Georgina Akeroyd DE0929 Project Research by Georgina Akeroyd

Exploring the Relationship between Fashion and the Interior Industry; Focusing on Self-Expression of Identity, Industry Pressures and the Future.

Georgina Akeroyd W13014127 DE0929 - Project Research BA (Hons) Fashion Communications Northumbria University Word Count: 4,171

Contents Page Introduction

Methodology

Self Expression

5-10

5-6 7 8-10

History Trends Social Media

The Relationship of Fashion and Interior Design

11-13

Pressures of the Fashion Cycle

14-15

The Future

Conclusion

Bibliography

18-19

Georgina Akeroyd

Introduction Fashion and interior design are inextricably linked, traditionally through the constants; trend, material and expression. Fashion is portrayed as the dominant industry because it is more accessible and easily adaptable. Interior dĂŠcor and fashion now work closer than ever before, portraying identities, sharing trends and shaping colours, suggesting there is a renaissance occurring within the industry. This essay will explore the interior industry alongside fashion and the influences each provide. It considers factors such as; social media, fast fashion, industry saturation, pressures of the consumer, brands and economic status. Myzeleve and Potvin (P.3) state in their book, â&#x20AC;&#x153;We are currently witnessing an intensified interest in lifestyle through various media, with the television, magazine or the internet. In this context, the relationship between fashion and interior design is ripe for investigation and provides fertile ground on which to elaborate on how it has and continues to help shape identity itself a distinctly bourgeois preoccupationâ&#x20AC;?. This statement provoked some unanswered questions and initiated an interest in comparing differences between the two sectors of the design industry.

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Methodology The primary research for this report was conducted through; an Interview with Helen Jamieson, who currently divides her job role between interior design and trend analysis at Trend Bible. An interview with Bernhartâ&#x20AC;&#x2122;s Interior designer Hayley Rodgers and a focus group, including home owners between the ages of 20-60. Secondary research collated and presented within this essay were discovered from the following sources; a selection of online journalistic articles and interviews, blogs exploring social media, a video discussing the relationship of the interior and fashion industry and books considering elements of the consumer, the design industry, and anti capitalist effects.

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Self-Expression History The Society of British and International Design (SBID) indicate that “the earliest evidence of interior behaviour dates back to early prehistoric humans, where cave men would decorate their dwellings with basic drawings, suggesting that interior design is actually a primal instinct”. (Nicoletta, 2013) This primitive décor signified intelligence and formed the ideology; a higher level of intellect represents a superior status. This ideology evolved, resulting in wealth replacing intelligence as the variable factor to create status. The SBID deem “It was in the 18th and 19th century that interiors became available to the common man” (Nicoletta, 2013) In this period the symbol of self-expression previously displayed as primitive drawings, was substituted for high value, labour intensive dyed fabrics, that were less accessible and more costly to produce. This value is advocated by the Marxist value theory, “a commodity is measured according to the amount of socially necessary labourtime that is invested in its production”. (Sewell.R. 2014) Using these prestige fabrics for fashion and soft furnishings represented a level of wealth that allowed an individual to demonstrate greater self-expression, with limited resources, creating a position of status within society, reminiscent of royalty. When looking at the evolution from earlier centuries to the modern day, it is evident that wealth was the driving force behind the transition and success of the emerging fashion industry. Fashion encompassed the majority of the design industry and developed alongside more affordable resources, making fashion more accessible than home décor. Clothing required smaller quantities of fabric to produce a garment, and this combined with the practical necessity for clothes, positioned fashion in higher demand than soft furnishings. It allowed the common man to become self-expressive, exposing their personality through choice of dress. The introduction of more fashion based magazines in the late 19th century increased awareness and provided an enhanced knowledge of international design and style for the wealthy to aspire to, creating another level of differentiation between the classes. In theory, architecture is the shelter of a physical structure. Similarly, fashion represents the shelter of the body. “both fashion and architecture express ideas of personal, social and cultural identity, reflecting the concerns of the user and the ambition of the age…they share the primary function of providing shelter and protection of the body”. (Somerset House, Skin and Bones. 2008). The concept sitting behind this statement reveals that functionality overrides the desire. Self-expression has remained a constant in relation to materialistic items. After the necessity of shelter has been met, the level of priority changes and is replaced with a new desire rather than a need. This process reflects the journey between the levels of Maslow’s hierarchy of needs (see figure 1) Georgina Akeroyd

