Hannah Cole N0618691
THIRD YEAR
Fashion Communication & Promotion
PROPOSAL Preface / Diversity In Fashion / The New Wave Emotional Economy
contents PREFACE & FCP TRIANGLE IDEA 1: Diversity In Fashion Consumer Profile Cartogram IDEA 2: The New Wave Emotional Economy Consumer Profile Cartogram APPENDIX REFERENCES BIBLIOGRAPHY ILLUSTRATIONS
ion
Whilst discussing and brainstorming potential topics for this project, a personal strength and interest consciously became apparent. Research. The context part of the FCP triangle was never one I felt most confident with, or one I could see enough interest in to consider as a future career. However, if there is anything that FCP has taught me, it is that you never know unless you give it a go. And before I knew it, I was five hours into research, enjoying the process with endless roots to discover more about.
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Journalist Stylist Photographer Graphic Designer Visual Merchandising
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Visually, throughout the course, I have developed my awareness and references. Learning to apply these skills in executions, exploring areas like editorial and graphic design, and art direction.
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Production Team Art Director Social Media
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I then began to think about the pieces of work that have been successful. What did I add or input to make this work? What feedback have I been given? This leads to a different part of the FCP triangle, execution.
Strategist Creative Team PR
FCP TRIANGLE
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Trend Forecaster Advertising Planner Marketing Strategist Buyer
With both areas of interest lying at polar ends of the FCP triangle, I feel my potential topics allow me to showcase both areas of strengths. But they also allow me to work on my weaknesses. Some of which include incorporating theory, and backing my work up with primary research. In this document, I will be exploring in further detail two potential areas of interest for my Self Devised project.
DIVERSITY IN FASHION
“The things that make you who you are, your size, race, personality. They are totally a disadvantage in this business now�
James Scully, Business of Fashion Voices
With an interest lying in trends and catwalk shows, it was often hard for myself to look beyond the initial reactions of garments and set design. The excitement of each show is often too overwhelming to process everything at once. However, it is only when I analysed a show I realised the lack of ethnical diversity in the fashion industry.
According to The Fashion Spot, a study showed a lack of diversity in the Spring 2015 catwalk shows staged across the world’s most prestige fashion capitals. Only 17.5% of models were accounted for as being diverse. Advertising campaigns also follow a similar pattern in the fact they are made up of mainly white models. In the September 2014 issue of Vogue, over 115 advertising campaigns, 92.4% of models were white. Leaving only 4.9% being black, and 2.7% of another ethnicity.
There are, of course, exceptions to the rule as brands like Riccardo Tisci and Tom Ford use a diverse range of models in their shows (Business of Fashion, 2015). But still, with the ‘Most Diverse Season Ever’ (Limei Hoang, Business of Fashion, 2017) in the Fall 2017 shows, it still lacked with only 27.9% being classed as diverse models. Again, with advertising campaigns, in Vogue June 2017 issue there was a rise in the number of diverse models used. In comparison to 2014, there was an increase of 12.9% in the amount of black models used.
However, these findings show a lack of awareness brands have in relation to their consumer. As by contrast, the consumers buying into these luxury markets are more diverse, with “43% of Blacks buy luxury branded products compared to 35% of average Americans” (Mintel, 2017). This evidence shows that the teams of casting directors and stylists for major design houses are latent, as they seem to be comfortable with presenting stereotypical images. Instead of challenging norms to become more culturally diverse and create a new representation of ethnicity in fashion. Season to season there has been improvement, but there is no consistent improvement across the whole industry. This suggests a clear gap in the market as brands are not acknowledging the consumer’s needs. A report from Mintel shows that “13% of Black luxury consumers avoid brands that don’t include people of colour on their runways or in their ads”, suggesting that brands are missing out one of their most important markets as since 2007, “Asia-Pacific’s share of the global luxury goods market has grown by 10 percentage points and today the fastest growing luxury markets in the world are the Middle East and Africa.” (Business of Fashion, 2017).
Other industries such as the beauty industry have already seen the problem of lack of diversity and have begun to make changes. For example, L’Oreal Paris main advertising campaign is for their True Match foundation. Here, it showcases all the variety of colours they do. This celebrates diversity and encourages everyone that there is something out there for them, no matter their skin colour. However, in the fashion industry, diversity is not celebrated as much. There is a steady rise, but not enough is being done. With recent events such as Casting Direction, James Scully calling people out on their racial comments and treatment of diverse women in the industry, it is no wonder people are responding. But, brands are now only incorporating more diversity, as it would make them look bad if they did not. Meaning they are only celebrating diversity because they feel they must.
