ the-future-of-fashion-is-bright FIG. 8: Advertisement, Hoover (2006). Available at: https://wikis.bgsu.edu/sso. php?returnTo=https%3A%2F%2Fsession.wikispaces.

FIG. 18:Digital photograph, baroque group shot, Dolce and Gabbana (2011). Available at: http:// revolutioninfiction.wordpress.com/2011/02/25/dolcegabbana’s-“hot-baroque”-line-recreating-napoleonicattitudes-for-today-by-chris-white/ FIG. 19: Digital photograph, Now Open, American Apperal (2012).Available at: http://beamusings.files.wordpress. com/2012/01/americanapparel1.jpg FIG. 20: Digital photograph, socks, American Apperal (2010).Available at: http://blog.firstreference. com/2010/10/25/will-poor-management-decisions-meanbad-news-for-american-apparel/

FIG. 9: Advertisement, Rinso (2010). Available at: http:// farm5.staticflickr.com/4068/4532635082_7388e7fb05.jpg

FIG. 21: Digital photograph, digital interaction, i-d (2013). Available at: http://i-d.vice.com/en_gb/look/gallery/565/ the-future-of-fashion-is-bright

FIG. 10: Advertisement, Fridge door handles (2009). Available at: http://farm1.staticflickr.com/96/234540591_ d6ed366755_o.jpg

FIG. 22: Digital photograph, The Fun Theory (2009). Available at: http://idsgn.org/posts/the-fun-theory/

FIG. 11: Magazine front cover, Hollywood (2010). Available at: http://www.flickr.com/ photos/silverbluestar/4419477801/?rb=1

FIG. 23: Digital photograph, Marks and Spencer (2013). Available at: http://www.iod.com/connect/marketing/ articles/marks-and-spencers-has-finally-found-the-key-totargeting-women-says-marketing-expert

FIG. 12: Magazine front cover, Cosmopolitan (2011). Available at: http://xroads.virginia.edu/~UG02/reynolds/ cosmo.jpg

FIG. 24: Digital photograph,digital model and lights, i-d (2013). Available at: http://i-d.vice.com/en_gb/look/ gallery/565/the-future-of-fashion-is-bright

FIG. 13: Digital photograph, perfume, Tom Ford (2013). Available at: http://3.bp.blogspot.com/_WfmmZdbuPxY/ TKYbGOuO6nI/AAAAAAAAED0/KE5FV9eu5g0/s1600/ tom%2Bford%2Bs08.jpg

FIG. 25: Digital photograph, model in black and white, i-d (2013). Available at: http://i-d.vice.com/en_gb/look/ gallery/565/the-future-of-fashion-is-bright

FIG. 14: Digital photograph, mensware, Tom Ford (2013). Available at: http://www.ebayismyboyfriend. com/2010/10/bombshell-jon-kortajarena.html PG 31

Illus trati

ons

PG 32

Anon. (2001). Women in World War Two. Available: http://www.historylearningsite.co.uk/women_WW2.htm. Last accessed 23rd Dec 2013.

FIG. 5: Digital photograph, Dont buy this jacket, Patagonia (2011). Available at: http://www.youngdigitallab.com/wpcontent/uploads/2012/11/patagonia.jpg

Anon. (2011). The fun theory. Available: http://www. thefuntheory.com. Last accessed 17th Jan 2014.

FIG. 6: Digital photograph, digital model, i-d (2013). Available at: http://i-d.vice.com/en_gb/look/gallery/565/ the-future-of-fashion-is-bright

Anon. (2013). Feminism in Fashion: is it possible?. Available: http://www.thewomensroomblog. com/2013/03/03/feminism-in-fashion/. Last accessed 18th Dec 2013.

