challenge the norms
of identity
Fig 1: Front Cover Gender Flip Book, 2018
ENCOURAGE SELF EXPRESSION FOR THE YOUNGER GENERATION TO CHALLENGE THE NORMS OF IDENTITY.
Fig 2: Express Yourself Moodboard, 2018
C0ntents 6
PREFACE
GENERATION PLURAL WHO?
8
INTRODUCTION
10
CHAPTER 1 | THE PROBLEM: BODY IMAGE
12
CHAPTER 2 | A GENDER NEUTRAL SPACE
26
CHAPTER 3 | WHY GENERATION PLURAL?
THE BIG IDEA
57
THE ROUTE TO CONSUMER
ILLUSTRATIONS
42
82 120
REFERENCES
124
BIBLIOGRAPHY
127
HARRIET OGDEN | N0644469 FASH 30108 | SELF DEVISED PROJECT [4]
SELF noun
1. A PERSON'S ESSENTIAL BEING THAT DISTINGUISHES THEM FROM OTHERS. [5]
PReFACE / The project began with the notion of addressing issues around body image, equality, gender neutrality and self-expression. Consumers are exposed to body ideals and unattainable goals on a daily basis through general media and social media channels in particular. Through research, idea generation and testing, this project aims to propose an alternative platform to support self-expression in a retail environment.
[6]
THIS PROJECT HOPES TO TARGET THE LATTER END OF GEN Z AND EARLY SPECTRUM OF MILLENNIALS; THEY WILL BE REFERRED TO AS
GENERATION PLURAL. [7]
GENERATI0N
PLURAL, WH0?
[8]
Fig 3: Generation Plural Moodboard, 2018
[9]
INTR0DUCTI0N / Social media plays a big part in this as consumers are exposed to other people’s views, lifestyles, morals, cultures, genders much more frequently as there is constant accessibility to this. The exploration of the project will determine whether there is scope in retail environments to encourage the younger generation into physical spaces, away from the online ‘toxic mirror’, whilst moving with the progressive themes of neutrality and the macro trend self-acceptance. Making a positive impact or proposing a positive transition alongside this new expressive notion is the aim for the project’s execution, addressing self-expression and individuality for everyone of all identities in the hopes to break down barriers. There are a number of ongoing conversations around the central topics of acceptance and diversity in society, there is a large emphasis to see both male and females as equals; this is without a doubt a commonly discussed and important topic for our society. Through research, idea generation and testing, this project proposes an alternative retail concession that provides a space which encourages self-expression and delivers value for the host store.
[10]
"SOCIETY AND CULTURE FREQUENTLY MOVE AT A PACE WHICH LEAVES LANGUAGE FLAILING IN THEIR TRACKS. AND SO IT IS WITH THE VOCABULARY AROUND GENDER. IN CASE YOU HAVE BEEN HIDING UNDER A ROCK, GENDER POLITICS ARE A HOT TOPIC AND THE ISSUES TO GENDER IDENTITY AND GENDER ROLES ARE PARTICULARLY CONTROVERSIAL". (TUNLEY, 2018) [11]
THE PR0BLEM / B0DY IMAGE.
[12]
FALSE BODY IDEALS FOR BOTH MEN & WOMEN GENERATE APPEARANCE PRESSURES IN EARLY ADOLESCENCE, FOR MANY THIS RESULTS IN A FEELING OF NOT BEING HAPPY IN THEIR OWN SKIN. EXPOSURE TO CONTENT ONLINE SUCH AS ‘INSTA MODELS’ AND #BODY-GOALS REINFORCES THIS INSECURITY.
[13]
PERCEPTI0NS 0F BEAUTY
Fig 4: Delevingne Instagram, 2018
Furthermore, trend innovators and drivers “Widely held perceptions of beauty and have had an impact on this topic area. Cara perfection can have a deep and lasting cultural Delevingne posted an image of her shaven impact on both women and men” (Vagianos, head on Instagram (fig 4) with the caption: 2015). The effects this has on both sexes “Its exhausting to be told what beauty should aren’t defined by gender specifically as look like. I am tired of society defining beauty concerns shown in primary research showed for us. Strip away the clothes, Wipe Off the linear results. (See App pages 28-31). Body make-up, cut off the hair. Remove all the image is a large topic of discussion in today’s material possessions. Who are society as proven by Google we? How are we defining beauty? trends. (See App page 64). There What do we see as beautiful?” is more talk about this topic area “ITS EXHAUSTING TO under the umbrella of mental BE TOLD WHAT BEAUTY (Delevingne, 2017). Redefining what beauty means health now more than ever due SHOULD LOOK LIKE. I and what it is to be beautiful to the mental health crisis in AM TIRED OF SOCIETY could encourage young people 2017. “Increasing numbers of DEFINING BEAUTY FOR to embrace their true selves academic studies are discovering US”. (DELEVINGNE, and not shy away from self that mental health problems 2017). expression. This stance taken by have been soaring among a global super model challenging girls over the past 10 – and in our current notions of what particular five years, coinciding beauty is, suggests a large with the period in which young problem within both the fashion and beauty people’s use of social media has exploded”. industries; people are so caught up in the (Campbell, 2017) search for perfection that they forget about authenticity. Authenticity is something that In addition, young males also experience generation plural want. “Anything that seems challenging insecurities and vulnerability. fake or inauthentic, including things like image “While body image issues typically associated manipulation or obvious sales-speak, will be with young women, a new movement is quickly ignored. It’s because of this distrust of shedding light on the body insecurities Gen Z marketing that recommendations from friends men face today”. (Radin, 2017) This movement or influencers are more likely to be given stems from the need for more open discussion weight”. (Gibbs, 2017). surrounding body image and anxiety. The catalysts such as social media and image consumption behind these issues are relevant for both men and women who are exposed to unattainable ideals and goals. This being a large majority in today’s society with the number of younger people possessing mobile devices and spending a lot of time on them. Late Gen Z and early Millennials are developing where there is a rise in the availability of social media channels and are wanting to constantly be active online. “Members of Gen Z spend an average of 74% of their free time online, according to a study cited in Forbes”. (Patel, 2017).
[14]
S0CIETY IMAGE STANDARDS F0R Y0UNG PE0PLE
Fig 5: Society Backlash Image, 2018
Results from ‘Society Image Standards For The Younger Generation’ questionnaire (See app pages 28-31) highlighted the issues of young people’s exposure to content online, results which reinforce the correlation of social media usage and false ideals for young people. A sample size of seventy- two 1622 year olds, (39 females and 33 males) completed the survey and revealed that 98% of them agreed that social media has had an influence on the way they view their own bodies. Furthermore, 66% compare themselves to others on social media, using it as a platform for comparison, and 58% use social media for inspiration. These results show a majority of the younger generation are constantly looking to see what others are doing, which will eventually damage their individuality if they constantly have the fear of missing out: ‘FOMO’.
98% agreed social media has had an influence on the way they view their own bodies 66% compare to others on social media 58% subconsciously use social media as a source of inspiration [15]
Fig 6: Topshop Daily Mail, 2017
ISSUES IN RETAIL
This ongoing issue isn’t just something happening digitally, it is also happening in physical spaces such as retail environments. Topshop, have, in the past, been criticised for the use of underweight mannequins portraying false body ideals for young girls. It seems that this issue has not been fully addressed and has come to the attention of campaigners. A founding partner of body image campaign ‘Be Real’, said: “It’s shocking to see the return of ultra-thin mannequins at Topshop, almost two years after the retailer said it will stop using them”. (Hatton, 2017). Hatton reinforces how the efforts to portray positivity within industry could well be compromised with the backlash of false body ideals that Topshop are displaying, who in fact, declined to comment on the issue when questioned. “While many clothing brands and retailers have started to reflect society’s diversity in their advertising recently, reintroducing underweight mannequins back to the high street risks undoing all the great progress we’ve achieved over the last few years.” (Hatton, 2017). Additionally, recent activity caused controversy in-store when Topshop was slammed again, (fig 6) this time for not allowing a non-binary customer into either fitting room they had selected due to their identity, they had tweeted about how they felt disrespected which went viral very quickly. This forced Topshop to take action and go gender neutral quickly before being viewed as prejudice. It seems they are not so quick to change their traditional ways but will do so if under threat.
[16]
Fig 7: Property of Society, 2018
IDEALS
Furthermore, generation plural are young and learning as they go along, more through social media channels than any other. They are the first generation to be so attached to their devices, “the smart phone has truly become an extension of [young people’s] hands�. (Sulleyman, 2017). Social media and its influence upon our lives is here to stay and will continue to evolve, creating new ways in which we receive information and engage with the online world. It is dangerous to presume that the constant pressure on young and impressionable people to conform to online ideals is just a fact of modern life. Encouraging the younger generation to interact with people physically and to find platforms to express themselves away from their devices challenges, the normality that has been created for them and would benefit them socially, mentally and physically. This in turn creates a more inclusive and accepting society. The following two pages explore male and female positivity that we have recently seen in the media. This aesthetic and inclusive content will be explored further throughout the report.
[17]
[18]
Fig 8: Male positivity Moodboard, 2018
MALE BODY POSITIVITY MALE BODY POSITIVITY MALE BODY POSITIVITY
feMALE BODY POSITIVITY feMALE BODY POSITIVITY feMALE BODY POSITIVITY feMALE BODY POSITIVITY feMALE BODY POSITIVITY
Fig 9: Female positivity Moodboard, 2018
feMALE BODY POSITIVITY feMALE BODY POSITIVITY feMALE BODY POSITIVITY
[19]
[20]
EMPOWERING THE YOUNGer GENERATION
A recent successful campaign by Missguided “Keep On Being You” explored the importance of both men and women expressing themselves. The aim is to encourage individuality whilst celebrating and cherishing the flaws of the sixteen individuals included in the campaign. (fig 8) “Keep on being you” amplifies the macro trend of self- acceptance; the slogan uses the word ‘you’ to highlight the personable and empathetic objectives of the campaign. Following on with “It’s Really a Great Look” encourages young people to express enthusiasm towards their identity choices. Creating a campaign which solidly stands for a fearless, empowering attitude towards body image is a positive step towards inclusivity and confidence for generation plural. “Their success comes down to a series of tactics. The Missguided site uses terms like “sick” and “fire” alongside expletives and puns that speak to a very specific Snapchatting age-group”. (Wood, 2016) (See fig 10).
The brand with revenues of £206m has a large consumer following that will, in one way or another, be influenced by this campaign. “These brands are for Generation Z. Cheap, disposable, ethically dubious and arbitrarily named, this new wave of online-only retailers marks a shift in how we’re shopping” (Wood, 2016). Its website now boasts over 4.5 million registered customers, reinforcing the brands capability of brand loyalty with this statistic including Gen Z and Millennials. Additionally, this has expanded to menswear. Brother label to Missguided, Mennace was launched in September 2017. This suggests Missguided seized the opportunity to open their brand up to a male demographic to expand their customer base, encourage inclusivity, and reaching a much broader market.
