The sustainable problem by HANNAH THOMAS

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Hannah Thomas Stage 2 Implementation Fashion Communication and Promotion N0250721

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An exploration into the issues surrounding sustainable fashion and the recognition of a possible antidote.

the sustainable problem.

Hannah Thomas Stage 2 Implementation Fashion Communication and Promotion N0250721 FASH3002

word count excluding quotes: 5. 409

1.1. it ‘ s about the soul 10-15 1.2. Its about kindness 16-19 1.3. Its about happiness 20-21

2.1. it’s about crisis 22-27 2.2. it’s about change 28-29 2.3. it’s about sharing 30-31

3.1. it’s about finding the gap 32-45

{ { { {

introduction - 7 - 9

4.1. it’s about the idea 46-67 4.2. it’s about the consumer 68-69 4.3. It’s about marketing 70-73

conclusion 74-75

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{ { 1. 5. { { 2. { 3. { contents 0.

â&#x20AC;&#x153;The world is at, or near, unprecedented tipping points involving climate change, peak oil, deforestation, species extinction and water scarcity.â&#x20AC;? (Simmons, 2011, p. 65)

introduction.

The tipping point of fast fashion, as this phenomenon envelops the environment and defines the culture of shopping and the way clothing is consumed the problem of sustainability becomes increasingly urgent, presenting a huge challenge to all those involved with the industry,

“Using resources in a way that does not impoverish the planet for the next generation is proving to be one of the greatest challenges yet.” (Sweeny, 2011: Online)

As the issues surrounding fashion sustainably, ethically and morally continue to rise up the global agenda in increasing urgency the sustainable problem remains unanswered. Due to the rise in trends such as ‘Newism’, whereby the consumer demand for fresh, exciting and most importantly new designs becomes increasingly high the question of whether this lifestyle is sustainable has reached its tipping point. (Trendwatching (A), 2012: Online) The way in which fashion and clothing is thought of has changed dramatically; there is no longer a sense of artistic or meaningful resonance.

The purpose of this report is to gather the facts surrounding this wave of fast fashion and mass consumption, the trends surrounding it, the consumer behaviour that fuels it and seek the antidote. The aim is to change the way consumers think and interact with sustainable and ethical fashion and to encourage consumers to want their clothing to have a message. Fashion should resonate artistically, socially, environmentally; morally as well as economically. “The question is whether further economic growth would in fact add to our richness; or whether it actually undermines social wealth and environmental quality, ultimately making us poorer.” (Fletcher, 2011, p. 260) The aim is to encourage consumers to see ethical and sustainable fashion as a desirable and enriching alternative to fast fashion.

The objective by which this will be achieved is predominantly to create an online platform, which will be discussed further. The site will promote aspirational, fashion forward and openly ethical brands. This will inform the modern day consumer of the options available to them in the market that are not the stereotypical ‘green fashion’ that saturates the market. The site will also aim to educate young consumers who already are open to sustainable fashion, or those who have no knowledge, to ask more from their clothing and make social, environmental and artistic benefits and clothing mutually exclusive.

“People used to put fashion on a pedestal. There was a sharp delineation between ordinary clothes from casual corner or sears and ‘true’ fashion.” (Agins, 2000, p. 43) Of course times have changed, the question is not whether fashion should be accessible to everyone as a means of personal expression, the question is has it become too accessible?

“Its ability to engage makes it one of the most democratic of art forms. It allows freedom of expression and encourages experimentation.” (British Fashion Council, 2011: Online)

Has the ever increasing rate of consumption removed the art of clothing as it becomes damagingly disposable? The constant search for something new due to the speed of new information and trends is resulting in a backlog of meaningless, entirely disposable clothing.

“Over 2 billion items of clothing are thrown away every year in the UK which equates to 500,000 tonnes of waste going into UK landfills every year.” (Anon, 2012: Online)

1.1. its soul

about the

chapter 1. fig. 1 the soul

fig 2. hanging vest

The idea of fashion and art being inextricably linked is damaged permanently in the case of fast fashion; the nature of this side of the industry removes all sense of craftsmanship and creative quality. Resulting in poorly made, disposable clothing that compromises on quality, essentially all style, no substance.

“The genius of cheap chic purveyors is that they have made fashionable, desirable and even lovable objects devoid of craftsmanship. The environmental and social implications of this are insidious and alarming.” (Ruppel Shell, 2010, p.30) Therefore the focus of issues surrounding fast fashion must expand to include cultural and societal repercussions as well as issues of sustainability. What does the rise of fast fashion say about the culture that current society has built and accepted as the norm? There is no deeper connection to the fibres they wear, and there is no consideration of design, let alone the people who form those fibres and the resources that provide them. This lack of morality in the process of fast fashion is a huge incentive for change,

“There’s something morally wrong with having a swimsuit or a dress that costs the same as a cappuccino.” (Menkes (2013) in McCall, 2013: Online)

fig. 3 i-d cover

There is however examples of movements to reunite fashion with art and conscience, Soul i-D being one of them. This is a project put forth by i-D magazine that promotes and celebrates the creativity of the fashion industry, through the mediums of exhibitions and a book curated by Tricia Jones. “The Soul i-D exhibition is a celebration of creativity and what feeds and inspires personal expression.” (Keith (2012) in Chu, 2012: WGSN (A) Thoughts of design visionaries such as Raf Simons, Yohji Yamammoto and David Lachapelle are catalogued and exhibited while social themes are explored throughout the publication, themes including ‘Not In Our Name’ which explores the idea of a future where warfare is no longer the solution to conflicting ideals. The fact that these issues are identified, curated, exhibited and catalogued through the medium of fashion brings the industry into a higher realm of intelligence and relevance. “The exhibition highlights that creativity comes from many different sources- in this case it is the

fig 4. beyond price

universal issues of value and conscience, issues of the soul.” (Keith (2012) in Chu, 2012: WGSN (A)

When related directly to the issues surrounding fast fashion and that side to the industry Soul i-D addresses it directly in the project ‘Beyond Price’, whereby a book was created of belongings that people felt were beyond price, that they could never be replaced even if cost was not a barrier. The idea of owning something that is entirely priceless, especially when applied to a person’s wardrobe in this current climate is a rare thing. Treasuring clothing and treating them as precious items worth keeping bucks the idea of disposable fashion and is an ideal that must be recovered in order to slow down the currently impossible rate of consumption, “When so

much around us concentrates on the commercial and the constant acquisition of more, the freedom to think beyond these things feels a privilege and almost an obligation.” (Jones, 1999: Online)

1.2. it’s

about kindness

The work of Matthew Stone further highlights this need to embrace the decisions we make, and to make those decisions count for something greater. Stone’s work is described as “Celebrating new ways of being, focused on both feeling and philosophy challenges the ideology of craft versus creativity with a bold new mission statement.” (McMahon, 2012: Online) Stone’s work promotes optimism, compassion and purity in art. ‘Everything Is Possible’ is a visual manifesto that acts as a propaganda for this,

