Welcome to the Future
1600 Words As this is an introduction for my trend forecast of 2030, I believe expressing a rounded knowledge of what your own personal trend forest stands for, who it is aimed at, the benefits it brings to both consumer and brand, as well as the journey you took to get there are of the utmost importance. Within this introduction I will be touching upon all bases of these, however I will be going into depth of how it all began and where I intend to take it, so that come 2030, my product will still be a well-known thing.
5604 Perspective
Original | digital rework of Craig Green imagery developments |
Original | digital styling developments |
Earth
The concept that the is a secure and safe place for shelter is a myth, this theory is no longer a solid foundation. Where has mother nature gone?
01.Green is our saviour 1600 Words
Conceptual Rebuild, An introduction
Conceptual Rebuild, An introduction Trend Overview So, what is my Forecast for 2030? Well, as we had to choose a particular section from our previous trend package we designed to explore further and visualise, I decided on the main aspect I focused on before, the word ‘Concept’. However, as this word is an extremely open term, I wanted to narrow it down and direct it in the ‘Conceptual Rebuild’ area. To me, this was an obvious choice, it was something I had gone into a lot of detail previously and heavily explored, touching on various basis such as past designers, brands and campaigns that used the word ‘Concept’ to fully include the different consumers they targeted, however I wanted to take this and build upon it, developing it into a more 3D version. Creating a term and product that will make 2030 a conceptually 3D world for the generations to come. However, you may be asking what is a 3D world going to look like? Well, as this module builds upon the choice we previously made of innovation or traditionalism, I really wanted to push myself out of my comfort zone, branching out of my normal choice and really push that risk factor of choosing something that before would put me off.
In conclusion to my outline of my forecast, as you keep reading you will see that I will introduce my leading role models, the people who gave me inspiration to this directed path, I will address who my targeted consumer is and the reasons behind why I have chosen that as my client base, and the final end product, both digital film as well as designed garment line.
Digital styling developments Conceptual Rebuild February.
Digital styling developments Conceptual Rebuild February.
02. Rebuild
03. Concept
04.Old News 1600 Words
Influences Overview. As I began my research, I took great interest in particular designers that practiced non normality ideas, otherwise identified as Conceptual artists. However, two particular names stuck out for me, not necessarily for simply their well-known work, however the journey they took to get there, Craig Green and Robbie Spencer to name the most prominent ones. Firstly, I will briefly talk through my first individual, Craig Green. London born; Craig was best known in 2012 for establishing his fashion label shortly after graduating with a masters at the well-known Central St. Martins. Where he began from his first year carving out his highly innovative brand, this allowed him to directly shoot to global success both in the commercial and critical fields.
I think for me, personally, I wanted to focus Craig as he is globally known for utilising his garments in a uniform way, by creating lines which form a variant of an army or family, a cult like similarity, (“About”, 2021). As this is much like what I am striving to maintain throughout my garment releases.
05.Shape
06.Responsibility
1600 Words For my introduction of my final influence behind this forecast, is the well-known Robbie Spencer. Beginning simply by joining the bi-monthly arts and culture way back in 2006, he began to work his way up to eventually fashion director and creative director at Dazed and Confused. In contrast to Craig Green, Spencer is best known for bringing a harsher structure to his work, it is less emotive. Robbie has been kept a close eye on throughout his career which has led him to his work being featured in various publication companies such as Harper’s Bazaar, AnOther Man, V, SHOWstudio and many more. Among Spencer’s work, I have found great inspiration as it personally illustrates new voices in image making, by open mindedly collaborating with various contrasting names such as Tyler Mitchell, Daniel Shae, Collier Schorr and more, (“Robbie Spencer | SHOWstudio”, 2021).
As Craig focuses on the deep emotive side when designing his runway garments, this gives both his name the brand he is creating substance, more to it than simply garments. It is because of this thought out process for each garment that has gained him such success, so much so that Green has landed many opportunities outside the basic sphere of fashion, like his designs being featured in the Metropolitan Museum of Art’s in China, Through the Looking Glass in 2015, and Heavenly Bodies in 2018, to name a few.