\Self Expression Figure 1:(Finkelstein.j. Maslow’s Needs Hierarchy)

In order for Interior design to become high priority, each level has to be achieved before reaching the ultimate point of self-actualisation. Relating this to the design industry is as explained in Figure 2. Figure 2. Maslow’s Hierarchy of needs applied to the design industry. – Georgina Akeroyd .

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Self Expression

Trends “A trend can be emotional, intellectual and even spiritual. At its most basic, a trend can be defined as the direction in which something (and that something can be anything) tends to move and which has a consequential impact on the culture, society or business sector through which it moves.” - (Raymond,M. 2010. P.14) When there is a need for something, a trend will develop much faster and remain a constant for a longer period of time before evolving. This has been proven through challenging historical events such as world wars where the functionality of a garment outweighed the desire and eliminated any status of wealth. Similarly, the recession of the 21st century created more time spent at home as a result of the decrease in disposable income. Helen Jamieson states, “I guess in times of uncertainty people retract to their home, in the recession we saw the home become more of a place of entertainment, because people just couldn’t afford to go out”. (See Appendix A) This revives an earlier trend called “cocooning, a concept that shields a person from the outside world by making their home a sanctuary”. (Popcorn.F 2015). Corporations have utilised the recession as a catalyst for a trend in home décor. They have taken advantage of the situation to diversify their product ranges into soft furnishings, evidenced by the high street now offering more affordable products to enhance our homes. Stimulated by this, new trends emerge encouraging designs in the home, such as feature walls. “It’s a look that’s here to stay, with some designers saying feature walls offer “recession-proof” style, buying one roll of wallpaper, or one pot of paint, to cover a single wall is more affordable than decorating a whole room”. (Qureshi.H 2010) This expansion into lifestyle by the high street has stimulated a fast interior movement from the nature of the fast fashion brands. Previously trends followed a lead, whether it be society or a brand. Now people have begun to interpret the trend and their inspiration in a personal creative way, adding their own touch, essentially creating a new trend in itself. This increased display of unique and progressively bold outputs, has encouraged individuals to be more experimental. Using their homes as an extension of their personality. This is evidenced within the results of the focus group. The focus group agreed with Heather, one of the participants “Yes, it expresses my personality in different ways. I sort of think that it lets me be a bit braver than I would be with fashion in comparison to choosing clothes”. (See Appendix B). This demand for exclusivity and individuality has caused some of the industry to re-evaluate their creative direction. Georgina Akeroyd