“Everything is possible is an artwork that straddles television, fashion editorial, music, performance and writing. Finally- and that might be the link between all the different sides of his creativity- Matthew Stone unites his vision under ‘optimism as a cultural rebellion’. A philosophical way of thinking that invites everyone to relate to the world in a new fashion.” (Smylie, 2013: Online)

fig. 5 matthew stone angel boy

The ideas that Stone is presenting are fresh and exciting, they transcend meaningless possessions and present a hopeful future that relies and centres on kindness, a basic human emotion that the fashion industry has forgotten to apply, in almost every stage of the supply chain it is the missing link. How greatly would the quality of the industry and the experience available to consumers improve if kindness were a factor in the process? “We need not reject rebellion or the questioning of truth to embrace optimism, love and kindness. I declared kindness to be the only radical act in a world largely defined by cruelty and destruction.” (Stone (2012) in McMahon, 2012: Online)

fig. 6 matthew stone youthful

Stone’s work translates into consumer behaviour and purchasing trends. Consumers expect more and more from the brands they are staying loyal to, now consumers want the brands they love to commit to acts of kindness. This helps the consumer to connect to the brand if they feel that they are contributing to a wider cause and purchasing from them is a way of doing good. “Disgusted with big, arrogant, sloppy and out of touch institutions fed up consumers around the world increasingly expect businesses to be socially, ethically and environmentally responsible.” (Trendwatching (B), 2012: Online) Consumers now expect brands to apply kindness to their brand model and it is an attribute that is high on the list of requirements. As a study carried out by Young and Rubicam illustrates brands are shifting towards placing emphasis on kindness and empathy, as John Gerzema, Chief Insights Officer comments, “What we did is we looked at 3000 brands in a study over the course of a year and a half, throughout the recession, and we found that kindness and empathy went up by 391%, this was the single biggest movement we’ve ever seen in our data in one brand attribute.” (Gerzema, 2011: Online) The trend of kindness applies both to the processes applied in running the business and how the consumer is connected with; this trend is all about making the consumer feel valued and opening up communication.

1.3.

it’s about happiness This also links to the trend of happiness that is currently present; consumers want to feel good about their purchases and the brands they are buying from. Consumers, more than ever, are focused on bettering themselves and living their lives in a way that is beneficiary both to themselves and the environment they are living in, for example the ‘self-help’ industry is expected to grow by 6.2% annually. (Ferrari, M., 2012: Online) It can clearly be seen how caring about the morality of one’s clothing choices can be incorporated into this sense of a better self. This ‘feel good’ factor is a natural part of the buying process. “Consumers are desperately seeking good news and happy spending days.” (Ferrari, M. 2012: Online) However in terms of sustainability consumers must be encouraged to find their happiness in buying an item that they can confidently say has been at the cost of no environmental or ethical compromise as opposed to feeling good at getting a bargain through cheap fashion. The two trends of Kindness and Happiness combined together can clearly encourage the consumer that doing good will make them feel good, removing the guilt of buying cheap fashion is an excellent way to encourage sustainable buying behaviour by enhancing the happiness factor of doing the right thing.

“Happiness as a trend will influence marketing messages which will mainly focus on living a happier, better life by consuming this or that product.” (Ferrari, M. 2012: Online)

These trends can be applied in two ways, firstly by connecting to the consumer through an act of kindness. An example of this is Dutch airline company KLM who launched the campaign ‘Happiness Spreads’. The campaign aimed to create consumer loyalty through memorable experiences and personalised communication with their customers. The campaign was designed to track how happiness spreads, how an act of kindness can be shared via the ever increasing presence that online networks have in day to day life. “This summer happiness struck again, to see how happiness spread, we committed to little acts of kindness to brighten a passengers day.” (KML, 2011: Online) KML presented individual gifts to customers by tracking their activity on social media, learning as much about them as possible and tailoring the gifts to that specific individual. This encouraged the customer to feel unique, special and important to the company increasing the loyalty to the brand. Customers then shared their happy experience online, creating a two way communication and personal bond between consumer and brand. By creating an experience of kindness and happiness the consumer will associate those feelings with the brand making them more likely to use that service or product again. “For consumers long used to (and annoyed by) distant, inflexible and self-serving corporations, any acts of kindness by brands are gratefully received.” (Trendwatching (B), 2012: Online) The second way the trend of happiness and kindness can be applied to consumer behaviour is by encouraging a consumer to choose a brand as a way of doing good, as previously mentioned. A brand that applied kindness as one of their treasured attributes encourages consumers to see them as more than a brand, but a way of showing they support the message of that brand. “Consumers use their buying decisions to demonstrate their beliefs and opinions, therefore, likening their purchase to a ‘vote’.” (Smith (1990) in Shaw, Tomilillo, 2004, p.142) An example of this is the sustainable brand, People Tree who launched the campaign under the heading ‘Happy Life’. People Tree are ambassadors for ethical and sustainable fashion and proudly shout this message. They are leading the way in terms of fair trade and founder Safia Minney helped create World Fair Trade day. In her words, “Happy Life’ celebrates the difference that Fair Trade makes in doing more than just providing a fair price and work, but building on that to build and fund schools, environmental projects and cultural events. After all, sustainable development is not only about meeting basic human needs and protecting human rights, it is about strengthening communities – making them healthy, happy and vibrant places to live and work.” (Minney, 2013: Online)

The campaign recognises that happiness is a universal emotion and uses that to encourage consumers that by buying People Tree products they are helping to ensure the happiness of the people who made it, and provide them with a better life. The satisfaction this gives the consumer makes them want to stick with the brand because they feel they are contributing something by supporting them as opposed to just buying an item.

fig 7. disposable bag

2.1.

itâ&#x20AC;&#x2122;s about crisis

fig. 8 barren land

chapter 2.

encouraging environmental well being

discouraging disposable clothing

fig. 9 own image- information is key

bettering worker’s lives

information is key

In the past, and certainly in some cases currently, it has been evident that society has ignored the issue of sustainability, and buried their heads in the sand as it were. In the case of encouraging change towards a more sustainable future, information and education is key. Without this consumers are not made fully aware of the implications of their choices, a totally transparent industry is needed to force consumers down a more sustainable path. “Information is the key to innovation. Competitive advantage is not based on being the holder of knowledge in this area; it is shared knowledge that becomes powerful and distinctive when creativity is applied.” (Centre for sustainable fashion, 2009: Online) As urgency for change increases the need to force consumers to see the effects of their behaviour becomes increasingly paramount in the industry. Consumers will not seek out the negative effects of their choices they must be presented to them in a way that encourages positivity and growth and encourages change in an optimistic light instead of merely making them feel guilty. “Consumers are hesitant to seek ethical attribute information when the knowledge of that information has potentially negative emotional consequences.” (Ehrich, Irwin, 2005) This tendency to shun information about the origins of clothing has resulted in the theory of ‘Wilful Ignorance’ as put forth by Krsitin R. Ehrich and Julie R. Irwin who argue that when there is the potential that a consumer will be made to feel badly about their choices if they seek information on the products origin consumers are unlikely to go looking for this and will in fact openly choose to ignore these facts in order to excuse certain behaviours. Indeed it seems ignorance is bliss. Designer of ethical brand ‘GoodOne’ Clare Farrell agreed with this mentality when questioning her about the stumbling blocks of promoting a sustainable brand, “Look at successful branding, it’s all about positivity, as soon as you raise an issue or a problem you’re putting a negative in the frame. People like ‘Toms’ don’t talk about the dire need to get shoes on kids feet they just say we give one for one and you don’t get a guilt trip, just the positive message.” (FARRELL, 2013: Appendix A)

fig. 10 rANA PLAZA COLLAPSE

However the issue has recently been forced into the global forefront due to crisis in Bangladesh. The collapse of the Rana Plaza building in Bangladesh that housed major retailers clothing manufacturers resulting in a death toll of 950 and rising (Burke, 2013: Online) It has resulted in shock and outrage globally, marking a milestone in the country’s vast garment industry and pushed ethical issues of the fashion industry to the forefront of international media. Reports show that cracks appeared in the building on April the 24th 2013 and owners of the garment factories ignored police warnings to close the building on April the 25th, the building collapsed later that day. (Jobling, 2013: WGSN (B) The model of fast fashion demands that the supply chain must be as flexible and as cheap as possible to stay on top of constantly developing trends. Outsourcing to countries like Bangladesh to ensure prices stay rock bottom has resulted in a fight to be the cheapest manufacturer; the effects on human quality of life are great.

