A BRAND/RETAIL PROMOTION AND VISUAL ANALYSIS REPORT
MARKET
VISUAL
AWARENESS
FRINGE
JANALOU CRUZ N0566784 FASHION COMMUNICATION & PROMOTION FASH10105
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RETAIL PROMOTION
BRAND PROMOTION
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NEW CONTEXT AND IDEA
CULTURAL CONTEXTS
CREATIVE CONTEXTS
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List of illustrations and references at the end.
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brand
PROMOTION
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Fig 1 Chanel Metier d’Art Paris Dallas by Karl Lagerfeld (2014)
brand promotion visual analysis
Chanel’s Western-themed advertising campaign was a combination chanel of cowboy and haute couture. The creative director and photographer Karl Lagerfeld was inspired by ‘“the idea of old Texas, even before the Civil War”’. (CBS News, 2014)
&
The main theme of Missguided’s advert was the Coachella Valley, the ‘Southern California home of the Coachella Festival’. (TV Ad Music, 2015) Chanel’s 2014 ad features brand ambassador Kristen Stewart as a cowgirl wearing a tied up tee, printed boots with a fringe jacket in front of a wooden wall. The black jacket with fringe details and the rustic barn backdrop insinuate that this was inspired by Texas and Wild West. Her heavy eye make-up and static mouth imply a somber facial expression that matches the colour palette of dark tones and greys. This advert not only gives off a moody vibe but rebelliousness. The tied up tee as if she just had to show off a little bit of skin and the toothpick 6 | BRAND / RETAIL PROMOTION AND VISUAL AWARENESS REPORT
in her mouth supports my previous statement. Her sitting down body language indicates that she’s laidback, cool and missguided not conforming to previous Chanel values. But, the black jacket can suggest timeless and classic which fits in with quintessential Chanel. On the other hand, Missguided’s ad called ‘Young Hearts Run Free Festival Campaign’ (Missguided, 2015) is an image of a woman with her back facing the viewer. This could be a strategic decision from the mass-market brand as this makes us focus on the product instead of the face. Her raised arms suggest movement and dancing which reflects back to the festival aspect. The young woman may be with her friends having fun. We can see the bright daylight and the desert environment and sense that it’s a warm atmosphere. The playfulness and lightness contradicts the Chanel advert. Both of these brands, regardless of their clashing market levels, built engaging narratives through my trend.
While the ma jority associate Chanel with traditional pearls and classic tweeds, the highend brand still manage to make the black Western-inspired fringed jacket look luxurious. The brand’s target consumer consists of polished, sophisticated and modest women who are perhaps very career-oriented and can afford extravagant purchases. As a brand that are constantly seeking new ways to communicate values and broaden target market, introducing Kristen Stewart as their brand ambassador fits in well with her callous image. The fact that most of her fans are young teens and most can’t afford Chanel is another matter.
Both brands feature fringe black jackets but their narratives and presentation are very different. Regarding visuals, the art direction and high fashion look of Chanel contrasts with the relatively lower budget of Missguided’s. The moody colour palette differ from Missguided’s outdoor atmosphere. Chanel refrained from including the brand name, as it’s recognizable while the online retailer has the name in bold letters. The static look of Stewart and the movement in Missguided hint at the different target consumers. The clear, textured background of Chanel rivals the blurred background of Missguided’s that focuses on the product.
In contrast, Missguided’s fringe material looks cheap and echoes their identity. They’re targeting mainly students on a limited budget but more free-spirited and more bohemian. The brand campaign was created just in time for the Coachella festival that year.
The two brands also overlap and possess repetitive codes. Both are horizontal images and both hired young models/ambassadors to feature in their respective campaigns. In conclusion, Chanel’s is serious while Missguided borders on playfulness.
Fig 2 #SS15 Young Hearts Run Free Campaign by Missguided (2015
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Fig 3 Death Is Your Gift by Brendan at STIAB (2015)
retail
PROMOTION
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Fig 4 Monsoon Ladies November 2014 by Sarah Feather Design (2014)
retail promotion visual analysis karen millen & monsoon
Beautiful visual displays can delight senses and tell a trend story perfectly. I chose two examples of visual merchandising that incorporated fringe components but still fits in with the brand’s identity. Monsoon’s November 2014 window display consisted of ‘gold metallic curtains suspended in rows of diagonal drops, creating an opulent backdrop’. (Sarah Feather Design, 2014) The 1920’s inspired party dresses were in front of the layered and structured background. The thin, hard texture of the curtains and the sparkly metallic gold signifies glamour, evening and dancing. The fringe is very meticulous as opposed to Karen Millen’s more laidback winter approach. It’s also very warm and give a sense of an inside environment that contrasts with the other brand’s cold and outside nature.