Fig 10: Missguided Instagram Quote, 2018
Fig 11: Keep On Being You Campaign Images, 2017
[21]
IMAGE CONSUMPTION
The subconscious effects of the imagery posted on online platforms such as, Instagram, Facebook, Twitter, beauty and fashion campaigns, sports campaigns, blogger influencers, to name a few, portray certain body ideals for both male and females. Subconsciously they use this imagery as goals or comparisons as it is consumed so quickly. “Gen Zers have an average attention span of 8 seconds as compared to the 12 second attention span of millennials. Social media platforms have curated advertising options to this audience, from Vine’s 6 second videos, Snapchat’s 10 second story limit, and YouTube’s 6 second pre-roll ad”. (Evan, 2017). Meaning that generation plural has an average attention span of only 10 seconds (when combined together to find the mean average). They have ultimately trained their brains to look, analyse and memorise what they are viewing in such a short space of time.
DOPAMINE EFFECT
Social media enables generation plural to have easy communication and connection with the world around them. It is a platform which allows for self-expression however once a post is uploaded, the individual can hide behind a screen; it is a way of gauging opinions or reactions without physical interaction. This behaviour results in a feeling of reward when gratification is received for something posted online. Dopamine is released into the brain when this happens, “Dopamine is the exact same chemical that makes us feel good when we smoke, drink and when we gamble, in other words it’s highly addictive”. (Sinek, 2016). There is no stopping the younger generation as they become more reliant on this feeling because it is so easy for them.
[22]
Fig 12: Society Killed the Teenager, 2011
SHELTER FROM REAL WORLD
“You have an entire generation that has access to an addictive, numbing chemical called dopamine through social media as they’re going through the high stress of adolescence”. (Sinek, 2016). This reinforces why this generation are constantly active and look to post ‘instagramable’ content for their pages on social media to gain following and gratification from peers of the idealistic lifestyle they create. This information suggests younger people are more comfortable gaining instant gratification online without having to step out into the real world, reinforced by the rise in male beauty bloggers who are ‘insta famous’ and have successful blogging platforms. “Social media has allowed male beauty gurus to share their artistic expression on a large scale, helping to break down centuries-old stereotypes. Major beauty companies like Covergirl and Maybelline have taken notice, and in recent months, they have announced the first male faces of their brands.’’ (Montell, 2017).
“TECHNOLOGY IS INFLUENCING THE WAY KIDS THINK AND BEHAVE, BUT IT’S A TWO-WAY STREET – THE WAY KIDS THINK AND BEHAVE IS INFLUENCING & SHAPING THE INTERNET ITSELF.” (TAPSCOTT, 2017)
[23]
REAL PEOPLE
In addition, peer on peer gratification is more common amongst the younger generation, “Highlighting real people is another promising approach: Not models—real teens. Like teenagers throughout the generations, Gen-Zers are looking for authenticity and people who reflect their own lives”. (Perlstein, 2017) (See fig 13).This suggests celebrity endorsements aren’t as effective today for the younger generation in comparison to using real people that reflect their specific lifestyles and interests, giving them more meaning and purpose. Furthermore, having studied McCracken’s meaning transfer model on celebrity endorsements and the pros and cons for using celebrity in marketing, results from this concludes that the use of real people in advertising could portray authenticity and sincerity for young people. (See App page 65).
[24]
“NOT MODELS - REAL TEENS... GEN- ZERS ARE LOOKING FOR AUTHENTICITY AND PEOPLE WHO REFLECT THEIR OWN LIVES”. (PERLSTEIN, 2017)
To conclude the first chapter, social media plays an increasingly large part in young people’s development. The constant presentation of unrealistic ideals can undoubtedly have an impact on self-image for both males and females and intimately mental health. Through idea generation and testing, this project hopes to prevent the somewhat toxic image consumption that 16-22 year olds are exposed to on an everyday basis. Focusing on both digital and physical platforms such as Instagram and in-store retail spaces.
Fig 13: Authentic People Moodboard, 2018
[25]
a gender neutral space:
/ Could there be increased flexibility within retail spaces to encourage self-expression for the younger generation, experimenting with alternative visual merchandising and the use of relatable social media aspirations?
[26]
Fig 14: Identity Art, 2018
[27]
PRESSURES
The pressures that this younger generation face today are heightened more so than any other generation before them. Unfortunately, their experience of adolescence is somewhat rushed, due to the current landscape of their generation, “...the ubiquity of the internet and social media, with its dark underbelly of hard-core pornography, body shaming and cyberbullying, is encroaching on their wellbeing, while a relentless focus on academic high-achieving is turning up the pressure in the classroom. Youth, traditionally thought of as the most enviable time of life, can now look like a deeply challenging and sometimes unpleasant time of life”. (McVeigh, 2016). A topic in which the younger generation is exposed to today is gender politics; whether it be the gender pay gap, feminism or same sex marriage, they are more so encouraged to have an opinion on issues like these.
“GENDER POLITICS ARE A HOT TOPIC AND THE ISSUES RELATING TO GENDER IDENTITY AND GENDER ROLES ARE PARTICULARLY CONTROVERSIAL. PERHAPS IN RESPONSE TO SOCIETY’S RATHER CONSERVATIVE ATTITUDES, TODAY’S TEENAGERS SEEM KEEN TO DITCH GENDER ALTOGETHER” (TUNLEY, 2018)
The project will explore whether or not gender must be the defining factor of ones identity, or whether 16-22 year olds would benefit from increased inclusivity to further create neutrality for their future. Research confirms that females are redefining beauty and embracing realness and truth when it comes to beauty standards, “83% of women say self confidence = beauty” (Pantony, 2018). On the other hand, “more than four in five men, 80.7% talk in ways that promote anxiety about their body image by referring to perceived flaws and imperfections, compared with 75% of women”. (Campbell, 2012). The statistics for both men and women suggest a shift in identity norms and tradition in today’s society (See fig 15).
[28]
83%
of women say self confidence is beautiful
80.7% of men promote
anxieties about body image compared with
75% of women
Fig 15: Survey Results, 2018
[29]
NEWNESS
“But that kind of defiant self-love is often As a result, a new movement is shedding seen as outside the bounds of mainstream light on the body insecurities Gen Z men face masculinity—especially by big brands and today. WGSN reports Gen Z Masculinity in ad firms wary of striking the wrong tone”. an innovative way. Similarly, to women, the (Rebolini, 2017). Here lies the problem that need for open discussions around this topic brands don’t want to push the boundaries are important to raise awareness and the importance of body positivity and inclusivity for too much in menswear, in case it is not reciprocated with their audience. But how both sexes. “Some men distance themselves would they know unless they attempted a more from the language of body positivity because positive and inclusive tone of voice they think it’s in-masculine, “SOME MEN DISTANCE allowing increased self-expression? but others feel uncomfortable encroaching on a movement THEMSELVES FROM THE they believe women deserve LANGUAGE OF BODY to own”. (Rebolini, 2017). POSITIVITY... THEY
FEEL UNCOMFORTABLE
Research suggests that there is The perceptions of this ENCROACHING ON A scope for a new conversation movement from a male’s MOVEMENT THEY BELIEVE surrounding inclusive body perspective should be WOMEN DESERVE TO positivity for everyone. Involving diverted to create a more OWN” (REBOLINI, 2017). every person in this movement accepting attitudes towards would lessen the stereotypes, male identity (See fig 16). Interestingly we are seeing more trend-forward create a safer environment for all and aim to reduce anxiety related to body image for all plus size ranges for men. For example, in identities. It is apparent that both sexes are May 2017, Puma partnered with Asos on redefining identity norms as they are bored an exclusive plus-size collection for a male of being told what is seen as socially correct. target audience, highlighting that brands An exploration of what this could look like for are becoming more aware that men need to males is seen on the opposite page. be involved in this conversation. Typically, this concept has been targeted at the ‘curvy’ or ‘hourglass’ woman, which is seen to be attractive and is now being encouraged more so in today’s society. Younger people are now being told to embrace being curvaceous and even strive for this body shape. However it is harder for men to establish this as the women’s plus-size industry is built on overt body positivity.
[30]
Fig 16: Toxic Masculinity Moodboard, 2018
[31]
GENDER DIVIDES
Whilst creating and studying a rough timeline of gender fluidity, (See fig 17 and app page 66) one found it went back as early as 4000 BC, when masculinity was important in ancient Egyptian culture, and makeup played a large role in this. From then, make up was stereotypically seen as a women’s possession since the Victorian era, when make up on your face would determine your wealth and ability to work. Throughout time, famous icons have changed perceptions surrounding this topic; a strong contender being Katherine Hepburn who, in the 1930’s, was described as ‘too masculine’ or ‘too rough’ in her Hollywood days, and would commonly be seen in a suit. Studying a time-line has provided insights showing women are more commonly able to switch fashion identities with little uproar, yet men are immediately labelled by their sex if they decide to dress more feminine or explore with make-up. To the present day, society is growing to accept different gender expressions. A scientific study on gender and behaviour, going back as far back as childhood suggests male and female species learn best when working together. “The cognitively most distinctive thing about us as species is that most of what we know we learn from each other… this predisposition to learn from other people goes all the way back to infancy the very beginning of life” (Spelke, 2014). This idea of togetherness amplifies the importance to see both sexes as equals as we can both benefit from each other and work together to create a society that promotes acceptance and inclusivity.
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This project hopes to challenge gender divides to merge the two in fashion retailers. By doing so, there would be increased emphasis on self-expression in a physical space and a decrease in presumption of peoples wants and needs, whilst underlining the importance of togetherness in today’s society. Additionally reinforcing this, the podcast ‘Gendered Behaviour: What can Science tell us?’ confirms that “In order to learn from other people you have to have cognitive common ground with them. You have to make the same assumptions that they do about the world if you’re going to understand what they’re communicating to you’’. (Spelke, 2014).