Self Expression

Social Media Expression of personality is now easier to imagine following the expansion of social media. The interior industry has advanced the consumers knowledge base by proactively widening awareness, through public media platforms. Trend combined with social media creates a basis, which explains the growth of interior design. In modern society, meeting personal needs is easier to attain, the variable factor is the creative output. This provides the consumer with a choice in how they wish to express themselves. An example is Pinterest, a computer generated pin board that creates mood boards online. You can search through their wide selection of images otherwise known as ‘pins’, and even upload your own. Your profile holds the collection of your mood boards, so your creative projects or ideas are stored efficiently. It is a visual platform, offering an accessible area, where people can be inspired towards developing a unique approach and outcome to their self-expression. It is during the last decade that this type of visual media has started to be utilised to its full extent. In 2012, Complete Pulse, a blog on consumer insights for digital marketer’s state, “In the last decade, the use of social media platforms such as Pinterest has grown rapidly, with unique visitors to the site growing from 700k to 20 million in the last year”. (Caine.J. 2012). According to Lucy Denyer, a journalist from the Telegraph “In home décor alone more than five million home décor pins are pinned to the site every day”. Statistics such as these display the dramatic growth of the platform and its effect on interiors. This online environment provides an opportunity to experiment, broadening the consumer’s imagination and outlook on using bolder colour ranges. The non-committal approach increases design confidence in a virtual world, which can then be easily transformed into reality. Helen Jamieson states “This is the first year that Grey has become the most popular colour in soft furnishings. In previous years this has always been dominated by neutrals such as browns and creams”. (See Appendix A) This small change in direction could be a result of external influences and online experimentation and is a symbol of the renaissance occurring. Architect, Daniel Libeskind suggests, “We are in a renaissance because people are empowered and are doing things in a new way”. (Armani Tweet Talks, ND). Brown has been the dominating colour for 15-20 years (See appendix A). This exposure to a source that encourages creativity is evidently changing outlooks. An increase in desire for this type of creative output has demanded continual development. Pinterest have introduced a new feature, the ‘Buy’ button that allows the public to purchase their creative discoveries direct from an image provided by the supplier. Ian Smith, Pinterest’s lead iOS designer comments on why the buy button was instigated “We wanted to make it so that the moment you’re confident, and you’ve sufficiently fallen in love with something, you can buy the thing quickly and securely with just a couple of taps”. (Alba,D. 2015) With social media providing such resources for the current society to use, is it any wonder we are constantly Georgina Akeroyd

Self Expression

craving more? This is reminiscent of more primitive times where the wealthy strived to achieve greater self-expression to ultimately fulfil a higher level of status within society. Businesses are constantly looking for ways to gain an edge on their competitors and provide the consumer with a new experience online and in-store. Top Shop teamed up with Pinterest to create a tool utilising colour palettes through consumer Pinterest boards. Topshop have proactively selected to collaborate with the platform that is constantly evolving, the combination of two such large and popular brands will benefit each in separate ways; enriching Topshop’s personal touch with consumers and increasing awareness for the fashion sector within Pinterest. Sheena Sauvaure, Topshop’s global marketing and communications director boasts, “We recognise that the power of colour on our customer is huge; it has the ability to inspire, excite and drive purchases, so we’re delighted that our partnership with Pinterest has enabled us to explore the impact of colour, whilst engaging our customers in the excitement of London Fashion Week”. (2015). One of the key features of this pairing is the actual collaboration of the two companies. Why would Pinterest, a company used by proactive thinkers looking for individuality, collaborate with such a commercial generic brand? Pinterest is known as a company delivering innovative methods of creativity, cultivating a new found confidence in design and identity. Whereas Topshop, although known for fresh thinking and being leaders of the High Street, are more commercially driven. Jamieson states that she believes “the high-street is very much a money making business and it is actually just big corporations that want to squeeze sales out of everyone”. (See appendix A) Pinterest would normally be associated with the consumer promoting individuality. The benefit of this chosen collaboration allows Topshop to be labelled and associated with the characteristics of Pinterest, and assists Pinterest with reaching out to a demographic, not yet fully conquered. In a sense showing Topshop’s young audience how Pinterest can benefit their life, encourage confidence in their self-expression and broaden their identity. Although this concept is very strong and is used as a marketing campaign to run alongside fashion week, what the collaboration appears to be doing is attempting to provide is an exclusive experience; conversely, are Topshop the suitable brand to deliver this exclusive outcome? Hoskins (P.56) believes “Fashion involves clothing being valued for something other than its use value – the value of a commodity based on its ability to meet a human need. Instead of use value, symbolic values, like love, wealth and power, are attributed to commodities.” The focus of the marketing is for the palette to make the consumer feel that it is very much ‘about them’ because it is synced with an individual’s taste of colours but the question remains is it actually benefitting the consumer? If you eliminate the intrinsic connection created through the palette experience, this simply becomes a mass produced item from the high street. To create a deeper understanding of how beneficial using these techniques would be in relation to interior design, it was helpful to gather opinions from a focus group. This collated the most beneficial methods of communication to connect and establish an intrinsic response from the consumer, a key factor for both the consumer and the retailer. (See Appendix B) Georgina Akeroyd

