Behaviour Change

b e h av i o u r change

retail environments & visual merchandising

contents 2.

INTRODUCTION

3-10.

DI VE R S I T Y

11-12.

P R I MA RY R E S E A R C H

13-16.

THE EXPERIENCE

17-19.

I N N O VA T I O N

introduction “ S T O R E S HAV E C HA N G E D F R O M B E I N G Q U I T E B L A N D A N D Q U I T E A U S T E R E E N V I R O N M E N T S . N O W, T H I N G S A R E B E I N G B R O U G H T T O L I F E , ” (Newton-Jones,(2012)

Brands are at the forefront of delivering new innovations to their retail space.

In order to sustain their market, heritage and identity, retail spaces have to deliver an experience that engages the senses on a multi-channel platform.

The impact of visual merchandising and the process of trying clothes on are important aspects of the experience within retail environments. However, the fashion industry relates the size and fit of garments heavily around an ideal aesthetic which is incompatible with today’s society. With digital innovations, and retail environments changing, can the industry’s aesthetic ideal be forced into catering to every individual shape and size, therefore promoting diversity in future communication strategies?

20-24. THE FUTURE CONCLUSION

26.

REFERENCES

2 7.

I MAG E R E F E R E N C E S

28.

BIBL IOGRAPHY

29.

A P P E NDI X

fig1/Sadli, 2011

25.

CONTENTS- 1

INTRODUCTION- 2

DI VE R S I T Y I N FA S HI O N

DI V E R S I T Y- 3

fig2/Maxey, 1990

1 PA R T O NE - 2

“ AT T H E 2 0 1 3 I N T E R N AT I O N A L F A S H I O N W E E K , T H E M O D E L S W E R E 8 7. 6 % W H I T E . O N LY 6 . 5 % O F T H E M O D E L S W E R E B L A C K , 6 . 1 % A S I A N , 2 . 1 % H I S P A N I C , A N D L E S S T H A N 1 % W E R E O F A N O T H E R N O N - W H I T E R A C E . ” (Davis, (2013)

fig4,5,6/Wallpaper,2012

P R A DA A / W 2 0 1 2

R AG A ND B ONE R /S 2 0 1 3

fig 7/ vogue, 2013

fig3/Rag&Bone,2013

“At the 2013 International Fashion Week, the models were 87.6% white. Only 6.5% of the models were black, 6.1% Asian, 2.1% Hispanic, and less than 1% were of another non-white race.” (Davis, (2013). The fashion industry is under scrutiny for its discrimination towards body image, race and notions of beauty. (Barry, (2012)At a time where global society is at the forefront of making their voice heard, diversity is an issue that is particularly important and needs to evolve into the future. In the luxury market, there is a continuous inability to replicate today’s multi-cultured society within brand platforms such as on the runway and in marketing campaigns.

Former model and fashion activist Bethann Hardison asserts that Miuccia Prada revolutionised the runway, casting only white models of similar appearance; “So you would not notice the girl, but instead notice the clothes.” (Hardison,2013) Significantly, other luxury brands such as Chloe, Calvin Klein and Diane Von Fustenburg followed suit illustrating how the industry closely follow one another. (Forbes, (2013) America’s next top model runway coach J.Alexander states “Years ago, runways were almost dominated by black girls” (Alexander,(2007) He emphasises here how race has been used in fashion as a trend. This shows the power fashion brands have and how closely connected they are within one evolving visual language.

C A LV I N K L E I N S / S 2 0 1 3

DI V E R S I T Y- 5

DI V E R S I T Y- 6

fig10/Uferas, 2010 fig8/Mallard, 2012

DI V E R S I T Y- 7

Although described as an “anomaly within its luxury competitors� (Sinclair, (2013) it is brands such as Givenchy that set an example for the future of diversity whilst delivering an aesthetic that meets futuristic innovation and desirability from all cultural aspects. Amongst fashion’s role models for the future, Givenchy stands out as the leading luxury brand that rejects the conventional and not only supports diversity, but also more importantly, envisions it as part of the brand identity. (Sinclair, 2013)Givenchy is a brand that represents the diversity of race as a consistent brand theme, not a macro trend that has fluctuating significance. This is an example of behaviour change that is indirect but influential on a large scale.

fig11/Mert&Marcus, 2013

Givenchy, is a powerhouse of the fashion industry, founded in 1952 by French atelier Hubert de Givenchy. Under the current helm of Ricardo Tisci since 2005, Tisci seeks to exemplify Givenchy as a brand that values, celebrates and promotes diversity. Tisci aims to deliver the brand aesthetic with forward-thinking regard for its original heritage and its cultural influences. (TW Admin, (2013) This is shown through all platforms of promotion including continuous multi cultural casting for runway shows, campaigns that reinvent notions of beauty against convention and retail spaces that display a world of cultural influence.