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Fig 5 Visual Merchandising Karen Millen Moodboard 2016 (own work)
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KAREN MILLEN
Fig 6 Visual Merchandising Monsoon Moodboard 2016 (own work)
MONSOON
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Fig 7 Karen Millen Wish Tree by Gemma Balmford (2016)
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the ethereal branches that float above bespoke hexagonal plinths showcasing the products (Studio XAG, 2015)
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Meanwhile, Karen Millen’s Christmas 2015 concept referenced the winter season. Delicate material drape from cool white branches that resembles fringe represent snow and reminds consumers that the products in the display are suitable in the current period. As for the art direction, the pattern and texture are messy, long, thick and more spaced out while the colour palette settled for white and silver to further signify the climate. They also have a clothes rail and white stool box to promote the collection. The dramatic Monsoon display was created and produced by Sarah Feather Design. They are an ‘award-winning company based in central London, specializing in retail display for over two decades’. They have also worked for John Lewis and Dorothy Perkins. This wasn’t just for the brand’s flagship store, the opulent backdrop were introduced ‘all-store for November’. (Sarah Feather Design, 2014). This informed me that Monsoon is aspiring to be seen by consumers to look more high-end (they are considered mass market) while still keeping their brand values. Karen Millen’s display was created in collaboration with StudioXAG, who also produced visual merchandise for high-end brands such as Adidas, DNKY, Calvin Klein and Christian Louboutin. This evidently shows that the brand hired an expensive team to create ‘the ethereal branches that float above bespoke hexagonal plinths showcasing the
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products’ (Studio XAG) and that they have the budget to achieve that. The windows can be seen at both London flagships; on Regent Street and Knightsbridge, and in the Covent Garden and Manchester Trafford stores. The locations indicate that the brand is on a middle market level but striving to be respected and seen as a high-end company. Monsoon was established when the owner had a ‘life changing road trip around Asia and was determined to share the colourful marvels of his experience. The brand is recognized for its unique identity and distinctive handwriting inspired by mesmerizing colours, patterns, textures and hand-craft techniques from magical, faraway places.’ (Monsoon, 2015) While the clothes on the window display reflects their identity, they decided to keep the gold fringed backdrop as simple and clean so as to not distract from their heavily-embellished clothing. The target consumer consists of young women who are slightly bohemian and feminine while Karen Millen caters for more ‘confident’, ‘strong’ and successful women who are at the peak of their careers. Karen Millen is ‘known for their polished and tailored approach to fashion, they create versatile staples for the modern, urban woman.’ (Karen Millen, 2015). This is noticeable by the display, as they not only chose to include party dresses, but professional basic ‘day’ outfits for the office, too.
‘ Fig 8 Monsoon Ladies by Sarah Feather Design (2014)
gold metallic curtains suspended in rows of diagonal drops, crating an opulent backdrop
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(Sarah Feather Design, 2014)
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cultural
COMMUNICATION broader creative contexts
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Fig 9 Wedding Backdrop Fringe Curtain by Chloe Bouffard (2015)
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Fig 10 Exquisite Black Tie Stan Wedding by Emilia Jane (2014)
broader creative context outside fashion
After analysing how the fashion sector communicates and promotes ‘fringe’, the next step is to deconstruct creative contexts outside fashion to provide the full cultural meanings and associations. This will allow me to understand how fringe is acknowledge as a whole and to further develop my knowledge of the relationship between fashion and the broader cultural landscape. I’ve chosen three references; a bohemian-themed backdrop, a glamorous chandelier and an art deco 1920s cake. One cultural trend I’ve noticed concerning my trim is a backdrop. In recent years, bohemianthemed occasions (weddings, birthdays) with fringe elements are becoming more frequent due to its cost-effectiveness and how it helps set the mood and showcase the style of the day. This wallpaper can be used as a ceremony décor piece, photo booth or dessert tables. Unlike the cake or the chandelier, the DIY fringe backdrop is very easy to replicate, affordable
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and non-traditional. The multi-layered gold, pink and nude fringe backdrop is vibrant and whimsical. Furthermore, the colours connote that this occasion is quite feminine while being artsy and quirky as evidenced by this handmade display. The fringe layers add playfulness and allow each colour to pop out. Rather than just having a boring plain background for photos, it grants consumers to create their own narrative by using a fringe backdrop. On the other hand, the crafty wallpaper is a complete contrast to the romantic hanging centerpiece (fig 10). The use of one colourglittery gold tinsels conveys luxury and effortless elegance. Something about the layers that feels very classic. Like the handmade backdrop, this was used for a special occasion but they have juxtaposing contexts. This type of interior combined with the soft lighting connotes romantic and passion whereas the backdrop indicate youthfulness and fun.