Self Expression

The results of the focus group imply that by using the palette strategy within Interior design it would return a more exclusive and effective output. Ultimately, there is already a foundation of personality present within a home (See Appendix B). This existing presence would prevent the initial established connection from losing its intrinsic value. The group felt that their home represents their personalities more than the clothing that they chose to wear. The reason for this was due to the mass collection of clothing they owned, in comparison to specific elements that make up a room. Such a mass collection of items makes it difficult to develop self-expression. Having the ability to view a whole room brings all the consumers personality traits together as one.

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The Relationship of Fashion and Interior Design We currently see a more complex method to create a status within society, which replaces the simplistic link formed historically using colour. The status in society is now judged on the demand for exclusivity rather than the labour intensive value of the product. This links to “the commodity fetishism theory of Marx” (Sewell.R. 2014) where an intrinsic value attaches to the product, created from social demand. This theory relates well to the relationship of Fashion and Interiors. If a ‘commodity’ is an object and a ‘fetish’ is a spirit, joining these together, in simple terms applied to the design industry, the spirit can be interpreted in two different ways; when a brand earns a high reputation within society it becomes exclusive, creating additional value. In contrast to this, the spirit of the product could be derived from a unique personal association to an individual memory. Fashion is the commodity of this theory and Interiors is the Fetish, together they represent something whole, which is design, but separately each core is different. Fashion is materialistic, has a greater monetary awareness, and is relative to the commodity within this theory. Interior design demands an intrinsic association with a person and is relative to the Fetishism element of the theory due to the focus on the beauty of the piece rather than the monetary value of the product. Each route is equally as important to the industry and together fulfils the link between the two areas of the design industry. A successful brand is required to demonstrate to the consumer how their products will enhance personal lifestyle. It is important that the item presents some kind of differentiation from its competitors. It needs to draw on the individual senses to stimulate an internal and visual association with the brand. The retailers are using a combination of vision, smells and sounds to create a concept that is memorable. Hayley Rodgers suggests that “fashion will always be the dominant industry because fashion informs our suppliers who in turn create interior products, materials and finishes that tie in to existing fashion trends”. (See Appendix C) In contrast to this belief, Helen Jamieson deems that, “Interiors are influencing fashion more now because of brands offering a diverse lifestyle. Styling and photography include lifestyle elements”. (See Appendix A) This is portrayed with the aim of making the purchase part of a lifestyle choice rather than an economic business strategy. This process develops a relationship with the customer and heightens the attraction of the product. An example of this concept is Armani who was amongst the first to diversify into a hotel experience. Making this transition in direction allows Armani to provide a complete package, aiming to stimulate the consumer senses and achieve differentiation, providing a memorable experience to sustain the brand within the complex market.

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The Relationship of Fashion and Interior Design

Figure 3: (Armani Hotel, Milano. 2011) The experience offers an opportunity to live the Armani lifestyle, from the interiors to the smell. “Milan Italy reflects Armani’s personal home aesthetics … Like his couture, Armani’s hotel-style is tailored, uncluttered, elegant with unique allure and mood lighting”. (Armani, G. 2015) (See Figure 3) This expansion into tourism has reached a pinnacle in fashion and just how extreme is illustrated in the detail of “Every guest staying at Armani Hotel Milano, Milan, Italy provides an allocated Lifestyle Manager to anticipate your every need”. (Armani, G. 2015) There is an emerging pattern that intimates that fashion currently needs a greater support framework than the Interior industry, to provide the connection required for a brand to be successful. It is easier to imagine an interior brand without an element of fashion but not as easy to imagine a fashion brand without an interior influence. Gretchen Aubuchon, Editor in Chief of Fashion+Décor feels that “the worlds of fashion and décor are colliding…never before have these two worlds been more in tune with each other”. She explains, “Where there was once a 5 to 6year lag from the runway to furniture showrooms”, evidencing fashions impact on interiors. “Now both worlds are engaging as the creative minds are joining together with the social media forces”. (Jessica. 2013) If you consider how sustainable the experience concept is, it is possible to look at the convergence of the two worlds from a different consumer angle. Mark Tungate, a journalist specialising in media, marketing and communication believes “consumer loyalty is long gone. Nobody wants to be decked head to toe in clothes from the same source”. (P.248) Mark’s contrasting opinion is viable, after looking into the desire to be exclusive and for every element to be personal. Fashion thriving on exclusivity is a trend that has peaked and has now evolved. Georgina Akeroyd 12