“Developing countries end up competing with each other to be the world’s garment factory, in what has been called a ‘race to the bottom’ for wages, health and safety and job security.” (Minney, 2011, P.18)

Following the recent Bangladesh disaster all eyes are now on retailers to take control of the situation, fast fashion appears to have no option but to change the business model it currently adheres to in order to satisfy international worries over the morality of this side of the industry. “To what extent will consumers hold them (the brands) accountable for conditions in the industry? Will there be a backlash against ‘Made In Bangladesh’, or even low cost fashion in general?” (Jobling, 2013: WGSN (B) Consumers now are being forced to look introspectively at the role they play in this crisis. “Conditions within Bangladesh’s garment industry have been widely criticised, with that criticism also widening to take in retailers who use unsafe factories and consumers who focus only on price and style rather than ethical sourcing.” (Jobling, 2013: WGSN (B)

There is already evidence that indicates the tide is turning in consumer attitudes in the wake of the disaster. Protests against fast fashion giant Primark have led to the company announcing compensation will be paid to all victims of their factories families. It doesn’t stop there, barrister Victoria Butler-Cole is heading up a campaign asking shoppers to pay a voluntary ‘t-shirt tax’ with all proceeds going to ActionAid. She comments, “It seems to me we have a moral duty to help. Everyone has something in their wardrobe from Bangladesh. This isn’t just the fault of companies who supply cheap clothes.” (Butler-Cole (2013) in Harding, 2013: Online) The crisis in Bangladesh marks an opportunity for brands with an ethical stand point to enter the mainstream and attract consumers for whom the disaster has changed their priorities. “The opportunity exists for us to make use of these crises for positive effect; to utilise the period of reflection and questioning that accompanies such times for 27 sustainable change.” (Centre for sustainable fashion, 2009: Online)

FIG. 11 EVERYTHING IS DIFFERENT NOW

2.2.

its about change This is further evidenced by a recent survey carried out by Edelman over the space of a year surveying 8,000 participants in 16 different markets there is a clear indication that the modern consumer expects their brands to do good whilst still doing well. 49% believe companies should be creating a product or service that helps address a societal issue. (Clone, 2012: Online) Whilst 73% of consumers would switch brands if a different brand of similar quality supported a good cause. (Clone, 2012: Online) Further global research into consumer attitudes carried out by the Danish Fashion Institute indicate the desire for sustainable fashion products is present, “Consumers want to do the right thing, to be nice while enjoying fashion, but they don’t know how and are sometimes blocked from doing so.” (Eder-Hansen, 2012: Online) The project ‘The Nice Consumer’ aims to address these barriers that are stopping consumers becoming more sustainable such as lack of information, lack of choice and lack of access.

The project aims to encourage government policies for a more sustainable future. Other barriers described by the report include price, however with the rising price in cotton, estimated to continue to rise over the next five years (Clifford (2010) in Eder-Hansen, 2012: Online) the ‘higher’ price of sustainable fashion as opposed to cheap fashion is predicted to even out. “It is probable that price barriers related to sustainable materials will decrease, enabling more mainstream consumer uptake.” (Eder-Hansen, 2012: Online) The report clearly maintains that consumers have the potential and desire to become more sustainable.

When conducting a focus group concerning current attitudes towards sustainability, in a group of 20-23 year old, fashion conscious consumers, all responded positively when asked if there were more accessible routes to ethical fashion would they take them. One participant answered, “Yes I think it’s important to protect the environment particularly through fashion as it’s such a big industry that can influence a lot of people and therefore have a big impact on changing how we are damaging the environment.” (Wheadon, 2013: Appendix B)

As previously mentioned consumer attitudes have begun to change due to many factors discussed above. Attitudes towards company systems and processes have started to adapt to a more ethically minded standing. The tide is turning and sustainability and ethical issues are of growing importance,

“Consumers are demanding better practise from the brands they love, and the pressure on businesses to put content behind their codes of conduct is forcing at least some of them to reorganise the way their teams buy and sell products.” (Minney, 2011, p. 20)

FIG. 12 OWN IMAGE- BARRIERS

about sharing

The trend of Collaborative Consumption also indicates a future where sharing is used as positive influence. As Generation Y continues to grow in a world where detail about an individual’s life is shared via social media the ideals of sharing can be manipulated to benefit sustainable promotion. As society is more inclined to share, communities become more ‘together’ as opposed to being solely about the individual. “We now live in a global village.” (Botsman, 2010; Online) Rachel Botsman TED lecturer believes that “Hyper consumption is a house of cards” (Botsman, 2010: Online) This supports the movement towards ethical practise as consumers become more inclined to think outside their own actions and behave as a global community, considering the repercussions of their clothing choices on other individuals and their environments.

current ‘selfish’ consumption

FIG. 14 OWN IMAGE- COLLABORATIVE

2.3. it’s

FIG. 13 IPHONE

future community consumption

3.1. itâ&#x20AC;&#x2122;s gap

about finding the

chapter 3. FIG.. 15 RACK

An example of desirable but unaffordable for most is Stella McCartney, the high end designer is committed to being increasingly sustainable and is constantly working with new technologies to develop ways of doing this without compromising on design. “We think that being modern means considering the future, not just the future of design, but also the future of the planet. We are dedicated to helping change people’s perception of eco fashion. We think that sustainability can take the form of beautiful and modern clothing and accessories.” (Stella McCartney mission statement 2013: Online) Innovation is paramount to the luxury brand and steps such as biodegradable shoes and dry dying have made the designer a pioneer of the future of sustainability. However the brand remains inaccessible to many especially young people the prime target and consumers of cheap fashion.

The current market for sustainable fashion has two ends of the spectrum, one being reasonably priced but undesirable, and the other fashion forward and expensive. It is little wonder consumers seem reluctant to commit.

FIG. 16 STELLA MCCARTNEY SPRING 2013

FIG.17 STELLA MCCARTNEY SPRING 2013

FIG. 18 STELLA MCCARTNEY SPRING 2013

FIG. 19 M&S SHWOPPING

FIG. 20 M&S SHWOPPING STREET

An example of a successful sustainable campaign on behalf of a high street retailer is M&S ‘Shwopping’ initiative that encourages customers to consider what happens to their clothing at the end of its life, by recycling and donating to Oxfam through the program consumers are helping to reduce landfill and giving to a greater cause. In November 2012 95 tonnes of clothing were ‘shwopped’ raising £270,000 for charity. (Marks and spencer, 2012: Online) Again despite the success and positivity from the campaign it does not tackle the issue directly by getting sustainable and ethical clothing to be the entire process of fashion as opposed to just the end of cycle. Furthermore again the campaign isn’t targeting the core fast fashion group of young consumers, as M&S is aimed at an older demographic and the campaign headed up by Joanna Lumley they are failing to appeal to the younger demographic successfully.

