Earth 2030: 'An Identity Crisis' - Contemporary Fashion Communication AD5604 by heleenahouston

Heleena Houston

HELEENA HOUSTON - 1918689 CONTEMPORARY FASHION COMMUNICATION AD5604

CONTENTS PART ONE Introduction and what I intend on creating (p1-16)

THE NARRATIVE (p27-30)

WHY INSTAGRAM? (p35-36)

SHOWstudio (p38)

PART TWO Explanation of outcome (p19) WHAT IS AN

P 1-16 P 25-26 P 27-30 P 31-34 P 35-36

P 38

MARKET LEVEL LUXURY (p31-34)

WHO HAVE I RESEARCHED TO INFORM THIS OUTCOME? (p37)

P 37

P 39-46 P 47-50

‘REINCARNATION’ (p47-50)

IDENTITY CRISIS? (p25-26)

CRAIG GREEN (p39-46)

TIM WALKER (p51-54)

P 51-54 P 55-58

JULEN IZTUETA AND FINDING MY OWN STYLE (p55-58)

UNDERSTANDING COLOUR & THE PRIMARY COLOURS (p59-68)

P 59-68 P 69-72 P 73-80 P 81-82 P 87-88 P 89-91 P 92

FINAL OUTCOME (p67-72)

THE 2030 CAPSULE & ‘MUSEUM ANALOGY’ (p73-80)

THE VIRTUAL TOUR (p81-82)

REFERENCES FOR PART ONE (p87-88)

REFERENCES FOR PART TWO (p89-91)

IMAGE REFERENCES (p92)

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PART ONE... 2

Introduction... 3

What does the future hold for us?

‘Although nothing is in anyway good about this awful pandemic,

e have the stories of the past but who has the capability of telling the untold stories of the future? There is no crystal ball that can precisely show us what will happen and when, in fact, we have experienced irst-hand how the world can quite literally change overnight due to the Coronavirus pandemic which encompassed the world. The stories of the future are uncertain, but we can create and communicate the possibilities out there. The untouchable, that will soon become the touchable, something tangible which we can physically feel – an entity we had been deprived of in the previous decade.

But will the stories tell and dwell on this ugly beast that swept the corners of the world? That everyone remained stuck in their tracks and had no purpose to continue living in a world of utter unrest? No – the answer is no. The individuals of this generation will go through a matter of a transformative reincarnation that will allow them to look forward, to the future and beyond.

the effects of it will be to produce a cultural shift’ – Nick Knight

The ‘Re’claimed Purpose Trend Forecast for Earth 2030

A trend forecast for Earth 2030 is a complex one, but it will soon be here.

Allow the visions to become reality. 7

With a further understanding that luxury brands are beginning to tailor their services and products to their relevant consumer needs, they look into how consumer characteristics and behaviours are changing. By keeping up with what the consumers wants and needs, they are able to capture these generations whilst they are younger, in the hopes of building strong foundations in their early relationship so that the consumer will feel comfortable in relying on the brand in their later life, therefore reinforcing consumer loyalty (Zhang, 2020).

‘The ‘Re’claimed Purpose’ foretold the prediction for Earth 2030. It examined the murkier side to fashion albeit promoted the idea that Nature and Mankind should coexist equally, sharing a space where one shouldn’t overthrow the other.

‘The ‘Re’claimed Purpose’ was aimed at the luxury market with the belief that consumers are increasingly purchasing luxury fashion for it being a more responsible choice (Banks, 2018). These ‘consumers’ belonged to that of Gen– Z. For this reasoning, there is evidence to suggest they have a more dedicated interest on topics of sustainability in comparison to the generations before them. They further strive to educate themselves and search for hidden information about products and services they may potentially invest in (Ipsos-Mori, 2018). With a zeal for creating a healthier world to live in compared to that of the one their ancestors created, they are early adopters, the creators of the future. Summarising Gen-Z, they currently make up 33% of luxury purchases, and by 2025, this is expected to grow to approximately 55% as suggested by (Rinaldi, 2019) where this can only be predicted to increase even further by 2030.

‘The ‘Re’claimed Purpose’ embodied three micro-trends that fortiied the strength to protect the planet we live on. After highlighting the uncomfortablness of the current times, I took 2030 on a more positive journey where we have more control in creating a better Earth. However, inding comfort in the world around us in the near future, the forecast highlighted how we cannot ignore the constant evolution in technology. In developing this forecast further, I will be understanding how we can employ the digital interconnectedness between each other within the social sector to help support and welcome our future.