The Relationship of Fashion and Interior Design

Incorporating other factors such as the use of social media, creates a trigger for the consumer to pursue their creativity and collate all their favourite elements of a room together, combining luxury with practicality. Experimenting with images eliminates unnecessary expense and allows a sensory experience to be established, integrating existing personal belongings and fulfilling co-creation. Russell Belk states, “Consumers, must be recognised as co-producers of desire and identity and active participants in consumer self-seduction”. (Trentmann.F.2006, P3) Discussing the two approaches considered by Armani and Tungate it is important to understand and try to establish which of the routes is preferred by the consumer. Rodgers informs that, “within her experience as an interior designer, clients have never referred to designer collections when planning a design” (See Appendix C) This supports Tungate’s opinion and questions, do consumers want to be a part of one stereotype like Armani offer or would they prefer to take the eclectic approach by creating a mix of brands to achieve their ultimate personal look as suggested by Tungate? “Eclecticism is a conceptual approach that does not hold rigidly to a single paradigm or set of assumptions, but instead draws upon multiple theories, styles, or ideas to gain complementary insights into a subject”. (New World Encyclopedia.2013). The findings from the focus group reveal that younger people combine the different sources and prefer the overall look of mixing and matching brands. The older age group reported that they would prefer to have the finished look of combining different sources but said they would probably purchase, just one stereotyped brand. (See Appendix B) The reasoning behind this appears to stem from a lack of confidence in building colours and themes to represent their personalities. In this instance the members of the focus group that were catagorised as this were the ones who did not engage with social media platforms such as Pinterest. If we take into consideration all elements discussed in this chapter and combine them, it is clear to see why the interior industry has expanded at such pace. As a result of designer brands like Armani diverging into unconventional outputs, it provided the High Street an alternative route to explore. Collaboration with named designers delivered an instant association with quality and finer characteristics of the brand, whilst still retaining the value for money that the High Street offers. This appears to favour the retailers need to attract the consumer; however, this marketing technique additionally fulfils the need of the eclectic consumer. This statement is supported by the focus group results, showing that some consumers prefer to shop under one roof but gather items from both designer and high street brands alike. It is essential to recognise that the “famous couture houses receive a higher return on their supplementary sales of items such as perfume and bath oils, sold within high street store, than they do on a $50,000 dress”. (Hoskins. T. E. (2014), P.3)

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Pressures of the Fashion Cycle