(Li, 2013)

fig9/IMAXTree, 2013

Givenchy is one of the many global luxury brands leading the way in fashion culture. (Hastreiter, (2012) In contrast, Debenhams is a lowbrow, mass consumer department store providing numerous towns with fast fashion, cosmetics and home ware. Both differ in their positioning within the retail hierarchy, however, both endeavour to target diversity and celebrate it as a consistent brand value. Moreover, both have taken action to change their behaviour within their retail environments. What is evident is that they as renowned brands have a significant effect on society as consumers.(Hastreiter, (2012) Moreover, from opposite spectrums they create an aspiration of how women should look. Race is a significant issue on the runway and body image and size is also a significant issue on the high street. Yet, they are equally imperative factors of diversity, which, both brands have aimed to tackle on different scales.

DI V E R S I T Y- 8

“ H A V I N G W O R K E D O N T H I S P R O J E C T F O R T H R E E Y E A R S , W E H O P E T H AT I T W I L L H E L P P E O P L E I N S O M E S M A L L WA Y T O F E E L C O M F O R T A B L E A B O U T T H E I R B O D I E S A N D , C R U C I A L LY, T H AT O T H E R R E T A I L E R S W I L L F O L L O W. ” Watson, (2013)

fig12/Debenhams 2013

Alongside the issues of racial diversity on the runway, an alteration in body image and the idealistic size is a specific issue within high street brands. “We’ve seen statistically that 50% of women are now a size 16+” (Baum,(2013) During a time in society where it is as common to be a size 16 as a size 6, what ever image suggests elitism therefore becomes desirable. (Bourne, (2012) According to the Kantar report in 2012 “…the average British woman is a size 16 at 5ft 3in and weighing 11st 3lb and in the 1950’s she was a size 10 at 5ft 2in and weighing 9st 10lb” (Kantar, (2012). Size and body shape is similar to race in its constant evolution as a trend. With trends such as ‘heroin chic’ arriving in the mid 1990’s, the industry has created an ideal for women to look thinner and thinner, creating an issue of body image and making women feel excluded because of how they look.

(Appendix, 1) However, with the evolving power of social media and the digital voice, body image has become an important issue and the industry is not only to blame but is expected to change in its response.

fig13/Bean, 2013

In 2010, Ed Watson, head of PR at Debenhams, was the first in the UK to introduce size 16 mannequins to stand alongside the sample size 8 and 10, seen in most UK retail stores. As mannequins act as visual merchandising devices, this new scheme was aimed to meet and reflect the criteria of a Debenhams average female customer aged 42 and a size 16. (Debenhams, 2012) “The images we see in the world of fashion are all pretty much the same – it’s as if there’s only one way of being beautiful. Yet nine in 10 people say they would like to see a broader range of body shapes shown in advertising and stores,” (Swinson, 2013) This change may be seen by some as a token initiative, or a representation of an unhealthy encouragement as noted that the current average woman at size 16 and 11 stone is overweight.

(Walker, (2013) However, it is an example in how change within a high street retail environment can be conducted to meet future expectations regarding one of the most important topics of diversity.

DI V E R S I T Y- 9

DI V E R S I T Y- 1 0

primary research Primary Research consists of a questionnaire recording the answers of 30 women, who were categorically sampled whilst shopping on Guildford High Street, Surrey. (Appendix, 1,2) This made sure that the people being asked were questioned in their ‘hot state’ thus in the relevant environment. The questionnaire investigated the success of the behaviour changes regarding diversity seen in luxury brand Givenchy and high street brand Debenhams.