FIG. 7: Digital photograph, hologram of model, i-d (2013). Available at: http://i-d.vice.com/en_gb/look/gallery/565/ the-future-of-fashion-is-bright

Anon. (2013). Operations theory. Available: http:// businesscasestudies.co.uk/business-theory/operations/ customer-satisfaction.html#axzz2p3I6T7rr. Last accessed 2nd Jan 2014. Anon. (2014). InStore. Available: http://www.bodymetrics. com/retail.php . Last accessed 3rd Jan 2014. Baron, K (2012). Stylists: New Fashion Visionaries. United Kingdom: Laurence King. Full book. Beauvoir, S (1949). The Second Sex. Paris: Gallimard. Full book. Betty Friedan (1963). The Feminine Mystique. United States: W.W. Norton and Co.. Full book. Fashion World. (2013). i-D Showcases the Future of British Fashion with Fashion Event Read more about i-D Showcases the Future of British Fashion with Fashion Event. Available: http://www.broadwayworld.com/ bwwfashion/article/i-D-Showcases-the-Future-of-BritishFashion-with-Fashion-Event-20131125. Last accessed 23rd Dec 2013. Ferrier, A. (2011). How advertising changes behaviour ease versus motivation. Available: http:// www.theconsumerpsychologist.com/2011/12/28/ how-advertising-changes-behaviour-ease-versusmotivation-2/. Last accessed 12th Dec 2013.

FIG. 9: Advertisement, Rinso (2010). Available at: http:// farm5.staticflickr.com/4068/4532635082_7388e7fb05.jpg FIG. 10: Advertisement, Fridge door handles (2009). Available at: http://farm1.staticflickr.com/96/234540591_ d6ed366755_o.jpg FIG. 11: Magazine front cover, Hollywood (2010). Available at: http://www.flickr.com/ photos/silverbluestar/4419477801/?rb=1 FIG. 12: Magazine front cover, Cosmopolitan (2011). Available at: http://xroads.virginia.edu/~UG02/reynolds/ cosmo.jpg FIG. 13: Digital photograph, perfume, Tom Ford (2013). Available at: http://3.bp.blogspot.com/_WfmmZdbuPxY/ TKYbGOuO6nI/AAAAAAAAED0/KE5FV9eu5g0/s1600/ tom%2Bford%2Bs08.jpg FIG. 14: Digital photograph, mensware, Tom Ford (2013). Available at: http://www.ebayismyboyfriend. com/2010/10/bombshell-jon-kortajarena.html FIG. 15: Digital photograph, Kate Moss, Calvin Klein (2013). Available at: http://upload.wikimedia.org/ wikipedia/en/7/77/Kate_Moss_Calvin_Klein.jpg

FIG. 1: Own collage, front cover (2014). FIG. 2: Digital photograph, furture fashion, i-d (2013). Available at: http://i-d.vice.com/en_gb/look/gallery/565/ the-future-of-fashion-is-bright FIG. 3: Digital photograph, smart phone, i-d (2013). Available at: http://i-d.vice.com/en_gb/look/gallery/565/ the-future-of-fashion-is-bright FIG. 4: Digital photograph, Real Beauty, Dove (2012). Available at: http://developingcreativepractice.files. wordpress.com/2013/10/dove-campaign-for-realbeauty-2.jpg

FIG. 8: Advertisement, Hoover (2006). Available at: https://wikis.bgsu.edu/sso. php?returnTo=https%3A%2F%2Fsession.wikispaces.

FIG. 16: Digital photograph, group shot, Calvin Klein (2010). Available at : http://focushubcourses.com/wpcontent/uploads/2010/10/Banned-Calvin-Klein-JeansSpring-Summer-2009-Ad-Campaign_2.jpg FIG. 17: Digital photograph, D&G (2013). Available at: http://images.fanpop.com/images/image_ uploads/D---G--S-S-2007-Campaign-Ad-dolce--26gabbana-132094_1133_850.jpg

FIG. 18:Digital photograph, baroque group shot, PG 33Dolce and Gabbana (2011). Available at: http://