Pressures of the Fashion Cycle The current generation are overly knowledgeable with an unlimited amount of inspirational sources and information to hand. Being stimulated by every brand attempting to capture an individual’s attention becomes tiring for a person and overwhelming. The focus group results evidence the consumer’s feelings towards the industry in relation to the wealth of choice. (See Appendix B) The pressure of the continuous arrival of new designers emerging and fighting for stardom is causing professionals to become demotivated and disinterested in nurturing new talent. “Professionals in fashion are overwhelmed with the images and websites. It’s very tough to get their attention”. (Theyskens.O 2015). The result is an oversaturated market of new designers trying to make their mark on the industry. Major leaders of high-end fashion designers such as Dior, Maxim, Schiaparelli and Tiffany have left their positions of power following the Spring/Summer 16 fashion week shows. (Business of fashion 2015) This situation poses the question, why is this happening now? Why have all the heads of these leading designers resigned from their position as CEO? Research shows that this is due to pressure and the lack of time to incubate ideas. Raf Simons from Dior found that he was struggling to be inspired and because the pace is moving so quickly the minute he had stopped designing one collection he immediately had to start designing the next to meet the demands of the industry. “Everything is done in three weeks, maximum 5. You have no incubation time for ideas…Fashion became pop; I can’t make my mind up if it’s a good or a bad thing. The only thing that I know is that it used to be elitist”. (Horon. C. 2015) This is a consequence of fast fashion, some of the consumers of high-end designer’s cross-markets and have become accustomed to the fast two-week turnover fashion empires like Zara. “Zara specialises in fast fashion, cranking out some 11,000 different models a year”. (Tungate.M, 2008, P52) Celebrity culture of fashion/fame has almost overshadowed the art and craft of fashion. The trend of following celebrities on social media encourages the desire of the item. This is overshadowing the focus on quality and craftsmanship of the products and is a solid example of how social media can have a negative impact on the industry. The industry pressures of consumer demand for fast fashion could be contributing to high-end designers looking for ways to create new routes to explore their creativity. Venturing into interior design is a means for the elite designers to express their quality products to a new target market that embrace quality rather than quantity. This theory links to the primitive era we have already discussed, where the quality of the product is key to wealth and status. The fast fashion designs only satisfy the basic need of the consumer. Time restraints linked with fast fashion have obliterated the opportunity to incorporate any form of craft into the designs. Leaders of fashion are passionate professionals who take pride in the flair they apply to the designs they create. Georgina Akeroyd

Pressures of the Fashion Cycle

By fast fashion eliminating this element the drive for success is removed. It appears leaders are trying to escape the fast fashion market and as a result of this focusing their attention on the interior industry instead, currently an industry where the underpinning knowledge and skills still remain prominent. Craft is key in driving the interior industry forward. Will this influx of established designers result in the interior industry moving further towards the fast fashion approach? Jamieson comments, “the fashion market is absolutely saturated…I really hope the same doesn’t happen to the interior industry”. (See Appendix A) Do interiors opportunely provide a less saturated route for fashion designers to explore? Many designers diversify into interiors but it is rare that this happens in reverse. This poses the question, is this because of the pace of the moving trends and the unlikeliness of the success of the item or due to the competition. Lindsay Miller, a designer with Lovelace Interiors in Destin. “The difference is that so many high-profile designers now have their own home furnishings brands, and why shouldn’t they? They set the trends, so I think that it’s only appropriate that they should design for the home as well”. (Miller.L.2015)