Targeting women that represent the ‘real women’ of today’s society, this primary research shows a need for a holistic change to be seen in retail environments from the luxury to the mass market. Results show that the fashion industry creates an ideal for women regarding how they should look and this has an impact on the way women feel not only about themselves, but also as consumers. This is particularly evident for luxury brands and their runway shows. 90% said that they strongly agree that leading brands exclude a vast amount of women due to their idealism, which, impacts on fashion and retail as a whole. 90% said that they do take notice of visual merchandising and that this introduction of a range of sizes weakens the industry’s perfect shape and size. 95% of the women said that they felt more valued as a consumer through the incorporation of diversity seen in store. This shows that Debenhams’ strategy is successful in changing their behaviour not only in advertising and marketing, but also in store. As a result, this shows that a change within a brand’s retail space such as the visual merchandising is a positive and effective strategy to target diversity. Moreover, the direct approach of change within store shows to have the biggest affect on how women felt after a change in behaviour. Therefore a future strategy would be most beneficial when interactive and directly targeted to customers rather than the retail environment alone.

questionnaire 80%strongly

average age:

32 95%say

in store changes are the most influential

agree that fashion idealism excludes women

64%

think

Debenham’s

77%prefer to shop

95%

O F W O M E N S A I D T H AT T H E Y F E LT M O R E VA L U E D A S

store

in

is more

A C O N S U M E R T H R O U G H T H E I N C O R P O R AT I O N O F D I V E R S I T Y S E E N I N C HA NG E S WI T HI N S TO R E .

P R I MA RY R E S E A R C H - 1 1

average size:

12

P R I MA RY R E S E A R C H - 1 2

strategy

valuable

THE EXPERIENCE R E TA I L E N V I R O N M E N T S

THE EXPERIENCE- 13

Fig14/ YSL, 2012

2 PA R T O NE - 2

“ T H E U S E O F MOB I L E T E C H NO LO GY I S B R I NG I NG TO G E T H E R T H E B E ST O F B O T H O N L I NE A N D O F F L I NE R E TA I L , T O I M P R O V E C U S T O M E R E X P E R I E N C E A N D (Ropars, (2013)

fig18/Pandy,2013

G I VE MO R E R E AS ON S FO R CON S UME R S TO VI S I T STO R E S .”

fig15/Armanet,2013

Burberry is a brand which provides a clear example of experiential retail, by means of integrating a variety of digital devices within retail stores. One innovative technique they have incorporated is applying garments with censored radio identification frequency tags that interact with virtual screens in store and allow the customer to find out detailed information about the product, how it was made and its heritage.

“RFID technology enables customers to view bespoke multimedia content specific to different products and ranges on in-store display screens.”(Burberry, (2012) This is an interesting example of combining digital technologies with physical products in store. It emphasises the interaction between a customer and a product when simply browsing or trying something on. The use of virtual screens encourages a further integration of digital and non-digital experience. Senior Vice President of Burberry’s creative media Greg Stogdon describes the brand as to “approach digital innovation in the same way they approach physical craft which is to reflect brand heritage and enforce personalisation”(Stogdon,(2013) This technique shows an innovative use of combining virtual information with a physical product and effectively reinventing the experience of looking at a garment in store.

The integration between physical craft and digital craft is successful in the brand’s evolving strategy.

& OT H E R STO R I E S STO R E - UNI Q UE STO R E A E ST H E T I C E M U L AT I N G A B L O G L I K E E S S E N C E W I T H A R O U G H A N D R E A D Y N A T U R E // A P P R O P R I AT I N G B R A N D I D E N T I T Y T H R O U G H U N I Q U E VI S UA L L A NG UAG E

THE EXPERIENCE- 15

fig19/Burberry,2013

C H R I ST I A N LOU B OUT I N 2 0 1 2 WI NDOW D I S P L A Y S ‘ W H AT L I E S B E N E A T H ’ S H O W I N G MA NNE Q UI N S A S VI R T UA L S C R E E N S O F A N X - R A Y // I N C O R P O R A T I O N O F VI RT UA L T E C H NO LO GY WI T HI N VI S UA L ME R C HA NDI S I NG I N S TO R E

fig16 &17/Wilkes, 2012

The retail environment is the key to delivering brand identity in terms of visual communication, quality and experience. Due to the evolving technological advances, brands have to deliver by means of visual and interactive enhancements alongside the traditional shopping process.

Stepping away from the straightforward objective of transaction, the future is in building virtual methods of communication on both a vast, expanding network as well as on a personal, intimate level with individual consumers. Ropars states “The use of mobile technology is bringing together the best of both online and offline retail, to improve customer experience and give more reasons for consumers to visit stores.” (Ropars, (2013) With this in mind, through a creation of experience, brands exhibit themselves to the market as opposed to just selling.