However, the 1920’s-inspired wedding cake (fig 11) is an interesting mix of architecture and fashion of ‘The Great Gatsby’. (Nom Nom Sweeties, 2015) The gold, white and black colour palette connotes the art deco style. They incorporated certain elements of it by featuring fringe, feathers and even pearls to recreate the theme. It’s very painterly, not like the other examples that are more linear. The cake is very decorative and embellished with the fringe being just a small part of the whole product. While all three share conflicting visual codes as indicated above, by analyzing further I found some over-arching meanings the different creative contexts share between them. They all link to some aspects of architecture and interior. Combined with fashion, they all have a shared understanding of space, structure and composition. One ma jor resemblance between them is that they are all based around celebrations and special occasions, albeit different narratives. This means that consumers consider my example as something happy, cheerful and they are fond of it. It has positive connotations and an element that consumers want to include in their special day. Another similarity is that the fringe creative contexts outside fashion are all the focus of attention. Whether it’s the background, the hanging centerpiece or the food, they are all eye-catching and one that is a ma jor part of the occasion.
Fig 11 Great Gatsby Wedding Cake by Nom Nom Sweeties (2015)
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the 1920s inspired wedding cake is an interesting mix of architecture and fashion. (Nom Nom Sweeties, 2015)
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communication /
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broader cultural contexts 1920s, 1970s and 2015 Fig 12 Raquel Welch for Italian Vogue by Franco Rubartelli (1969)
I discovered three historical images to further develop a global perspective and to understnad the broader cultural context against my example. The key themes of the 1920 image (fig 15) are rebellion, fighting against society standards during the ‘Roaring Twenties’, the glamorous flappers and the Charleston dance. ‘Fringe first became a decorative fashion embellishment in the 1920s as part of the flapper look, a popular dress style for women’ (Fashion Encyclopedia, 2016). In the 1920 image, you can see the fringe details and each individual strands while the young woman is dancing. The fringe was used to add a bit of length to the daring styles and the flapper style made it possible for women to dance freely without constriction. The woman is smiling at the people around her, this signifies that she’s confident and craves attention. The men looking at her are fascinated at this bold, unconventional woman (at the time) and the other women are perhaps jealous or are in awe that this ‘flapper’ is not conforming to previous fashion norms. In contrast to the other two images, this image is in monochrome, hinting at the history and year it was taken. On the subject of the 1970 image (fig 12), this represents the freedom-seeking hippies, bohemian style and the link between music and fashion becoming stronger, with fringe dresses
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or accessories now a popular trend for festivals and concerts. This image by Franco Rubartelli for Vogue Italia, 1969 (Kittnoir, 2014) consists of actress Raquel Welch wearing a white long fringed dress in an natural setting. The gold, sun-kissed complexion and flowy long hair signifies the summer season, possibly during music festivals or camping with friends. The bright colours and bird illustrations on her dress contrasts with the 1920 era where it was all about glamour and evening and the 1970s were most focused on offbeat and gypsy styles during the daytime. The revealing skin expressed sensuality (of the woman) and confidence (just like 1920 flappers). As for the 2015 picture (fig 13), fringe became more popular and integral due to celebrity culture and social media with Kendall Jenner and Gigi Hadid attending music festivals either for publicity or actual enjoyment. Fringe suede jackets are a prominent choice as you can easily pair it with any outfit whilst being on trend. Gigi Hadid, as pictured here, is wearing a short fringe jacket with hippie necklaces and chains. The 1920’s era culturally represent nonconformity and challenging the previous fashion norms at the time. It came after the time ‘women in the US finally earned the right to vote and therefore, they began shedding the restrictive clothing and embraced a liberating
style of dress’. (Today Style, 2015) Young women then began going to jazz clubs and parties at evenings, danced provocatively and smoked cigarettes, which was considered outrageous and unheard of at the time. ‘They are intent on enjoying themselves and flouting conventional standards of behavior’ (Oxford Dictionary) On the other hand, the hippie movement exploded during ‘late 60s and 70s led by rock idols Jimi Hendrix and Janis Joplin’ (Buddha Jeans, 2013) and fringe was just one material that helped express individuality. Fashion is a continuous cycle therefore the historical context changes with it. Trends evolve and reappear. For example, the collaboration between Miuccia Prada and Catherine Martin for The Great Gatsby 2013 film brought the iconic look back to the forefront of fashion. While the glamorous look nowadays is mostly worn as a fancy dress, the flappers of 20s wore creations by Coco Chanel and Paul Poiret.