“EVEN THOUGH WE IDENTIFY WITH PEOPLE OF OUR OWN GENDER THAN OTHERS ON AVERAGE, WE DIVIDE UP THE SOCIAL WORLD OF GENDER, AND WE DIFFER PHYSICALLY, WE DON’T ACTUALLY DIFFER COGNITIVELY BY GENDER”. (SPELKE, 2014)
Fig 17: Gender Fluidity Timeline, 2018
[33]
WHAT iS HAPPENING
Should Be Shopping in the Men’s Department” Proven from market research, the majority of (Bourne, 2017). Bourne states that retailers stores have windows that segregate the men’s are yet to catch up with this relaxed look that and women’s section (See fig 18). On the high both genders can explore and until they do, street this is more common as the sexes are split up by floors within the store, therefore, so she says, “I am more than happy to buy my are the window displays. The one retailer where oversized sweaters and button-downs in the men’s section, where the clothes actually fit inclusivity proved to be more prominent and me and are cheaper to boot”. (Bourne, 2017). inclusive of both genders was Urban Outfitters. Noticed during observational research in Urban A noticeably raised topic is the lower price of men’s clothing; purchasing from men’s Outfitters Nottingham, was a female consumer departments can be end up cheaper. This in the men’s t-shirt section which resulted in emphasises the concept of ‘Women’s Tax’, her purchasing a t-shirt. This indicated that which is the premise that daily essentials cost women access and feel more comfortable more when they are marketed to women. As purchasing items in men’s departments. (See a result, gender neutral app 43). During a focus ‘WOMEN’S TAX’, collections have captivated group of four participants, the industry over time, for (See app pages 39-42) WHICH IS THE PREMISE “..some of the both males admitted they THAT DAILY ESSENTIALS example, hottest brands right now would feel uncomfortable COST MORE WHEN THEY are offering gender-neutral browsing in the female collections—everyone ARE MARKETED TO sections even if there was from Diesel to Mother something they had spotted WOMEN. AS A RESULT, Denim to Zara, which that they liked, whether it be GENDER NEUTRAL launched its Ungendered a neutral t-shirt or sweater COLLECTIONS HAVE capsule collection last year. appealing for both sexes; “I Increasingly, the casual would feel watched, maybe I CAPTIVATED THE clothes men and women would have to pretend I was INDUSTRY OVER TIME. want to wear are essentially shopping for my sister or the same”. (Bourne, 2017). something” (Wragby, 2018). Furthermore, although On the other hand, the gender politics are a hot topic of discussion female samples had no qualms with wandering currently, and the idea is increasingly relevant, around male sections in retail, it proved to the idea is, in fact, not completely new. be the norm for them; “I’ve always bought “Rick Owens has been doing it for years, as men’s clothing, sometimes it’s cheaper but have many other ‘designer’ brands. Gucci, mainly I like it for over-sized fitted clothing, Vetements, Saint Laurent and J.W. Anderson it’s so comfy”. (Grady, 2018). Speaking to are just a few of the big names that have the consumers aged 17, 19 and 20 provided helped to push it through to the mainstream insights suggesting females have easy access in the last couple of years”. (Sowray, 2016). to both male and female clothing with no Moreover, the target audience for these brands concerns about feeling judged. However, male and campaigns would have been typically for consumers stick to their own departments an older target consumer which may not be with the fear of being viewed differently or the right audience for this fluid notion. This stereotyped. There is an increasingly larger project aims to target a younger consumer demand for a relaxed, effortless style in that are considerably open minded therefore current fashion trends today. With the likes of could more easily adapt to this shift in retail Glamour Magazine encouraging this fashion environments. style with posts like “Why Every Woman
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women display v male display mannequins are segreated to each window in male or female clothing.
STORE WINDOWS are divided into Men’s & Women’s. Shops are split into sex’s for example New Look and New Look Men, Topshop and Topman.
from market research, a majority of stores have the segregation of male and female departments with an upstairs and downstairs for each sex. this would make it more obvious if you were browsing in the opposite sex’s department.
Fig 18: Department Segregation, 2018
[35]
CASE STUDY 1 THE UNGENDERED ATTEMPT
Additionally, fashion retailers have explored this ungendered concept (See App page 79). The collection itself received reviews which suggested the collection wasn’t all that revolutionary. “While the collection is advertised as gender neutral, the released illustrations showing a woman in a dress and large jumper don’t seem to offer much in terms of pushing gender boundaries. Similar styles of clothing for women can be found in their regular collections”. (Jones, 2017). River Islands gender neutral collaboration with ASHISH the designer clothing brand launched in 2017 (See Fig 20). During primary research on visiting River Island in Nottingham it indicated that the collaboration wasn’t something that was being actively promoted, sales assistants weren’t aware of this collaboration and there wasn’t any sight of it in-store. Upon speaking to Leanne Brock, (See app pages 45/46) who didn’t have knowledge of the collaboration, she stated this concept wouldn’t be something for Nottingham and that it would be more successful for a city with more fashion conscious consumers such as Liverpool or London. This collection features oversized jumpers and pyjamas; the employee hadn’t seen the line but she was aware that it was available online only. The conversation led to an interesting insight that suggested the word ‘genderless’ can be interpreted in different ways. If the employee had seen the relaxed and fun line, she may have had a different view point of whether it would be successful in the Nottingham store. The fact that the collaboration is available for digital purchase only, suggests River Island are not fully committed or confident in this concept. If the line was in-store it would give consumers more access to a gender neutral, not gender specific, environment within stores. This project hopes to improve this stereotypical view and bring online – offline and highlight the importance of in-store shopping experiences for generation plural.
2011
UNGENDERED brands launched since
x 2011
2013
Fig 19: Gender Neutral Market, 2018
[36]
2015
NOW 2018
2017
Fig 20: ASHISH X RI Moodboard, 2018
[37]
CASE STUDY 2 THE UNGENDERED ATTEMPT
New, innovative clothing lines, collaborations and brands have appeared in the fashion industry surrounding this topic area, heightened since 2011. (See Fig 21) Selfridges collaborated with Faye Toogood to create a genderless brand named ‘Agender’ (for more information see app pages 77/78) featuring an innovative logo that represents a person of A gender. The shopping environment situated in Selfridges was created to intrigue shoppers and make it a longer process for them in-store, clothing was bagged up in canvas cases with only a small slit showing so customers had to physically unbox and unbag items. There was no use of mannequin for a completely neutral environment. This concept explored similar themes this project hopes to undertake however the Agender line attracts a different audience with a conceptual visual approach. “Selfridges’ ambition was to create a space where men and women could essentially come and shop together irrespective of gender, and that you would choose clothes as an individual rather than based on your gender,” (Toogood, 2015). The campaign video ‘he, she, me’ (see screen shots in fig 22) for Agender explores a conceptual art theme which celebrates age, gender and diversity. The video attempts to represent as many identities as possible as the main character takes on a journey through a large space whilst meeting many people of diverse identities. This including a majority of an older demographic, which suggests the target audience would have been the later end of the millennials age group plus; even including up to baby boomers.
2011
UNGENDERED brands launched since
x 2011
2013
Fig 21: Gender Neutral Market, 2018
[38]
2015
NOW 2018
2017
Fig 22: Agender x Selfridges Moodboard, 2018
[39]
GENDER NEUTRALITY IN RETAIL
Exploring whether or not a neutral, creative Additionally, an interview with ‘gender style environment in retail is a solution to body influencer’, ‘gal styling menswear’ Arooj Aftab, image and social media negativity highlighted (See app pages 47-51) who, delivered some key theory to consider, for example, trend real insight into women’s accessibility to wear sociologist Henrik Vejlgaard points out that “… men’s clothes and vice versa. Arooj spoke trends only happen because there are people about the barriers she faces having published involved. Changes in style and taste don’t the concept of styling menswear, this has just happen. It’s all part of the inner workings been for around two years after starting her of trends”. (Vejlgaard, 2012). Trends are blog at university. She stated, “People think, if likely to go mainstream if the new trend has you wear menswear, you’re gay. I’m not gay”. started as a reaction to what is mainstream, (Aftab, 2017). a high number of trend setters adopt the I found this to be an important part of the trend, or different kinds of trend interview as it is common for setters adopt the trend, such people to have a misconception as innovators or early adopters and automatically judge from and or early majority. (Rogers, what you’re wearing. Taking this “PEOPLE THINK, 1962). This could only suggest insight forwards, the project IF YOU WEAR the question of is gender neutral hopes to address the stereotype MENSWEAR, YOU’RE a fad? How is it coming about of clothes dictating gender. Arooj was able to come to the GAY. I’M NOT GAY”. and if it hasn’t been a permanent change in the past then does it conclusion that there are no (AFTAB, 2017) have longevity opportunities? boundaries for women shopping in menswear and a lot of the Having explored short lived time isn’t questioned however trends surrounding this topic if men were to shop in the area with a few case studies, women’s section it is seem as a (for full case studies see App section E). the bigger ‘taboo’ in today’s society. What if there enthusiasm for a particular topic of discussion were to be a space where self-expression and or movement in society doesn’t last long if acceptance was encouraged? Any archetype it just ‘the latest fad’. Gender neutrality has within this age group could use this as a form crept in and out of industries for a few years of relief, self-encouragement. however this isn’t like the normal fad that comes and goes. “The shifts we see happening The main insight drawn from this is the around gender and gender identities are the perspective of how a society transitioning opposite of a fad,” stated Gieseking. “If we into gender neutrality will shape retail look back through history, we can see gender environments. Addressing that today’s non-conforming people. What is happening current societal position is in the right mindtoday is a profound change in society, both set for a concept that aims to provide the for individual and group understanding, younger generation with a positive outlook and a recognition of a persistent element on self-expression and identity and ethically of the human condition.” (Gieseking, 2015). encourage this through a physical space. This profound change in society is notably making a difference in general industries and specifically fashion and beauty, a rise in diversity, equality and self-acceptance is increasing in campaigns, adverts and brand essence/ message. Therefore, this suggests longevity for a big idea with chance to evolve in the future.
[40]
Fig 23: Identity Art, 2018
[41]
WHY GEN PLURAL? [42]
WHY DOES THIS AGE DEMOGRAPHIC NEED AFORESAID CONCEPTS AND IDEAS IN THEIR DAY TO DAY LIVES? WHAT ARE THE BENEFITS FOR TARGETTING AGE 16-22 YEAR OLDS? [43]
C0NSUMER DecISI0N
Speaking to generation plural, helped gauge an understanding of their beliefs surrounding this topic area. ‘A day in the life’ provided insights for the concept of an omni-channel approach to retail, highlighting the importance of an integrated marketing for the big idea (See app pages 32-38). A majority of respondents who recorded their shopping habits showed that in-store purchases verses online purchases were more likely if they had viewed the item online first, allowing for the consumer decision process to be created. (See Fig 24) This suggests they prefer to browse using their devices in the comfort of their own environments but still take the opportunity to try garments on before making a purchase. This could imply that they are more conscious of where their money is being spent and want to make the right purchase, this could therefore be linked to economic struggles this generation faces. For instance, a majority of the Gen Z population grew up around a time of economic recession in 2008, so are more conscious of where their money goes; having seen their elders become more money aware around this time. As for the early millennial, “…they have frequently been labelled as materialistic, spoiled and saddled with a sense of entitlement, many Millennials feel that they will not be able to achieve material goals like finding their dream job, buying a house or retiring until much later in their lives than their parents did. Paying off student loan debt has become increasingly difficult for many who are struggling with unemployment and low-paying jobs”. (Cussen, 2017).