07.Perspective
08.Heritage 1600 Words
Consumer Overview.
consumer, I
The access the Gen-Z consumers obtain to the marketplace is varied, which means consumers believe this is the crucial point where I set up are now falling back on a brands aesthetic rather the reasons why I chose them, as well as the key than morals, as in today’s world, every brand aspects that bring benefits to my product and claims to have the same targets and goals, most brand. When I began my research into the vari- often than not are sustainability and diversity, ous different consumers and the morals they all (2021). This is a large topic, one of which will stood for, I soon realized that in all the articles be explored in my forecast report, however as speaking on the Gen-Z generation, there was a an introduction to the consumer, I hope it has strong similarity, where every one of them have illustrated the beginnings to the research I have an urge to belong, to fit in and never stand alone, made which support my forecast conclusion. to belong to a family if you will. This aspect fully resonated with me, as it went hand in hand with both my end product, as well as the key artists I was focussing on who were strongly directing my forecast, this is additionally supported by the comfort feeling they receive with innovation, the virtual world if you will. Due to the constant nature vs. nurture subject, meaning the internet is all they have ever really known, (2021). In my opinion, the whole concept of how the Gen-Z consumers view technology is both a positive, as well as a negative contributor. The claim that due to constant access to the internet, which in turn creates an expectation of fast development meaning a higher expectation for improvements and progression can both hinder a brand, however also push it forwards to keep up with the consumer.
Conceptual Rebuild, An introduction
As I introduce my target
09.Consumer
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Product Introduction This final chapter is the introduction to my final product and what I plan on achieving within it. When I was in the research process of my Forecast, I found what truly intrigued me, which was how other brands used their garments/ and or trailers to tell a story, while maintaining that promo clothing drop aspect. This was similar to what I wanted to portray, as for my final pieces were clothing garments that illustrates my forecast while keeping it 3D. However, my final product is intended to be a 2-part achievement, the clothing garment is part one, whereas the way I plan on bringing it to life is the second part, this indeed is the aspect of film. Film to me has always been an extremely large part of who I am, I have always found it both the direction I want to go down after University, however also a way to express myself, to let the image say the words you can often fail to do, which to me was the main focus of why I chose to capture this creation of mine through film.
1600 Words My vision for my film, is to capture san anonymous/vacant feel, it needs to be directed towards 2030, which in itself is an uncertain future due to the present struggle against Covid19, and that is exactly what I want demonstrated, the uncertain future within a garment promo video as well as a potential trailer for the years to come. As I will be collaborating with a professional photographer Sam Ferrell, who focusses primarily on still images while expressing them in a promotional way, his brand and morals fit perfectly into what I am planning on creating. I believe having another eye involved is an incredibly important contribution, it creates both experience for both parties, as well as opens you up to a separate way of seeing your creating you had not prior.
The actual shoot will be a mixture of behind the scenes, as well as the end product itself, I wanted to tell a story, to take the viewer on a journey from beginning to end, showing the potential mistakes made and/or things that we tested that may have not worked. In conclusion, as I have touched briefly on what the report will contain, I hope this introduction has captured your attention and brought you in, into the world of Conceptual Rebuild.
Conceptual Rebuild, An introduction
The Future Continued | Volume 2
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Part
2. Ethical issues will be a large part of this
Within this report, I will be exploring in detail the journey I took to get to my final forecast, the different processes I took to get there, all the experiments and in turn failures that did not work. I will be touching on the various influences behind my thought process, and what they bring to my forecast.
report, as I feel to fully understand where you sit and how to target you brand, you need to have an informed opinion on what is currently within it, additionally I will be exploring many more key points, such as how my forecast fits within both the contemporary market, as well as the conceptual market, who my consumer is and the reasons behind this chosen generation and what benefits my product can bring to them, and finally how my exhibition fits within my chosen market. This will be a fully rounded and research report that concisely demonstrates my journey and final product.
Conceptual Rebuild Forecast Report
Introduction
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Ethical issues within the luxury market. Ethics within the fashion industry has always been a hot topic, specifically when it comes to the fast fashion platform. However, it has also become a shaded subject when linking it to the claim of sustainability. Why is this though, is it down to purely the fake facade of brands, where the morals they portray are simply a marketing strategy? Well, within this chapter we will be exploring what ethical issues are currently facing the luxury market.
