GENERATION GEN - REPORT. by Katheryn Watson

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FIG (1).

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KATHERYN WATSON FA S H I O N P R O D U C T D E V E L O P M E N T C O M M U N I C AT I O N ARTS UNIVERSITY BOURNEMOUTH w w w. g e n e r a t i o n g e n . w o r d p r e s s . c o m

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CONT

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FIG (2).

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ENTS

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I L LU ST FIGURE 1. FRONT COVER. MODEL WITH KNEES TUCKED TOWARDS HEAD. BARKER, LUCINDA. (TAKEN WEDNESDAY 11TH NOVEMBER 2015) (PHOTOGRAPH)

FIGURE 2. MODEL WITH WHITE FISHNET VEST OVER FACE. BARKER, LUCINDA. (TAKEN WEDNESDAY 11TH NOVEMBER 2015) (PHOTOGRAPH) FIGURE 3. 2 MODELS CROUCHED ON THE FLOOR INTERTWINED. BARKER, LUCINDA. (TAKEN WEDNESDAY 11TH NOVEMBER 2015) (PHOTOGRAPH) FIGURE 4. MODEL SAT ON FLOOR, KNEES CROSSED, FACING CAMERA. BARKER, LUCINDA. (TAKEN WEDNESDAY 11TH NOVEMBER 2015) (PHOTOGRAPH)

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FIGURE 5. MODEL SAT ON FLOOR, KNEES CROSSED, BACK TO CAMERA. BARKER, LUCINDA. (TAKEN WEDNESDAY 11TH NOVEMBER 2015) (PHOTOGRAPH)

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R AT I O N S FIGURE 6. MODEL WEARING WRAP AND PANTS, LEANING IN TO THE RIGHT. BARKER, LUCINDA. (TAKEN WEDNESDAY 11TH NOVEMBER 2015) (PHOTOGRAPH)

FIGURE 7. 2 MODELS SAT ON A CHAIR, ONE MODEL BALANCED ON THE OTHERS KNEES. BARKER, LUCINDA. (TAKEN WEDNESDAY 11TH NOVEMBER 2015) (PHOTOGRAPH) FIGURE 8. CROPPED HEAD SHOT, MODEL LOOKING DOWN, MAKEUP FOCUS. BARKER, LUCINDA. (TAKEN WEDNESDAY 11TH NOVEMBER 2015) (PHOTOGRAPH) FIGURE 9. MODEL PORTRAIT SHOT, CROPPED AND MAKEUP FOCUS. BARKER, LUCINDA. (TAKEN WEDNESDAY 11TH NOVEMBER 2015) (PHOTOGRAPH) FIGURE 10. 3 MODELS POSITONED TOGETHER. BARKER, LUCINDA. (TAKEN WEDNESDAY 11TH NOVEMBER 2015) (PHOTOGRAPH)

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8 FIGURE 11. FEMALE BODY LYING ON PINK FABRIC WITH PINK SALT SPRINKLED. HTTP://WWW. PRUESTENT.COM/WORK. (ACCESSED 2ND NOVEMBER 2015) (PHOTOGRAPH) FIGURE 12. MALE AND FEMALE MODEL BOTH TOPLESS, FEMALE DRAPED OVER MALE MODELS LAP. BARKER, LUCINDA. (TAKEN WEDNESDAY 11TH NOVEMBER 2015) (PHOTOGRAPH) FIGURE 13. MODEL BENDING OVER BACKWARDS LOOKING STRAIGHT INTO THE CAMERA. BARKER, LUCINDA. (TAKEN WEDNESDAY 11TH NOVEMBER 2015) (PHOTOGRAPH) FIGURE 14. 2 MODELS POSITIONED ON THE FLOOR LOOKING IN OPPOSITE DIRECTIONS. BARKER, LUCINDA. (TAKEN WEDNESDAY 11TH NOVEMBER 2015) (PHOTOGRAPH)

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FIGURE 15. MALE MODEL WEARING WHITE FISHNET VEST, CROPPED IMAGE. BARKER, LUCINDA. (TAKEN WEDNESDAY 11TH NOVEMBER 2015) (PHOTOGRAPH) FIGURE 16. COLOUR PALETTE MOODBOARD. BREIGE AND NUDES. HTTPS://GENERATIONGEN.WORDPRESS. COM/2015/10/26/COLOUR-PALETTES/. WATSON, KATHERYN. (ACCESSED SATURDAY 21ST NOVEMBER 2015) (MOODBOARD) FIGURE 17. GENERATION GEN LOGO. HTTPS:// GENERATIONGEN.WORDPRESS.COM/2015/11/09/ GENERATION-GEN-LOGO-DEVELOPMENTAND-FINAL-ANALYSIS/. WATSON, KATHERYN. (ACCESSED SUNDAY 22ND NOVEMBER 205)) (ILLUSTRATION)