A potential idea for this topic would be to create an agency that promotes diversity, which changes the way people look at models. In the 80s, brands such as Bodymap used models where each was different, and celebrated in a way that was fun and energetic. This energy was portrayed through the catwalk having more of a dancefloor vibe that was performance art based, not a runway show. This type of ‘catwalk’ was energetic, and was completely unpredictable. It was no more unusual to see a 70-year-old walking down than it was a youth. But it still didn’t matter who was there, as everyone was equal. However, today it would almost be frowned upon to see this.
In a Business of Fashion Voices talk, James Scully begins to reflect on the late 80s, early 90s. He talks about how all the designers and cities were so diverse, where everyone and every model was equally as important as the other. There was no such thing as one girl being better than the other. In contrast, today, people only want the girl who’s big now. And will then drop her instantly when they’ve found someone else.
consumer profile
Meet the group of aspiring models. The young, fresh faces of fashion. Brought up in a diverse society, where they have the freedom to express who they are. But have entered an industry that is not as glamorous as it seems to an outsider. They’re activists seeking independence, and recognition in the fashion industry. They never get bored of visiting all the quirky, unheard of art galleries in London as that was part of their Art Undergrad course. Understanding people’s messages is something they’ve become a pro at. Now they aren’t studying all the time, they’re sat catching up with their friends in the local indie coffee shop tucked down that hidden alleyway have a chai latte. Vegan, of course. Talking about all the work gossip from their internship at Confetti Crowd. Forget chart music, it’s all about their home nursed playlists that have taken far too many hours to make. A mixture of classic R&B to a bit of techno. They’re the healthy type, but cannot go more than a couple of hours without a cigarette and cup of coffee. Catch them drinking a rose spritzer or a southern comfort and lemonade. Anything sweet to the taste, or to the eye in fact will please this lively bunch.
Developing this further:
This is a problem that I feel needs addressing. To gather more research into this area, over the summer I am going to try to interview models that are racially diverse. The aim will be to try and understand how they feel the industry treats them, and what more they would like to be seen done to make it a more equal industry. This will allow me to gather insight into how to address the issue, and make it ethical when considering how to come up with a outcome and concept to change it. An area I would like to consider further is advertising. After realising the lack of black models in advertising campaigns, I am going to conduct more research into which industries outside fashion use the biggest range of diverse models. This will allow me to see whether this issue is wide spread, and help to see how I can take things from other areas into fashion.
THE NEW WAVE EMOTIONAL ECONOMY
EMOTIONAL
ECONOMY
adjective relating to a person’s emotions.
“gaining emotional support from relatives”
synonyms: spiritual, inner, psychic, psychological, of the heart “their emotional needs are often ignored”
noun the state of a country or region in terms of the production and consumption of goods and services and the supply of money. “he favours tax cuts to stimulate the economy” synonyms: wealth, (financial) resources;
Emotional, and economy. Both separate words have meanings, yet when combined, there is no definition fully established (Klaus Wälde, 2012). A ‘new and different world is emerging’ (Anthony Howard, 2015) which ‘describes the current cultural mood’ (Kasia Maciejowska, 2017), in which people are obsessing with how things make them feel. In a retail world where the market has become oversaturated (Angela Stringfellow, 2014), how do you succeed? When consumers are no longer interested in just the product, but more about the experience and how it makes you feel. Demand and technological advancements are on the rise, but how do you connect these virtual existences to a new wave emotional economy?
The premise of this concept is to explore The consumers premise of buys this concept is to explore why what they buy, shop Thewhy premise of this concept is to explore why consumers buys what they buy, where they shop, and do what theyshop do. consumers buysshop, what and theydo buy, shop where where they what they do. they shop, and do what do. But to then use this knowledge to they explore Buthow to then use this knowledge to explore you can connect virtual realities to But to then use connect this knowledge to explore how you can virtual realities to a ‘more grounded’ (Martin Butler, 2005) how you can connect virtual realities to a a ‘more grounded’ (Martin Butler, 2005) reality that retail brands are. And to then ‘more grounded’ (Martin 2005) reality reality that retail Butler, brands are. And to use these advancements to create customer that retail are. And to then use these then brands use these advancements to create satisfaction through emotional experiences. advancements to create customer customer satisfaction throughsatisfaction emotional through emotional experiences. .