While I was researching into how predominately all fashion shows since Covid19 began, have moved into a fully virtual platform, I came across a certain article that fully resonated with me, and brought awareness to how ethical is the luxury market really is, as I speak for myself when I claim that the subject of failure to ethical hold up when linked to the high end market has never truly been something I pay much attention to, however, while I was reading this article from The Guardian, the claim of during all these wild fashion weeks were going on, and the most elite fashion houses showcase the very best of their lines, the true question is of what credit do the hands that made these fabrics or in some cases the actual garment, apparently hardly any whatsoever says Bryony Moore, (guardian, 2021).
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Ethical issues within the luxury market. For a long time, many high street brands such as Primark, Topshop, Gap etc, have always been subjected to criticism over how realistic their anti-sweatshop campaigns truly are, however, luxury brands such as Valentino or Armani have not. Which to me, is out of the question, this is down to the fact that if my markets lay within the luxury concept market, I want to be as transparent as possible, starting with the exposure and avoidance of brands that up until now, have fully shied away from the spotlight when the word ethical responsibility approaches. In the past, it has been ignored the claim that high end brands pay zero to no regards towards the corporate ethics all fashion brands are expected to stand by, however, the large question most ask and in turn I ask myself, is why has this blatant disregard been overlooked for all these years if not decades, well I believe I it purely down to disguise. By this, I mean a brand can truthfully claim to being ethical, however, when the owners of that brand are not considered in the same sense this is where the lines begin to get blurry. For example, Stella McCartney has always stood by animal cruelty free campaigns, which in respect to her, has been proven correct, however, Gucci who eventually owns the brand, condones the free use of fur within their lines. Additionally, after much digging, I came across the claim that Gucci have absolutely no supply or environmental agreement policy in place, (guardian, 2021)
This is exactly the same with Vivienne Westwood, she herself firmly stands behind fighting climate change, and using her platform to this advantage, whereas her company once again have no environmental impact agreement in place. Which shocked me as a reader when I first read it, however, it comes to a point where you ask yourself, do these large advocates know of these detrimental details? This detail that has been covered in a sense, has fully given me food for though whilst executing my research throughout this report.
Styling developements, exploring shapes & lines
10.Consumer
11.Broken
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Key Influences. In the beginning of my research, I had to link certain designers, brands, artists etc, to myself and in terms of similarity to what I was planning on creating. This in itself was something that gave me a lot of help in the early days of my research, in my opinion it was a pivotal moment as it was a case of seeing into the future of what aspects worked and resonated within the market. Trials and errors previously made by others to use as a guide for my own. The first person I looked into was Craig Green, he is one the key influences in this forecast. While looking into his journey, the path he took to get to where he is now, as well as where he sits in the market and what benefits he brings, I found great inspiration from how he specifically uses his garments as beacons hope, creating a narrative through his creations, sourcing an identity within each garment he produces for his target audience. Seeing as I introduced the outline of Craig in my introduction book, in this chapter I will now jump headfirst into the nitty gritty details of Craig Green. The direct articles and details that link him to my forecast narrative.
In an article I read from HypeBae, it stated how Green and his collaboration with Moncler directed his lines into a protective, 3D, transparency, and security area, (“Craig Green Plays with Volume and Abstract Shapes in Latest Moncler Genius Collection”, 2021). This particular collaboration was one that stood out to me purely on the fact that it was a deliberate pairing to create a constant flow of the same fabric, that being micro rip-stop nylon. This particular fabric was fully lightweight, which in turn created maximum simplicity, achieving this 3D affect I am honing in on in my forecast. Additionally, in a second article I investigated, there was another campaign which made my mouth water, in a sense that it was extremely sense evoking, creating such a powerful narrative purely through imagery. This AW17 campaign was teamed up with stylist Robbie Spencer and photographer Dan Tobin Smith, the aim of it was to create a human lifeboat, using the human body as a symbol of safety and security. In an interview with Craig Green himself, he rounded this well known campaign with a simple statement, which to me, fully describes why I love and play into the work Craig produces as well as who he is as a person, what he stands for within his brand, “ I think campaigns, like shows, should try have a fantasy element. I like that a campaign gives you another way of communicating what the collection was about,” (Seaton, 2021). This evocative campaign was primarily one to create a sense of human defiance when produced with a dangerous or chaotic circumstance, which stood out to me personally on the basis of today’s situation with Covid19. It was as if Green in a way predicted the protection, we may need in years to come, this campaign was one that ended up being a significant turn within my research.