The most competitive offering comes from a surprising source; H&M leaders of the fast fashion model are launching their conscious collection that is entirely ethical and sustainable with a desirable aesthetic. The clothing is clean, simple and modern. Increasingly H&M are making sustainability a part of their business model “OUR VISION IS THAT ALL BUSINESS OPERATIONS SHALL BE RUN IN A WAY THAT IS ECONOMICALLY, SOCIALLY AND ENVIRONMENTALLY SUSTAINABLE” (H&M 2013: ONLINE) This kind of commitment from a fast fashion retailer is a clear indication that the market is changing. H&M now collaborate with UNICEF and Wateraid to continue bettering their growing business model. The collection is a flag to other high street retailers that sustainability is a growing trend that must be addressed.

FIG. 21 H&M CONSCIOUS

Another example of a desirable sustainable collection is the capsule collaboration between Topshop and From Somewhere, the ‘Reclaim To Wear’ collection illustrated that upcycling is a valid and creative outlet for retailers to explore. The designs were well made and fashion forward with a signature Topshop aesthetic. The collection however is too small scale to make true impact on changing consumer behaviour however illustrates a step in the right direction.

designer / high end

FIG. 22 STELLA MCCARTNEY AD

FIG. 24 NOIR ADVERT A

market analysis-

stella mccartney/ maiyet/ noir High end/ luxury/ designer/ thoughtful/ curated/ minimal/ trend led/ well made/ transparent/ ethical

FIG. 23 MAIYET AD

maiyet

FIG. 25 NOIR ADVERT B

stella mcCartney

noir

FIG. 28 WHITE TENT

white tent

lna

FIG. 26 LNA LOOK BOOK

FIG. 27 LNA LOOK BOOK 2

the reformation lna/ the reformation/ white tent

market analysis-

everyday luxury

FIG. 29 THE REFORMATION

top end of high street/ high quality/ quality design/ more affordable/ splurge items

market analysis-

affordable ethical

people tree

h&m/ people tree/ american apparel affordable/ basic/ less fashion forward

fig. 31 people tree fig. 32 american apparel

fig. 30 h&m conscious black

h&m american apparel

4.1. itâ&#x20AC;&#x2122;s

chapter 4.

about the idea

fig. 33 hanging jumper

Research presented indicates there is a major lack of choice for consumers in the sustainable market. The market presents a gap for a design led, desirable sustainable shopping destination. “Problematic however is a combination of limited ethical clothing choices, high prices, an absence of independent company monitoring and insufficient product information, which means individuals are rarely able to make an ‘ideal’ choice, resulting in feelings of frustration and confusion.” (Shaw, Tomolillo, 2004, in Bruce et al, 2004) Consumers want to buy sustainably, but not at the cost of style and design. There is a gap to create a brand that offers both. When interviewing designer Clare Farrell of GoodOne she supported this, “Also people buy things because they like them. If you can be clever enough, fast enough and stylish enough to take in the fashion industry then people will buy into it, but there are some ethical brands out there with a great message but the first focus needs to be product because you’ve got to compete on style, price and everything else otherwise you’re never going to get normal people into it.” (Farrell, 2013: Appendix A) This was further supported when during the focus group undertaken; consumers want to buy fashion forward clothing. All participants indicated a feeling that ethical clothing has a bad reputation as poorly designed and unstylish. “I would actually like to buy ethically but I think the style of something has a large part to play, if I preferred the style of something that wasn’t ethical I’d buy that over it.” (Martin, 2013: Appendix B)

fig. 34 black rail

There is clearly a missing link in bridging the gap between sustainable fashion and the consumer. The proposed idea to act as this bridge is an online platform that publicises and promotes innovative, exciting and new sustainable brands to the young consumer. The site will be exposing new brands in fully styled, desirable looks that are readily available and click to buy. The site will run under the heading of â&#x20AC;&#x2DC;The Kind Oneâ&#x20AC;&#x2122;, indicating that sustainability and kindness to the environment and people in fashion are core values in the business model of the brand. The use of the word one also indicates it is the only one of its kind, adding a sense of exclusivity.

fig. 35 own image- the kind one

see the site here: http://thekindone.moonfruit.com

fig. 36 diane

The sites aim is to promote cool brands in interesting ways, styling and photography play a vital role, and it offers a unique shopping experience. The Kind One acts as much more than a shopping destination, it offers consumers the chance to be the first to see upcoming brands. An online presence is vital in a world where increasingly society is living their lives online, particularly in terms of imagery. The site will be largely image based. A clean, minimal and design led aesthetic of ready styled images will construct an idea in the consumers mind of how they could look and feel in the product, it brings imagination, creativity, design and movement to products as opposed to scrolling through endless streams of static mannequins. The rise in sites such as Pinterest and Instagram are changing the way online shopping is formed, as text becomes less important. â&#x20AC;&#x153;The emergence of new shopping habits driven by pictures and social interactions provides an obvious if untapped revenue source for image-heavy online communities like Pinterest, most of whom have yet to nail down a business model. It has also driven online sellers to begin to spend less time optimizing text for search engines and more time tweaking images to please human shoppers.â&#x20AC;? (Tate, 2013: Online)

inspiration

fig. 37 fanny

fig. 38 black beach

fig.39 own image- charlie

54 55

fig, 40 own image- the kind one mock up 1

a question of t - shirt

The site is all about being cool, and the first to make sustainability cool. Therefore it will be based on a membership status. Sign up is free and membership gains full access to the site and list of brands. It offers a monthly look book sent to subscribers, each month showcasing a new brand, whether that is clothing or accessories based. The site also offers education service in terms of sustainability, and will inform the consumer of the positive effects that purchasing an item from the look book will offer them. For instance if the item is a 100% organic cotton t shirt the consumer will be informed before purchase the positive attributes the decision to buy will make. The ‘kinder’ the member of the site, the more privileges they will be privy too, including discounts and small free gifts.

100% organic cotton t-shirt benefits of this being the reduction of harmful toxins and chemicals both for the environment and for you. A Question Of employ a totally sustainable supply chain ensuring ethical employment, labour, distribution and manufacture. Make a kind decision. Buy Kind. Buy ethical.

add to bag

In order to tap into the idea of sharing, members will have the chance to browse other member’s ‘kind’ profiles, a collection of images from the look books that they appreciate or have purchased. Members can build these themselves and encourage them to think of the site as a community as opposed to just a shopping destination. This is further enforced by sharing their purchases and the ‘kind’ attributes of doing so online.

add to kind profile

fig. 41. own image- lion sleeve

fig. 43 a question of studio

fig. 42 a question of jumper

The brand chosen for the first instalment is Danish brand, ‘A Question Of’. The brand currently operates on an online basis, with stores across Europe and is currently stocking a small collection on ASOS and Topman. These links to successful online retailers in the UK illustrates the capacity to expand and move further into the mind set of consumers looking to be the first to know a brand. The brand operates a strictly sustainable code, placing this at the heart of their brand ethos. All products are 100% cotton; the ideology of the brand is to make sustainable living a simple choice, operating under the tagline of ‘conscious apparel’. “All products are made from GOTS certified organic cotton, which, unlike conventional cotton, is made without any use of toxic chemicals, making it healthier for both you and the environment. Mix that with the clean, unique designs, and you get a feeling of what A QUESTION OF is all about.” (A question of, 2013: Online) Whilst also being sustainable the brand is youthful, unique, artistic, quirky and clean. They offer well-made street wear with a signature style. As sportswear continues to dominate trends this is timely for consumer desire currently, “Perfected casual classics create a clean sportswear look for A/W 2014/15. Reworked silhouettes, new graphic placements and a pared back 1990’s influence move the authentic varsity theme towards a future sportswear trend.” (Macdonald, 2013: WGSN (C)