[44]
C
CONSUMERS STILL VALUE A PHYSICAL SPACE CONSUMERS STILL VALUE A PHYSICAL SPACE CONSUMERS STILL VALUE A PHYSICAL SPACE Fig 24: Survey Results, 2018
[45]
CUST0MER SERVICE
Results from the day in the life questionnaire, created to understand the demographics lifestyles and opinions, suggested that they are apprehensive about what’s predicted for future of retail. Information suggests there will be technology enabling customers to shop without the help of any human, they will no longer need dressing rooms as they can see themselves in clothes through augmented reality, drones will be delivering clothes and fluid conversations will be had with customer service chat-bots. However, retail is still going to be a large part of our shopping experience, “When it comes to the future of retail, I’m convinced that stores will be centre of the stage.” (Bearne, 2017). On a larger scale of research, in mid-2017, a survey of 500 U.S. consumers were asked about their recent experiences, preferences and expectations for customer service, resulting in 76% of the millennial target audience preferring human contact. (See Fig 25, for more information see app page 67). What is going to change drastically is the way these physical stores operate and service their customers; it’s about a seamless merge of a fantastic physical experience with powerful, yet subtle technology. I’m a believer in physical retail experiences; I always say “fashion isn’t downloadable” (Neves, 2017). Knowledge of this potential progression in retail was delivered to samples, one of which stated that human contact is important to develop social skills, “… much of our time is already spent on our phones and communication through apps. When we go out it is more important than ever that we have contact with humans”. (McGarahan, 2017). In addition, brick and mortar stores are predicted to still be around and making positive impacts in 2025. Predicted for this time are technological advancements that we can’t comprehend currently but knowing that physical retail will still account for sales is thought provoking. “Physical retail accounts for 93% of sales today, and even with online growing at fast speed it will account for 80% by 2025”. (Mortimer 2017).
[46]
76% PREFER HUMAN CONTACT 76% PREFER HUMAN CONTACT 76% PREFER HUMAN CONTACT Fig 25: Survey Results, 2017
[47]
GEN PLURAL AND POLITICAL ENGAGEMENT
Having taken on board the research for the project as to why this younger generation are becoming more and more savvy, concludes that gen z and millennials are compelled to adapt to what’s happening around them. An important factor being that generation plural have a passion for the progressive and new, they are not just willing to post and share, they actually want to. “…this new generation is wide open to your innovative new ideas. They get excited and rapidly broadcast that excitement to their peers.” (Chawla, 2014). This emphasizes how generation plural have been exposed to new innovative ideas over time. Some of which will be shaped by cultural activity and current economic and political climates, in which they adapt to very quickly, living in such a fast paced world like today. They are therefore maturing faster and forming more of an opinion, wanting to have a voice and make changes. This demographic like to intellectually challenge themselves and get involved in current times. From WGSN, a report on the ‘caring economy’ states that ‘Millennials wear their politics on their profile pages’ (Davies, 2015) and have been referred to as the conscious consumer. For example, the 2017 general election was swung by young voters and high turnout according to the ‘Ipos Mori How Britain Voted’ survey. Young voters favoured Labour, with 60% of those aged 18-24 (the younger end of the spectrum being the proposed target audience) voting for Jeremy Corbyn's party. (See Fig 26) This emphasises how this age group feel passionate about being heard and making positive changes. “Age was one of the most significant factors in the general election”. (The Guardian, 2017). This age group, including the early millennial was one of the higher percentages of voting. Having cultural awareness makes this audience specifically attractive to target as they are willing to make change and see a difference in society. The progress of gender neutrality throughout time has seen a progression in engagement and under the radar influencers have drove this trend forwards today, with younger people being more socially aware and involved in current affairs.
[48]
(Barr, 2016).
[49]
Fig 26: General Election Active Voters, 2016
BEHAVI0UR
Delving deeper into gendered behaviour and the consumer, led to creating engaging research for the target demographic to conduct. (See app pages 58-60). This research was created to find out what the consumers first reactions are when it comes to clothing and gender. A ‘flip book’ of different cut outs of male and female top middle and bottoms were stuck into a book and cut so they could be alternated to create many different combinations. Watching the samples take part in this research was an interesting experiment as immediately, some participants would go straight to the gender normalities for either sex, i.e. pink heels for women or abs for the male. The participants were asked to flick through the book and choose the most feminine outfit, then the most masculine and finally an outfit that suited their style. This quick task hoped to target system one, the more instinctive thought process. They were able to go back to the task and re-evaluate their choices and make changes if desired which encourage system two’s more deliberative, and more logical way of thinking. Having the participants consent, photos of their current outfit were taken to further gain an understanding of their decisions; whether what they were dressed in at the time influenced their choices or not.
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Fig 27: Gender Flip Book, 2018
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Fig 28: Gender Flip Book, 2018
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Fig 29: Gender Flip Book, 2018
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"HIGHLIGHTING REAL PEOPLE IS ANOTHER PROMISING APPROACHNOT MODELS REAL TEENAGERS THROUGHOUT GENERATIONS GEN-ZER'S ARE LOOKING FOR AUTHENTICITY AND PEOPLE WHO REFLECT THEIR OWN LIVES". (PERLSTEIN 2017)
[54]
"11% OF MILLENNIALS BELIEVE THAT BLOGGERS GIVE GOOD ADVICE" (MINTEL, 2017) [55]
A RETAIL SPACE THAT ENCOURAGES SELF EXPRESSION FOR THE YOUNGER GENERATION TO CHALLENGE THE NORMS OF IDENTITY.
[56]
THE BIG IDEA: The accumulated insights from primary and secondary research findings, confirms a gap in the market with regard to gender focused retail space and the embracing of gender neutrality and self- expression. This ultimately led to the idea of creating an in-store collaborative brand named SELF which will offer physical experiences, positivity and enable selfexpression for younger consumers in high street retailers. The brand would address gender divides as a core value, without conforming to what is happening currently in the fashion industry, which isn’t necessarily making change (as referred to previously). It will also address how an omni-channel approach fits into the future of retail environments. Beginning with the overall topic of retail and body positivity ideas were generated through multiple idea generation techniques (See app section F). The younger generation are using social media more so than ever. This can then lead to unnecessary anxieties and uncertainties that won’t disappear because technology is only growing bigger which increases the opportunity for communication with the world around us. This digital content is giving consumers false ideals of lifestyle and idealised body image,
therefore physical spaces should grasp onto this and make the most of the brick and mortar at a time where technology has threatened to take over. Connecting with younger people in a physical space rather than digital space would increase the opportunity to generate more creativity. This is a timely topic area, having explored what is happening currently in society around general inclusivity and positivity there are reoccurring events suggesting that this area is only progressing and expanding in industry. The idea hopes to progressively influence the way we use retail spaces and propose a new concept for retail environments. The report discusses which brands would be open to this change and which brands may not be suited to the idea (just yet). This is down to the audience and brand positioning within the high-street market. Along with the target consumers that are early adoptors and early majority within the diffusion of innovation, being at the forefront of the big idea. Having conducted primary research within retail environments struck conversations for further clarification of which retail environment to select for collaboration. (See app page 44).
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the self pR0CESS SELF's MANNEQUIN IS THE C0NSUMER:
NEW VISUAL C0DES:
Rid of the mannequin that doesn’t resemble the consumers body type, ethnicity or style, be the mannequin for yourself and your peers. This will ensure that the concept isn’t just a new collaboration like mainstream gender neutral lines such as River Island and Zara. (See app section E). These brands have been slammed for not including both genders when it comes to ‘gender neutral’ and just used this as a buzzword. “It has long been known that it is more socially acceptable for women to dress in masculine clothing than it is for men to dress in feminine clothing. If retailers really want to make their brands more inclusive, they should include items from the entire gender spectrum, not just from the masculine side”. (Jones, 2017). The collaboration with SELF will ensure the store is inclusive, approachable and available for all.
The store will be neutral. There will not be divides of clothing for men and women. This will break down any barriers there are for people experimenting with their identities. Information from a visual merchandising forecast from WGSN for Spring/ Summer 2019 suggests that creativity and self-expression are at the core of future trends for retail environments. It states that “In an increasingly politicised world where people are clamouring for truth and transparency, ... this trend explores the urge to make an impact and be different... Creativity and self-expression are at the core of this trend, with designs that step outside traditional comfort zones”. (Dickinson, 2017). SELF will focus to be in line with this trend during 2019, in the hopes to focus on the urge of making an innovative stand point.
c0nsumeR DRIVEN C0NTENT: In-store there will be selfie stations which invite consumers to try on their clothes and use the selfie stations to visualise their outfits and see how they interact on their bodies. It is an opportunity for the consumer to socialise with other people instore or to have a fun experience with their own peers, away from social media which is causing young people anxieties. The content from the consumer driven process will be posted on social media and in the future will be printed to create a zine for an in-store addition bringing the content into a physical space as well as digital.
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Fig 30: Creative Concept Moodboard, 2018
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THE PREMISE SELF IDEA:
Self would approach High Street retailers (i.e. Urban Outfitters) with a view to installing and leasing to them the Self Style Station(s). The Stations would be modular in construction and fairly simple to install, probably the space of a medium sized changing room. The lease would be for a minimum 6-month period and the retailer could have any number of Stations in any number of stores (pay per Station). Smaller stores may take one or two Style Stations; larger stores may have several Style Stations. This is beneficial to both parties as it allows the retailer to trial the Style Station without making it a fixed asset and allows Self to recoup the set up and installation costs and make a reasonable profit.
BRANDING and SOCIAL MEDIA
Self would become a brand within a brand, a bit like a Costa Coffee Bar in Next. (See app page 118) It would be a brand that the younger generation relate to for fashion, so they would rather go to a store with a Self-Style Station than a store without one. They would have their photo taken in the Selfie Station and by using this photo booth, you are allowing Urban Outfitters to use your picture with a YES, NO consent option. (See fig 32 )
COST EFFICIENCY
Self would have a license to be in the store urban outfitters who would pay a monthly fee for the pop up. Encourage retailers to take it on as it’s not a fixed asset. Sign up for 6 months on lease to enable Self to get the money back on the installation. The collaboration will test a new revenue stream and is a low cost way to explore adding an additional revenue stream. It will gain
significant profit if concept is executed and popularised well. Engaging prospective customers offline and delighting them with an unforgettable experience and quality products, you can then point them to online where they can stay in touch. Trying to sell a new invention that hasn’t crossed over into the mass consumer subconscious, a pop up can help you understand how your existing marketing collateral performs with actual customers while getting real- time feedback. Potential customers get a live view on how the concept works which introduces them to the idea- great way to get through to early adopters. (Khah, 2018).