Bibl

revolutioninfiction.wordpress.com/2011/02/25/dolcegabbana’s-“hot-baroque”-line-recreating-napoleonicattitudes-for-today-by-chris-white/

iogr aph y

FIG. 19: Digital photograph, Now Open, American Apperal (2012).Available at: http://beamusings.files.wordpress. com/2012/01/americanapparel1.jpg FIG. 20: Digital photograph, socks, American Apperal (2010).Available at: http://blog.firstreference. com/2010/10/25/will-poor-management-decisions-meanbad-news-for-american-apparel/

buy this jacket’ campaign. Available: http://www. marketingweek.co.uk/trends/case-study-patagonias-dontbuy-this-jacket-campaign/4005451.article. Last accessed 3rd Jan 2014.

FIG. 21: Digital photograph, digital interaction, i-d (2013). Available at: http://i-d.vice.com/en_gb/look/gallery/565/ the-future-of-fashion-is-bright

McCandless (2012). Information is Beautiful . United Kingdom: Collins. Full Book.

FIG. 22: Digital photograph, The Fun Theory (2009). Available at: http://idsgn.org/posts/the-fun-theory/ FIG. 23: Digital photograph, Marks and Spencer (2013). Available at: http://www.iod.com/connect/marketing/ articles/marks-and-spencers-has-finally-found-the-key-totargeting-women-says-marketing-expert

Rendgen, S (2012). Information Graphics. United Kingdom: Taschen GmbH. Full Book.

FIG. 25: Digital photograph, model in black and white, i-d (2013). Available at: http://i-d.vice.com/en_gb/look/ gallery/565/the-future-of-fashion-is-bright

Rowbotham, S (1992). Hidden From History: 300 Years of Women’s Oppression and the Fight Against It . 3rd ed. United Kingdom: Pluto Press. Full Book.

Griner, D (2013). 5 Reasons Why Some Critics Are Hating on Dove’s Real Beauty Sketches Video Contrarian views on Ogilvy’s creation. Available: http://www.adweek.com/ adfreak/5-reasons-why-some-critics-are-hating-dovesreal-beauty-sketches-video-148772. Last accessed 22nd Dec 2013. i-D. (2013). Future Fashion. Available: http://i-d.vice.com/ en_gb/future-fashion. Last accessed 15th Dec 2013. Kapoor, N. (2012). Cause marketing . Available: http:// www.worldbrandcongress.com/WBC_2012/cause_ marketing.html. Last accessed 13th Dec 2013.

Marketing Week. (2013). Case study: Patagonia’s ‘Don’t

Oh comely, magazine (2014). United Kingdom: The Manson Group. Issue 18. Last accessed 11th January. POP, magazine (2014). United Kingdom: POP magazine. Issue 29. Last accessed 22 January.

FIG. 24: Digital photograph,digital model and lights, i-d (2013). Available at: http://i-d.vice.com/en_gb/look/ gallery/565/the-future-of-fashion-is-bright

Schwing, M. (2014). Brands are increasingly embracing diversity. Available: http://realbusiness.co.uk/ article/25141-brands-are-increasingly-embracingdiversity-. Last accessed 6th Jan 2014. Stampler, L. (2013). Why People Hate Dove’s ‘Real Beauty Sketches’ Video Read more: http://www.businessinsider. com/why-people-hate-doves-real-beauty-ad-20134#ixzz2qBnnlBdJ. Available: http://www.businessinsider. com/why-people-hate-doves-real-beauty-ad-2013-4 . Last accessed 22nd Dec 2013. Styles, K . (2013). 7 in 10 People in the UK Now Own a Smartphone. Available: http://mobilemarketingmagazine. com/7-10-people-uk-now-own-smartphone/#VJskBqPiDE 3r6Qkd.99. Last accessed 5th Jan 2014. Surface, magazine (2013). United States: Surface. Issue 103. Last accessed 10th January. Susie Orbach ( 1978). Fat is a feminist issue. Middlesex: Hamlyn Publishing. p20-21.