In 2030, there is a high possibility that many will face ‘An Identity Crisis’.

They will overcome this through the concept of belonging to a ‘Community’.

The need for change and the driving forces for determination in bettering the world we live in allows us to have this ‘Clarity of Comfort’ as consumers; but what about our individual selves? This fast-paced change and need for ‘New Prophecies’ could result in an identity crisis for many, where we feel overwhelmed by a continuous pressure to be in fact something… ‘purposeful’. How can an identity crisis, ‘the personal psychological conlict that involves confusion about one’s social role and often a sense of loss of continuity to one’s personality’ (Deinition of IDENTITY CRISIS, n.d.) be transformed and associated as something revolutionary in ‘Re’claiming one’s self, for a more positive reason so? The Coronavirus pandemic shook up the industry and proved that it could not remain as is was before, it didn’t work, and the structure of it was outdated (Jordan, 2020). Therefore, it is only natural for us to feel a sense of doubt as to where we actually stand as individuals when the industry itself was failing too.

‘T

he Visualisation of 2030’ through ‘Contemporary Fashion Communication’ forces us to think about what this ‘communication’ actually means. Communication is deined by ‘a process by which information is exchanged between individuals through a common system of symbols, signs and behaviour’ (Deinition of COMMUNICATION, n.d.) where the exchange of this information and expression of feeling can result in understanding (COMMUNICATION | Meaning in the Cambridge English Dictionary, n.d.). This act of communication can be achieved through the use of speaking, writing or using some other medium and it is this ‘other medium’ I want to explore further.

How do we apply this to fashion? Communication in fashion has evolved on a huge scale from drawings, to hard print, to tv advertisements to a digital sector which is a whole other area to explore but what will the visualisation of the communication be in 2030? There is no denying that the importance of social media plays a great factor in helping the spread of brand awareness, further allowing brands to connect and communicate with consumers on platforms that they are familiar with. But also, social media is a great place to connect with others and be a part of a digital, online community. I will be speciically utilising Instagram as a method in communicating and sharing ideas of the inal outcome. Also, understanding how Instagram has evolved from this retro-ilter app to posting photos of your location or selies to where it is today, it is a much more dynamic space. Social networking and active usage of social media sites is dominated by that of Gen-Z where it is suggested that 67% of these visit the Instagram app multiple times daily (Iqbal, 2018). Focusing more on the statistics founded of the content that this generation seek from Instagram; 66% of these users delve into video content from brands alongside 68% who enjoy photos from brands (Iqbal, 2018). Considering there is a small difference in preferences of photo and video content, it is evident that regular users are making use of the physical visualisation of something through ilm and movement compared to that of static images.

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ince the rise of Coronavirus and due to social distancing, the fashion industry had to adapt quickly, and that was done digitally through online platforms. Many brands including Balenciaga who released a collection in a video gaming format gained praise for a ‘fresh and immersive way to experience the Fall 2021 collection when runways and stores were off limits.’ (Sheldon-Hicks, 2021). With an acknowledgement that many brands reached out to the gaming sector this was a location where a lot of their target consumers would be found, but social media also played a vital role too. (Sophie De Rosée, 2020) suggests that we could be entering an age of fashion ilm and out of ‘chaos comes creativity’ which resulted in a ‘beautiful multimedia explosion of artistry’ where digital formats replaced catwalks to Q&A panels and livestreams, it was fashion ilm that worked the best. The world changed and designers couldn’t sit still. Using ilm can be utilised in other ways than solely showcasing the inal product, it can show the behind the scenes and the thought processes that designers go through. Seeing what goes on behind closed doors through ilm, allows the consumer to engage and appreciate the brand because they are letting us see pieces of the story.