Fig 13 Gigi Hadid at Coachella by Melodie Jeng (2015)
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Fig 15 1920s Fashion by The Huffington Post (2013)
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Fig 14 Coachella Sunset by Wikipedia (2014)
‘
Fringe first became a decorative fashion embellishment in the 1920s as part of the flapper look, a popular dress style for women (Fashion Encyclopedia, 2016)
’
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Fig 16 Marchesa Spring 2013 Details by Marchesa (2013)
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The 1920s era culturally represent nonconformity and challenging the previous fashion norms at the time. It came after the time women in the US finally earned the right to vote and therefore, they began shedding the restrictive clothing and embraced a liberating style of dress. (Today Style 2015)
’
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new context and idea my communication
H
aving analysed the broader fashion industry, the cultural landscape and how retailers communicate to their consumers through visual promotion, I can now confidently suggest a new alternative use and develop a promotional concept for ‘fringe’. After investigating several strategic uses, I settled on taking my example from product to specific brand packaging, swing tags, and to experience; invitations and display stands. Marchesa is a high-end womenswear brand. Drama, femininity and embellishments are just some of the signature ingredients but unlike other designer brands like Chanel, Tiffany and Hermès, they don’t have a clear brand identity or colour recipe. The brand, created by British designer duo Georgina Chapman and Keren Craig, only consists of a simple logo with no particular colour associated with it. For example, the Tiffany blue and Hermès orange are recognized globally but with Marchesa, they are only known for their luxury, over-indulgence and glamorous designs. Therefore, they can experiment with different fringe elements as part of their promotional strategy. During my research, I’ve observed that Marchesa embodies excessive fringe trims as part of their recent collections.
Fig 17 Marchesa Moodboard 2016 (own work)
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Fig 18 Marchesa Collaborations Moodboard 2016 (own work)
M A R C H E S A C O L L A B O R AT I O N S
Fig 19 Creative Concept Idea Moodboard 2016 (own work)
BIG IDEA INSPIRATIONS
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‘
At Marchesa, more is more. (Vogue, 2013)
’
I discovered that Marchesa has collaborated with several lifestyle companies to further broaden their brand awareness and target market. Collaborations include dinnerware with Lenox, cosmetics line with Revlon, hair products with TONI&GUY and even invitations with Wedding Paper Divas. ‘Most of the packaging were designed by the brand and were carefully chosen to reflect their romantic and vintage aesthetic.’ (Hair Meets Wardrobe, 2014) With that knowledge, I created several mockups of combining silk fringe trims to their brand packaging, swing tags, fashion week invitations and even poster displays. Marchesa is currently only sold in high-end department stores including Bergdorf Goodman and Safs Fifth Avenue so devising a window display will not believable.
Fig 21 Tag - Photoshop Manipulation Concept Idea 2016 (own work)
Fig 20 Photoshop Manipulation Concept 2016 (own work) Original photo - Oscar De La Renta bag by Noah Emrich (2013)
I found an example of a fringed tag (fig 19) and tried to produce a similar silk trim for Marchesa. Instead of the crafty and thick trim, I used thin, stringy 1920s flapperinspired textured fringe to reference not only Marchesa’s own brand inspiration but to also connote glamour and evening (fig 21). Non-conformity and elegant rebellion are just some of the narrative aspects of the Swinging’ 20s who happens to be ‘instrumental in Marchesa’s fashion identity. Dresses were lighter and brighter and shorter than ever before as the Jazz generation entered full swing into a social revolution.’ (London Fashion, 2015).
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Fig 22 Display - Photoshop Manipulation Concept Idea 2016 (own work) Original Photo - Marchesa Fall 2015 by Ann Street Studio (2015
For the mock-ups I created using Photoshop (figs 20-23), I rescaled the dimensions and tried to imagine how it will look against various promotional tools. The actual fringe details came from their own designs and I used several dresses to produce the decorative aspect of the new concept idea. The fringe could either be printed so you can see the layers/details or it could also be glued in. As they have been incorporating fringe in their designs as evidenced in recent collections, this promotional strategy will not only be consistent to the brand itself but also to further reinstate what the brand values are, to distinguish the brand’s positioning relative to the competition and to make their target consumer more aware of Marchesa’s capabilities.