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The Consumer Within this chapter, I will be speaking on my targeted consumer, what identity they maintain, and why I have chosen them, after all, a brands consumer is the predominant driver. The consumer is what brands shape themselves towards, to entertain, it is where they target their morals as a brand and base their citationsm upon. While reading an article from TheLuvo, it tackled the new world we live in and how in turn that has changed the way consumers live and what they search for when choosing where to shop for garments, “ With people based marketing, you put people at the centre, you put the individual at the centre of all your marketing,” (Djordjevic & Djordjevic, 2021). In other words, it comes down to knowing your audience and merging your path as a brand towards that, in turn this is when you can then use this tactic to your advantage and make changes to you online presence on both social medias as well as other various digital channels. Many people believe that brands know their audience simply by observing the cookies they accept when viewing a website, however, whilst on my research journey, I came across the fact that this indeed is not the case, it is one of naivety and ignorance, the base of a high luxury brand basing the whole of it’s success on a means of cookies would not be reliable nor sustainable. What is to say it is not a shared device or accidental click, to me, while thinking on my chosen consumer I tried to stary as far as possible from wide marketing, meaning marketing that leaves the lines blurry between brand and consumer.
As touched upon in my prior chapter, addressing my thought process and journey to how I reached my consumer, now I will talk about the core of this chapter, the consumer I have decided on targeting myself. For my chosen consumer, I have decided to stick with my decision of the Gen-Zer. I chose this age category as I wanted to focus on the aspect of uniform, and in turn creating a family identification within that uniform. This first stemmed from a case study I read, (Magazine, 2021). Where as a Gen-Z, all they crave is to belong, to never stand alone and to ‘fit in’ if you will, this was something that fully resonated within me, and began my thought process of how I could immerse this consumer in my created forecast and self-brand. Additionally, Gen-Z as a generation, have always been subjected to technology of some sort, weather that simply be a Xbox, PS4, Nintendo, Television, etc, however, the older generation have not, they grew up just at the time it was all firstly beginning, which in turn can often cause fear in a way, fearing the unknown 3D world we are slowly creating. Whereas, the Gen-Zers have been moving at a much faster pace than technology itself, which pushes brands to keep up and invent new ways of connecting. This can be both a negative and positive thing, I decided to channel it in a positive way however and use this large open space to really push my limits and what I can achieve as I believe a brand will never move forward unless it embraces the fact the consumer runs the brand and not the latter way round.
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What the Concept market brings to the Contemporary market The price from brands can tell a lot, a lot about where they sit in the market level pyramid. However, the price within the contemporary market is significantly lower than that of the luxury, by miles. Saying that, by no means that the contemporary market is as affordable as that of your high street brands, it is anything but affordable for your average person day to day, more realistically items can run anywhere from £150 up to £800. Whereas, an item, depending on the product chosen, can range anywhere starting from £4000 to £5000, which is obviously significantly more than your average contemporary brands, (Simmons, 2021). Leading from this, as it goes hand in hand with pricing, the age range from that is most commonly between 20 to 30, due to this brands within the contemporary market aim to target those consumers, adapting their morals and aesthetic to fit with them. It’s just informed and rounded marketing when you put it into black and white.
Conceptual Rebuild Forecast Report
To answer the question of ‘how the concept market fits within the contemporary market’, we need to first identify and explore what contemporary fashion actually is. As a whole, the word contemporary within itself is thrown around aimlessly, which often creates confusion for the typical consumer, leaving them unknown to the word whilst shopping. However, most are more aware than they realize. In an article I read during my research, it was perfectly described how to decipher what indeed makes fashion contemporary, “ Like many segments of fashion, brands that are considered contemporary are defined by such as their price point and consumers”, (Simmons, 2021). When it comes to contemporary fashion, much like all other platforms within in the pyramid levels, contemporary is no different. It is decided from brands, prices, consumers etc. As everyone is familiar with the high end names such as Chanel, Fendi, etc, and in turn the prices that go along with those high end names, well this is exactly the same as the level of contemporary, it refers to a certain segment and the brands within that area. The level of contemporary falls beneath the level of luxury, however along the same level of the bridge, the bridging level that is classified as lower-priced, secondary brands, brand names that have no issues using lower value and cheaper materials, for example a simple example would be the brand Loehmann’s, (Simmons, 2021).