THE EXPERIENCE- 16

I N N O VAT I O N T H E D I G I TA L A G E

I N N O VA T I O N - 1 7

Fig20/ Wang, 2013

3 PA R T O NE - 2

Fig23/ Samuels, 2012

Fig21/ Wildrig, 2011 Considering craft within digital and physical form, new technologies and devices look to delivering the best of both formats from combined pathways . 3D printing is on the edge of recreating methods of production and function in fashion design. (Herpen, (2013) This could enhance methods of manufacture, targeting the structure of garments and how certain materials fit to the body. With the integration of online abilities to virtually provide and alter a garment from around the world, brands are still unable to efficiently provide garments that cater for a range of body types, especially when sourced online.

(Appendix, 1) 3D printing looks to use state of the art technologies to overcome the flaws in defining particular shapes through a combination of materials and designs. ”We could say, ‘I want the arm really flexible, but then the middle not so flexible and the end flexible again’”

(Herpen, (2013) says Iris Van Herpen, dutch haute couture designer who is renowned for using 3D printing as a core technique and pushing the boundaries between material and design. This opens a door for future fashion in that personalising a garment becomes more available to the mass consumer. Looking back at the primary research, women were asked whether they thought there was a lack in the current manufacturing of clothes to reflect the vast body shapes and sizes of today’s society. 94% agreed and said that future retail environments would benefit from developing design techniques which would create more bespoke individually fitted garments on a more personal basis. With the ability to enhance design digitally and produce 3D prototypes, consumers could interact with specific garments seen in store and brands could develop their design process continuously, whilst gaining a closer understanding with their consumer needs and demands.

Similarly, consumer demands lie within both online and offline environments. According to Deloitte, “only 28% of consumers want to see the actual product in store, and only 9% want to see the whole range.” (Deloitte, (2013) However, only 23% of women asked in the questionnaire said that they mostly shop online. Furthermore, the majority said that it was due to a lack of knowledge on size and fit from online stores. (Appendix, 1)Body Metrics is a new and innovative technique that solves the problem of being unable to try on when ordering online. It is a method of virtual body scanning that identifies a means of sourcing a virtual model that is an exact clone of every individual consumer’s body shape and size. Using a similar technology as 3D printing, the body scan combines you with a virtual 3D representation of yourself that can be stored as data. (Goonatilake, 2013) In effect, this adds a solution to the collision between shopping methods, as you can use your fitted scan as a model when online shopping and the routine of trying on is attainable online.

Essentially, as Suran Goonatilake from Body Metrics describes “you become the search engine”(Goonatilake,(2013).

“ YOU B E C OME T H E S E A R C H E NG I NE ” Fig22/ Romana, 2013

Fig24/ Samuels, 2012

(Goonatilake, 2013)

I N N O VA T I O N - 1 8

I N N O VAT I O N - 1 9

THE FUTURE TA C K L I N G D I V E R S I T Y T H R O U G H I N N O VA T I O N

THE FUTURE- 20

Fig25/ Unknown, 2009

4

consumer community Fig26/ Rodan, 2009

The type of consumer that is receptive to this strategy is any woman that goes into retail stores and likes to be engaged within brand environments. There is no specific criteria for the consumer because this strategy looks to understanding the consumer within a community involving a range of ages, sizes, interests and shopping habits. As a result, this consumer community allows women to feel accepted and comfortable as well as being part of a strategy that some brands may enforce within their retail environment. The infographic below shows an image from five of the women from the consumer community. All of which are taken from their different daily routine such as their work clothes, every day breakfast, activities etc. This gives an insight into the lives of the consumer helping gain a closer, personal understanding of them as individuals. Furthermore, there is an emphasis on the lack of interest in appearance.

Combining both digital and physical platforms, the experience of creating a personal log within a brand is a possible strategy for targeting diversity. Within retail environments, fixtures, installations and visual merchandising must accommodate and adapt to its virtual landscape whilst maintaining within a physical retail space. This strategy looks at primarily discarding the industry’s ability to form and promote a female aesthetic ideal.