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ON EXIT OF THE BOOTH, YOU LEAVE WITH YOUR PHOTO ON YOUR MOBILE DEVICE TO KEEP OR POST ON SOCIAL MEDIA AND IF PRESSED YES TO THE CONSENT, YOU WOULD SEE YOUR PHOTO ON THE INSTORE PROJECTION LARGE SCREEN AND ON THE RETAILERS INSTAGRAM LATER ON. ONCE CONSUMERS HAVE DONE THIS A COUPLE OF TIMES, THEY MAY START TO GET USED TO TRYING ON CLOTHES THIS WAY. IT WILL BE FUN, MAKE THEM WANT TO COME INTO STORE MORE AND ONLY VISIT STORES THAT HAVE THE SELF STYLE STATIONS. EVEN IF THEY ARE USING THEM FOR THEIR OWN USE AND INSTAGRAM PROFILES, THEY WILL BE ENCOURAGED TO #SELF AND TAG US TO KEEP US UPDATED WITH THEIR OUTFIT CHOICES.
THE SCREEN PRESENTS YOUR FINAL PICTURE PREVIEW WITH A QR CODE AND OPTION TO (SCAN HERE TO KEEP YOUR PHOTO) AND ASKS YOUR CONSENT TO USE PHOTO INSTORE PROJECTION SCREEN AND ON SOCIAL MEDIA.
BOOTH 1
THIS PROCESS WILL ENCOURAGE FRIENDS TO HAVE FUN AND EXPLORE THEIR IDENTITIES TRYING ON CLOTHES AND TAKING PHOTOS IN THEM THAT THEY MAY NOT ALWAYS CHOOSE. THE STORE ENVIRONMENT WILL BE OPEN TO ALL SO ANYONE CAN CHOOSE ANY ITEM OF CLOTHING WITH NO JUDGEMENT.
WALK IN/ OUT
BOOTH 2
ONCE IN THE BOOTH IN NEW OUTFIT, SELECT THE ‘GO’ BUTTON ON THE SCREEN AND WAIT FOR COUNTDOWN 3,2,1. ONLY GET 3 ATTEMPTS AT YOUR BEST PHOTO. BOOTH 4
BOOTH 3
WALK IN/ OUT
WALK IN AND CHOOSE YOUR BOOTH, UP TO 4 PEOPLE PER BOOTH. THROUGH FLOW WITH IN/OUT ENTERANCE AND EXIT
Fig 31: Self Style Station, 2018
Fig 32: Instore Interactive Screen, 2018
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IMPLEMENTING CREATIVE C0NCEPT ENTER/EXIT THROUGH FLOW FOR EASY ACCESSAVOID QUEUES
BOOTH 4
BOOTH 3
ENTER/EXIT THROUGH FLOW FOR EASY ACCESSAVOID QUEUES
BOOTH 2
Fig 33: Self Style Station, 2018
BOOTH 1
ENTER/EXIT THROUGH FLOW FOR EASY ACCESSAVOID QUEUES
Fig 34: Self Style Station Instore, 2018
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ENTER/EXIT THROUGH FLOW FOR EASY ACCESSAVOID QUEUES
EACH BOOTH CAN FIT UP TO 4 PEOPLE IN SO FRIENDS CAN ENJOY THE EXPERIENCE TOGETHER
Fig 35: Inside Self Style Station, 2018
CONSENT FOR BRAND TO USE PHOTO FOR INSTORE, SOCIAL MEDIA AND PRINT
OPTION OF 3 PHOTOS TAKEN WITHIN 5 SECONDS OF EACH OTHER
CAN AGREE OR DISAGREE, IF AGREE THEN THEY WILL SEE THEIR PHOTOS FEATURED SHORTly AFTER
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What IS THE LANGUAGE? Positive and encouraging language which is seen as approachable for the younger generation. Instead of using ‘gender neutral’ as a buzzword. SELF will capture a wide audience of all identities which encourages them in-store to shop for any item of clothing whilst creating their own photography for in-store and social media. (For full inspiration and development see appendix section F).
Fig 36: Tone of Voice Moodboard, 2018
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BRAND ESSENCE M0DEL... N VISI0
OK WVEIBELOTHAT W 0 H ATIVE ORS
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WE H0W VE A BEH
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UT GB , ARE RAGIN ISING WE N U O RO ENC PAT TO BE OT T NT N NO A ND UT W A WE KEY ACE B ND F LOW OUR WN A Y IN L KNO L STI ULAR POP
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0F
R0
EP EN
0F DRIV PR0 UMER NA-
ctI
FUN C0NNECTED ACCEPTING Y0UTHFUL LIGHT HEARTED
TH
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cE PRE WHAT ACH Y0U
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Fig 37: Brand Essence Model, 2018
BELIE FS
S
Y O U SHO NG PEO P U PRE LD BE LE S SELV SING T EXH ENC ES OFF EMLINE OUR A A N G D E PE TO AWA HAVE ERS F MED Y FROM UN IA SOC IAL
UE
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VA L
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[65]
WHAT IS MY CREATIVE IDEA?
WHAT?
A fun, sociable, encouraging physical retail space for 16-22 year olds. Which introduces the idea of neutral clothing and spaces, uses current attractions like selfie stations and uses consumer driven content for social media platforms for an authentic and real feel to the consumer’s image consumption on their social media platforms.
WHEN?
During the height of summer when the younger generation are most likely to want experiences and plans with friends for their summer holidays.
WHO?
Targeting all identities aged 16-22 who are bored of online false ideals and wanting more opportunity for self- expression and creativity.
[66]
WHY?
To encourage self-expression; away from identity norms and traditions; increase face to face social experiences; reconnect the younger generation to a physical space rather than digital space. Why would younger generation shop at Urban Outfitters to experience and express themselves and how do they complement each other? Urban Outfitters is as its named URBAN ‘Urban means relating to or concerned with a city or densely populated area’ and has characters of carefree and bohemian styles for all including sport and vintage looks, which can be predominantly genderless. UO are passionate about life and have their charming, unrestrained attitude which reflects on the consumer and feel good experience.
HOW? Starting off by introducing the collaboration on the brands popular social media platforms and encouraging them to follow SELF’S Instagram page for teasers and updates on upcoming launches and events the Nottingham Urban Outfitters store. Customers will attend the launch event with friends and will be encouraged to share their experience on their social media channels, if agreed, their images taken in the photo booth will feature on the 6ft screen in store and on Urban Outfitters Instagram and Snapchat to showcase real consumers engaging with peers and the clothes and overall enjoying the in-store experience.
WHERE?
The concept will start in Nottingham. Nottingham being a good place to begin as there is a creative quarter in the city which celebrates independent brands and companies. Then will spread to other cities with scope for creativity such as Manchester, London, Newcastle, Birmingham and Liverpool.
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FUTURE LOCATIONS FOR SELF "10 OF THE UK'S MOST CREATIVE TOWNS AND CITIES TO LIVE, WORK AND PLAY" - CREATIVE BOOM. (C0WAN, 2015).
NEWCASTLE MANCHESTER LIVERPOOL NOTTINGHAM BIRMINGHAM
LONDON
Fig 38: Locations UK Map, 2018
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Eventually, these locations will be the six selected creative cities for the locations of SELF in retail environments.
IN ACTION
The SELF collaboration must be legitimately responsive to the collaborative brand’s essence and values, or else it won’t flow and be reciprocated well with the target audience. The concept will consist of the brand SELF offering a contract to run a pop up within the client’s store. The pop up will begin in the Nottingham Urban Outfitter’s store for the first launch of SELF to gain the audience’s initial reaction’s on a small basis. Then SELF will start to expand with the retailer Urban Outfitters across creative cities in the UK. Starting in May, a time when the younger consumer is enjoying the warmer weather, out and about more often and wanting experiences, they would be more likely to leave the house with their friends and want a day out socialising, shopping. Over a period of a one-year plan includes initial teasers which will introduce the collaboration up until the launch dates, pop up event and new content on social media. (Media plan pages 116-117). The retailer then has the opportunity to adopt the concept on a permanent basis if the feedback from their consumers is positively recognised. The benefit of the big idea for clients hopes to stand them in good stead for a largely discussed topic in today’s society; the future of neutrality, creativity and positivity in retail and in the immediate future, change perceptions and improve notions of identity whilst increasing the number of footfall within stores and return of investment.
Milton Street
Clock Tower
R2 U/O
Argos
Entrance
Car park
Lifts
Escalators
Stairs
Toilets
As at 5 September 2017
300 110
138 Argento
137 MSR News
139 H Samuel Holland & Barrett 140
HMV 141
Soletrader 142
Card Factory 144
Vision Express 143
Costa 145
WHSmith 30
JD Sports 144-31
Superdrug 29
28
Natwest 27
Everything Everywhere 26
Office 153
Monsoon 154
Topshop / Topman 155
Select 156
Clinton Cards 24
20
111 Ladbrokes 115
Glasshouse Street
Key
37 Yours
162 Millie’s Cookies & Baskin Robbins
43 Vodafone
44 Quiz
R4 Tortilla
45 Goldsmiths
48 Smiggle
Boost
49 Three
46
50 New Look Men
52 The Perfume Shop
51 Lovisa
53 Pandora
54 The Fragrance Shop
55 Charles Clinkard
56 The Watch Lab
109
Beaverbrooks 19
R3 Krispy Kreme 34 Timpson 33 Ernest Jones
32 Greggs
8-9 Betfred
The Hilton Hotel
R1 Handmade Burger
U/O R5
3 Superdry
Swatch 21
Carphone 12 Warehouse
Thorntons 11 Kiko 17
Thomas Sabo 18
Swarovski 16
Lower Parliament Street
U/O R6
Boost Juice Bar 134
Urban Outfitters 13-15
10 Chisholm Hunter
Mansfield Road
Metro
Fig 39: Victoria Centre Nottingham Foor Plan, 2017
URBAN OUTFITTERS
Lower mall
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HOW WILL SELF RESPOND TO THE thREE
RESEARCH PILLARS? THE PROBLEM male and female body anxIETIES CAUSED BY IMAGE CONSUMPTION vIA SOCIAL MEDIA SELF will respond to the first pillar, starting by encouraging consumer driven processes within stores; resulting in REAL and AUTHENTIC imagery of peers on social media platforms for the target audience, taking time out of social media by inviting consumers into a physical space to socialise rather than digital space, offering inclusivity and positivity for the younger consumer who may subconsciously get wrapped up in latest technologies and social norms.