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FIGURE 18. 2 MODELS WEARING MUSLIN WRAP, TIGHTS AND PANTS. CROPPED IMAGE OF JUST THE BODY. BARKER, LUCINDA. (TAKEN WEDNESDAY 11TH NOVEMBER 2015) (PHOTOGRAPH)

FIGURE 19. CONSUMER IMAGE MAP. WATSON, KATHERYN. (NOVEMBER 2015) (MOODBOARD) FIGURE 20. MODEL LYING ON BACK WITH KNEES TUCKED TOWARDS HEAD. BARKER, LUCINDA. (TAKEN WEDNESDAY 11TH NOVEMBER 2015) (PHOTOGRAPH) FIGURE 21. 2 MODELS EMBRACING EACHOTHER LOOKING AT THE CAMERA. BARKER, LUCINDA. (TAKEN WEDNESDAY 11TH NOVEMBER 2015) (PHOTOGRAPH) FIGURE 22. 2 MODELS SAT BACK TO BACK. BARKER, LUCINDA. (TAKEN WEDNESDAY 11TH NOVEMBER 2015) (PHOTOGRAPH) FIGURE 23. MODEL LYING ON THE FLOOR LEGS LIFTED IN THE AIR. BARKER, LUCINDA. (TAKEN WEDNESDAY 11TH NOVEMBER 2015) (PHOTOGRAPH)

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DUCTION

INTRO

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11 G E N E R A T I O N GENDER AND FASHION WILL ALWAYS BE INTERRELATED AND INEXTRICABLY LINKED; THEY’RE BOTH A PART OF EACH OTHER. GENDER NEUTRALITY AND ANDROGYNY ARE NOT NEW CONCEPTS, HOWEVER, THIS REPORT EXAMINES WHY GENDER IS BECOMING A MORE PREVALENT TREND AND ALMOST TAKING PEOPLE BY SURPRISE. AFTER ISOLATING BOTH AN ANDROGYNOUS AND GENDER NEUTRAL THEME WITHIN INDUSTRY, THE MEDIA OBJECTIVES OF GENERATION GEN ARE THE REASONS THE CAMPAIGN HAS BEEN DEVELOPED; TO CHANGE ATTITUDES AND BELIEFS CONCERNING GENDER NEUTRALITY AND TO INTRODUCE A NEW CAMPAIGN.

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FIG (3).

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BRAND POSITIONING, ‘THE STRATEGIC MANAGEMENT OF A BRAND’S POSITION RELATIVE TO COMPETITORS IN THE MARKET, AS WELL AS THE PERCEPTION OF THE BRAND’S POSITION IN THE MIND OF CONSUMERS’ (POSNER, 2011), HAS BEEN EXTENSIVELY RESEARCHED. BRANDS WITH A SIMILAR ETHOS/MARKET TO THE BRAND ESSENCE OF GENERATION GEN, RESEARCHED ON www.generationgen.wordpress. com, INCLUDE ARMOIRE OFFICIELLE, MORRISON – HOWLIN’, LEVIT, ASHISH, WEEKDAY, WEEKDAY MTWTFSS/HE CAMPAIGN, YOHJI YAMAMOTO’S GROUND Y, SELFRIDGES AGENDER CAMPAIGN, OLDERBROTHER, BUTCH BABY, JW ANDERSON, BOY LONDON, WILLIS CHAN, THE KOOPLES, PRADA, GUCCI, PHOTOGRAPHER PRUE STENT, RAD HOURANI, DAIMORF, LCF BA HONS FASHION PHOTOGRAPHY AND FENDI.

13 G E N E R A T I O N TO FURTHER BRAND ALIGNMENT RESEARCH, THE MARKETING TOOL POSITIONING MAP HAS BEEN UTILISED [SEE APPENDIX 1]. ‘A BRAND MANAGEMENT TOOL USED TO INDICATE THE CURRENT POSITION OR PROPOSED FUTURE POSITION OF A BRAND IN COMPARISON TO COMPETITORS IN THE MARKET’ (POSNER, 2011). THE GENERATION GEN POSITIONING MAP DEMONSTRATES WHERE IN THE MARKET, IN REGARDS TO ‘LOW PRICE’, ‘HIGH PRICE’, ‘LOW POPULARITY/REPUTATION’ AND ‘HIGH POPULARITY/REPUTATION’, THE GENERATION GEN CAMPAIGN WILL SIT IN RELATION TO SIMILAR BRANDS [SEE APPENDIX 2].