Brands such as Burberry enable their physical retail environment to be compatible with a digital space. From the viewpoint of a fashion communicator and promoter, retail stores and visual merchandising must enhance their visual communication to be experiential on a personal and virtual level. Within physical stores a method to bring an interactive, personal experience would be to replace the mannequin with virtual spaces. Whether on screens, mirrors or in windows, key looks and outfits become digital and hold no model or body.

Aisha’s surgery scrubs Instead they become empty garments that consumers can interact with whilst browsing the store. Effectively, visual merchandising becomes an interactive experience whilst continuously promoting selected pieces to the unconscious mind of the consumer. With the innovative ideas of body scanning, consumers may adapt their fit model to the virtual spaces as an interactive function as well as making use of it online. In effect, the online method is attainable offline thereby fulfilling the same effects in both environments.

When addressing diversity as an important factor for future communication strategies, the virtual mannequin would reduce the industry’s ability to display an aesthetic ideal within their retail environment. Instead, the brand would reinvent their product to each consumer as an individual and body image involving size, weight, ethnicity and age becomes redundant within visual messages.

Lisa’s morning dog walk

Sarah’s Dressing Table Ruth’s Magazines

“ T H E S E A R E T H E R E T A I L S T O R E S O F T H E F U T U R E : H Y P E R - E F F I C I E N T, D I G I T A L LY E N H A N C E D S H O W R O O M S T H AT S E R V E A S P H Y S I C A L S T O R E F R O N T S F O R O N L I N E R E T A I L O P E R AT I O N S . ” (Indvik, 2013)

THE FUTURE- 22

Hayley’s Breakfast

THE FUTURE- 23

consumer p r o f i le

conclusion

Lisa’s morning dog walk

L I S A O S B OUR NE AGE: 41 E T H N I C I T Y: SIZE:

L AT I N A

12

PROFESSION:

LIFE COACH/ MUM TO 2 BOYS AND 1 LABRADOR

SHOPS:

F O O D O N L I N E , A M A Z O N / E B A Y , M & S F O R S T A P L E S , J I G S A W, M I N T V E L V E T , W H I S T L E S F O R W O R K A N D N I C E B I T S , T O P S H O P, H & M

READS:

E L L E , H A R P E R S B A Z A A R S U B S C R I P T I O N , D A I LY T E L E G R A P H O N I PA D, S U N D AY T I M E S , R E C I P E B O O K S

MUSIC:

J O W H I L E Y O N R A D I O 2 , M AG I C F M TO C A L M D OW N W E E K DAY E V E N I N G S, M I C H A E L BU B L E , S N OW PAT R O L , R O B B I E W I L L I A M S , F L E E T W O O D M A C , I L D I V O O N T H E I P O D

FILMS/TV-

S P O O K S , D O W N T O N A B B E Y, B B C N E W S S E X Y B E A S T, L E O N , T H E Q U E E N , S N A T C H

M U S T D O E V E R Y D A Y : WA L K T H E D O G F O R A N H O U R O N T H E D O W N S , M A K E B E D, AV O I D D AY T I M E TV WHEN WORKING FROM HOME, DRINK TEA TECHNOLOGY GEEK 60%-

S K Y P E S F A M I LY A B R O A D, J O B I S T E C H N O L O G I C A L D E P E N D A N T, W O R K S ON COMPUTERS AND HAS NEVER GONE BACK TO PC SINCE FIRST MACBOOK IN 2009, ALSO OWNS AN IPHONE 5 A N D U S E S I T F O R O N L I N E S H O P P I N G, I PA D R A R E LY U S E S B U T R E A D S O N A N D U S E S D A I LY T E L E G R A P H , S A I N S B U R Y ’ S A P P, E L L E M A G A Z I N E , B B C N E W S , I S O N F A C E B O O K B U T A F R A I D O F T W I T T E R , U N D E R S T A N D S T H E T E R M S LO L A N D B R B,

Fig. 28, Osbourne, (2009)

Fig. 29, Osbourne, (2013)

Fig. 27, Osbourne, (2011)

G E N E R A L I N T E R E S T S : S K I I N G, R E D W I N E , G R A H A M N O R TO N , S U N DAY P U B L U N C H A N D A D O G WA L K , W R A P P I N G P R E S E N T S , T H E A M A L F I C O A S T, S O P P Y R O M A N C E B O O K S Y O U O N LY R E A D O N C E O N A B E A C H , T O P G E A R , O X F O R D C I R C U S AT C H R I S T M A S , PA N C A K E S , C A S H M E R E J U M P E R S , K I D S