1.
neutRAL SPACE EXPERIMENTING WITH ALTERNATIVE VISUAL CODES AND THE USE OF RELATABLE SOCIAL MEDIA ASPIRATIONS TO ENCOURAGE SELF EXPRESSION FOR YOUNGER GENERATION. SELF will respond to the second pillar by introducing a new concept in retail environments which has no preconceptions. Visual merchandising is styled in an innovative way in which consumers can look without gender boundaries. The consumer is able to experiment and express themselves as an individual with no path or guidance just a blank canvas. The concept of a selfie station located by the fitting rooms hopes to enable consumers to have fun and socialise whilst they shop and see what the clothes look like when they are interacting physically. The images will be projected in-store to showcase real life consumers and be posted on social media too.
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2.
why gen pluRAL benefITS FOR TARGETING 16-22 YEAR OLDS AND THE NEED FOR THIS new CONCEPT IN THEIR EVERYDAY LIVES SELF will respond to the final pillar by understanding the needs of the consumer. The consumer is at the forefront of the Big Idea, bearing in mind the behaviour and attitudes of the consumer which will drive the process so must be targeted in the right way. Understanding what the balance is regarding old and new approaches when targeting a younger audience.
3.
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USP:
3
2
4 [72]
INCREASING C0NFIDENCE and S0CIAL SKILLS
INST0RE EXPERIENCE ENABLES SELF EXPRESSI0N MAKES S0CIAL INTERACTI0N MORE ACCEPTABLE AND RELAXED
Fig 40: SELF USP, 2018
1
ENC0URAGING 0FFLINE INTERACTI0NS
1
Fig 41: Urban Outfitters Exterior Screen, 2018
ENC0URAGING 0FFLINE INTERACTI0NS: Invite instore for events and
enjoyment. Window creating an engaging first impression and inviting people to come instore. (See app page 119 for exploration).
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Poster for fitting rooms and Self Style Stations with positive and encouraging phrases.
Fig 42: Fitting Room Posrer, 2018
2
INCREASING C0NFIDENCE and S0CIAL SKILLS:
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[75]
Fig 43: Fitting Room Posrer, 2018
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Fig 44: Fitting Room Posrer, 2018
shop- point of sale areas will have witty quotes on which encourage and make the customers feel relaxed and want to try something new. They will be in the SELF logo shape with the same fonts and colours for coherenence.
Fig 45: POS Instore Moodboard
3
:
INST0RE EXPERIENCE ENABLES SELF EXPRESSI0N Signage throughout the
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4
MAKE S0CIAL INTERACTI0N MORE ACCEPTABLE AND RELAXED:
Shared experience creates community, go away with a good time to share on social media and influence their peers.
Fig 46: Instagram Post Stages, 2018
STAGE 1: -caption -hashtag -location
[78]
STAGE 2: -POST SELF PHOTO -recieve good feedback and interest
STAGE 3: -POSITIVE AND ENCOURAGING COMMENTS FROM PEERS -inspires people to want to go instore
the MARKET WHAT IS 0UT THERE?
Brands that have already explored a gender neutral approach in retail from 2011 to now 2018...
2011
UNGENDERED brands launched since
2011
2013
2015
NOW 2018
2017
Fig 47: The Gender Neutral Market, 2018
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dIffuSI0N 0F INN0VATI0N THE C0LLAB0RATI0N
topshop fitting room controversy (pressure from customers) MANNEQUINS THAT ARE UNDERWEIGHT- FALSE BODY IDEALS
unisex clothing, windows combined genders, gender neutral fitting rooms ‘Uocc’ - urban outfitters community cares initiative
INNOVATORS
Gender wear style influencer arooj- “their brand ethos is no stereotypes’ Gender neutral children’s clothing
Gender neutral clothing collab- ashish x ri- only available online
EARLY ADOPTER
Brand messageconvenient and covers a wide audience. Would be too broad to begin with
EARLY MAJORITY
Wrong age demographic for this concept, could be open to change?
LATE MAJORITY
“I mean why not, we’ve got cross purchases over both men and women’s departments. Now men don’t want to be buying bras but colour wise we’ve sold so much more pink this year already than ever and have females shopping downstairs (in the men’s) it’s interesting”. (Nathan, 2018) Retail manager Urban Outfitters, Nottingham.
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RIGHT AGE RANGE BUT WRONG CONSUMER and brand identities
LAGGARDS
MOVE WITH THE TIMES OF GENDER NEUTRALITY IN RETAIL ENVIRONMENTS
Fig 48: High-street brands- Diffusion of Innovation, 2018
Choosing a high street brand to collaborate with using the diffusion of innovation... (Rogers, 1962).
WHY URBAN OUTIFITTERS? uo give end of line products to newlife (childrens charity) cross purchases collaborations
shared fitting room breaks down gender barriers
expand on instore photobooth that exisits currently in uo stores- customer base will be familiar.
brand connection opportunties with gen plural
introduced biodegradable bags
UO has strong online communitycombined social following of over 9 million people on Instagram, Facebook, Pinterest, Twitter, and Snapchat (Foster, 2017).
‘uocc’ Urban outfitters community cares initiative
Fig 49: Brand Connection Opportunities, 2018
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R0UTE
T0
C0NSUMER The marketing aims are to overall create community by involving the consumer in a physical space. Starting with the core which aims to be connected, SELF will ensure that their client’s (in this case Urban Outfitters) will be solely consumer driven. The community of SELF will encourage consumers to start the conversation surrounding self confidence and self expression for all. Allowing younger consumers to experiment with their clothing and self image, regardless of identity.
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Fig 50: The Consumer- Model Jamie Lee Grady, 2018
TYPES 0F C0NSUMER PRIMARY
Early adopters and early majority. (See fig 51) Consumers aged 16-22 who are regular shoppers in Urban Outfitters. They shop on the high-street, in charity shops, and sometimes online too. They enjoy shopping in the Urban Outfitters because of the edgy and creative spaces the shops are located in, they visit their local shop regularly to browse. The brand is very on trend and stocks labels, for example they can buy Adidas clothing in store so can try on items that are quite expensive without the hassle of having to send back via post. The primary consumer will be in favour of a collaboration with SELF as they are always looking for new styles and inspiration, they prefer shopping in-store and enjoy the experience with their friends. They have been kept up to date with online posts about the collaboration and are keen to get in-store to try out the new retail environment with their friends who are also primary consumers.
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secondary
Late majority. The secondary consumer
shops at Urban Outfitters for items here and there, if they have had their eye on something for a while they will finally make a purchase, whereas the primary consumer will concentrate on saving their money so they can afford to purchase from Urban Outfitters. They shop on the high-street as well as online retailers like Asos, Size, Missguided, /Mennace. The secondary consumer will experience SELF when they are in-store having a browse, they had seen social media posts about it but hadn’t rushed to get in-store however they want to tell people about it and visit again to try it out in the near future.
DIFFUSI0N 0F INN0VATI0N
Fig 51: Diffusion of Innovation (Rogers, 1962)
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c0mmuNICATI0N channels KNOWLEDGE
First exposed to the idea on Instagram and Snapchat, posts of the SELF concept with teasers of a collaboration with Urban Outfitters.
PERSUASION
Prospective adopter is open to the idea, actively seeking information. Image and video content on client Instagram with a link to follow SELF’s page. @self_collab
DECISION
They will weigh up the pros and cons of adoption and either accept the innovation or reject it. Instagram, Snapchat, launch.
IMPLEMENTATION Early adopter makes a decision as to whether or not the idea is actually useful to them. In-store environment, Instagram, Snapchat, share with friends, gain feedback from online posts with a #selfcollab
CONFIRMATION Evaluates decision and decides whether they will keep using the concept and space or abandon. Sharing experience, up to date with posts of consumer driven process, visit store again for more events, pick up zines monthly.
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Fig 52: Diffusion of Adoption (Rogers, 1962)
62%
OF MILLENNIAL WOMEN SUFFER
‘FOMO’ AS A
RESULT OF SOCIAL
MEDIA
(PANTONY 2018).
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C0NSUMER J0URNEY AWARENESS
Introduce the first launch onto the client’s social media platforms. Instagram & Snapchat to begin with. Through the use of teaser videos and advertisement, consumers will be made aware of the collaboration.
C0NSIDERATI0N
After hearing about the collaboration, the consumer would then look for dates and locations for more information about how to attend. They may then share this with their friends. They would look to the collaborations social media to gage with other people and understand what it is, this will then lead them to the brands social media platforms, giving the consumer opportunity to trust the brand and whether to attend to an in-store launch/ event.
PURCHASE
Considering whether or not to physically enter the in-store space which the collaboration is happening, the consumer would then judge for themselves when there if they are to purchase the client’s clothing and or the brands. The clothing from each will complement each other to suit the client’s aesthetic and will encourage purchases and foot fall for the client.
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USAGE
Once the consumer has attended the in-store environment and know what to expect from the pop up, they will tell their friends, post on social media- generating word of mouth which would encourage them to return with new people to show them this concept. They will get used to this exciting concept in store and hope to see it elsewhere in retail.
ADV0CACY
Through image consumption online of the consumers trying on clothing and sharing their in-store experience on social media, they would constantly be engaging and generating conversation around the brand and collaboration.
Fig 53: Consumer Location Moodboard, 2018
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Fig 54: Route To Conusmer, 2018
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male characteristics
TARGET C0NSUMERS MINDFUL MILLENNIALS
female characteristics
Fig 55 : Male Millennial Consumer Profile, 2018
Fig 56 : Female Millennial Consumer Profile, 2018
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Fig 57: Millennial Lifestyle Moodboard, 2018
TARGET C0NSUMERS male characteristics
GREGARIOUS Gen Z
female characteristics
Fig 58: Male Gen Z Consumer Profile, 2018
Fig 59 : Female Gen Z Consumer Profile, 2018
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Fig 60 : Gen Z Lifestyle Moodboard, 2018
MARKETING OVERVIEW AIMS
SELF will aim to be approachable, encouraging generation plural offline and into store to enjoy physical retail spaces as a place to express themselves away from the toxicity of online.
AUDIENCE The younger generation, aged 16-22
TONE OF VOICE
SELF collaborations encourages you, makes you feel good, doesn’t exclude anyone and forms communities which celebrate others.
WHAT DO WE BOTH CARE ABOUT Transparency, authenticity, inclusivity, positivity. Top priorities for today’s younger consumer so their needs will be met.
WHERE CAN THEY BE REACHED? Initially, on social media platforms like Snapchat and Instagram. Reach out through the collaborative brand- Urban Outfitters. Target their existing following.
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WHAT DO I WANT THEM TO DO? Get themselves in-store with their friends, socialise and enjoy the time spent in a physical space, instead of digital space, trying on clothes, using the selfie station as a way of expressing themselves and experimenting with different clothes.