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‘BLURRING EDGES’

COMMON THEMES HIGHLIGHTED IN THE BRANDS RESEARCHED INCLUDE UNISEX, EXPLORING ASPECTS OF DRESS DESIGNED FOR THE OPPOSITE SEX AND FLUIDITY BETWEEN DRESS CODES WITH MOTIFS OF ANDROGYNY. THE BRANDS ALL FOCUS ON KEY IDEAS THAT ALL POINT IN THE SAME DIRECTION; TO THE FUTURE.

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THE CONSUMER IS EVOLVING, HENCEFORTH IS THE FASHIONS.

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FIG (5).

FIG (4).

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FUTURE PRODUCT AND MARKETING STRATEGIES WILL HAVE TO EVOLVE ALONG WITH THE DEVELOPING CONSUMER. STRATEGIES WILL HAVE TO CATER FOR BOTH SEXES, AND A FLUID NARRATIVE OF ‘NO GENDER’ WILL HAVE TO BE TRIED AND TESTED. TRADITIONAL MARKETING STRATEGIES LIKE THE PSYCHOLOGY OF COLOUR (BLUE FOR BOYS, PINK FOR GIRLS) WILL NO LONGER BE SUFFICIENT AS CONSUMER’S DESIRE TO EXIST OUTSIDE OF CONVENTIONAL NORMS. BY LAUNCHING NEW IDEAS EARLY AND BUILDING ATTENTIVENESS AND KNOWLEDGE ABOUT GENDER FLUIDITY, ESPECIALLY THE RELATIONSHIP BETWEEN GENDER AND FASHION, GENERATION GEN WILL BE A PIONEER IN THE NEXT FASHION FORWARD MOVEMENT. AS ‘A NEW TREND OF GENDER-FLOUTING SUGGESTS THE NEXT PHASE WILL BE LESS ABOUT MEN IN SKIRTS, AND MORE ABOUT MEN AND WOMEN SHARING SKIRTS’ (FERRIER, 2015) GENERATION GEN IS HOPING TO AID THE AUDIENCES UNDERSTANDING AND OFFER A COMMITTED AND ENGAGED RESPONSE. A CONCEPTUALISED EDITORIAL WILL BE PRODUCED AND SITED INTO THE FORM OF A TASTER ZINE FOR AN ORIGINAL GENDER FLUID AWARENESS CAMPAIGN TITLED GENERATION GEN.

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TION

A N A LY SIS I N T R O GENDER IS CURRENTLY BEING EXPLORED WITHIN FASHION IN VARIOUS CONTEXTS. ONLY A HANDFUL OF DESIGNERS AND FASHION BRANDS ALIKE HAVE BEEN PUSHING THE GENDER NORMS, CAUSING A RIPPLE EFFECT OF GENDER NEUTRALITY INFLUENCED WORKS; PRADA, FENDI, RAD HOURANI AND WEEKDAY MTWTFSS/HE. HOWEVER, THERE ARE NOT ENOUGH BRANDS AND CONSUMERS FOCUSED ON GENDER NEUTRALITY, HENCE WHY GENERATION GEN IS ASKING THE QUESTIONS THAT NEED TO BE ANSWERED.

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FIG (7).

LS:N GLOBAL, A DIVISION OF THE FUTURE LABORATORY LIMITED, IS A BEHAVIOUR AND TREND INSIGHT WEBSITE DISTINGUISHING CONSUMER NEEDS AND LIFESTYLE. USING LS:N I HAVE ESTABLISHED AND SELECTED CONSUMER GROUP TRENDS TO HELP SUPPORT MY INTENTIONS.

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C U L T U R E NEUTRAL CULTURE, A MACRO TREND, HAS BEEN DESCRIBED BY LS:N AS ‘A GLANCE TO THE FUTURE’ (WALKER, BUCHANAN AND STOTT, 2015). DISCUSSING HOW BRANDS SHOULD STOP RELYING ON OLD STEREOTYPES OF IDENTITY TO SPEAK TO THEIR CUSTOMER. GENDER NEUTRAL RETAIL IS MOVING BEYOND GIRLS BORROWING FROM THE BOYS, BUT RATHER A DEEPER INTERROGATION OF SHAPES, COLOURS AND SILHOUETTES THAT SUIT ALL.

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GENERATION GEN WILL IDENTIFY AS AN ‘EARLY ADOPTER AND INNOVATOR’ OF THE NEUTRAL CULTURE MACRO TREND. THE CAMPAIGN IS ONE OF THE FIRST OF IT’S KIND WHOM UNDERSTAND THERE’S NO ONE WAY OF ‘BEING A MAN’ OR ‘BEING A WOMAN’, BUT GENDER FOR ANY ONE PERSON IS FLUID ACROSS CONTEXTS.

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FIG (9).

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FIG (8).