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The Future We have established that the fashion industry is saturated and that the interior industry has grown remarkably thanks to a combination of trends and additional factors, such as recession effects and fast fashion. In order for the interiors to not follow the same pathway as fast fashion, what does the future hold? It is difficult to predict such a volatile industry, but the research conducted throughout the construction of this essay, demonstrates a trend cycle. This is a viable method of depicting the future trends. One of the key features to emerge is the effect that technology has had on the industry. Francis Bitonti believes that the industry currently only fully utilises technology to enhance the brand. A solid example of this type of enhancement technology would be the Burberry launch of their flagship store on Regent Street in London, incorporating high tech features, such as mirrors than can instantly turn into an exclusive video. (Burberry Plc 2012). Bitonti feels that this use of technology needs to be embraced and utilised to make an impact on the design industry. The focus should not only be used on marketing the product but essentially for contributing to the manufacturing of the product. “I don’t want technologies that integrate with my body; I want clothing and accessories that makes my body do things and feel things I have never thought I was capable of”. (Bitonti.F 2015) This has been demonstrated with the technological advances in creating 3D fashion garments using digital elements. His ultimate aim is to “redevelop everything from design methodology to material and form, to distribution and production…this technology is going to turn the entire industry inside out”. (Bitonti.F 2015) Although this seems a relatively large step forward for the industry, the challenges that this generation has previously overcome through periods of difficulty, has proven it can adapt to new concepts. Leading figures within the industry are ready for something new. If 3D printing is applied to the personalisation trend, this will then satisfy the two main elements of desire; exclusivity and personalisation in self-expression. The ultimate futuristic vision is to have a bespoke provision for furniture and fashion, the digital advancement will transform this aspiration into a realistic option. Jamieson has strong views on what the future holds, she suggests that “we are so oversaturated with information, inspiration and overstimulated that our homes will become a kind of place that is completely detox. Blandness and oneness is going to become more desirable. Technology used will be smarter and merge seamlessly into our lives”. (See Appendix A) Helen believes this process will return society to a non-saturated and simple life. This will allow our minds to be cleared ready for a new influx of ideas. Our homes will not only be a physical haven but also a mental environment for a release from the busy lives that society demands. These two opinions complement each other. The 3D manufacturing will merge technology seamlessly into our lives and form the blandness that Helen refers to, fulfilling her prediction creating a viable route forward. Georgina Akeroyd

Conclusion After exploring the relationship between fashion and interiors through the ages, it is proven within this essay, that the two design industries harmonise together as one and always have done. There is enough evidence to support the theory that external factors such as oversaturation of the fashion industry, has encouraged the relationship between fashion and interiors to fluctuate and grow over a period of time. Time will reveal if the convergence of the industries is a trend cycle within itself.

Georgina Akeroyd

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Jessica. (2013) How Does the World of Fashion Influence the World of Interiors? [Online] Available at: http://freshome.com/2013/01/20/how-does-the-world-of-fashion-influence-theworld-of-interiors/ (Accessed on: 20 December) Liz King. 2015. Turn your favourite fashion brands names into Interior designs [Online] Available at: http://www.tallahasseemagazine.com/July-August-2015/Turn-Your-Favorite-Fashion-BrandNames-into-Interior-Designs/ (Accessed on:27 December) Myzeleve,A. Potvin,J. (2010). Fashion, interior design and the contours of modern identity. Surry: Ashgate publishing limited. New World Encyclopedia. (2013) Eclecticism. [Online] Available at: http://www. newworldencyclopedia.org/entry/Eclecticism (Accessed on: 27 December) Nicoletta, 2013. The History of interior design.[Online] Available at: http://www.sbid. org/2013/08/the-history-of-interior-design/ [Accessed on 23 November] Qureshi.H. 2010 review decade interior design. [Online] Available at: http://www.theguardian. com/lifeandstyle/2010/jan/04/review-decade-interior-design (Accessed on 23rd December) Raymond,M. (2010.) The Trend Forecaster’s Handbook. London: Laurence King Publishing Ltd. Sewell.R. 2014. In Defence of Marx’s Labour Theory of Value. [Online] Available at: http://www. marxist.com/in-defence-of-ltv.htm [Accessed on 23 November] Somerset House, Skin & Bones. (2008). Parallel Practices in Fashion and Architecture. [Online] Available at: http://www.somersethouse.org.uk/documents/skinbones_exhibition_guide.pdf (Accessed on: 2 November) Trentmann.F.(2006) The making of the Consumer. Oxford: Berg. Tungate,M. (2008). Fashion brands branding style for Armani to Zara. 2nd edition. London: Kogan Page Limited. Images Figure 1: J.Finkelstein. No date. Maslow’s Needs Hierarchy. [Online] Available at: http://psychology. about.com/od/theoriesofpersonality/ss/maslows-needs-hierarchy.htm (Accessed on: 10 November) Figure: 3 Armani. (2011) Armani Hotel Milano. [Online image] Available at: http://www.vogue com/869473/giorgio-armani-opens-a-new-hotel-in-milan/ (Accessed on: 10 November)

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