fig. 44 own image- watch

the kind one The brand, despite enjoying small success agreed when interviewed via email that they are always glad of more promotion, particularly online and were enthusiastic when asked if they would be interested in a site such as The Kind One, â&#x20AC;&#x153;We definitely

would! We need as much attention as we can get. Our main issues when it comes to online platforms promoting our brand, is how many resources (financially and hours) we have to put into establishing a profile versus what we actually get out of it.â&#x20AC;? (Hidvt, 2013: Appendix C)

introduces

a question of 60

fig. 46 own image- behind the scenes 2 fig. 45 own image- behind the scenes

fig. 47 own image- behind the scenes 3

The visual looks will be simply, cleanly styled showing the products in a minimal, beautifully shot style. This will illustrate the fashion-forward and malleable nature of the clothing. The first shoot will be based in industrial, city locations to keep in line with the urban, sports inspired nature of A Question Of. This also bucks the traditional mind set of â&#x20AC;&#x2DC;hippyâ&#x20AC;&#x2122;, ethereal and earthy ideals of traditional sustainable clothing presenting a modern day, youthful vision to inspire consumers looking for style and ethics in their clothing.

fig. 48 own image- the kind one details

look book of styled aspirational outfits featuring the kind one’s latest brand. users browse the look book.

by clicking ‘k’ users add the look to their online portfolio which they curate to create a visual representation of who they are and what they like. this builds their kind profile. by clicking ‘b’ users learn more about the product and can then purchase it. this is also shared via their kind profile and social media to publicise the ‘kind decision’ they have made by shopping ethically. 64

b 65

fig. 49 own image- the kind one details 2

a sense of community spreading sustainability, creativity, personality in clothing and overall a sense of kindness when it comes to clothing.

laura v about/ 23 year old blogger/ show me something new/

personalised about me section follow option look book gallery personally curated 66

personal style and â&#x20AC;&#x2DC;kindâ&#x20AC;&#x2122; purchases

fig. 50 own image- a question of label

The site is aimed at 18-24 female consumers. Most influential buying power as for the most part has a disposable income to spend on clothing and accessories. This particular consumer group is most likely to purchase fast fashion as this is in keeping with their disposable income and insatiable need for newness. The most ‘logged on’ in terms of technology and social media, constantly searching for new online outlets for creativity. Site is aimed at the cool set, attracting the trend setting crowd to encourage others to follow. They are sustainability minded, i.e. aware of the repercussions of fast fashion and open to change, they feel that the fast fashion wave is crashing and are eager for an alternative. They are a creative professional and artistically minded, they have a passion for well curated imagery and styling and love going to exhibitions and art openings. They have an interest in photography and come from a creative background. They are based in cities, where they have their ears to the ground in what’s new. They like to shop in a way that benefits themselves and others; they are very into the organic food trend.

it’s about the consumer

4.2. 68

it’s about marketing

4.3.

Initial marketing will include a press release sent to publications and journalists that reflect the ideals and aesthetics of ‘The Kind One’. These will include those who reflect cutting edge, new, styles in fashion such as i-D, whose work on Soul i-D illustrates their mind set of sustainability and fashion with a purpose. It will also be sent out to The Guardian, who regularly publishes articles on the sustainability issue; Hunger, Hypebeast and Tank magazine will also connect to the ‘cool’ trend setting consumer who is looking for the newest thing. Personal invitations for membership to The Kind One will be sent to influential stylists, bloggers and taste makers, once subscribed these members will be given the opportunity to invite their top ten taste makers for membership. These initial invitations will attract the cool hunting crowd. Of course, as in any modern brand social media will play a huge role. The Kind One is all about sharing and creating a community, new members will be invited to share their membership status via social media sites. Encouraging a steady flow of communication and sharing within these realms. The Kind One will publicise via twitter the first 100 subscriptions will receive discount for the site to be redeemed at any time throughout the first three months of subscription.

Members will be asked to share their purchases both on the site itself and via social media, promoting both the products available and the site itself. This will create a running commentary and ‘feed’ of items that The Kind One members love and buy, this will help to curate the future looks and brand choices as the consumer tastes grow and develop. In the future videos will begin to play a role, as a vital medium in the future of advertising looks will be shown in snapshots, details filmed close up and briefly to create a brief taster via Vine, another growing social media trend, these will publicise the brand and entice new members to see the whole look. “The development of Vine illustrates the growing importance of Video both socially and as a marketing tool; a six second Video clip is highly portable and shareable and an excellent way to engage your audience and get people talking about your brand.” (Thompson, 2013: Online)

Members will be encouraged to think of the site as a destination to find the latest alternatives to fast fashion; it will be a marketplace, a learning

experience, a creative outlet, a beautifully curated gallery and a place to connect.

fig. 51 white beach

fig. 52 own image- press release

72 73

fig. 53 own image- invite

chapter 5. In summary the sustainable problem is vast, and presents one of the greatest modern day challenges for society. The nature of the issue as laid out in this report has several prongs that will take public and private support to address over a period of time. Essentially change will truly be effected once governments prioritise the issue to enforce mass change and guidelines. The industry is slowly adapting with a few outstanding cases of pioneering work. Technology constantly developing will continue to change the landscape as new practises and innovations allow. Ultimately the consumer will play the most vital role in solving the problem; attitudes are changing however mass c onsensus is still out of reach. The research and ideas in this report is aiming to begin the wheels turning in this long road to change. By targeting the young consumer, who are adaptable and open to new ideas, the hope is for sustainability becoming less of a taboo in the fashion industry, as companies increasingly have to assess their ethical footprint sustainability will continue to rise up the agenda for brands globally. The Kind One would act as a beacon of pioneering change of how sustainability is viewed and prompting introspective thought and consideration. The alternatives do exist, the consumer must be encouraged to engage with these choices and this can be done through honouring design, nurturing creativity and respecting the importance of educating and informing society.

conclusion 74

List of illustrations Figure 1. The soul, Lindeburg, J., 2010, Spring/ summer campaign, Dufour, J., available at: http://wishflowers.tumblr.com/post/21367919433/nezartdesign-j-lindeberg-spring-summer-2010

Figure 16. Stella McCartney spring, 2013, McCartney, S., 2013, available at: http://www.stellamccartney.com/experience/en/thecollection/spring-13-3/

Figure 3. i-D cover, 1999, i-D magazine, available at: http://media-cache-ec4.pinimg.com/originals/ a7/98/8d/a7988dca3104b8e9527337e48949fd87.jpg

Figure 18. Stella McCartney spring, 2013, McCartney, S., 2013, available at: http://www.stellamccartney.com/experience/en/thecollection/spring-13-3/

Figure 2. Hanging vest, 2012, available at: http://destina-terre.tumblr.com/post/22643946573/medformat-the69th

Figure 4. Beyond price, 1999, Soul i-D publication, available at: http://i-donline.com/souli-d/soul-i-d-edition-1/beyond-price-tim-walker/beyond-price/

Figure 5. Matthew Stone angel boy, Stone, M., 2012, the just kids issue, i-D magazine, available at: http://idonline.com/magazine/the-just-kids-issue/the-just-kids-everything-is-possible/ Figure 6. Matthew Stone Youthful, Stone, M., 2012, The Just Kids Issue, i-D magazine available at: http://idonline.com/2012/08/the-just-kids-issue-twigs/ Figure 7. Disposable bag, 2013, available at: http://pinterest.com/thanaohmr/