Figure 1: Dior sneakers SS21 image retrieved from Instagram Figure 2: Peter Doig painting digitally printed onto Dior coat image retrieved from Instagram

I intend to use Instagram to share, inluence and educate people who visit the page through an insight to the future. It is my online and digital community. Showing my research from the beginning on Instagram, it feels only right for the inal outcome to be there too. I will be posting a trailer for 2030. One that highlights an ‘Identity Crisis’ will be something powerful that embraces the need for ‘New Prophecies’ to overcome this in a colourful, vibrant and communal manner. It will be a part of a 9 post – Instagram series that acts as a 2030 capsule. An exhibition area will be thought of by using my ‘Museum Analogy’. Museums hold artifacts and educate us on the past, but we must make room for the future and welcome it to help others visualise the possibilities. The luxury market will continue to be of the essence throughout this prediction where it had captured Gen-Z in 2020. They feel safe and secure remaining in these brandto-consumer relationships. The luxury market is also able to explore ideas in a perhaps more conceptual way of thinking and this has been my approach. To tell the future through an abstract. The future is unclear, and nothing is perfect, but we can visualise something great is coming. Referring to this idea of storytelling, this is what Instagram is centred around and it will be pivotal in having a circular inish to my work in being presented for the rest of the world to see. This is what the aim is for my Earth 2030: to provide a glimpse into the future. It is uncertain, but we can have hope that there really will be this ‘cultural shift’ for a more purposeful and exciting reason. We can only dream of what we want to see and happen, however there must be a creative way to hit reality in that it will be overwhelming, and we haven’t seen it yet.

‘An Identity Crisis’ presents...

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PART TWO... 18

Explanation of Outcome...

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IDENTITY ‘T

heorist Erik Erikson coined the term identity crisis and believed that it was one of the most important conlicts people face in development. According to Erikson, an identity crisis is a time of intensive analysis and exploration of different ways of looking at oneself’ (Cherry, 2020). Whilst this can happen during adolescence, Erikson believed it wasn’t limited to this; identity is in fact a concept that changes and grows throughout life whilst individuals face new challenges and experiences.

CRISIS 25

noun

- ‘a feeling of being uncertain about who or what you are’

The Narrative... 27 27

think there is a shared understanding that if we do not get our act together, the Earth will simply give up on us. ‘The ‘Re’claimed Purpose’ was about turning that awareness into action. With all the focus on Earth ‘Re’claiming itself and the industry working hard to become a positive attribution to creativity, where it will signiicantly reduce its carbon footprint on the planet…it can leave us foraging for where we stand as individuals. This explanation of my outcome will take you through the journey to ‘An Identity Crisis’ help you understand how this can be so much more than a dark stage in one’s life. I will explore colour, movement in identity and how I can tell the story of something that will be vibrant and powerful.

A journey must always start from somewhere, whether that’s half way through the story, or right from the planning to the outcome. As I referenced the circular fashion cycle being imperative to the future of fashion within my Earth 2030 forecast, it only feels right to have a circular inish to my work. The inal outcome will be where it started and that is the location of Instagram. The narrative of Earth 2030 is one where ten years beforehand, people feared we would live in a disconnected, lonely and dystopian world due to climate change and the scaremongering of new deadly viruses. But come 2030, we have developed so much more as consumers, having active roles in working with brands regulary and having aided the industry in ‘Re’claiming itself, as well as our host, Earth. But we start to doubt ourselves, the commonality of every consumer being the same person; matching interests and desires…what is individuality again?! Undergoing a metaphorical ‘Reincarnation’ in one’s self, individuals will be inspired to gain control in a vibrant way through the concept of community to piece together numerous qualities in creating an individual self again.

The luxury market who has the power and advantage of using their voice to inspire and inluence; the future will be explored through an abstract in a more conceptual way. But Why? The years that were overridden by the Coronavirus pandemic left many people living solitary, feeling lonely and diserted, yet 2030, will be about ‘New Prophecies’ one’s that consist of optimism and positivity. You have the freedom to create the person you want to be where there are ‘No Limits’ - 2030, is yours. ‘A Toast to The Future’ where we can celebrate communally. Using Instagram to post the inal outcome means it’s a location where anyone can reach it. A short trailer for Earth 2030: ‘An Identity Crisis’ will push forward the notion of the need for change is coming and people should be prepared. Instagram is the centre of communication for my generation, Gen-Z where it is more than the retro-ilter app it was ten years ago. By 2030, Instagram will be twenty years old, and it is only suggested to continue evolving and remain the most used social media platform. (Oxford, 2020). Even in 2021, it is no longer solely a selie app. It now provides for a vast range of interests and acts as an education and inspiration hub, therefore what do the next ten years hold for us as daily social media users?