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THIS TREND IS ABOUT DEFINITION, IDENTITY HAS BECOME CONFUSED. ‘SENSITIVE BRANDS’ HAVE ALSO BEEN IDENTIFIED WITHIN THE POLARITY PARADOX MACRO TREND. BRANDS ARE HELPING CONSUMERS TO DEAL WITH EXTREME ENVIRONMENTS BY ACTING AS FRIENDS (AND NUDGING THEM TO MAKE BETTER DECISIONS); GENERATION GEN CAN ALIGN WITH THIS CONSUMER TREND AS A SENSITIVE BRAND WHO WILL ADDRESS THE ISSUE OF GENDER FLUIDITY AND APPROACH IT IN A WAY UNIQUELY VARIANT FROM OTHER TONES BEFORE.

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THE POLARITY PARADOX, ANOTHER MACRO TREND FOUND ON LS:N GLOBAL, DEPICTS HOW PEOPLE ARE RE-APPROPRIATING MEANINGFULNESS INTO THEIR LIVES, AND THIS VEHICLE CAN BE PROVIDED BY GENERATION GEN; A CAMPAIGN LOOKING AT THE WORLD IN A MORE SENSITIVE AND GENDERLESS WAY.

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M E D I A ANOTHER AFFILIATED TREND THAT TIES IN WITH MY NOTIONS SURROUNDING GENERATION GEN IS MISSION MEDIA. INTERPRETED AS ‘FUTUREFACING COMPANIES ARE COMMITTING TO POTENTIALLY POLARISED BELIEFS WITHOUT FEAR OF ALIENATING SUBSETS OF SOCIETY’ (MACIEJOWSKA AND SMITH, 2015). LS:N HAVE FOUND HOW INDEPENDENT MEDIA BRANDS ARE NOW TAKING A STAND. PUBLICATIONS ARE NOW BECOMING DEFINED AS UPSTANDING VEHICLES FOR OUTSPOKEN ENGAGEMENT AND EMERGING READERSHIPS ARE NOW CRAVING COMMITTED AND ENGAGED MEDIA SOURCES WITH WHICH THEY CAN IDENTIFY. AS PART OF THE GENERATION GEN CAMPAIGN, A ‘TASTER ZINE’ WILL BE PRODUCED, USING THE CONCEPTUALISED EDITORIAL IMAGES, TO GIVE THE CONSUMER AN INSIGHT INTO THE AESTHETIC AND ETHOS OF THE BRAND PRELAUNCH. FIG (10).

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4 FITTING COMPETITORS HAVE BEEN IDENTIFIED FOR THE GENERATION GEN CAMPAIGN. 2 BRANDS, THAT AID WITH ALIGNMENT IN THE MARKET ASWELL AS PROMOTING COMPARABLE IDEAS, SELFRIDGES AGENDER CAMPAIGN AND WEEKDAY MTWTFSS/HE. ALONGSIDE A PHOTOGRAPHER, PRUE STENT AND A COURSE, LONDON COLLEGE OF FASHION BA (HONS) FASHION PHOTOGRAPHY. THIS SELECTION FROM ALL THE BRANDS STUDIED HAVE BEEN CHOSEN AS THEY ARE COMPETITORS IN THE MARKET, BUT SIMULTANEOUSLY ALSO AS ART DIRECTION COMPETITION, AS DISCUSSED ON THE APT GENERATION GEN BLOG POSTS.

27 G E N E R A T I O N A SWOT ANALYSIS HAS BEEN COMPLETED FOR EACH BRAND, USING THE HARRIETT POSNER THEORY (SEE APPENDIX 3). BY COMPLETING SWOT’S ON THESE COMPETITORS THEIR BRAND OVERVIEW IS BEING EVALUATED. IT IS IMPORTANT TO BE KNOWLEDGEABLE OF COMPETITORS’ STRENGTHS, WEAKNESSES, OPPORTUNITIES AND THREATS SO REFLECTION CAN BE PROCESSED AS TO WHERE THEY ARE ESSENTIALLY ‘FAILING’ TO AID GENERATION GENS’ OWN CAMPAIGNS SUCCESS. (SEE APPENDIX 4, 5, 6 AND 7).

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FIG (11).

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FIG (12).

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IDENTIFYING A GENDER FLUID NARRATIVE WITHIN INDUSTRY, GENERATION GEN INTENDS ON USING CONCEPTUALISED ARTISTIC SENSE TO PRESENT A NICHE GENDER NEUTRAL CAMPAIGN. GENERATION GEN WILL BE EXTENSIVELY RESEARCHING AND EXPLORING A GLANCE INTO OUR CURRENT SOCIETIES FUTURE AS A NEUTRAL CULTURE; CONSUMERS WILL INEVITABLY BECOME MORE AWARE OF A SENSE OF EXISTING OUTSIDE OF THE TRADITIONAL PARADIGM AND GENERATION GEN WILL BE THE VEHICLE AVAILABLE TO SUPPORT THEM.