(LS:N GLOBAL, KASIA MACIEJOWSKA, 2016)
“the emotional economy describes the current cultural mood in which people are obsessing more than ever with how everything makes you feel”
The trend innovation for the emotional economy has stemmed from the rise of self-awareness and mindfulness. With technological advancements in emotional artificial intelligence, it is no wonder why people are looking to explore the emotional spectrum. Cognitive scientists are now talking about new compound emotions that have been developed in response to technology shifts. A study by Dr Paul Ekman, 1970, originally argued that there are 7 emotions that are universally conveyed. However, there has since been suggestions that we have moved away from this and have discovered ‘17 compound expressions’ that are ‘consistently produced across cultures, suggesting that the number of facial expressions of emotion of biological origin is much larger than previously believed.’ (Aleix M. Martinez, 2014).
Yet, with the rise of this innovative technology. Society is still feeling less personally connected than ever before (Anthony Howard, 2015). When asking people to comment on technology and how it made them feel, one person said she sometimes feel frustrated by technology, it has become so advanced that I sometimes think it is too smart‌ it can treat us like we are also a piece of technology, not a person. (Charlotte Toms, 2017). In a questionnaire, 83% of the people asked agreed that they wanted to see more in store interactive experiences. This leads to the trend impact. Already, brands are picking up that consumers are wanting more, sensory experiences. Consumers want to be taken on a journey, and left feeling deeply connected to the brand.
When brands begin to explore this method of advertising, the consequences lead to a closer bond between the brand and the consumer. The use of philanthropic marketing can translate into becoming a big idea. With consumers looking for connections that empower. Brands can do this by creating projects that connect with their audience on an emotional level in a way that is meaningful. It is clear to see that this type of advertisement works, as the Dove 2013 ‘You’re More Beautiful Than You Think’, was watched over 114 million times in the first month. There was no product placement at all throughout the video, instead just a concept that people could engage and relate with. It has now since become one of the most watched advertisements on YouTube. This is due to the emotional connection people can make with the advertisement.
A I d
The brand made awareness of the campaign by posting a six minute video on YouTube. The campaign title uses the personal pronoun ‘you’, and ‘you’re’ to address the audience immediately in a direct way. By using encouraging words like ‘beautiful’ in a bold, personalised statement, it makes the audience intrigued and want to find out more about the campaign.
The unexpected content for the campaign creates an interest as it was based on true insight. The brand entertained an audience of people over 115 countries could in 25 different languages (Fast Company, 2015). This video connected with people on a personal level as the message created awareness and engagement for every audience.
Connection makes you desire. Due to the factors in the interest section, there was a natural desire for consumers to buy into the brand as it has previously made them feel good about themselves. This allows for a unique brand image as consumers have full trust.
A
“According to statistics, only 4% of women feel good about themselves across the globe. We decided to do something that would move the other 96%.” (Anselmo Ramos, 2015. Vice President and Creative Director at Ogilvy Brazil)
Although this campaign was not a brand activation campaign to go out and buy the product. It promoted activation to feel good about yourself, find acceptance and self-value. Which in the long run benefits the brand to become one that has a loyal customer base that seeks confidence from the brands values.