Market Level:

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L U X U R Y

ith the recognition that luxury was once believed to be a state of elegance or comfort attained by great expense (Hodgson, 2018), the meaning for luxury brands has since evolved. It is more concerned with the emotional side to things which can offer a consumer comfort and reassurance. Consumers care more for the values a brand has and it isn’t solely about a product anymore. Using Gen-Z as the target consumer for this project, is due to the belief that Gen-Z is set to make up over half of luxury consumer numbers by 2025 and is expected to increase even further by 2030 (Rinaldi, 2019). This multifaceted generation crave luxury that can offer ‘freedom, space, personalisation, and possibility’ (Hodgson, 2018), therefore it is important for brands to clearly communicate to their target audience that they can resonate with the them and offer more than a product, but a service.

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Figure 3: Chanel Fall-Winter 2021/22 Ready-to-Wear show Instagram posts screenshot retrieved from Instagram Figure 4: Ed Curtis ; wearable paintings - image retrieved from anothermag.com Figure 5 & 6: Raf Simons and Robert Mapplethorpe collaboration by Getty Images - images retrieved from vogue. com

If luxury brands can acknowledge and support their audience through the process of ‘An Identity Crisis’ they can offer awareness that people aren’t alone. When they can provide reassurance and inspiration, people will feel a part of a community in the sense that the brands that they resonate with are there through support. The luxury market is not offering a product here, they are demonstrating that they too will be facing change and are offering a consolidated space promoting individuality and purpose, but by being a part of a community. To be individual, you do not have to distance yourself. Using Instagram to create a positive warning for the future, people can interact and share to spread the awareness. It is used to promote optimism and to welcome the change in an exciting way where it is not to be feared.

Large luxury brands are often on social media as a way to engage more with their consumers. With a well-renown brand, comes a large following; this ultimately means that big brands have that power tool to promote, share and offer ideas to large audiences. I strongly believe that Instagram is a power tool in itself in that it can be used to create awareness of a brand, connecting with the consumers in their natural environment which these days, seems to be online. As mentioned earlier, 67% of Gen-Z are active daily users on Instagram; higher than any other generation (Iqbal, 2018), further proposing the notion that they will continue to use social media sites into their adult lives too.

The luxury market itself is optimistic and utilising opportunities to collaborate with other creatives who can help to evoke emotion from their outcomes. For example, Raf Simons x Robert Mapplethorpe Spring/Summer 2017 allowed the designer to take inspiration from the photographer which helped to translate his transgressive work into fashion (Moncayo, 2019). It is the crossing of creative industries which are two worlds apart but have a lot in common and that can be so powerful to connect and communicate with audiences on deeper, more meaningful grounds. Fig 5

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Why Instagram?

Instagram has transformed into a dynamic platform which has a range of attributes such as…

With Gen-Z who are known to have shorter attention spans, brands must communicate the message across quickly and effectively (Boger, 2020). Although many brands share fashion ilms via this streaming platform, the convenience of sharing and liking and commenting is so much simpler on Instagram. Two clicks and it is on someone else’s story and their audience can view it, and the cycle happens again, whereas with YouTube you have to share to other social media platforms, thus taking more time.

Instagram stories, which delete after 24 hours; Ephemeral messages, which is private messaging media; Feed algorithm, which is the order of your feed by what the computer thinks you’ll like; IGTV, where you can post longer videos; Live video, broadcasting to your followers in real time; Instant translation, which allows you to see what comments, captions and proiles mean that use a different language and Reels, where you can create short videos acting very similar to TikTok. It is evident that Instagram provides the user with numerous ways to communicate to other people. It allows them to story tell through different approaches (Iqbal, 2018).

I have also shared the ‘behind the scenes’ work to ‘An Identity Crisis’ on my Instagram to reinforce the narrative of piecing together identities. As brands increasingly show what happens behind closed doors, it allows the audience to feel and understand where ideas may have stemmed from, by seeing the process. (Goldingle, 2016) suggests that if brands can share work through Instagram features it can potentially reduce that pressure of the ‘perfect’ outcome. The process of creating something always includes development, trial and error and disagreements, it isn’t just about the inal product. This is what ‘An Identity Crisis’ inds pinnacle, is the essence of helping with the pressure of being something ‘purposeful’ it is a constant journey to piecing yourself together and it doesn’t have to be perfect, but the changes can be reinforced positively.