WHEN WILL THEY BE MOST RECEPTIVE? Morning: The first thing they do when they wake is check in with their notifications and news feeds. They will come across SELF this way. Evenings: Their down time is to chill on their phones in the evenings, chatting to friends on group chats, Snapchat, checking Instagram. They will come across SELF this way too.
WHY SHOULD THEY LISTEN TO SELF? The anxieties that social media can and is causing is skyrocketing. This should be being prevented by encouraging the younger generation away from social media. They will be more attracted to an idea that still targets their interests and hobbies but is addressing a real problem too.
WHY SHOULD THEY TRUST SELF? SELF will gage and understand the threats along the way and aren’t unrealistic with their message however will approach the whole process in a positive, encouraging, light-hearted way in order to ensue less pressure for the younger generation in today’s society.
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A DAY IN THE LIFE OF
GENERATION PLURAL
Fig 61: Day In The Life, 2018
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“YOUNG PEOPLE CHECK THEIR PHONES 150 TIMES PER DAY” (BRANDON, 2017)
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Fig 62: Inspiration/ Consumer Images Moodboard, 2018
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BEF0RE Introduce the brand on the client’s social media with a teaser video of behind the scenes from the selfie station. Making sure the content is suggesting an encouraging conversation to allow for self- expression. Include the SELF link which takes consumers to SELF’s social media to begin to create community and start the conversation amongst young people. This will start word of mouth and introduce the brand message and aesthetic. Once gained following, release the dates for the pre launch of the collaboration in-store. Release the hashtag #imselfconfident nearer the time to remind the consumer and entice them into join.
-INTR0DUCE BRAND AESTHETIC - TEASER VIDEO -release the pre LAUNCH DATES - % off incentive & further competition on social media - introduce #
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self takeover urban outfitters instagram story- introduce the brand, brand message, purpose, aesthetic and #imselfconfident.
feauturing on urban outfitters instagram with teaser video of self- showing the fun, approachable content that consumers create.
Fig 63: Instagram Post on Urban Outfitters
#imselfconfident hashtag introduced for consumers to use on their own photos.
launch dates released for may to invite consumers in for a pre launch where there will be 50% off for a day. consumers will win a prize for the best photo (from the self style station) posted on social media using the hashtag #imselfconfident & tagging @self.
Fig 64: Instagram Post on Self
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five C'S 0F S0CIAL MEDIA 1. c0ntent SELF will aim to be approachable, encouraging, allow for selfexpression, and inclusive. The language will be integrated across different media such as in-store, social media through image and video as a way of connected and relating to the
2. c0ntext
SELF will get the message across to allow consumers to express themselves in a physical space rather than digital space. Encouraging physical interaction and connection with peers and opportunity for real life community.
3. c0mmunITY SELF’S collaboration will make sure the collaborative brand already has a strong connection with the audience, enabling the consumers to be open to new and innovative ideas. This connection will be through events, physical retail, interactions
4. c0NTINUITY Agile and responsive. Keeping the conversation going with lots of plans for the future to keep the audience engaged all the time. Should always be reminded and connected to the
5. C0HESI0N Connect brand across different media spaces. Keep the same look across all platforms in regards to the brand recipe and message.
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Fig 65: SELF Instagram, 2018
million 0 0 6 t ust hi s, doubling j m a r “Instag active user just two ly month er count in llion new mi mb st its me he last 100 the pa t T s . u s j n year oined i g, 2016). j s r e memb (Zhan ” s h t n 6 mo
SCAN QR C0DE T0 access INSTAGRAM PAGE [105]
DURING
Pop up launch event in Urban Outfitters. More footfall in-store for the client. Consumers will be in a space that is open for everyone with no divides, the selfie stations allow consumers to be relaxed and try on clothes for fun and see how they feel in the garments when interacting with people. Consumer driven content will be posted on social media accounts and released as marketing on the front of the store window and in-store on large screens which consumers will see in the city coming from work, school and university. The social media they will see during the day during times which they are likely to be online such as when they wake, lunch time, during travel times and in the evenings when they are relaxing. (Day in the life). Keeping to the 5 C’s of social media and continuity, the conversation must be kept going and consumers must be kept engaged. Customers are familiar with SELF now and are engaged with what the brand does. A competition will be launched during July, when the younger generation are on holidays and are more willing to come into store with peers, the competition will encourage 16-22 year olds to post their content on social media account along with 3 things they love about themselves. Win % off their next purchase in-store. Increase exposure online and footfall. “Clients go from 50 to 1,000 and from 15,000 to 30,000 likes in a matter of days/ weeks when running a contest”. (Pickering, 2011). This will benefit the client as it will increase footfall and following and be relatable as well as on trend for the younger demographic.
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- LAUNCH EVENT -NEW S0CIAL MEDIA P0STS -NEW MARKETING -THE COMPETITION T0 WIN
start a poll for consumers to answer whether or not they are going to enteras incentive and as interaction on the post keeping them enagaged.
winner of the best photo from the pre launch day. they will win % off their next purchase instore.
Fig 66: The SELF Competition Moodboard, 2018
competition instructions to remind the consumer to post their self style station pictures on social media with the chance to win money off their next purchase instore.
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LET'S PUSH
THINGS Fig 67: Instagram Consumers, 2018
F0RWARD W0RD 0F M0UTH
Consumers will be encouraged to feature their in-store experience on social media, with the hashtag #SELF, hoping to expand the brand message to their peers and following to entice more customers through the doors. The next six consumers are an exploration of the target demographics’ usage with the social media platform Instagram to gage an understanding of how they interact with it. (See app, pages 52-57) [108]
NANCY MCGARAHAN, 16
the s really using er c en u fl in re e r “A g that they a in h t y er ev Is e product? n an experienc o ed s a b t u o b talking a e product? It’s h t h it w d a h they’ve ngontinuous, lo c a g in d il u b r about ith a particula w t en em g a g term en alim, 2018). individual.” (S
-H0W 0FTEN D0 Y0U P0ST 0N INSTAGRAM? Once a month
GRAM?
-IN 0NE SENTENCE WHAT IS THE MAIN REAS0N Y0U USE INSTA
celebrities/influencers. To share my photos and keep up with friends and
-WHAT D0 Y0U LIKE M0ST AB0UT INSTAGRAM AS A PLATF0RM?
friends, but also have an insight into The fact that you can share photos and videos to people's lives
F0R INSPIRATI0N? 0R D0 Y0U RATHER L00K T0 -D0 Y0U F0LL0W MANY INFLUENCERS? D0 Y0U L00K T0 THEM PEERS AND REAL PE0PLE? . I follow fashion brands r than inspiration I do follow influencers but more for interest rathe fically speci ration inspi on fashi and accounts specifically for
ED L0TS 0F PE0PLE? IF S0, WHY?
-HAVE Y0U EVER BEEN THR0UGH Y0UR F0LL0WERS AND DELET
too many accounts that are unnecessary, or I Yes, because sometimes I feel that I just follow actors from a TV show I no longer watch follow accounts that no longer interest me e.g.
-D0 Y0U GET CAUGHT UP AR0UND THE INSTA LIFESTYLES, WHAT
IS AUTHENTIC T0 Y0U?
on social media as I know it isn't reflective of I try not to focus too much on what people post looking at Instagram models and forgetting a person’s real life, but sometimes I find myself that they dedicate their lives to the way they look.
-D0 Y0U FIND ADVERTISING GENUINE? W0ULD Y0U LIKE T0 SEE
M0RE REAL P0STS? WHAT COULD THIS BE?
the same types of companies who I don't find most advertising genuine as it is often tooth whitening products etc.. However, influencers advertise for e.g. protein shakes, tea, brand deals with genuine companies that they there are some influencers who create genuine deals with people who genuinely have are passionate about. I would like to see more brand an interest companies and more partnerships.
Fig 68: Instagram Questionnaire Results, 2018
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Fig 69: Post Production Moodboard, 2018
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AFTER After the six months of activity have passed instore, the client will decide whether this concept works for them in-store and they will judge the success of the pop up with real time feedback. “Three quarters (75%) of consumers now expect to be able to provide feedback on their experiences in the moment, according to recent Voice of the Customer research from customer feedback specialist eDigitalResearch. 82% did so to share a positive experience, followed by 11% who wanted to complain and another 7% who decided to share an idea.� (Hurst, 2017) This can then become a permanent fixture before moving onto other stores in the UK in the first instance. Consumer driven content will be a large part of the way retail is run in the future so this is a good start for a popular high-street retailer to be the first to make positive changes. A free monthly zine will be published of the content created by consumers when in-store, it will be free of charge, allowing for more people to view it and if the zine has been a success it will continue, measured on real time feedback.
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-CLIENTS TAKE ON THE CONCEPT, POP UP'S BECOME PERMANENT FIXTURES, license agreement - PUBLISHED M0NTHLY ZINE of consumer driven content
who are self
you today? Fig 70: Poster/ Zine Content, 2018
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Fig 71: Poster/ Zine Content, 2018
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Fig 72: Poster/ Zine Content, 2018
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medIA PLAN
The tIMELINE SH0WS THE CAMPAIGN STRATEGY AND WHEN EACH C0MP0NENT SH0ULD BE IMPLEMENTED.
feb-MAR
VIDE0 1
Video of what the experience and in-store space would offer, creating a buzz around the concept and exciting the consumers for this launch. Feature on Urban Outfitters social media platforms.
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s0cIAL MedIA
Gain following from the younger consumer attracting them with the brand aesthetic, also posting on the clients page. Posting regularly with the sort of imagery the brand is promoting for in-store environments.
LAUNCH DATES
Now the consumer knows about the brand and collab with high street retailer, launch the dates for when the concept is physically in Urban Outfitters Nottingham
#IMSELF CONFIDENT
Introduce the hashtag getting the conversation started for the self collaboration with urban outfitters.
TEASER F0R PRE LAUNCH EVENT
INTRODUCE #
LAUNCH DATES F0R C0LLAB
BRAND AESTHETIC
TEASER VIDE0 1
n0v-dec
pre Launch teaseR post
The pop up in Urban Outfitters will encourage instore experience for the younger generation, invite them instore for an incentive to gain footfall for the store. 50% for a day instore only and a prize for the winner with the best photo.
THE LAUNCH
Consumers are invited in-store to begin the transition of self expression and neutrality in retail environments. Their photos being taken will be featured on the Instgram and in-store/ exterior store on the projection consumer screen.
New 0utl00K
Social mediabiggest influencing factors for the younger generation. Ask shoppers to share photos/ videos on social media accounts. Engage them in contests or polls. Respond to them on social media. Zine in-store for consumers to showcase consumer driven content.