“Rather than seeing yourselves and your customers as us and them, you start to see yourselves as part of the same tribe. You start to think like your customers and feel confident to rely on your intuition. You find yourself anticipating what real people are up to and what they’re looking from you. The effects can be profound.” “Rather than seeing yourselves and your customers as us and them, you start to see yourselves as part of the same tribe. You start to think like your customers and feel confident to rely on your intuition. You find yourself anticipating what real people are up to and what they’re looking from you. The effects can be profound.” “Rather than seeing yourselves and your customers as us and them, you start to see yourselves as part of the same tribe. You start to think like your customers and feel confident to rely on your intuition. You find yourself anticipating what real people are up to and what they’re looking from you. The effects can be profound.” “Rather than seeing yourselves and your customers as us and them, you start to see yourselves as part of the same tribe. You start to think like your customers and feel confident to rely on your intuition. You find yourself anticipating what real people are up to and what they’re looking from you. The effects can be profound.” “Rather than seeing yourselves and your customers as us and them, you start to see yourselves as part of the same tribe. You start to think like your customers and feel confident to rely on your intuition. You find yourself anticipating what real people are up to and what they’re looking from you. The effects can be profound.” “Rather than seeing yourselves and your customers as us and them, you start to see yourselves as part of the same tribe. You start to think like your customers and feel confident to rely on your intuition. You find yourself anticipating what real people are up to and what they’re looking from you. The effects can be profound.” (Dev Patnaik, 2011 Founder of innovation-consultancy firm Jump Associates) “Rather than seeing yourselves and your customers as us and them, you start to see yourselves as part of the same tribe. You start to think like your customers and feel confident to rely on your intuition. You find yourself anticipating what real people are up to and what they’re looking from you. The effects can be profound.” “Rather than seeing yourselves and your customers as us and them, you start to see yourselves as part of the same tribe. You start to think like your customers and feel confident to rely on your intuition. You find yourself anticipating what real people are up to and what they’re looking from you. The effects can be profound.” “Rather than seeing yourselves and your customers as us and them, you start to see yourselves as part of the same tribe. You start to think like your customers and feel confident to rely on your intuition. You find yourself anticipating what real people are up to and what they’re looking from you. The effects can be profound.” “Rather than seeing yourselves and your customers as us and them, you start to see yourselves as part of the same tribe. You start to think like your customers and feel confident to rely on your intuition. You find yourself anticipating what real people are up to and what they’re looking from you. The effects can be profound.” “Rather than seeing yourselves and your customers as us and them, you start to see yourselves as part of the same tribe. You start to think like your customers and feel confident to rely on your intuition. You find yourself anticipating what real people are up to and what they’re looking from you. The effects can be profound.” “Rather than seeing yourselves and your customers as us and them, you start to see yourselves as part of the same tribe. You start to think like your customers and feel confident to rely on your intuition. You find
With brands already using their advertising campaigns as a way to create emotion. The future of the trend will incorporate the use of technology as well to do so. Using this information, retailers can gage what makes their consumers feel positive or negative emotions. ‘Emotions have been shown to be able to predict consumer activity (Allen et al, 1992; Fournier and Mick, 1999)’, (David J. Burns, 2006). Once they know what makes their consumer tick, they can create instore experiences that are almost guaranteed to have an emotional connection with their consumer. An initial concept for my big idea would to consider merging the two concepts of emotional advertising and advanced technology to create an interactive and engaging product, environment or event for people seeking experiences in a retail environment.
Developing this further:
Over summer, one of my objectives is to keep researching into consumers. Their reasoning for why they buy things and why we connect to things more when there is an emotional incentive. My second objective is to research into facial expression/recognition technology. And then explore how this could be beneficial to different industries - with the focus being on retail. I hope to conduct some more primary research based around my ideas. I hope to visit some stores which use and focus on emotional experiences for the consumer and review the difference between that and a normal store. I also hope to interview industry experts on this sort of technology and find out the impacts it may have in the future on different industries and retail.
APPENDIX Research Method Sample sample Purpose Research Method Interview
Questionnaire
How many black models vs. white models in Advertising throughout a fashion magazine
1
12
2 magazines
purpose Strengths
Weaknesses strengths
Outcomesweaknesses
Effectivenessoutcomes of Research Method
The purpose of this interview was to gain an understanding into my consumer’s life and see how they feel about technology. I wanted to find out whether it impacted their life as much as I predicted, and how it made them feel, if anything at all. I wanted to find this out as it would allow me to see whether my theory of an emotional economy will eventually one day happen. And whether they think
I got first hand insight into what my consumer really thought about technology in the comfort of their own homes. This allowed for a natural environment to get the most honest and comfortable answers.
The purpose of this questionnair was to gain a small insight into whether people prefer to spend money on a materialistic item or an experience/memory like a night out. This is to show that people would prefer an experience, which backs up my point of people obsessing over how things make them feel, not what the product actually is itself.
Allows me to gain quantitative data quickly.
Although the strength of this method is to gather quantative data, I feel like I did not gain enough responses to make this that valid. It only shows a small amount of insight. If I were to do this again, I would want to make sure at least 100-120 people answered my survey to make sure there were no bias results as there would be a bigger sample size.