Primary Research has evidenced that the physical retail environment is still very much an important aspect to the shopping experience. This goes against recent reports stating that online shopping is taking over future retail environments and stores will be shutting down. (Clark, (2014) However, it is clear that in order to be sustainable in the future, brands are having to integrate the virtual world within their retail stores in order to provoke an emotional response with their consumer. In effect, brands gain ownership on a consumer’s experience and therefore build and maintain a relationship with their market. Research also stated that a concerning factor in the consumer market, is the lack of promotion and value for diversity despite the desire to understand their consumer as an individual. With potential strategies to eliminate the need for brand merchandise such as clone like models, small sizes, or changing trends for racial preferences, the problem of diversity is less powerful and falls short of making women feel unidentified or excluded as a result. Those brands that engage with and respond to consumer demands, thereby sponsoring diversity will succeed in the future having communicated efficiently with not only the consumer but also with the multi-faceted retail platform.

THE FUTURE- 24

CONCLUSION- 25

I MAG E R E F E R E N C E S

REFERENCES

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Last accessed 5th December.

TW Admin. (2013). Givenchy incorporates diversity into brand. TW Fashion.[JOURNAL] Walker, H. (2013). A size 16 mannequin with a flat stomach? Excuse me if I don’t rejoice, Debenhams. Available: www.guardian.co.uk/ debenhams/mannequin. Last accessed 5th december.

Watson. (2013). debenhamsmannequins. Available: http://www.itv.com/news/update/2013-11-06/debenhams-to-use-size-16-mannequinsfrom-today/. Last accessed 3rd january.

Wilson, J. (2013). Black models on the rise, but white models still dominate new york runway. Available: http://www. huffingtonpostcom/2013/09/17/black-models-white-models-new-york-fashion-week_n_3943257.html. Last accessed 5th december

REFERENCES- 26

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Figure 2; Edward Maxey, (1990), Paper Magazine [MAGAZINE]. [Accessed 04January 13].

Figure 3,4,5; Wallpaper, (2012), Prada [ONLINE]. Available at:http://www.wallpaper.com/fashion/fashionweeks/2012/aw/womens/ milan#59235 [Accessed 10 December 13].

Figure 6; Vogue, (2013), CKCandids [ONLINE]. Available at: http://www.vogue.com/fashion-week/spring-2013-rtw/calvin-klein-collection/ backstage/ [Accessed 04 January 14] Figure 7; Mallard, (2012), Broche en metal argente et strasse noir [ONLINE]. Available at: http://www.vogue.fr/joaillerie/le-bijou-du-jour/ diaporama/les-boucles-d-oreilles-etoile-de-givenchy/9282#!broche-en-metal-argente-et-strass-noir [Accessed 04 January 14] Figure 8; IMAXtree, (2013), CK [ONLINE]. Available at: http://fashionista.com/fashion-week/new-york-fall-2013/ [Accessed 04 January 14].

Figure 69; Gerrard Uferas, (2010), MenS/S2010 [ONLINE]. Available at: http://www.givenchy.com/en/node/610/popin/3 [Accessed 04 January 14].

Figure 10; Mert & Marcus, (2013), MariaCarla Boscono [ONLINE]. Available at: http://www.styleite.com/media/mariacarla-bosconogivenchy-spring-2013/ [Accessed 04 January 14] Figure 11; Debenhams, (2013), Size 16 mannequins [ONLINE]. Available at: http://news.images.itv.com/image/file/286776/article_87f5d44 e076dd6a5_1383737135_9j-4aaqsk.jpeg [Accessed 04 January 14].

Figure 12; Annie Bean, (2013), debenhamsoxfordstreet [ONLINE]. Available at: http://www.talesofanniebean.com/ [Accessed 04 January 14].

Figure 13; Saintlaurent, (2013), concept store shanghai [ONLINE]. Available at: http://thebreaks.post-new.com/author/melanie-crete/ [Accessed 04 January 14] Figure 14; Armanet, (2013), otherstories [ONLINE]. Available at: http://www.wwd.com/images/processed/wwd/2013/04/05/landscape/01large/other-stories.jpg [Accessed 04 January 14].