There are so many qualities within Instagram which makes it successful. Not everyone will use or like every feature but there is so much diversity in the ways people can communicate what they are doing. I have also been very set on Instagram from early on due to the reason of how it has evolved overtime and the enjoyment of sharing my work and being inspired by others. Having the idea of creating a short trailer/ ilm for my project that would be less than a minute long, I had to consider what platform this would be released on. I considered YouTube, however I strongly believe that this ilm location has remained very much similar to what it has always been, a free video sharing platform (GCFGlobal. org, n.d.) but for more lengthy videos.

Who have I researched to inform this outcome?

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SHOWstudio N

ick Knight, founder of SHOWstudio in 2000 has inluenced me through concepts and approaches to ilm making. Knight is a ‘pioneering force in fashion and image making’ (Davies, 2018). He has accepted that there won’t be an ultimate rule book for fashion ilm considering the medium is still being deined. Fashion imagery and ilm is accessible on phones, laptops, cinemas and any other electronic device pretty much, so to not attempt in experimenting in creating imagery or showing movement, would be a disadvantage. He also acknowledges that fashion catwalk shows (something of the past) didn’t create enough awareness of all the hard work that goes into the making of the garments or sharing what the concept was. “Why would you talk to so few people, when so many more want to see it? Now all fashion shows are broadcast live… this has resulted in a lot more theatrics in shows, it becomes a televisional spectacle”. Although the idea of Luxury and Haute Couture comes with an essence of ‘exclusivity’, the appreciation for the work can be monumental if showed with more people digitally. Researching SHOWstudio during lockdown 3.0, Nick Knight spoke about new ways in understanding the world and a new way of expressing yourself (Johnson-Wheeler, 2020)

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noting that he’d “much rather, as a society, we look towards the future”. I ind myself resonating well with fashion image maker in “creating the vision that we can all aspire to”. We have to embrace the future and tackle it. If we can communicate effectively the ‘New Prophecies’ through optimism effectively, then the audience will welcome it, feel reassured that it will be a unique transformation. My concept of ‘A Toast to The Future’ is complimented through Nick Knight quoting ‘here’s to the next generation’. We will be the leaders of 2030.

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Figure 7: SHOWstudio web home page - screenshot retrieved from showstudio.com Figure 8: Nick Knight - photo retrieved from showstudio.com

Craig Green

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nother inluence on ‘An Identity Crisis’ was that of Craig Green. The Londonborn designer created his label in 2012. Further understanding that a lot of his work addressed the concept of uniform and utility, his label is ‘known for their dramatic and deeply emotive qualities’ (craig-green.com/pages/about, n.d.). Having a prominent position as a luxury brand on Instagram @craig_green with a current following of 351 thousand Instagram users, they have a large audience. They utilise the platform to display campaigns and new work which helps to show their development as a brand.

Looking at the conceptual pieces, the notion of uniform and utility is visible through the structure of the garment. Zooming further in, there are so many elements that make up the entire piece which is how I have applied Craig Green to my analogy on what represents community. Each element comes together to create something new. This will be the future; we will work together to create better things. ‘An Identity Crisis’ will be made up of all these elements as such.

Figure 9: CRAIG GREEN Spring/Summer ‘21 - image retrieved from Instagram Figure 10: CRAIG GREEN Spring/Summer ‘21- image retrieved from Instagram Figure 11: Autumn/Winter 20 Collection Special @dazedchina - image retrieved from Instagram

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Close up of mixed media collage in response to Craig Green

Close up of mixed media collage in response to Craig Green - using magazines to build the image

Reincarnation

With the idea of ‘Reincarnation’, it’s understood you can embody a completely new form to what you were before. Using a butterly helped me explore this metaphorically. It starts as a catapillar and transforms through metamorphosis, into a beautiful butterly that has freedom and movement, which may be overwhelming. A butterly can too, symbolise endurance, change, hope and life which is signiicant to 2030 as we must face these changes and challenges such as an identity crisis – it can result in something great, and you must persist at overcoming it.

have explored this concept of ‘Reincarnation’ which came from the sense of a ‘Need for New Prophecies’ and how we as individuals will transform and change. ‘Reincarnation, also called transmigration or metempsychosis, in religion and philosophy, rebirth of the aspect of an individual that persists after bodily death—whether it be consciousness, mind, the soul, or some other entity—in one or more successive existences’(www.britannica.com - reincarnation | Deinition & Facts | Britannica, n.d.).