12.Structure
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Conceptual Rebuild Forecast Report
What the Concept market brings to the Contemporary market Now, as this chapter is all about answering the question of ‘how the concept market fits into the contemporary market’, well, I believe how it fits in down to the foundations, that being the youth. Youth is on the side of both, contemporary as that market is aimed at the younger generation, however also in terms of high end brands as it’s a trend, a trend to own something many class as popular and in a way a term of success. We are at a time in life where the younger generation have more of a disposable income, meaning they have more accessibility to higher priced brands, such as previously mentioned Gucci, Chanel, Fendi etc. The topic of disposable income and youth have become automatically linked, so why not connect the two and create the ultimate brand, one which covers all price, quality, and younger morals within a brand. The last real question to be asked is, how is this relevant to my forecast, well I am indeed doing as mentioned above, linking my conceptual product with the younger generation, however in the form of expression, movement, and narrative.
How does my exhibition fit within the concept market As this is the final chapter to this report, I will be explaining in conclusion how my exhibition final pieces will fit within the concept market. To begin, I will be at how exhibitions are a marketing strategy within themselves. Firstly, the rout word for ‘Exhibition’ is Expositio, the word of Latin origin means exposing and displaying. This is relevant in terms of exposing an individual’s work and/or art. The reasons behind an exhibition goes much further than that of merely showing work off for exposure, it is driven by human activity, to tell a story through just that, interaction. It is a positive end result, ending in both a narrative being told as well as activity and interest bringing brought to light, as seen in the major world know Chinese exhibition held twice a year Canton Fair, (Canton, 2021).
Conceptual Rebuild Forecast Report
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Orignal | Testing the combination of Croquis with landscape imagery. Creating a new future setting digitally.
13.Restriction
14.Alternative
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How does my exhibition fit within the concept market That being said, now we have briefly gone into the origins of what exhibitions are and the benefits they can have, we will now begin the dissection behind the relevance my market level bring towards it. Within my exhibition, is my final instillation, this is made up of various components. It firstly features my fashion film, which under the current Covid19 guidelines fully adheres and follows within them, however this film is the moving imagery section, showing my thought process in a visually moving way. The second component is the section of digitalising my work, taking images from my film & photoshoot to croquis up and give a different dimension, showing the alternative more relevant side of my forecast, and lastly the third and final component is the origin of thought, the garment that made all these various aspects happen, which is my original design and construction of my skirt, the skirt that handmaidenly demonstrates the theory of the rebuild/regrowth side.
Conceptual Rebuild Forecast Report
As this is the final chapter to this report, I will be explaining in conclusion how my exhibition final pieces will fit within the concept market. To begin, I will be at how exhibitions are a marketing strategy within themselves. Firstly, the rout word for ‘Exhibition’ is Expositio, the word of Latin origin means exposing and displaying. This is relevant in terms of exposing an individual’s work and/or art. The reasons behind an exhibition goes much further than that of merely showing work off for exposure, it is driven by human activity, to tell a story through just that, interaction. It is a positive end result, ending in both a narrative being told as well as activity and interest bringing brought to light, as seen in the major world know Chinese exhibition held twice a year Canton Fair, (Canton, 2021).
Digital styling developments, exploring shape and colour Conceptual Rebuild February.
15.Growth
Orignal | Testing the combination of Croquis
with landscape imagery. Creating a new future setting digitally.
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How does my exhibition fit within the concept market
. This is in fact the aspect I will be taking with me in my exhibition, which then raises the question of relevance and drive within the concept market. People may ask why this aspect is relevant in the concept market, and what does it bring. Well, seeing as my chosen market level is the concept market, I find the prospect of putting my thought process and drive for behind my forecast in a sculpture form to be, in my personal opinion, a true definition of the concept market. The outline of what the concept market is, and what I created seem to go hand in hand, something that has always been my biggest inspiration. In conclusion, to put it simply, I believe exhibitions are all about expression and individuality, while maintaining that level of promotion, an aspect which I believe I have strongly narrated within this project and forecast.