MaRKETING
Once the pop up has been installed for a few weeks, release the images of the consumer driven photography from booths on the big screens. Grasping the attention of the public in more personal and memorable level to get them involved and want to join in.
aug-sept
eventstylING
C0mpetItIon
MARKETING
new s0cIAL MEDIA and zINE
THE launch
june-jul y
C0mpetITION
Encourage them to post their content on social media account along with 3 things they love about themselves. Win % off their next purchase instore. Increase exposure online and footfall. “Clients go from 50 to 1,000 and from 15,000 to 30,000 likes in a matter of days/ weeks when running a contest�. (Pickering,
2011).
Fig 73: Media Plan, 2018
APR-may
ApRIL - SEPT 6 M0NTHS- P0P UP IS INSTALLED IN RETAIL ENVIR0NMENT wITH 3 MAIN EVENTS ACR0SS THE SEC0ND HALF OF THE YEAR.
StylING EVENT
The brand will host an event which encourages the younger generation to physically enter the store and enjoy an event that helps to style outfits suited to them. Brand loyalty is necessary with the client as the consumer would need to trust them first. Promotes authenticity.
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the futuRe m0nths Right from the start SELF will have introduced with a teaser video on the client’s Instagram and Snapchat. Introducing the brand, what it is and what the consumers can expect when shopping in-store. The social media will start to be recognised as followers are gained then launch dates are announced for the next few months so the consumer can save the date. Another reminder to the consumer of this concept will be a # later on and finally an announcement on social media platforms to entice consumers instore.
five years
0NE YEAR
If the client is satisfied with the collaboration and the increased footfall in their physical store they will continue to commit to the SELF retail environment on a permanent basis. Future events and plans can be negotiated with the client as to what suits them for the future. SELF will start to expand in other Urban Outfitters stores throughout the UK in the target consumer’s cities. The images created by SELF consumers could be printed in a SELF look book given out the consumers in-store so they can see their own content in the format of a mini zine that is available in-store to showcase the images of the consumers. The aesthetic will mirror the theme of this report.
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In the future, SELF will have changed perceptions of consumers when shopping in-store, they will enjoy physical space on a different level as oppose to digital space. This concept will expand to other high-street retailers that feel they are ready for the concept as well as their target audience. Five years down the line, as well as taking pictures and helping shoppers to self-style, the Style Station could be used to upsell items. Smart tags could be used on clothes and recognised by the Style Station so that it can offer suggestions related to the garment(s) the shopper is trying on i.e. ‘your shirt choice could look great with this pair of trousers and shoes’ or ‘have you tried one of these scarf’s with that top’. This means it becomes an additional sales tool for the shop / retail chain. It could also be measured (in ££££’s) to see how many extra sales the Style Station has created and therefore how much extra income it has generated for the shop. This could prove that the Style Station is not only beneficial to the shopper and a great ‘ethical’ addition to the store, but that it can pay for itself and create income for the retailer – this makes it a more attractive business based proposition for the retailer and a more valuable commodity for Self to sell (if it has a proven track record of improving sales).
c0nclusI0N
Fig 74: Consumer Photography, 2018
SELF aims to improve the lifestyles of younger people when it comes to digital and physical spaces. The space encourages consumers to express themselves in a place that they are familiar with so feel more able to do so in their comfort zones. The brand essence will strive for a consumer driven core enabling authenticity and transparency. Inclusivity for all will also be at the core of the main aims for SELF as this is important to address in today’s society. “Inclusive marketing is marketing — the only distinction is that it doesn’t advertise or promote solely to a singular demographic. It’s an active response to traditional stereotypes and an attempt to convey that one’s brand is built for customers of all demographics. In today’s world, if a business markets to a narrow audience, customers can (and will) notice. Social media and product reviews give voice to the individual, so companies must intelligently market to the individual”. (Horgan, 2017). (See App page 82).
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ILLUSTRATI0NS Fig 1: Ogden, H (2018) Front Cover Gender Flip Book [photograph] Fig 2: Ogden, H (2018) Express Yourself Moodboard Fig 3: Ogden, H (2018) Generation Plural Moodboard [Collage] Fig 4: Ogden H (2018) Mock up Delevingne Instagram. Available at: https://www.instagram.com/caradelevingne/ Fig 5: Society Backlash Image, (2018) Available at: http://kknekkebrod.tumblr.com/post/127700778266 Fig 6: Topshop Daily Mail, (2017) Available at: http://www.dailymail.co.uk/female/article-5065331/Viewersreact-Topshop-s-gender-neutral-changing-room.html [Cutout] Fig 7: Property of Society https://www.theodysseyonline.com/does-social-media-encourage-perfection Fig 8: Ogden H, (2018) Male positivity [Moodboard] Fig 9: Ogden H, (2018) Female positivity [Moodboard] Fig 10: Missguided Instagram Quote, (2018) Available at: https://www.instagram.com/missguided/?hl=en Fig 11: Missguided Be Yourself Campaign, (2017) Available at: https://www.missguided.co.uk/campaign/ keep-on-being-you Fig 12: Carson E, (2011) Society Killed The Teenager Collage Available at: https://emmacarson.deviantart. com/art/Society-Killed-the-Teenager-261955559 Fig 13: Ogden H, (2018) Authentic People [Moodboard] Fig 14: Identity Art, (2018) Available at: http://www.theartfuldesperado.com/tear-it-off-by-nicholas-mottolajacobsen/ Fig 15: Survey Results (2018) Available at: https://www.theguardian.com/lifeandstyle/2012/jan/06/bodyimage-concerns-men-more-than-women Available at: http://www.glamourmagazine.co.uk/article/glamour-beauty-survey-2018 [Infographic] Fig 16: Ogden, H (2018) Toxic Masculinity [Moodboard] Fig 17: Ogden, H (2018) Gender Fluidity Timeline [collage] Fig 18: Ogden, H (2018) Department Segregation [collage] Fig 19: Ogden, H (2018) Gender Neutral Market [infographic] Fig 20: ASHISH X RI Moodboard, 2018
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Fig 21: Ogden, H (2018) Gender Neutral Market [infographic] Fig 22: Ogden, H (2018) Agender x Selfridges [Moodboard] Fig 23: Hale, D (2018) Identity Art Available at: https://society6.com/douglashale Fig 24: Ogden, H (2018) Consumer Decision Process Survey Results [Infographic] Fig 25: Ogden, H (2018) [Infographic] Customer Service Preference Survey Available at: http://www.startek. com/news/digital-preferences-millenials-interact Fig 26: Barr, C (2016) General Election Active Voters [infographic] Availabke at: https://www.theguardian. com/lifeandstyle/2016/dec/10/generation-z-latest-data-teens Fig 27: Ogden, H (2018) Gender Flip Book. Creative Research [photograph] Fig 28: Ogden, H (2018) Gender Flip Book. Creative Research [photograph] Fig 29: Ogden, H (2018) Gender Flip Book. Creative Research [photograph] Fig 30: Ogden, H (2018) Creative Concept [Moodboard] Fig 31: Ogden, H (2018) Self Style Station [illustration] Fig 32: Ogden, H (2018) Instore Ipad [Mock up] Fig 33: Ogden, H (2018) Self Style Station [illustration] Fig 34: Ogden, H / Draper, P (2018) Self Style Station Instore [Mock up] Fig 35: Draper, P (2018) Key Creative Media. Inside Self Style Station [Mock up] Fig 36: Ogden, H (2018) Tone Of Voice [Moodboard] Fig 37: Ogden, H (2018) Brand Essence Model [infographic] Fig 38: Ogden, H (2018) SELF Future Locations UK Map [infographic] Fig 39: FHP, (2017) Victoria Centre Floor Plan Available at: https://www.fhp.co.uk/wp-content/uploads/2015/01/intu-Victoria-Centre-Leasing-Plan-Sept-17.pdf Fig 40: Ogden, H (2018) Self - Unique Selling Points [infographic] Fig 41: Ogden, H (2018) Urban Outfitters Exterior Screen [Mock up] Fig 42: Ogden, H (2018) Fitting Rooms Poster [Collage] Own photography Fig 43: Ogden, H (2018) Fitting Rooms Poster [Collage] Own photography Fig 44: Ogden, H (2018) Fitting Rooms Poster [Collage] Own photography Fig 45: Ogden, H (2018) POS Instore [Moodboard] [121]
Fig 46: Ogden, H (2018) Instagram Post Stages [Mock ups] Fig 47: Ogden, H (2018) Gender Neutral Market [infographic] Fig 48: Ogden, H (2018) High-street brands- Diffusion of Innovation [infographic] Fig 49: Ogden, H (2018) Brand Connection Opportunities [infographic] Fig 50: Ogden, H (2018) Route To Consumer- Model Jamie Lee Grady [Own photography] Fig 51: Ogden, H (2018) Diffusion of Innovation (Rogers, 1962) [infographic] Fig 52: Ogden, H (2018) Diffusion of Adoption (2018) [infographic] Fig 53: Ogden, H (2018) Consumer Location Moodboard [Own photography] Fig 54: Ogden, H (2018) Route to Consumer [infographic] Fig 55: Ogden, H (2018) Male Millennial Consumer profile [illustration] Fig 56: Ogden, H (2018) Female Millennial Consumer profile [illustration] Fig 57: Ogden, H (2018) Millennial Lifestyle [Moodboard] Fig 58: Ogden, H (2018) Male Gen Z Consumer profile [illustration] Fig 59: Ogden, H (2018) Female Gen Z Consumer profile [illustration] Fig 60: Ogden, H (2018) Gen Z Lifestyle [Moodboard] Fig 61: Ogden, H (2018) Day in The Life [Collage] Fig 62: Ogden, H (2018) Inspiration/ Consumer Images [photography] Own Photography Fig 63: Ogden, H (2018) Instagram Post on Urban Outfitters [Mock up] Available at: https://www.instagram. com/urbanoutfitters/?hl=en Fig 64: Ogden, H (2018) Instagram Post on Self [Mock up] Available at: https://www.instagram.com/self__ collab/?hl=en Fig 65: Ogden, H (2018) SELF Instagram. [QR Code] Available at: https://www.instagram.com/self__collab/?hl=en Fig 66: Ogden, H (2018) The SELF Competition [Moodboard] Fig 67: Instagram Consumers (2018) [questionnaire] Available at: https://www.instagram.com/?hl=en Fig 68: Mcgarahan, N (2018) Instagram Questionnaire Primary Research Results [infographic] Fig 69: Ogden, H (2018) Post Production [Moodboard]
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Fig 70: Ogden, H (2018) Poster/ Zine content. Model Jamie Lee Grady Fig 71: Ogden, H (2018) Poster/ Zine content. Model Matt Wragby Fig 72: Ogden, H (2018) Poster/ Zine content. Model Rebecca Loban Fig 73: Media Plan [infographic] Fig 74: Ogden, H (2018) Consumer [Photography] Own photography
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