Figure 15; Wilkes, (2012), what lies beneath [ONLINE]. Available at: http://www.weheart.co.uk/2012/10/25/louboutins-x-ray-windows/ [Accessed 05 January 14] Figure 16; Pandy, (2013), iphone5s [ONLINE]. Available at: http://luxurylaunches.com/fashion/burberry-spring-summer-2014-runway-showshot-by-iphone-5s.php [Accessed 04 January 14].

Figure 17; Burberry, (2013), RFID [ONLINE]. Available at: http://8ninths.com/burberry-scannable-tags/ [Accessed 04 January 14].

Figure 18; Wang, (2013), Boxing [ONLINE]. Available at: http://www.alexanderwang.com/studio/studio/ [Accessed 05 January 14].

Figure 19; Wildrig, (2011), Escapism [ONLINE]. Available at: http://static.dezeen.com/uploads/2011/03/dzn_Escapism-by-Daniel-Widrigand-Iris-van-Herpen-9.jpg [Accessed 04 January 14].

Figure 20; Zoe Romano, (2013), ParisFashionWeek [ONLINE]. Available at: http://openwear.org/blog/?p=1864 [Accessed 04 January 14].

Figure 21; Peter Samuels, (2012), bodymetrics [ONLINE]. Available at: http://blog.petersamuels.com/?p=1022 [Accessed 04 January 14].

Figure 22; Vanessa Burrows, (2014), 3DaPorter [ONLINE]. Available at: http://3d-a-porter.com/why-do-we-need-3d-body-scanning/ [Accessed 04 January 14] Figure 23; Unknown, (2009), Unknown [ONLINE]. Available at: http://www.pinterest.com/pin/151292868705880454/ [Accessed 04 January 14] Figure 26; Jay Rodan, (2013), size me up [ONLINE]. Available at: http://www.allwalks.org/2009/09/2009-launch-campaign/ [Accessed 04 January 14] Figure, 27, Osbourne, (2011) Summer Party [Album] Figure, 28, Osboure, (2009)Champoluc [ONLINE} Available at: www.facebook.com Figure 29, Osbourne, (2013) Sammy [Album]

I MAG E S - 2 7

APPENDIX

BIBL IOGRAPHY

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03 December 13 Barry, B. (2012). The Beauty of Diversity. Available: http://www.ellecanada.com/living/culture/can-using-different-types-of-models-benefitbrands/a/58327/4. Last accessed 5th december.

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BBCNEWS. (2010). Statistics reveal Britain’s ‘Mr and Mrs Average. Available: http://www.bbc.co.uk/news/uk-11534042. Last accessed 5th December.

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Dries, K. (2013). New York Fashion Week was Choc-Full Of White Models. Again. Available: http://jezebel.com/new-york-fashion-week-waschock-full-of-white-models-1326813852. Last accessed 5th December.

Driscoll, B. (2013). Finally Fashion Women Can Relate To: Debenhams Introduces Size 16 Mannequins To Store. Available: http://www. huffingtonpost.co.uk/2013/11/06/debenhams-size-16-mannequins-diversity_n_4225309.html. Last accessed 6th december.

Forbes, J. (2013). Why fashion brands should be marketing to black people. Available: http://fashionista.com/2013/10/black-people-arespending-more-on-clothes-than-ever-so-where-are-all-the-black-faces-in-fashion/. Last accessed 6th december.

Hastreiter, K. (2012). Invisible Beauty. Available: http://www.papermag.com/2013/02/the_legendary_fashion_guru_bet.php. Last accessed 6th December. http://superselected.com/ http://www.allwalks.org/ i-D. (2013). think aloud/future fashion. [Online Video]. Available from: http://i-d.vice.com/en_gb/watch/episode/548/think-aloud-futurefashion. [Accessed: 11 December 2013] Indvik, L. (2013). Soho gives a glimpse of retail’s future. Available: http://mashable.com/2013/06/09/retail-store-future/. Last accessed 6th december.

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Kantar. (2012). Portraits of Women. Available: http://www.kantarmedia.com/content/portraits-women-kantar-media-more-rationalrelationship-brands. Last accessed 4th december Lambert, V. (2009). How women’s bodies have been transformed in the past 60 years... with huge implications for our health. Available: http://www.dailymail.co.uk/health/article-1213475/Whats-happened-bodies-Womens-figures-transformed-past-60-years--hugeimplications-health.html. Last accessed 9th december.