Mood board exploring the concept of ‘Reincarnation’

Tim

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Walker 51

hotographing my creations, I looked to the likes of British photographer, Tim Walker. His approach to photography is unique and he is successful in storytelling through the lens which was my aim. Using these ish eye lens’ to capture the subject of the image projects a sort of fantasy, dream-like and whimsical aesthetic to his work. He doesn’t always use this type of lens, but I think it relates well to ‘An Identity Crisis’ in 2030.

As mentioned earlier, no one has a crystal ball to tell or show us the future perfectly, but the effect resulting from this type of lens, can symbolise looking into the future and perhaps getting a glimpse of the potential. Walker quotes that “I’ve always had a very strong sense of entertainment and the need to entertain visually; I ind a lot of photography, a lot of visual media, [not] inclusive because it’s not obviously entertaining as these pictures are” (Smith, 2012). It is his way of communicating his ideas to the audience in a creative way. Using a ish eye lens, I was able to capture a Tim Walker inspired shot which I have used in my development and has been shared to Instagram.

Figure 19: British photographer Tim Walker - image retrieved from timwalkerphotography.com

More Tim Walker inspired shots

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Figure 20: Julen Iztueta Instagram - screenshot

Julen Iztueta

ooking back at my trend forecast ‘The ‘Re’claimed Purpose’ – I enjoyed making digital collages to communicate my ideas, however I have been creating a lot more collages by hand recently. Relecting back on how designers often collaborate with artists, an artist who inluenced me was Julen Iztueta where I discovered him on Instagram as some of my research was collated from there. Julen Iztueta is a Barcelona-based image maker where he can tell fashion stories through images that he cuts, tears and manipulates to translate different meanings (Foiret, 2020). From his Instagram @juleniztueta it is evident he likes to share the behind the scenes of his work too, so that his followers are able to see the process. I created a response to his artwork and tagged him, to which he interacted with the post. Another reason for why Instagram is a tool for sharing where you gained inspiration from and allow others to share your work! Although the images are static in the collages, he creates movement and tells the story through piecing together each part through ilming short clips.

Layered collages in response to Julen Iztueta

his idea further inluenced me to create some identity collages using torn up magazines to create more abstract pieces. Speciically using masking tape in my approach to piecing qualities of a person together. The masking tape allowed movement if something didn’t feel right in that spot. I believe that this can symbolically represent the freedom we will have to overcome ‘An Identity Crisis’ when it hits; it allows us to tailor our preferences to ourselves and we can move around and keep deining ourselves should we not feel satisied. This is where the importance of colour comes in next…

Understanding

Colour... 60

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Primary

The

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Colours

Identity croquis’ using the primary colours

uring my research and development, I naturally found myself reaching for the primary colours. Not only can colour add vibrancy to something, but it can have associations and universal meanings, yet also have individual meanings too. Acknowledging the importance of colour in being a powerful communication tool, it is can evoke emotion and ‘inluence physiological reactions’(Cherry, 2020). Retracting away from the idea of a dull future, and the essence of a ‘reincarnation’ being something visually represented as dark, I wanted to bring colour into this optimistic and transformative time of 2030.

Mostly using the primary colours, I have also ensured that Orange hues are used alongside. (Kinsella, 2017) suggests that ‘orange can stand for hope, even in the depth of the darkest season’ which can be linked to my ideas about change coming in 2030. The colour orange can symbolise the ‘Need for New Prophecies’ and the hope can signify the optimism that will be integrated into the individuals who are made aware of the future. I have speciically decided to talk about colour rather than using it and giving no explanation because I wanted to consider that some audience members may be colour blind. With little knowledge on people who suffer from colour blindness, I couldn’t ignore the fact that someone who has this, could be part of my following. (Allen, 2017) suggests that worldwide, 8% of men and 0.6% of women suffer from a form of colour blindness. Blue and Orange is a common colour blind-friendly colour palette so they will be able to notice different hues within the visuals (Jeffrey Shaffer, n.d.). Whilst they may not be able to fully experience the vibrancy from all colours, they too can certainly be involved in this symbolic piecing together of who they are as an individual and what makes them unique. Also, incorporating ilm into parts of my research, and the inal outcome, they can be a part of this journey and still feel the urgency within the pace of the trailer.

As my theme surfs around the idea of a community, this is how I visualise the primary colours. Yellow, Red and Blue - they come together to create the secondary colours of Orange, Purple and Green when you mix them, which can metaphorically represent a community coming together to create new things. Although the combination in mixtures of colour will always be the same, for example, red and yellow makes orange; it’s the idea that sometimes you need that help from something else to transform yourself from your old state.