A CONCEPTUAL GENDERLESS PHOTO SHOOT WILL VISUALLY AID THE TRANSLATION OF THE GENERATION GEN ETHOS, PUT TOGETHER IN FORM OF A READILY AVAILABLE TASTER ZINE TO ACT AS A COMMUNICATION TOOL TO THE APPROPRIATE CONSUMER. A LAUNCH EVENT, TOGETHER WITH A 6 MONTH PLAN, WILL UNVEIL THE CAMPAIGN. GENDER NEUTRALITY ISN’T JUST ABOUT CONFUSED SEXUAL IDENTITY, OR SEXUAL IDENTITY IN ANY FORM; BUT RATHER EXISTING OUTSIDE OF SOMETHING OTHER THAN WHAT GENDER HAS ALWAYS DICTATED AND UNWRITTEN CODES OF DRESSING ACCORDING TO GENDER.

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FIG (13).

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S U R V E Y A SURVEY TITLED ‘GENDER WITHIN FASHION’ HAS BEEN CONDUCTED, AS AN EXAMPLE OF PRIMARY RESEARCH, ON THE PLATFORM SURVEYMONKEY. COM (https://www.surveymonkey.com/r/t6wjktt). THE 7 QUESTION SURVEY WAS RELEASED ON THE 28TH OCTOBER 2015, COLLECTING A TOTAL OF 55 RESPONSES ACROSS A VARIETY OF AGE GROUPS. THE INFORMATION ACCUMULATED FROM THIS SURVEY GAVE VALUABLE AN INSIGHT INTO OTHER PEOPLE’S PERSPECTIVES AND OPINIONS ON THE SUBJECT OF GENDER.

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AFTER ANALYZING THE RESPONSES IN DEPTH ON THE GENERATION GEN BLOG (WATSON, 2015), THE CONCLUSION GRASPED IS THAT THE GENERATION GEN CAMPAIGN WILL BE SUPPORTED BY THE HIGHLIGHTED CONSUMER GROUP OF 2235 YEAR OLDS. THE RESPONDENTS’ FEEDBACK WAS PREDOMINANTLY POSITIVE AND SUPPORTIVE. BY LAUNCHING THE AWARENESS CAMPAIGN, GENERATION GEN IS OFFERING THE CONSUMER WHAT THEY WANT AS AN IMMEDIATE RESPONSE TO THE ‘GENDER WITHIN FASHION’ SURVEY REPLIES. LAUNCHING NEW IDEAS EARLY AND BUILDING BRAND AWARENESS.

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AFTER CARRYING OUT SWOT’S ON THE COMPETITORS FOLLOWING THE HARRIETT POSNER GUIDELINES, A GENERATION GEN SWOT ANALYSIS HAS BEEN CREATED (SEE APPENDIX 8). BY CONDUCTING A SELF ANALYSIS, WEAKNESSES OF THE CAMPAIGN WILL BE DISTINGUISHED; INCLUDING AREAS THAT NEED IMPROVEMENT. OPPORTUNITIES FOR THE FUTURE OF THE GENERATION GEN CAMPAIGN HAVE ALSO BEEN UNDERLINED. INTEGRATING MAGAZINE FEATURES ON PLATFORMS THAT THE CONSUMER READS SUCH AS DAZED & CONFUSED, ID MAGAZINE AND PAPER MAGAZINE, ALSO THE LAUNCH OF A CAPSULE COLLECTION, AND THE TRANSITION FROM AN AWARENESS CAMPAIGN TO A BRAND IN IT’S OWN RIGHT.

35 G E N E R A T I O N ‘BRAND IDENTITY IS WHAT DIFFERENTIATES A BRAND FROM IT’S COMPETITORS. IT IS MADE UP OF A VARIETY OF ELEMENTS, FOR EXAMPLE LOGO, COLOURS, PRODUCT AND ADVERTISING’ (POSNER, 2011). TO ANALYSE AND UNDERSTAND BRAND IDENTITY A BRAND ONION HAS BEEN FASHIONED (SEE APPDENDIX 9). THE BRAND ONION IS MADE UP OF 4 KEY ‘LAYERS’, AND EACH ‘LAYER’ OF THE ONION REPRESENTS A DIFFERENT ASPECT OF THE BRAND; BRAND ESSENCE (REPRESENTS THE HEART AND SPIRIT OF THE BRAND), BRAND VALUES (WHAT THE BRAND STANDS FOR), BRAND PERSONALITY (DEFINES PERSONALITY AND CHARACTER) AND BRAND IN ACTION (HOW BRAND IDENTITY IS MADE MANIFEST IN REALITY). THE GENERATION GEN BRAND ONION (SEE APPENDIX 10) ASSISTED GENERATION GENS’ OWN REALISATION OF THE CAMPAIGN; THE MEDIA OBJECTIVES, WHAT IT IS TRYING TO ACHIEVE AND CONVEY. THE BRAND ONION HAS ALSO ADVANCED UNDERSTANDING OF HOW IMPORTANT BRAND ESSENCE IS, AND HOW THE ESSENCE OF THE BRAND SHOULD BE TRANSLATED INTO ALL ASPECTS OF THE BRAND.