The purpose of this was to see whether or not fashion magazines display diversity through advertisments. I also wanted to see whether there was any rise of diversity in advertising over a 3 year period.
Allows me to find accurate, factual data. Instead of somebodies opinion that could potentially be invalid.
I didn’t find any weaknesses with this method as it allowed to gain factual evidence and data.
I didn’t find any weaknesses when conducting this research as I found everything I wanted to.
This interview allowed me to gain insight and confirm everything I thought about technology. Although it took a while for Charlotte to say that technology annoyed her. But it was insightful to see that she felt technology could be used as an advantage in the future to connect a brand and person.
effectiveness of method This method was effective as I found out everything I wanted to.
*Human interactions are the most important thing. Would like to see a way to connect technology advancements.
This survey allowed me to see whether or not people wanted to see more in store experiences. This small sample size validates my predictions for a future project idea after Summer.
The outcome of this allowed me to see that there has been a rise of racially diverse models used within fashion advertising.
Effective as I found insight. However, I don’t feel it was a big enough sample size to be completely accurate.
This method is effective as it is allowed me to find out everything I wanted to without any problems.
Interview
3-4
This interview will take place with a model of racial ethnicity. The purpose will be to find insight into how she feels she is treated in the industry. I want to know this as I will then be able to understand how I could possibly make positive changes ethically.
Interview Consent Form:
Own Image.
Vogue September 2014
115
White Black Other
169 9 5
Vogue June 2017
34
White Black Other
34 7 0
EMOTIONAL ECONOMY RESEARCH INTERVIEW INTERVIEWER: Hannah Cole PARTICIPANT: Charlotte Toms
13/05/2017
Hannah: Hi Charlotte. Thank you for participating in this interview. I’m interviewing you as part of research on technology and the emotional economy. As part of my research, I have defined your age as one of my target consumers. So I’m just going to ask you a few questions to find out about your opinions on technology Charlotte: Ok, sounds good. Hannah: So, how often do you use a piece of technology? Charlotte: Everyday. Literally, on my phone all day. And laptop with uni work and stuff. Hannah: Do you think you could live without technology? Charlotte: No, definitely not. I mean I’m never not using it. Hannah: Can you remember a time in your life where you didn’t use technology? Charlotte: Yeah obviously. Like when I was younger. Actually hold on, does a tv count as technology? Hannah: Yes Charlotte: Ok, then no. I’ve always had it in my life. Wow, that’s actually quite scary. Hannah: Can you think of any downsides to technology? Charlotte: I mean, probably not. Because it’s just so useful and makes my life easier. If I need to know something I can just google it. It’s convenient. Hannah: Do you have an emotional connection to technology. Charlotte: Ummm, what do you mean Hannah: So, how does it make you feel? Charlotte: It doesn’t really make me feel anything. Hannah: Do interactions with humans make you feel anything? Charlotte: Yeah, of course. Because you are experiencing something with another person. Like you can have a laugh with your friends, but you can’t have a laugh with your laptop. Well I suppose the things on the internet make me feel something when I’m laughing at a video or whatever. So actually I guess I do experience things with technology. Hannah: Which type of interaction do you prefer? Charlotte: Definitely being with friends. I only turn to my phone when im bored and want something
Hannah: What do you think would happen if technology wasn’t there? Charlotte: People would actually have to talk to each other probably. And find a way to entertain themselves. Hannah: So now we’ve established a connection between yourself and technology, can you think of any downsides? Charlotte: Ummm. I mean, it is sometimes really annoying. Hannah: Can you give me an example? Charlotte: So the other day, I wanted to just ring and speak to the post office person about my parcel to make a redelivery. However, you had to just speak to the robot machine thing. Which was really annoying, because this thing was talking to me as if I were a piece of technology as well, and not like I was an actual person. Because this voice has automated responses, but humans don’t respond in this way. So that was difficult. And