Mood board exploring the concept of ‘Identity & Colours’

The future is unclear but let’s magnify the optimism

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Piecing together new identities

Final Outcome... 70

‘An Identity Crisis’ trailer broken down...

The 36 second trailer is fast faced representing and urgency in ‘A Need For New Prophecies’

The planned layout of my Instagram will look like this once everything has uploaded

The 2030 Capsule A

Museums hold culture and deeply signiicant pieces of art, sculpture and so much more, it is the physical space of education. Whilst it is so important to treasure the gifts from the past, we need to make room for the future, we need to create the awareness that changes are coming and it’s to be embraced.

ll of the information prior to this has inluenced me to where I am now. I feel I have been successful in pushing forward the idea of ‘An Identity Crisis’ being something to embrace and face challenges with the ‘Need for New Prophecies’ through optimism, and that 2030 is not something to be feared by. Tackling challenges through a communal environment digitally communicating through the use of social media allows a sharing of knowledge and ideas, really is something that brands will continue to do. It is not about the inal product; it is about the journey. Afterall, this story hasn’t ended yet, this is a snippet into the future, one where the story will continue to be told and explored on an individual, yet communal manner.

Using ‘art steps’ - a web-based location which allows you to create virtual art galleries in lifelike 3D formats, I have been able to create a mock-up of how I would have placed the story of ‘An Identity Crisis’ within a museum space. Museums are free, and so should the future, embrace what is free. Throughout the environment, I have my favourite quotes printed on the walls that I have made and from people who have inluenced me such as Nick Knight. I have also placed QR codes on the walls that will take people directly to the Instagram page where they can visually see the start of the concept to the inal outcome of this idea. I have screen recorded a tour through the exhibition and these will be posted on Instagram also. It sits visible as ‘A Toast to The Future’ where people can immerse themselves through a glimpse to what they may potentially encounter in 2030, an idea communicated that as individuals living in a community, they will truly embrace ‘An Identity Crisis’.

Concluding my work, I have also made notes on how all of this will be presented through an exhibition space. Whilst having my nine Instagram posts as a little capsule of the inal outcome, this makes it easy for people to engage and share the content as it is quite literally in the hands of the audience. Thinking about Instagram being the digital education and inspiration hub that welcomes anyone and everyone for free, what about a physical space? I have briely explored this concept of my ‘Museum Analogy’.

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Fig 21

A fully functioning QR code which readers of this book can scan to visit my Instagram page

An overview of the design model used to create the virtual exhibition

The Virtual Tour IN THE HANDS OF THE CONSUMER

Inside view of the virtual exhibition through the journey to ‘An Identity Crisis’

References

for Part One 87 87

Banks, L. (2018, December 11). What does luxury mean now? https://www.bbc.com/culture/ article/20181210-what-does-luxury-mean-now Communication|Meaning in the Cambridge English Dictionary. (n.d.). Retrieved 4 March 2021, from https://dictionary.cambridge.org/dictionary/english/ communication David Sheldon-Hicks. (2021, January 14). Why brands must learn from the ilm and gaming universe. LS:N - The Future Laboratory. Deinition of COMMUNICATION. (n.d.). Retrieved 4 March 2021, from https://www. merriam-webster.com/dictionary/communication Deinition of IDENTITY CRISIS. (n.d.). Retrieved 3 March 2021, from https://www. merriam-webster.com/dictionary/identity+crisis Francesca Romana Rinaldi. (2019). Fashion Industry 2030—Reshaping the Future Through Sustainability and Responsible Innovation. (First edition). Boconni University Press. egea.edizioni@uniboconni.it-www.egeaeditore.it Ipsos-Mori. (2018, July 4). Ipsos Thinks: Beyond Binary: The lives and choices of Generation Z. Ipsos MORI. https://www.ipsos.com/ipsos-mori/en-uk/ipsosthinks-beyond-binary-lives-and-choices-generation-z Laura Antonia Jordan. (2020, September 24). The Future of Fashion: Where Do We Go From Here? Artful Living Magazine. https://artfulliving.com/the-futureof-fashion-2020/ Mansoor Iqbal. (2018, January 16). Instagram Revenue and Usage Statistics (2021). Business of Apps. https://www.businessofapps.com/data/instagram-statistics/ Sophie De Rosee. (2020, September 26). Are We Entering A Golden Era Of Fashion Film? | British Vogue. https://www.vogue.co.uk/fashion/article/fashion-ilmrenaissance Yahong Zhang. (2020, January 24). Luxury Brands in The New Age. Hapticmedia | Blog. https://hapticmedia.com/blog/luxury-brands/