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FIG (14).

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FIG (15).

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EXPLORING THE PHYSICAL ATTRIBUTES OF THE GENERATION GEN BRAND IDENTITY INCLUDES THE CONNOTATION OF THE NUDE/BEIGE/BROWN (‘BRIEGE’) TONES THAT WEAVE THROUGHOUT ALL ASPECTS; THE GARMENTS OF THE CONCEPTUALISED EDITORIAL AND THE TASTER ZINE LAYOUT. A QUESTION INCLUDED IN THE ONLINE SURVEY ‘GENDER WITHIN FASHION’ GAVE THE RESPONDENTS A CHOICE BETWEEN 2 COLOUR PALETTES [SEE FIGURE 16]. THE NUDES/PINK COLOUR PALETTE DRASTICALLY LOST TO THE NEUTRAL TONES OF THE ‘BREIGE’ COLOUR PALETTE. COLOUR STEREOTYPES DICTATE ‘PINK FOR GIRLS’ AND ‘BLUE FOR BOYS’, SO STEERING AWAY FROM THESE COLOURS TO PROMOTE DEFINITIVE EQUALITY IS SUPERLATIVE.

39 G E N E R A T I O N THE GENERATION GEN LOGO [SEE FIGURE 17] USES BOTH FEMININE AND MASCULINE ASPECTS; A FLUID COMBINATION OF GENDERS. CAPITAL CASE IS COMMONLY REFERRED TO AS ‘MASCULINE’ AND ‘STRONG’. THINNER, MORE CONTEMPORARY, FONT IS REFERRED TO AS ‘FEMININE’. BY PICKING FEATURES OF BOTH STEREOTYPES AND COMBINING THESE USING ADOBE PHOTOSHOP AND ADOBE ILLUSTRATOR, THE GENERATION GEN LOGO IS GENDERLESS; AIDED BY THE MOTIF ON THE LETTER ‘O’ REPRESENTING THE SEX SYMBOLS OF MALE AND FEMALE.

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FIG (16). FIG (17).

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FIG (18).

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C O N S U M E R A N A L Y S I S PRIMARY AND SECONDARY RESEARCH HAVE BEEN DEMONSTRATED TO DEFINE THE CORRECT CONSUMER THROUGH A WRITTEN PEN PORTRAIT (SEE APPENDIX 11), AND AN IMAGE MAP (FIG 19) TO REPRESENT THIS GROUP. TO SUMMARISE, THE GENERATION GEN CONSUMER IS A CREATIVE INDIVIDUAL, INCORPORATING MANY ASPECTS OF THE ARTS INTO THEIR LIFE; THEIR CAREER, HOBBIES, ASPIRATIONS AND DESIRES. A FRIENDLY, LOYAL AND RELAXED BEING ACCUSTOMED TO TOWNIFIED LIFE. SHOPAHOLIC. MUSIC ENTHUSIAST. INNOVATIVE WANNABE.

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THIS ANALYSIS OF THE CONSUMER AND THEIR RESPONSE TO TREND(S) RELATES TO ‘ROGER’S DIFFUSION OF INNOVATION THEORY’ [SEE APPENDIX 12]. ‘ROGERS IDENTIFIED FIVE TYPES OF INDIVIDUALS CLASSIFIED BY THEIR PROPENSITY TO ADOPT INNOVATION’ (POSNER 2011), BY USING THIS IDEA OF CONSUMERS AND THEIR RELATIONS TO TRENDS, INCLUDING THEIR MOTIVATION TO FOLLOW/ IMITATE OTHERS OR BE AS CUTTING-EDGE AS THEY CAN POSSIBLY BE, IT IS HOPEFUL THAT THE GENERATION GEN CAMPAIGN WILL AT FIRST APPEAL TO THE ‘INNOVATORS’ (2.5%) OF THE SPECTRUM, SHOWN ON ROGER’S DIAGRAM. THE ‘INNOVATORS’ WILL THEN INFLUENCE THE ‘EARLY ADOPTERS’ (13.5%) TO TAKE INTEREST IN THE CAMPAIGN, WHOM WILL THEN INFLUENCE THE ‘EARLY MAJORITY’ (34%) AND SO FORTH.

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FIG (19).

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FIG (20).