Figure 8. Barren land, 2013, Maiyet spring/summer campaign, Maiyet, available at: http://maiyet.com/ campaign/fall-2012 Figure 9. Information is key, 2013, own image

Figure 10. Rana Plaza collapse, 2013, Dhaka Tribune, available at: http://dhakatribune.com/bangladesh/2013/apr/26/rana-plaza-collapse-2-industrial-policemen-rescued-after-49-hours Figure 11. Everything is different now, 2013, We heart it, available at: http://weheartit.com/entry/52047787 Figure 12. Barriers, 2013, own image

Figure 13. IPhone, 2013, Lyckman, F., Fanny Lyckman blog, available at: http://blog.nelly.com/fannylyckman/page/4/ Figure 14. Collaborative, 2013, own image 76

Figure 15. Rack, 2013, available at: http://pinterest.com/ElenaGardin/

Figure 17. Stella McCartney spring, 2013, McCartney, S., 2013, available at: http://www.stellamccartney.com/experience/en/thecollection/spring-13-3/

Figure 19. M&S Shwopping, 2012, Joanna Lumley and M&S Shwopping launch, Elle, available at: http://www.elleuk.com/fashion/ news/joanna-lumley-and-m-s-launch-shwopping#image=1 Figure 20. M&S Shwopping street, 2012, Joanna Lumley and M&S Shwopping launch, Elle, available at: http://www.elleuk.com/ fashion/news/joanna-lumley-and-m-s-launch-shwopping#image=1 Figure 21. H&M Conscious, 2013, Zheng, M., See the full lookbook for H&M conscious partywear, available at: http://stylecaster. com/full-lookbook-hm-conscious-partywear-collection/ Figure 22. Stella McCartney ad., 2011, Fashion gone rogue, available at: http://imagesgonerogue.com/preview/07/stellam.jpg Figure 23. Maiyet ad., 2013, Maiyet, available at: http://maiyet.com/campaign/fall-2012

Figure 24. Noir advert A, 2012, Noir In Darkness All Colours Agree, Autumn/ Winter 2012, available at: http://www.noir.dk/ Figure 25. Noir advert B, 2012, Noir In Darkness All Colours Agree, Autumn/ Winter 2012, available at: http://www.noir.dk/ Figure 26. LnA look book, 2013, LnA Blog Oh my God, available at: http://lnaclothing.tumblr.com/

Figure 27. LnA look book 2, 2013, LnA Blog Oh my God, available at: http://lnaclothing.tumblr.com/ Figure 28. White tent, 2011, Grit magazine, available at: http://www.white-tent.com/imprensa/

Figure 29. The Reformation, 2013, The reformation Blog, Join the reformation, available at: http://jointhereformation.tumblr.com/ post/50578109611 Figure 30. H&M Conscious Black, 2013, Zheng, M., See the full lookbook for H&M conscious partywear, available at: http://stylecaster.com/full-lookbook-hm-conscious-partywear-collection/

Figure 31. People Tree, 2012, People Tree blog, The Thread, available at: http://blog.peopletree.co.uk/

Figure 49. The kind one details 2, 2013, own image

Figure 33. Hanging jumper, 2013, Girl gone done, available at: http://girlgonedone.tumblr.com/post/18258690518

Figure 51. White beach, 2013, smells like teen spirit, Under the influence magazine, Fashion gone rogue, available at: http://fashiongonerogue.com/elena-bartels-poses-for-emma-tempest-in-under-the-influence-magazine/

Figure 32. American Apparel, 2013, photo archive, available at: http://www.americanapparel.net/

Figure 34. Black Rail, Jolie, V., A style mix tape, available at: http://venusanemia.tumblr.com/ Figure 35. The Kind one, 2013, own image, photographed by Jade Barter

Figure 36. Diane, Roemer, D., 2013, Moda magazine, Fashion gone rogue, available at: http://fashiongonerogue.com/dianekruger-works-it-for-david-roemers-lens-in-s-moda-april-2013/

Figure 50. A question of label, 2013, own image

Figure 52. Press release, 2013, own image Figure 53. Invite, 2013, own image

Figure 37. Fanny, Lyckman, F., 2013, Fanny Lyckman blog, available at: http://blog.nelly.com/fannylyckman/

Figure 38. Black Beach, 2013, smells like teen spirit, Under the influence magazine, Fashion gone rogue, available at: http:// fashiongonerogue.com/elena-bartels-poses-for-emma-tempest-in-under-the-influence-magazine/ Figure 39. Charlie, Own image, 2013, Photographed by Jade Barter Figure 40. The Kind One Mock up 1, 2013, own image

Figure 41. Lion Sleeve, 2013, Own Image, photographed by Jade Barter

Figure 42. A Question Of Jumper, 2013, Coggles spring/ summer, available at: http://www.coggles.com/item/A-Question-Of/ Sustainable-Light-Grey-Sweat/B9PO Figure 43. A question of Studio, 2013, A question of, Concept, available at: http://aquestionof.net/#all Figure 44. Watch, 2013, own image

Figure 45. Behind the scenes, 2013, own image

Figure 46. Behind the scenes 2, 2013, own image Figure 47. Behind the scenes 3, 2013, own image

Figure 48. The Kind One details, 2013, own image 78

list of references Page 7

(Simmons, 2011)

Page 9

(Fletcher, 2011, p.260)

Page 8

Page 13 Page 15 Page 16

Page 19

(Sweeny, 2011, Online) (Trendwatching, 2012, Online) (Agins, 2001, p.43) (British Fashion Council, 2011, Online) (Anon, 2012, Online)

(Ruppel Shell, 2010, p.30) (Menkes (2013) in McCall, 2013: Online) (Keith (2012) in Chu, 2012: WGSN) (Keith (2012) in Chu, 2012: WGSN) (Jones, 1999: Online)

(McMahon, 2012: Online) (Smylie, 2013: Online) (Stone (2012) in McMahon, 2012: Online) (Trendwatching, 2012: Online) (Gerzema, 2011: Online)

Page 20

(Ferrari, M., 2012: Online) (Ferrari, M. 2012: Online) (Ferrari, M. 2012: Online)

Page 25

(Centre for Sustainable Fashion, 2009: Online) (Ehrich, Irwin, 2005) (Farrell, 2013 Appendix A)

Page 21

(KML, 2011: Online) (Trendwatching, 2012: Online) (Smith (1990) in Shaw, Tomilillo, 2004 p.142) (Minney, 2013: Online)

Page 28

(Minney, 2011)

Page 30

(Botsman, 2010: Online) (Botsman, 2010: Online)

Page 29

Page 35 Page 37 Page 38 Page 49 Page 52 Page 58 Page 61 Page 71

(Clone, 2012: Online) (Clone, 2012: Online) (Eder-Hansen, 2012: Online) (Clifford (2010) in Eder-Hansen, 2012: Online) (Eder-Hansen, 2012: Online) (Wheadon, 2013 Appendix B)

(Stella McCartney Mission Statement, 2013: Online) (Marks and Spencer, 2012: Online) (H&M, 2013: Online)

(Shaw, Tomolillo, 2004, in Bruce et al, 2004) (Farrell, 2013 Appendix A) (Martin, 2013, Appendix B) (Tate, 2013: Online)

(A Question Of, 2013: Online) (Macdonald, 2013: WGSN) (Hidyt, 2013, Appendix C)

(Thompson, 2013: Online)

Page 27 (Burke, 2013: Online) (Jobling, 2013:WGSN) (Minney, 2011) (Jobling, 2013: WGSN) (Jobling, 2013: WGSN) (Butler-Cole (2013) in Harding, 2013: Online) (Centre for Sustainable Fashion, 2009: Online) 80

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APPENDIX A}

EMAIL INTERVIEW WITH CLARE FARREL OF GOODONE

FOCUS GROUP

1. In a few words describe how you feel about sustainable fashion? Charlotte: The concept is good and I agree with the morals behind it but i think it’s a difficult topic as because I’m a student I’d rather pay lower prices for example Primark. Also most of it has a bit of a hippy ethereal image which I’m not really into. Jade: something that is necessary and needs to be expanded.