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Smith, P. (2013) hello my name is paul smith [EXHIBITION] Vanessa Burrows, (2014), 3DaPorter Available at: http://3d-a-porter.com/why-do-we-need-3d-body-scanning/ [Accessed 04 January 14] Walker, H. (2013). A size 16 mannequin with a flat stomach? Excuse me if I don’t rejoice, Debenhams. Available: www.guardian.co.uk/ debenhams/mannequin. Last accessed 5th december.

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Wilson, J. (2013). Black models on the rise, but white models still dominate new york runway. Available: http://www.huffingtonpost. com/2013/09/17/black-models-white-models-new-york-fashion-week_n_3943257.html. Last accessed 5th december

B I B L I O G R A P HY- 2 8

R E S E A R C H ME T HODO LO GY

The method of primary research used is a questionnaire conducted of a number of questions that look to review the success of behaviour changes relating to diversity from brands Givenchy and Debenhams. Both brands contrast within their exclusivity, their market and their influence in retail culture. 30 women answered this questionnaire and were categorically sampled whilst shopping on Guildford High Street in Surrey. As the women were all in the middle of retail shopping, this enforced that the people being asked were relevant to the type of questionnaire and were in their ‘hot state of question’.

Q UE ST I ONN A I R E

Age Size most often purchase Do you take notice of key looks and outfits when your in store i.e on mannequins/ in windows?

Do you take notice of what goes on during fashion shows (on the runway)?

Who would you say the role models of the fashion and retail industry are?

- The consumer - high street brands - luxury brands Some brands have started to make a change in their behaviour promoting diversity, which platform do you think is the most influential on you as a female customer?

- On the runway (leading trends, charging fashion culture) - In store- (in store technology, visual merchandising ie. Mannequins, window displays) - marketing- (advertising campaigns, photo shoots) Do you think that brands display an ideal for how women should look?

If yes, do you think that ideal is closely integrated with the average woman of today’s society?

If no, do you think that is mostly down to - lack of diverse models in marketing campaigns - lack of diversity on the runway - everything is more catered to the ‘sample size’ It has been said that women feel excluded because of fashion’s ability to idealise a look how far do you agree with this?

Strongly Agree Agree Don’t take notice Disagree Strongly Disagree Debenhams have introduced size 16 mannequins to their stores alongside the sample size 8 and 10s seen in most retail stores. This is in aid to make their customers feel more comfortable.

Givenchy are one of the very few brands to celebrate a mix of ethnicities within their model castings on the runway and in their campaigns. This is a consistent brand value despite being one of the few brands to use different raced models.

As a consumer, which of these strategies do you feel is more valuable and influential in terms of targeting diversity?

Which method of shopping do you mostly do?

Online/ In Store Please give one reason why you prefer this method?

To what extent do you agree that there is a lack in the manufacturing of garments to cater to the vast range of body shapes and sizes in today’s society?

Strongly Agree, Agree, Don’t Notice, Disagree, Strongly Disagree As a result, do you think it would be beneficial for brands to introduce methods of improving the fit of their garments with their consumer community?

CONCLUSION

The primary research concluded that more female shoppers take notice of what is going on in retail environments as opposed to in shows and on the runway. The majority of women also felt that Debenhams mannequin strategy was more influential and valuable than Givenchy’s despite also suggesting that luxury brands are the role models of the industry. As a result this shows that behaviour change within store is valuable and beneficial for future strategies. Most agreed that fashion manipulates an idealist view on the way women should look and moreover, is incompatible with how women of general society actually do look therefore making women feel excluded. This emphasises the issue of body image within diversity in fashion and the importance for a sustainable change in the future.

The Primary research also found that women take notice of visual merchandising. Furthermore, a large percentage of women assert that they have a problem with clothes fitting to their body shape and size especially when buying online. This shows that both online and offline retail environments are important in the future and the use of body scanning and virtual mannequins would be an efficient strategy to target diversity whilst utilising innovative technologies within retail environments.

A P P E NDI X- 2 9

CONSENT FORMS

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CONSENT FORMS- 31

JENNIFE R COOK N0427042 FA S H 2 0 0 3 1 F A S H I O N C O M M U N I C AT I O N & P ROMOT I ON C O M M U N I C AT I O N & M E S S A G E SA R AH L E WI NGTON WO R D COUNT: 2 , 6 41