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L A U N C H E V E N T THE GENERATION GEN LAUNCH EVENT IS AN INTEGRATED STRATEGY, MADE UP OF A LOT OF LITTLE THINGS THAT ALL HAVE ONE PURPOSE. THE ROLES OF CAMPAIGN MANAGER CONTAIN THE COMPREHENSION TO BE AWARE OF THE HOLISTIC OF THE CAMPAIGN, AND ALL AVAILABLE FEATURES THAT CAN BE INCLUDED. THIS HAS BEEN DEMONSTRATED VIA A 6 MONTH TIMELINE SPLIT INTO 2 MONTH PERIODS (SEE APPENDIX 17).

THE COMMUNICATIONS THEORY (SEE APPENDIX 13) HAS BEEN APPLIED TO EVALUATE THE SENDER, MESSAGE, RECEIVE PROCESS. CREATING AN EXAMPLE OF HOW THIS WILL BE IMPLEMENTED IN THE GENERATION GEN CAMPAIGN (SEE APPENDIX 14) TO SEE HOW THE MESSAGES PROPOSED BY THE CAMPAIGN COULD BECOME LOST/MISUNDERSTOOD. THIS HAS IDENTIFIED HOW THE NOISE (MARKETING INTERFERENCE) THAT COULD HINDER THE CAMPAIGN INCLUDES HOW CONSUMERS MAY CONFUSE GENERATION GEN AS A LGBTQ (LESBIAN, GAY, BI-SEXUAL, TRANS, QUEER) AWARENESS, RATHER THAN THAT OF A GENDER NEUTRAL ONE. ENSURING THAT THE GENDER NEUTRAL MESSAGE/MEDIA ASPECT OF THE CAMPAIGN IS CLEAR AND CONCISE WILL AVOID THIS.

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THE PRE-LAUNCH OF THE GENERATION GEN CAMPAIGN IS ABOUT PLANNING AND ENSURING EVERYTHING HAS BEEN ADDRESSED AND CONSIDERED. IT IS ALSO ABOUT BEGINNING THE ‘COMING SOON’ ASPECT. PROMOTION WILL BE A BIG FACTOR OF THE PRE-LAUNCH, IT IS ALL ABOUT PERSUASION. BY EXERCISING ‘THE PROMOTIONAL MIX’ (SEE APPENDIX 15) AND USING A COMBINATION OF THE TOOLS SUCH AS ADVERTISING, DIGITAL AND SOCIAL, VISUAL MERCHANDISING AND PR ENSURES THAT THE CAMPAIGN IS MARKETED CORRECTLY AND COMPLETELY TO CHANNEL THE GENERATION GEN CAMPAIGN MESSAGE. ADVERTISING WILL INCLUDE FEATURES FROM THE COMMUNICATIONS WHEEL (SEE APPENDIX 16) FOR EXAMPLE BRANDING, THE LOGO, THE GENDER NEUTRAL EDITORIAL PHOTOGRAPHIC, A PUBLICATION (THE TASTER ZINE), POSTERS AND SOCIAL MEDIA. ALL OF THESE FEATURES RELATE SOLELY BACK TO THE ATTENTION OF THE CONSUMER, AND WAYS TO COMMUNICATE THE PRE-LAUNCH OF THE CAMPAIGN TO THEM.

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49 G E N E R A T I O N DIGITAL AND SOCIAL ASPECTS OF THE PROMOTIONAL MIX COME IN THE FORM OF A WEBSITE, OR SOCIAL MEDIA PLATFORMS LIKE FACEBOOK, TWITTER AND INSTAGRAM. (SEE GENERATION GEN BLOG) PR (PUBLIC RELATIONS) REFERS TO THE PRESS, GENERATION GEN NEEDS TO GUARANTEE THAT MAGAZINES/NEWSPAPERS ARE ALSO PREPARED FOR THE LAUNCH AND THEY KNOW DETAILS ABOUT THE EVENT AND CAMPAIGN. BY PROVIDING THEM WITH A PRESS RELEASE, PRESS PACK OR PRESS DAY.

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FIG (21).

THE EVENT ITSELF WILL ONLY BE UP FOR ONE DAY AND ONE NIGHT, ENHANCING THE PRESTIGIOUS FEEL AND ENSURING EXCLUSIVITY. DISCUSSION ABOUT THE OVERVIEW, AMBIENCE, INVITEES, AND SPACE OF THE LAUNCH ARE ON THE GENERATION GEN BLOG.

AFTER, AND DURING THE EVENT, DIGITAL AND SOCIAL MEDIA WILL STILL NEED TO BE CONSIDERED, CONTINUING ON FROM EVERYTHING SET UP DURING THE PRE-LAUNCH PERIOD. THE CAMPAIGN WILL HAVE JUST BEEN RELEASED, AND TO REACH OUT TO CONSUMERS IS PARAMOUNT.