Conceptual Rebuild Forecast Report
Original | Testing movement and blur to explore the component of uncertainty within the future
The Future Concluded | Volume 2
Image Reference List 1. Zarella, K. (2021). The Spotlight | Craig Green. Retrieved 11 January 2021, from https://www.businessoffashion.com/articles/news-analysis/the-spotlight-craig-green 2. Farfetch. (2021). Craig Green - Designer Fashion - Farfetch. Retrieved 11 January 2021, from https:// www.farfetch.com/uk/shopping/men/craig-green/items.aspx 3. Magazine, W. (2021). The luxury loungewear sets for nesting into the new year. Retrieved 11 January 2021, from https://www.wallpaper.com/fashion/best-loungewear-brands-to-hibernate-in-this-winter 4. Jodion, S. (2021). Sophie Jodoin. Retrieved 26 February 2021, from https://www.sophiejodoin.com/#/ works-on-paper-oeuvres-sur-papier/ 5. Next. (2021). Retrieved 26 February 2021, from https://www.nextmanagement.com/new-york 6. Mainini, L. (2021). LUCA MAININI. Retrieved 26 February 2021, from https://lucamaininipsychodiva.tumblr.com/post/87910454309/moschino 7. Mainini, L. (2021). LUCA MAININI. Retrieved 26 February 2021, from https://lucamaininipsychodiva.tumblr.com/post/94727604819/lucamaininipsychodiva-luxury-silly 8. 24 Fashion Blogging Lessons From Animated GIFs | IFB. (2021). Retrieved 26 February 2021, from https://heartifb.com/24-fashion-blogging-lessons-from-animated-gifs/ 9. Theocardo, P. (2021). Pablo Thecuadro Mixed Media Collages. Retrieved 26 February 2021, from https://trendland.com/pablo-thecuadro-mixed-media-collage/ 10. Pijak, J. (2021). Conceptual Collage Editorials. Retrieved 26 February 2021, from https://www.trendhunter.com/trends/laura-kapman-twin-magazine
11. Bousquet, K. (2021). 20 Amazingly Creative Fashion Collages. Retrieved 26 February 2021, from https://stylecaster.com/fashion-collages/ 12. Pijak, J. (2021). Vanguard Style Collages. Retrieved 26 February 2021, from https://www.trendhunter. com/trends/ernesto-artillo-art 13. roereke, N. (2021). Niky Roehreke Fashion Mixed Media Illustrations. Retrieved 26 February 2021, from https://trendland.com/niky-roehreke-fashion-mix-media-illustrations/ 14. Go Figure: New Fashion Illustration. (2021). Retrieved 26 February 2021, from https://trendland. com/go-figure-new-fashion-illustration/ 15. 40 Exclusive Collage Portrait Art Works. (2021). Retrieved 26 February 2021, from https://www.boredart.com/2016/11/exclusive-collage-portrait-art-works.html 16. Helim, S., Helim, S., Helim, S., Helim, S., Helim, S., & Helim, S. et al. (2021). Sasha Helim. Fashion Illustration. Retrieved 26 February 2021, from http://bee-bop-a-lula.blogspot.com/ 17. Bousquet, K. (2021). 20 Amazingly Creative Fashion Collages. Retrieved 26 February 2021, from https://stylecaster.com/fashion-collages/ 18. Behance. (2021). Retrieved 26 February 2021, from https://www.behance.net/gallery/3049807/Vision-Magazine-China 19. Vermillion, M., & Vermillion, M. (2021). Maren Esdar and Her Surreal Mixed-Media Collages. Retrieved 26 February 2021, from https://beautifulbizarre.net/2014/05/28/maren-esdar-and-her-surreal-mixedmedia-collages/ 20. Ernesto Artillo. (2021). Retrieved 26 February 2021, from https://www.anothermag.com/art-photography/gallery/2650/ernesto-artillo/7 21. w-rse. (2021). Retrieved 26 February 2021, from https://w-rse.tumblr.com/post/164365304759/thankheaven-for-devon-nylon-march-2002 22. Petra Collins’ Coming Of Age. (2021). Retrieved 26 February 2021, from https://www.dazeddigital. com/art-photography/gallery/24502/2/petra-collins-coming-of-age 23. Pijak, J. (2021). Vanguard Style Collages. Retrieved 26 February 2021, from https://www.trendhunter. com/trends/ernesto-artillo-art