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Jeffrey Shaffer. (n.d.). 5 tips on designing colour-blind-friendly visualizations. Tableau. Retrieved 6 March 2021, from https://www.tableau.com/en-gb/about/blog/2016/4/ examining-data-viz-rules-dont-use-red-green-together-53463-0 Johnson-Wheeler, Lara. (2020, December 9). Nick Knight on working hard and embracing the new. 1 Granary. https://1granary.com/interviews/artists/nick-knight-onworking-hard-and-embracing-the-new/ Karl Smith. (2012, December). Interview with Tim Walker. The White Review. https://www. thewhitereview.org/feature/interview-with-tim-walker/ Kendra Cherry. (2020, May 28). Can Color Affect Your Mood and Behavior? Verywell Mind. https://www.verywellmind.com/color-psychology-2795824 Kris Boger. (2020, October 20). The Rise of Short-Form Video & the Gen Z Social Revolution | IAB UK. https://www.iabuk.com/opinions/rise-short-form-video-genz-social-revolution Lore Oxford. (2020, October 6). Instagram at 10: What does its future look like? The Drum. https://www.thedrum.com/opinion/2020/10/06/instagram-10-what-does-its-futurelook Maike Moncayo. (2019, November 21). Top 10 Most Iconic Art and Fashion Collaborations. Artland Magazine. https://magazine.artland.com/top-10-iconic-art-fashion-\ collaborations/ Mansoor Iqbal. (2018, January 16). Instagram Revenue and Usage Statistics (2021). Business of Apps. https://www.businessofapps.com/data/instagram-statistics/ Stewart Hodgson. (2018, November 3). Indulgence And Innovation: Luxury Branding In A Post Luxury World. Fabrik Brands. https://fabrikbrands.com/luxury-branding-ina-post-luxury-world/ www.britannica.com - reincarnation | Deinition & Facts | Britannica. (n.d.). Reincarnation | Deinition & Facts | Britannica. Retrieved 6 March 2021, from https://www. britannica.com/topic/reincarnation

Figure 1: Dior sneakers SS21 - https://www.instagram.com/p/CLRE7qNI8Nz/ Figure 2: Peter Doig painting on Dior coat - https://www.instagram.com/p/ CKbfB9OI6Um/ Figure 4: Ed Curtis - https://www.anothermag.com/fashion-beauty/13112/ed-curtis-fashiondesigner-artist-clifford-jago-stylist-interview-2021

Image References

Figure 5 & 6: Raf Simons and Robert Mapplethorpe - https://www.vogue.com/article/rafsimons-alexander-fury-interview Figure 7: SHOWstudio web home page - https://www.showstudio.com Figure 8: Nick Knight - https://www.showstudio.com/contributors/nick_knight Figure 9: 4 models - CRAIG GREEN Spring/Summer ‘21 - https://www.instagram. com/p/CG-qkexlGO4/ Figure 10: 2 models - CRAIG GREEN Spring/Summer ‘21 - https://www.instagram. com/p/CG-ZsUGFMRi/ Figure 11: Autumn/Winter 20 Collection Special @dazedchina - https://www.instagram. com/p/CFSSnS-lFQD/ Figure 12: Butterlies - https://weheartit.com/entry/332109346 Figure 13 : ‘Into the woods’ - https://windling.typepad.com/blog/into-the-woods-series/ Figure 14: ‘Light and Dark’ - https://www.lickr.com/photos/morphicx/10900468806/ Figure 15: Pinterest - https://i.pinimg.com/originals/c5/7e/7ac57e7ad21c2ee7380e7c96fb6 3a5a554.jpg Figure 16: ‘Hand Tenticles’ - https://aestheticamagazine.com/a-sense-of-connection/ Figure 17: Pinterest (unknown orginal location) - https://www.pinterest.co.uk/ pin/351703052157905363/ Figure 18: Hands - https://dilatatum.tumblr.com/post/131726034118/help-im-alive Figure 19: Tim Walker - https://www.timwalkerphotography.com/biography Figure 20: julen Iztueta Instagram - https://www.instagram.com/juleniztueta/ Figure 21:Window display template - Designed by rawpixel.com / Freepik