Fig 23 Invitation - Photoshop Manipulation Concept Idea 2016 (own work)
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list of
ILLUSTRATIONS Front cover - Valentino Spring/Summer 2014 campaign Craig McDean, (2014), [ONLINE]. Available at: http:// thefashionography.com/valentino-2014-campaign/ [Accessed 24 January 16]. Fig 1 Chanel Metier d’Art Paris Dallas by Karl Lagerfeld (2014) [ONLINE]. Available at: http://profashioneye.com/ chanel-paris-dallas-campaign-pre-fall-2014-ft-kristenstewart/chanel-campaign-2014-kristen-stewart-4/ [Accessed 05 January 16]. Fig 2 #SS15 Young Hearts Run Free Campaign by Missguided (2015), [ONLINE]. Available at: https://www.pinterest.com/ pin/220817187956179698/ [Accessed 05 January 16].
Fig 12 Raquel Welch for Italian Vogue by Rubartelli, Franco, (1969), [ONLINE]. Available at: http://kittnoir.com/2014/04/15/ raquel-welch/ [Accessed 09 January 16]. Fig 13 Gigi Hadid at Coachella by Melodie Jeng, (2015), [ONLINE]. Available at: http://www.vogue.com/13276996/ coachella-models-street-style/ [Accessed 08 January 16]. Fig 14 Coachella Sunset by Wikipedia, (2014), [ONLINE]. Available at: https://upload.wikimedia.org/wikipedia/ commons/a/a4/Coachella_2014_sunset_with_balloon_ chain_and_Lightweaver.jpg [Accessed 24 January 16].
Fig 3 Death Is Your Gift by Brendan at STIAB, (2015), [ONLINE]. Available at: http://stiab.deviantart.com/art/DeathIs-Your-Gift-523053591 [Accessed 24 January 16].
Fig 15 1920s Fashion: How To Add A Little Flapper Style To Your Wardrobe by The Huffington Post, (2013), [ONLINE]. Available at: http://www.huffingtonpost. com/2013/05/15/1920s-fashion-flapper-style_n_3274265. html#slide=2450065 [Accessed 08 January 16].
Fig 4 Monsoon Ladies November 2014 by Sarah Feather Design (2014), [ONLINE]. Available at: http://www. sarahfeatherdesign.com/portfolio/monsoon-ladies-andkids-2014.html [Accessed 05 January 16].
Fig 16 Marchesa Spring 2013 Details by Marchesa, (2013), [ONLINE]. Available at: http://fashionemia.blogspot. co.uk/2012/09/marchesa-spring-2013-details.html [Accessed 24 January 16].
Fig 5 Visual Merchandising Karen Millen Moodboard 2016 (own work)
Fig 17 Marchesa Moodboard 2016 (own work) Fig 18 Marchesa Collaborations Moodboard 2016 (own work)
Fig 6 Visual Merchandising Monsoon Moodboard 2016 (own work)
Fig 19 Creative Concept Moodboard 2016 (own work)
Fig 7 Karen Millen - Wish Tree by Gemma Balmford, (2015), [ONLINE]. Available at: http://www.retail-focus.co.uk/ vm/1677-karen-millen-wish-tree [Accessed 20 January 16].
Fig 20 Bag - Photoshop Manipulation Concept (own work) Original photo - Oscar de la renta 2013 bag by Noah Emrich, (2013), [ONLINE]. Available at: https://www.pinterest.com/ pin/122019471132152573/ [Accessed 06 January 16].
Fig 8 Monsoon Ladies November 2014 by Sarah Feather Design (2014), [ONLINE]. Available at: http://www. sarahfeatherdesign.com/portfolio/monsoon-ladies-andkids-2014.html [Accessed 05 January 16].
Fig 21 Tag - Photoshop Manipulation Concept Idea (own work)
Fig 9 Wedding Backdrop Fringe Curtain by Chloe Bouffard, (2015) [ONLINE]. Available at: https://www.etsy.com/uk/ listing/210687234/wedding-backdrop-fringe-curtain?ga_ order=most_relevant&ga_search_type=all&ga_view_ type=gallery&ga_search_query=wedding%20backdrop%20 fringe&ref=sr_gallery_3 [Accessed 05 January 16]. Fig 10 Exquisite Black Tie Stan Mansion Wedding by Emilia Jane (2014) [ONLINE]. Available at: http://www. theblacktiebride.com/exquisite-black-tie-stan-mansionwedding-by-emilia-jane-photography/ [Accessed 05 January 16].