Emily: I think sustainable fashion is a good idea because it is better for the environment. 2. Do you currently buy any sustainable/ethical clothing? If yes what brands/where from? If no is there a particular reason for this? Lucy: No I don’t Emily: No, I would but I don’t know of any sustainable brands.

5. Would you be interested in a site that promoted fashion forward ethical brands acting as a platform to expand ethical brands consumer base? Emily: Yes, there isn’t anything like it that I know of and I think it’s a good way to inform people about ethical fashion. I think a website is a good idea as the internet has a great influence on people’s views and is a good way to spread ideas quickly and to a large number of people. Charlotte: I think I’d definitely use the website as long as it was definitely fashion forward and perhaps included brands that were new and upcoming, it would be good to see something like a look book from the brands or outfits compiled using only ethical brands something that also incorporates music culture and lifestyle Lucy: Yes would be very useful for people to find products, as at the minute nothing ethical is really promoted.

Charlotte: I don’t generally because I don’t like the style of the clothes and the advertising never appeals to me e.g. the h&m conscious collection Jade: not any shops I shop in stock anything ethical

3. Do you feel that ethical fashion has a bad reputation and is less fashion forward? Jade: yes and it’s usually very plain clothing and made from uncomfortable fabrics

Emily: Yes, I think that because sustainable fashion can’t be found in the more popular high street shops it gives people the idea that it is less fashionable.

Lucy: I feel people view it as being less fashion forward but maybe not a bad rep... People think it’s good but might not associate it with being fashion forward Charlotte: I feel it is less fashion forward because I feel it mainly caters for Middle Aged women.

3. Do you feel that ethical fashion is well promoted? As a consumer do you feel you are made fully aware of ethical brands? Lucy: I feel ethical brands could do more to promote themselves as I’m not actually aware of that many

Charlotte: Not particularly I know of certain brands like h and m doing the ethical fashion but I’ve never heard of any brands who solely focus on ethical fashion apart from charity’s some brands that have a liberal ethic like new balance actually don’t Jade: no not at all. I only know about marks and spencer’s stocking a few items

Emily: No it’s not well promoted at all; I don’t know anything about it, where you can buy sustainable clothes or why it’s important to buy them.

4. Would you prefer to buy ethically if it were more readily available without compromising on style? Charlotte: I would actually like to buy ethically but I think the style of something has a large part to buy if I preferred the style of something that wasn’t ethical I’d buy that over it

Emily: Yes I think it’s important to protect the environment particularly through fashion as it is such a big industry that can influence a lot of people and therefore have a big impact on changing how we are damaging the environment. 88

Lucy: Buying ethically would appeal more if it was easier to get hold of and viewed as more fashionable. Jade: yes definitely, would always buy a more environmentally friendly product than not

EMAIL INTERVIEW WITH A QUESTION OF

METHODOLOGY

Research undertaken throughout this project was specifically geared towards unearthing industry Intel, and gaining a point of view from within the world The Kind One needed to break. The proposed idea necessitated gaining the perspective of the proposed brand, A question of were contacted successfully to gain insight into how the brand would respond to an idea such as the kind one. This can be found in Appendix C. Other questions involved gauging the unique quality the brand has to offer and how they feel about themselves as a brand from their own mouths. The feedback received was incredibly supportive of the research and indeed idea presented as A Question of were excited by the idea, and would like to be involved indicating that there is a real presence in the market for an idea such as this. Further accessory brand Love Bullets was contacted to gain the perspective of a very arts driven brand, however unfortunately the brand didnâ&#x20AC;&#x2122;t have time to answer any questions despite being very helpful at first. Reflectively this worked out well, as the site is still a fledgling idea it worked best to focus all attention on one brand for the time being and taking on an expose of two would have presented a power struggle over which to prioritise.

Clare Farrel, designer of GoodOne was also successfully contacted; Farrel was extremely helpful when getting the truth about sustainable fashion and how hard it is to make a business out of it. As a charity she offered a philanthropic perspective and was able to be extremely honest about the difficulties of selling sustainable fashion, as a charity the brand is concerned with much more than being popular but has still enjoyed success. This gave a very interesting point of view, especially from a designer as their work is most precious to them. Farrel was very truthful about the short comings and this greatly helped to mould how The Kind One would be marketed, positivity is a huge role and discussions with Farrel introduced that idea to the process. Further primary research included a focus group of 20- 23 year old female consumers, general questions about current attitudes towards fast fashion and sustainable fashion were asked with surprising results, and all participants felt they would like to buy ethically but did not have the means to do so. This greatly helped to inform the barriers to consumers section of the report and built the consumer journey.

tutorial record sheets

fcp3

School of Art & Design ba

Tutorial Record Sheet 2012/13 Module: Research Project Stage 2

Tutorial / Seminar Record Sheet Work to bring / prepare for session:

Tutorial Record Sheet 2012/13 Module: Research Project Stage 2 Ref. no: FASH30002 Date: 15/03/2013 Name : Hannah Thomas

Tutorial / Seminar Record Sheet Work to bring / prepare for session:

Tutorial with first term tutor. Bring ideas, inspiration and research concerning where I want to go, develop my work for stage 2 implementation

Present current ideas and research in a presentation to new tutor. What am I currently thinking/researching and how is this developing

Learning issues to discuss in session:

Learning issues to discuss in session: Any holes in current research? Is there anything else I should be looking at? How am I going to implement both primary and secondary research?

Always be thinking towards the end outcome. Upcoming deadlines, what is expected from stage 2 The implementation side of stage 2 and the role that it will play

Ref. no: FASH30002 Date: 27/02/2013 Name :Hannah Thomas

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School of Art & Design

Feedback from session:

Think about the social and artistic meaning of fashion. Think about social movements for example the punk era, how this defined and united groups of people. The meaning fashion played in this. How will I develop this? There must be two ideas, big creative and big marketing. Think about presentation, what will I show?

Good start, good secondary researches however do need to start thinking about primary. The document should be a hybrid of 1st stage and implementation. Time management was discussed as a group, the importance of planning ahead.

Tasks for next session:

Have moved research along. Have work to show for new tutor.

Continue to develop. Look for own weak spots, be critical in analysis. Think like a journalist. Look into Newism, Levis Made By, the region and market level you are aiming at.

Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor)

Signed (student)

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School of Art & Design ba

Tutorial Record Sheet 2012/13 Module: Research Project Stage 2

Tutorial / Seminar Record Sheet Work to bring / prepare for session:

Tutorial Record Sheet 2012/13 Module: Research Project Stage 2 Ref. no: FASH30002 Date: 12/04/2013 Name : Hannah Thomas

Tutorial / Seminar Record Sheet Work to bring / prepare for session:

Chapter plan research

Prepare 2nd presentation

Learning issues to discuss in session:

Struggling to find primary research at this point Need industry feedback to feed research

What is your big idea? Where is your project going? How has it developed?