PG 34

The Guardian online. Feminism. Available: http://www. theguardian.com/world/feminism. Last accessed 23rd Dec 2013. UNILEVER. (2nd Jan, 2012). UNILEVERâ&#x20AC;&#x2122;S real beauty campaign for dove. [PowerPoint slides]. Presentation available at: http://www.slideshare.net/m4mahe/ unilevers-real-beauty-campaingn-for-dove V&A magazine (2013). United Kingdom: Cultureshock Media. Issue 32. Last accessed 20th January. Vice, magazine (2014). Canada: Vice media. Volume 9, issue 12. Last accessed 14th January. Vogue, magazine (2014). United Kingdom: Code Nast Publication. Issue FEB 2014. Last accessed 19th January. Walter, N (2011). Living Dolls: The Return of Sexism. London: Virago. Full Book.

PG 35

Bibl

iogr aph y

PG 36

Appendix A1: Questionnaires Each person who completed the questionnaire was shown this introduction to the questionnaire: I am researching, the oppression of women in the fashion industry and as part of that project are interested in your experiences/views about the lack of diversity, the oppression of women and the lack of control the consumer has in fashion industry. The information you provide will be collated with others and analysed so that I can gage an overall opinion on the fore mentioned topics. The information provided will be treated in strictest confidence and you will not be individually identified in any presentations of the results. All questionnaires will be kept in accordance with the Data Protection Act and destroyed at the end of the project. If you wish to ask any further questions on this project, please do not hesitate to contact Eve Jones. Email: evejones29@yahoo.co.uk Tel: 07931189807

PG 37

App

end

PG 38

PG 39

PG 40

PG 41

Appendix A2: Transcription of focus group Interviewer: I am Eve Jones and as part of my course Fashion Communication and Promotion course at Nottingham Trent University I am undertaking research into the oppression of women in fashion advertising. To enable me to answer my research questions I wish to talk to you about your opinions and views surrounding images fashion adverts I will show you. The focus group/interview will be a focused discussion and will take approximately 20 minutes. We will concentrate how these images make you feel, what they say about the women in the images and if you think they are a negative portrayal of women. The focus group/interview will be recorded and transcribed, and should you want a copy of the transcription then please ask me and I will arrange for one to be sent to you. The information you give me will be used in support of my work and will be written up in my project. Anything you say will be treated with the strictest confidence and your contribution to the discussion will not be attributed to you as an individual, what you said will be used for illustration only; to reinforce a point that I am making. The recordings will be kept securely and the transcripts on a password protected computer. Both will be destroyed once I have completed my degree and graduated.I am going to show you two images of fashion advertisements from a practical designer. I will ask you to react to each of these. First set of images are adverts form Tom Ford. How do these images make you feel? Jessica: Well obviously Tom Ford is very glamorous, but I don’t think you need a naked body to sell this. Shouldn’t need a vaginia or boobs to sell this. However, the images are glamorous like the brand. Alice: Yeah, I agree. I don’t think the naked body is necessary but it does sell the product. Hannah: I suppose so but surely Tom Ford could have thought of a better way to be creative rather then just trying to shock by using a naked model? Alice: Yes I agree with you but the point I am making is that is obviously sells the product to most people. Interviewer: How do these images depict women? Jess: Well in them the women is naked and the man is in the clothes, and you can’t see a face, like this woman (the one at the bottom) is lying flat and you cant see her face so you cant see how she is feeling. The woman is meant to be the object of the desire to try and sell the perfume. Hannah: Yeah, I think these adverts make it seem the females in them don’t have a personality or even a heart, they are just used purely for their sexual identify. Alice: Also, the fact the man is like standing over the women in one of the adverts makes it seem like the women is inferior to the man. Jess: Yeah that’s a good point it almost seems he is like pushing her down and he owns her. Interviewer: Do you think these images show a negative or a positive portrayal of women? Alice: Negative Hannah: yeah defo negative. Jess: Negative. Interviewer: Why? Jess: erm, well just because the women is the only naked one, the bottom image is the worst as its total objectification. It would be alright if they were both being all sexy with each other but they aren’t, its only the women. Alice: It just makes the women totally inferior to the man. Hannah: Yeah the fact she has got a good body is the only reason she is in this image, so surely this is negative? PG 42