Fig 22 Display - Photoshop Manipulation Concept (own work) Original photo - Marchesa Fall 2015 by Ann Street Studio, (2015), [ONLINE]. Available at: http://annstreetstudio. com/2015/02/24/marchesa-fall-2015/ [Accessed 06 January 16]. Fig 23 Invitation - Photoshop Manipulation Concept 2016 (own work)
Fig 11 Great Gatsby Wedding Cake by Nom Nom Sweeties, (2015) [ONLINE]. Available at: http://www.nomnomsweeties. com/wedding-cakes.html [Accessed 05 January 16].
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list of
REFERENCES ALMASSI, H. 2014. Kristen Stewart Is The New Face Of Chanel! Actress Stars In Paris Dallas Campaign: EXCLUSIVE. [ONLINE] Available at: http://www.graziadaily.co.uk/homepage/ f a s h i o n / k r i s te n - s tewa r t - i s - th e - n ew - f a c e - of ch anel-actress-stars-in-paris-dallas-campaignexclusive-20141228487. [Accessed 19 January 16].
KITTNOIR. 2014. Raquel Welch. [ONLINE] Available at: http://kittnoir.com/2014/04/15/ raquel-welch/. [Accessed 19 January 16]. MILLEN, K. 2016. Karen Millen About Us. [ONLINE] Available at: http://www. k a re n m i l l e n . c o m /a b o u t _ u s /c o n t e n t / f c p content#about-us. [Accessed 19 January 16].
CBS/AP. 2013. Kristen Stewart is the new face of Chanel. [ONLINE] Available at: http://www. c b s n e w s . c o m /n e w s / k r i s t e n - s t e w a r t - i s - t h e new-face-of-chanel/. [Accessed 19 January 16].
LONDON FASHION. 2015. Paper On British Fashion Brand Marchesa. [ONLINE] Available at: http://londonfashion.squarespace.com/ student-13/2015/5/24/paper-on-british-fashionbrand-marchesa. [Accessed 23 January 16].
FASHION ENCYCLOPEDIA. 2015. Fringe. [ONLINE] Available at: http://www.fashionencyclopedia.com/ fashion_cos tume_culture/Modern-World-PartII-1961-1979/Fringe.html. [Accessed 19 January 16]. GREENBERG, R. 2015. Fashion flashback: Fringe. [ONLINE] Available at: http://www.today.com/style/fashionflashback-fringe-t17476. [Accessed 19 January 16]. HAIR MEET WARDROBE. 2014. Marchesa Collaboration. [ONLINE] Available at: http://www. h airmeetwardrobe.co.uk/articl e/detail/896949/ marchesa-collaboration. [Accessed 23 January 16]. KENNETH. 2013. Youth Cultures and Fashion Look Books in the 1970s. [ONLINE] Available at: http:// b u d d h a j e a n s . c o m / 2 0 1 3 / 0 7/ 2 0 / f a s h i o n - a n d youth-culture-from-the-most-exciting-decadeof-last-century/. [Accessed 19 January 16].
MALLE, CHLOE.. 2013. Magic Kingdom: Marchesa’s Georgina Chapman. [ONLINE] Available at: http://www. vogue.com/865263/magic-kingdom-marchesasgeorgina-chapman/. [Accessed 23 January 16]. MISSGUIDED. (2015). Young Hearts Run Free Festival Campaign. [Online Video]. 10 April. Available from: https://www.youtube.com/ watch?v=4I5uXmPbWK4. [Accessed: 19 January 2016]. MONSOON. 2015. Heritage: Who We Are. [ONLINE] Available at: http://uk.monsoon.co.uk/uk/content/ heritage#who-we-are. [Accessed 19 January 16]. OXFORD DICTIONARY. 2015. definition of flapper. [ONLINE] Available at: http:// w w w. ox f o r d d i c t i o n a r i e s . c o m /d e f i n i t i o n / english/flapper. [Accessed 19 January 16].
STUDIO XAG. 2015. Wishing Tree. [ONLINE] Available at: http://studioxag.com/projects/ wishing-tree. [Accessed 21 January 16]
JANALOU CRUZ N0566784 FASHION COMMUNICATION & PROMOTION FASH10105 (VISUAL AWARENESS)
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