Reference List. 1. Robbie Spencer | SHOWstudio. (2021). Retrieved 28 January 2021, from https://www.showstudio. com/contributors/robbie_spencer 2. (2021). Retrieved 29 January 2021, from https://iei.ncsu.edu/wp-content/uploads/2013/01/GenZConsumers.pdf 3. About. (2021). Retrieved 28 January 2021, from https://craig-green.com/pages/about 4. guardian, t. (2021). Luxury brands must wake up to ethical and environmental responsibilities | Simon Birch. Retrieved 2 February 2021, from https://www.theguardian.com/environment/green-livingblog/2011/sep/16/luxury-brands-ethical-environmental-fashion 5. Craig Green Plays With Volume and Abstract Shapes in Latest Moncler Genius Collection. (2021). Retrieved 3 February 2021, from https://hypebae.com/2020/8/5-moncler-genius-craig-green-collaboration-jackets-outerwear-release-date 6. Seaton, B. (2021). Craig Green AW17 Campaign - IGNANT. Retrieved 3 February 2021, from https:// www.ignant.com/2017/09/12/craig-green-aw17-campaign/ 7. Djordjevic, A., & Djordjevic, A. (2021). Consumer Identity: The Key to People-Based Marketing | TheIuvo. Retrieved 6 February 2021, from https://theiuvo.com/consumer-identity-the-key-to-people-based-marketing/ 8. Magazine, W. (2021). The luxury loungewear sets for easing into 2021. Retrieved 6 February 2021, from https://www.wallpaper.com/fashion/best-loungewear-brands-to-hibernate-in-this-winter 9. simmons, p. (2021). The Meaning of Contemporary in the Fashion Industry. Retrieved 8 February 2021, from https://www.leaf.tv/articles/the-meaning-of-contemporary-in-the-fashion-industry/
10. (2021). Retrieved 18 February 2021, from https://www.ufi.org/archive/ufi-online-course/UFI_education.pdf 11. guardian, t. (2021). Luxury brands must wake up to ethical and environmental responsibilities | Simon Birch. Retrieved 2 February 2021, from https://www.theguardian.com/environment/green-livingblog/2011/sep/16/luxury-brands-ethical-environmental-fashion 12. Robbie Spencer | SHOWstudio. (2021). Retrieved 28 January 2021, from https://www.showstudio. com/contributors/robbie_spencer 13. (2021). Retrieved 29 January 2021, from https://iei.ncsu.edu/wp-content/uploads/2013/01/GenZConsumers.pdf 14. Djordjevic, A., & Djordjevic, A. (2021). Consumer Identity: The Key to People-Based Marketing | TheIuvo. Retrieved 6 February 2021, from https://theiuvo.com/consumer-identity-the-key-to-people-based-marketing/ 15. simmons, p. (2021). The Meaning of Contemporary in the Fashion Industry. Retrieved 8 February 2021, from https://www.leaf.tv/articles/the-meaning-of-contemporary-in-the-fashion-industry/ 16. Seaton, B. (2021). Craig Green AW17 Campaign - IGNANT. Retrieved 3 February 2021, from https:// www.ignant.com/2017/09/12/craig-green-aw17-campaign/ 17. Craig Green Plays With Volume and Abstract Shapes in Latest Moncler Genius Collection. (2021). Retrieved 3 February 2021, from https://hypebae.com/2020/8/5-moncler-genius-craig-green-collaboration-jackets-outerwear-release-date 18. About. (2021). Retrieved 28 January 2021, from https://craig-green.com/pages/about 19. (2021). Retrieved 29 January 2021, from https://iei.ncsu.edu/wp-content/uploads/2013/01/GenZConsumers.pdf 20. guardian, t. (2021). Luxury brands must wake up to ethical and environmental responsibilities | Simon Birch. Retrieved 2 February 2021, from https://www.theguardian.com/environment/green-livingblog/2011/sep/16/luxury-brands-ethical-environmental-fashion