Jess: yes defo. Interviewer: Ok, so now I am going to show you another two images from advertising campaigns from Calvin Klein. How do these images make you feel? Hannah: they make me feel fat haha. Alice: Yes defo fat haha. Hannah: The advert with the group of people in it seems a bit pervy to me. Interviewer: How is the advertisement pervy? Hannah: Just cos like they are half naked and lying on each other. Just seems a bit unnecessary. Like this is all they are worth. They are only good for advertising underwear. They are just the objects. Interviewer: Ok so would you say these images depict women negatively or positively? Jess: Negative. Hannah: I don’t think either. Interviewer: So if you cant say either then how do you think these images speak positively about women? Hannah: hmmm, I don’t think they do actually. Interviewer: So by me asking you out right how these images are positive. Has this made you think more about how the women are portrayed? Hannah: Yeah now that I have been made to think more about it, I can’t think of any positives just negatives. Interviewer: Ok so, if you can’t think of positives, how are they depicting women negatively negative? Hannah: The women seem lie objectives to the men, there is nothing inside the women, they are just a picture an object. I wouldn’t look at these adverts and think they are intelligent. Jess: I don’t think its case of them not looking intelligent to me. As an audience I feel like I am aware enough to realise there will be more to the women in the adverts then these particular adverts are portraying. But this might not be the case for everybody and doesn’t make it right. Interviewer: Moving onto two pictures from Dolce and Gabbana adverts. How do these images make you feel? Alice: Disturbed, they are a little but scary! I don’t really understand it. Interviewer: What do you find disturbing about it? Alice: Looks awkward, the advert where the women is the only naked person looks scary, seems like all the those men are about to have sex with her. Hannah: Yeah almost looks a bit like gang rape, as disturbing as that sounds. Interviewer: How do you think the women are portrayed in these images? Alice: Look a bit slutty. She’s naked and the men aren’t. Makes the women look she hasn’t got pride and no respect for her body. Jess: For me, the image where the woman is the only person naked makes the women totally separate from the men. PG 43

Like the woman are less important or are just used in the advert for their sexuality not the content of their personality. Hannah: Yeah, I agree. Interviewer: So, overall do you think these images portray women as negative or positive? Hannah: Negative but not as bad as the Tom Ford adverts. Interviewer: How are they not as bad as the Tom Ford adverts? Hannah: They sort of have more artistic credibility, as they aren’t just purely using the naked body but also other factors. I suppose the Dolce and Gabbana adverts aren’t as pornographic as the Tom Ford ads. Alice: Yeah I would agree with Hannah but they are still portraying women negatively. Interviewer: How? Alice: If a young girls look at these images, it would create negative image in her head. Would this make people buy from them with this? I don’t think so. Interviewer: Now we are going to finally look at another two adverts from the brand American Apparel. How do these images make you feel? Alice: Shocked. How can they get away with this? Jess: Yeah I agree I am surprised fashion brands are allowed to go this far. Alice: I feel uncomfortable looking at the images, mainly because of both of the girl’s poses. It is way too pornographic. Hannah: It wouldn’t make my buy from them. Interviewer: How do these images depict women? Jess: Terribly. Makes them seem like porn stars. Alice: Yeah totally degrading to the women. Hannah: So degrading. Interviewer: Do you think these images show a negative or a positive portrayal of women? Alice: Very negative Jess: Yeah couldn’t get anymore negative really. Hannah: Negative as makes the brand seem like they don’t care for women. Can’t believe people still shop there. I am certainly never going again after seeing these adverts and really having to think about them. Jess: Yeah same here. Interviewer: That’s the focus group finished now, thanks again for taking part.

PG 44

Completed consent forms given to the three members of the focus group

PG 45

PG 46

Eve Jones