by the end of it, I never actually spoke to another person, and I just gave up. It was just really frustrating. Hannah: Haha. That does sound very fraustrating. But I get what you mean. Ive had a similar problem that myself. How do you think this could resolved? Charlotte: By actually employing people instead of thinking technology is better and easier. Hannah: Do you think that technology is starting to replace people’s jobs? Charlotte: Yeah, 100 percent. Companies do it to save money. But it just leaves the customers feeling fraustrated and probably left wanting to go somewhere else. So actually I think eventually it will back fire. Well I hope so anyway. I think companies forget they need to build a relationship with their customers. And as soon as something goes wrong. It’s really easy for us to go somewhere else. Hannah: That’s very true. Do you think companies can use technology to their advantage to attract customers. Instead of drawing them away like in that example? Charlotte: Like, now ive just said that. Im in the mind set that a company cant because its just annoying. But yeah, probably. They need to find away to connect the two. Hannah: Connect which two? Charlotte: Technology and human interactions. Hannah: Can you think of a way that can they can do this? Charlotte: Use technology to make people interact. So by having really cool features in shops or whatever which people can use. Hannah: What do you think the benefit of this could be? Charlotte: Well the experience itself needs to be beneficial for me as a customer. Otherwise its basically pointless. So like that app where it puts make up on for you before you actually buy it. That’s
beneficial to me as I can try before I buy. So maybe something like that. It helps me out, makes me like the brand, and want to come back to try more. Hannah: Sorry, really quickly before we finish. If you had a choice, would you rather spend £50 on going out with your friends socialising, or actually buying something? Say like a new top. Charlotte: It does depend on how bad I wanted the top. But I get really bad fomo, so probably going out. Id rather have a memory than an item im only going to like for about a week. Hannah: Ok that’s great. Thank you, you’ve answered everything. Charlotte: No worries, thank you.
Survey Monkey Questionnaire:
REFERENCES
BIBLIOGRAPHY
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fig 1. Calvin Klein ads of the 90s. available at: http://fashiongrunge. com/2013/10/31/throwback-thursday-calvin-klein-ads-of-the-90s/
fig 2. Versace SS17. available at: http:// www.elle.com/runway/ g28865/versace-runwaymfw-spring-2017/
Word-of-Mouth and Referral Marketing Blog. (2017). Literally Arousing – 15 Examples of Emotional Marketing - Word-of-Mouth and Referral Marketing Blog. [online] Available at: https://www.referralcandy.com/blog/emotional-marketing-examples/ [Accessed 30 May 2017]. fig 3. Diversity models. Own moodboard
fig 5 Givenchy SS14 campaign available at: https:// uk.pinterest.com/ pin/275704808414637513/
fig 7 NWFW 17 available at: http://assets. vogue.com/photos/587709bd71b368a625a0931c/master/ pass/NYFW-STREETSTYLE-PHILOHDAY7-05.jpg
fig 4. catwalk available at: pinterest.co.uk
fig 6 Tom Ford SS17 campaign available at: http://www.thedapifer. com/tom-ford-ad-campaign-springsummer-2017/
fig 8 L’Oreal True Match available at: http://www.loreal-paris.co.uk/products/ make-up/brand/true-match
CONSUMER PROFILES fig 9 Bodymap available at: http://www.davidholah.com/bodymap-then.html
fig 11 David Tlale available at: http://dancinginmyheels.com/wp-content/uploads/2014/09/ss15_tlale_006. jpg
fig 10 Fashion Archive: Bodymap http://www.dazeddigital.com/ fashion/article/6120/1/fashion-archive-bodymap
fig 12 Samsung See More Feel More available at: https://vimeo. com/131519143
Conumser Profile 1 Own Moodboard, 2017.
fig 13 N/A available at: https://graphicriver.net/item/ double-color-exposure/12590032?utm_ source=sharepi
fig 15 Kate Moss by Corinne Day available at: http://www.npg.org. uk/collections/search/portrait/ mw129573/Kate-Moss
fig 17 Dove Beauty Sketch https://www.dove.com/uk/ stories/campaigns/real-beauty-sketches.html
fig 19 Premium Berlin Own Image, 2017.
fig 14 N/A available at: https://peaceofchaos.wordpress. com/2013/08/18/weekly-inspiration-pastel-and-twisted/
fig 16 “Daddy and Me” (2016) by Petra Collins available at: http://www.dazeddigital.com/photography/gallery/23702/4/petra-collins-pacifier
fig 18 “Anna and Kathleen” (Rainbow), 2016 available at: http://i-d.vice.com/ en_gb/article/petra-collinss-deeply-personal-new-photos-explore-coming-of-age-in-her-canadian-hometown
Conumser Profile 2 Own Moodboard, 2017.