Feedback from session:

Widen net, also localize. Ask smaller businesses. Look into esthetica What are you trying to find out? Critically analyze everything

Project needs to move along at faster rate, have fallen behind now. Collaborate with brands, who needs your help? Why do they need your help? What is the gap in the market.

Tasks for next session: Need to have started writing, aim to get majority of your writing done so you can focus on implementation.

Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)

Ref. no: FASH30002 Date: 22/03/2013 Name : Hannah Thomas

fcp3

School of Art & Design

Tasks for next session: Choose a brand to collaborate with. How will this help your project? How can you help them?

Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)

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School of Art & Design ba

Tutorial Record Sheet 2012/13 Module: Research Project Stage 2 Ref. no: FASH30002 Date: 19/03/2013 Name : Hannah Thomas

Tutorial / Seminar Record Sheet Work to bring / prepare for session:

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School of Art & Design ba

Tutorial Record Sheet 2012/13 Module: Research Project Stage 2 Ref. no: FASH30002 Date: 10/05/2013 Name : Hannah Thomas

Tutorial / Seminar Record Sheet Work to bring / prepare for session: Discuss current situation involving extension.

Feedback from presentation

Learning issues to discuss in session:

How is the extension going to affect my work? What are my aims and goals for when? How behind do I feel I am?

How to utilize the learning outcomes. Feedback from session:

Feedback from session: Visualizing the brand is now key, need to actually see what itâ&#x20AC;&#x2122;s going to look like. Where do I want it to sit in the market in terms of product and service?

Went through learning outcomes and discussed how to make work go through the hoops. In order to get best marks.

Tasks for next session:

Tasks for next session: Will not be able to attend.

Move project along visually and linguistically.

Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor)

Signed (student)

consent forms Nottingham Trent University School of Art and Design

Nottingham Trent University School of Art and Design

CONSENT FORM

Project Title: …………………………………………..

Please read and confirm your consent to being interviewed for this project by ticking the appropriate boxes and signing and dating this form

1. I confirm that the purpose of the project has been explained to me, that I have been given information about it in writing, and that I have had the opportunity to ask questions about the research

2. I understand that my participation is voluntary, and that I am free to withdraw at any time without giving any reason and without any implications for my legal rights

3. I give permission for the interview to be recorded by research staff, on the understanding that the tape will be destroyed at the end of the project 4. I agree to take part in this project

___________________ __________ __________________ Name of respondent Date Signature

For office use only

Name of researcher taking consent …………………………………………. Date ………………………………………

Signature

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Nottingham Trent University School of Art and Design

CONSENT FORM

Project Title: …………………………………………..

Please read and confirm your consent to being interviewed for this project by ticking the appropriate boxes and signing and dating this form

Please read and confirm your consent to being interviewed for this project by ticking the appropriate boxes and signing and dating this fo

1. I confirm that the purpose of the project has been explained to me, that I have been given information about it in writing, and that I have had the opportunity to ask questions about the research

2. I understand that my participation is voluntary, and that I am free to withdraw at any time without giving any reason and without any implications for my legal rights

3. I give permission for the interview to be recorded by research staff, on the understanding that the tape will be destroyed at the end of the project 4. I agree to take part in this project

___________________ __________ __________________ Name of respondent Date Signature

For office use only

Name of researcher taking consent …………………………………………. Date ………………………………………

Signature

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model agreement School of Art and Design

ADULT MODEL/PERFORMER AGREEMENT RELEASE Photographic shoot: ________________________________________________ For good and valuable consideration of: _________________________________ I, the undersigned model grant the photographer, and any licensees or assignees, the absolute right to use the photograph(s) and any other reproductions or adaptations, from the above mentioned photographic shoot I give my consent to the photographer to publish, republish, or otherwise transmit the images in any medium for all purposes throughout the world. I understand that the images may be altered or modified in any manner I hereby waive any right that I have to inspect or approve a finished product or copy I understand that the image shall be deemed to represent an imaginary person unless agreed otherwise, in writing, by myself. I understand that I have no interest in the copyright, nor any moral rights, in the photograph I am over 18 years of age

Name of model: __________________________________________________ Signature of model: ______________________________ Date: ____________

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photoshoot contact sheets

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Nottingham Trent University School of Art and Design

Ethical Clearance Checklist for individual student projects To be completed by the student for an individual project that involves the collection of primary data this includes images, drawings, photographs, questionnaires and interviews. Please complete this document following the guidance in the School of Art and Design Ethical Guidelines and Framework for Research and Practice Undertaken by Students.

Section A: About the research Name: Programme of Study: Module Title and Reference Number: Name of module leader/supervisor responsible for the management of the project Duration of project Project title

Section B: Training and experience Have you had previous experience of or been trained in the methods employed to collect data, and/or discussed with your yes supervisor?

Have you been informed, given guidance, had issues outlined in relation to research ethics and consideration in relation to your yes project?

Does your proposed study involve procedures which are likely to cause physical, psychological, social or emotional distress to yes participants or yourself?

Does your proposed study involve the use of hazardous materials, other than those currently covered by the School Health and yes Safety procedures?

Section C: Methodology/Practice/Procedures

Section D: Ethical checklist

Does your project involve observing/questioning/the use of people in any way? Yes

Please complete the remainder of the form

Go straight to Compliance with ethical principles and Declaration

Does your study involve vulnerable participants as described yes in the Student Ethical Toolkit?

n/a

Does your study involve observation and/or recording of yes identifiable participants without their knowledge?

n/a

Will participants give informed consent freely and be fully yes informed of the study and of the use of any data collected?

n/a

Will participants be informed of their right to withdraw from yes the study?

n/a

Will all information on participants be treated as confidential yes and not identifiable unless agreed otherwise in advance and subject to legal requirements?

n/a

Will any recordings of participants be securely kept and not yes released for use by third parties?

n/a

Will storage data comply with the Data Protection Act 1998? yes no n/a If you have selected an answer shaded in grey, you must submit a full application to the Subject REC or modify the project. A full submission to the Subject PREC comprises of: this form, a project proposal, an additional statement of up to 500 words outlining the ethical issues raised by the project and the proposed approach to deal with these.

Compliance with Ethical Principles

If you have completed the checklist to the best of your knowledge without selecting an answer shaded in grey, the research is deemed to conform with the ethical checkpoints and you do not need to seek formal approval from the Subject PREC. Please sign the declaration below, and lodge the completed checklist with your supervisor.

Declaration

I have read the Ethical Guidelines and Framework for Research and Practice Undertaken by Students. I confirm that the above named investigation complies with published codes of conduct, ethical principles and guidelines of professional bodies associated with the research discipline. Name of student: ……………………………………………………………………………… ……………………………………………………………………………….

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Signature

Signature of supervisor/module leader ……………………………………………..…………………………..………. ………………………………………………………………..

student Date

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fcp3

School of Art & Design ba

Declaration Form 2012/13 Module: Negotiated Project Stage 2 Module Leader: Matt Gill Ref. no: FASH30002

I confirm that this work has gained ethical approval and that I have faithfully observed the terms of the approval in the conduct of this project. This submission is the result of my own work. All help and advice other than that received from tutors has been acknowledged and primary and secondary sources of information have been properly attributed. Should this statement prove to be untrue I recognise the right and duty of the board of examiners to recommend what action should be taken in line with the Universityâ&#x20AC;&#x2122;s regulations on assessment contained in its handbook.

signed .................................................................................................................... date .......................................................................................................................

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