AS A RESULT OF THE PR IN THE PRE-LAUNCH, FEATURES DISCUSSING GENERATION GEN WILL BE SURFACING IN MAGAZINES AND NEWSPAPERS, IN PRINT AND ONLINE.

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FIG (22).

FOLLOWING THE INITIAL LAUNCH, AND HEADING INTO THE LAST 2 MONTHS OF THE CAMPAIGN THE FULL ZINE WILL BE LAUNCHED (ONLY THE TASTE ZINE HAS BEEN PRINTED AT THIS POINT), A SUBSCRIPTION SERVICE HAS BEEN PUT INTO PRACTICE WITH A QUARTERLY RELEASE.

DIGITAL AND SOCIAL MEDIA WILL STILL BE UPDATED FREQUENTLY, ACTING AS A VEHICLE FOR ENGAGEMENT WITH THE CONSUMER, ALSO AS INFORMING THEM WITH THE CAMPAIGNS HAPPENINGS.

WHILST STUDYING THE CAMPAIGNS PLACE ‘POSTLAUNCH’, THE GENERATION GEN SWOT ANALYSIS OPPORTUNITIES SECTION (SEE APPENDIX 8) WAS UTILISED. IN STORE VISUAL MERCHANDISING (VM), A FASHION FILM/COLLECTION OF MINI FILMS, A CLOTHING LINE AND FUTURE CAMPAIGNS ARE ALL IN THE FUTURE FOR THE POST-LAUNCH OF THE CAMPAIGN.

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CONC THE GENERATION GEN CAMPAIGN WILL GAIN EXPOSURE THROUGH FEATURE ARTICLES ABOUT THE LAUNCH ON DAZED DIGITAL, YOUDO-YOU, ID MAGAZINE, OYSTER MAGAZINE AND PAPER MAGAZINE; ALL MEDIA PLATFORMS/PUBLICATIONS THAT THE GENERATION GEN CONSUMER FOLLOWS.

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AS AN OVERVIEW GENERATION GEN HAS TAKEN A DIFFERENT APPROACH AND SLANT TOWARDS THE GENDERLESS CONCEPT WITHIN THE PERSPECTIVE OF FASHION. A CAPSULE COLLECTION OF UNISEX/ANDROGYNOUS GARMENTS HAS NOT BEEN PROVIDED (ALTHOUGH THIS IS AN OPPORTUNITY FOR THE FUTURE), BUT, INSTEAD A CONCEPTUALISED CAMPAIGN SUPPORTING THE IDEAS AND THOUGHTS SURROUND THE GENDERLESS TOPIC. THIS IS A FACTOR THAT IDENTIFIES GENERATION GEN AS DISTINCTIVE FROM PARALLEL BRANDS, AND OFFERS SOMETHING FRESH TO THE MARKET.

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LUSION

THE GENERATION GEN CAMPAIGN IS RAISING QUESTIONS THAT NEED TO BE ANSWERED. THIS IS A PROJECT THAT’S DEMONSTRATES RESEARCH AND ANALYSIS, WITH CONCLUSIONS DRAWN FROM ANALYSIS THERE IS EFFECTIVELY NO ONE CONCLUSION AS THIS HAS BEEN CONSIDERED FROM CONTEXT AND IS ALL BASED ON FUTURE IDEAS AND TRENDS.

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FIG (23).

APPENDIX 1. POSITIONING MAP (p 53. 2011) POSNER, HARRIET. A POSITIONING MAP IS USED TO PLOT RELATIVE POSITIONS OF BRANDS OR PRODUCTS. USED TO CREATE THE GENERATION GEN BRAND POSITIONING MAP.

APPENDIX 2. GENERATION GEN BRAND POSITIONING MAP (2015) WATSON, K. CREATED TO DETERMINE THE GENERATION GEN CAMPAIGNS’ POSITION IN THE MARKET USING PRICE AND POPULARITY/REPUTATION AS AXIS LABELS.

APPENDICES

G E N E R A T I O N APPENDIX 3. SWOT ANALYSIS EXAMPLE (p 99. 2011) POSNER, HARRIET. A SWOT ANALYSIS PROVIDES FRAMEWORK TO COLLATE AND REVIEW INVESTIGATIVE INFORMATION. USED AS A BASIS FOR COMPETITOR BRAND SWOT’S AND GENERATION GEN SWOT.

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APPENDIX 4. MTWTFSS/HE COMPETITOR SWOT ANALYSIS (2015) WATSON, KATHERYN. CONDUCTED DURING COMPETITOR ANALYSIS TO COMPARE STRENGTHS, WEAKNESSES, OPPORTUNITIES AND THREATS.

APPENDIX 5. SELFRIDGES AGENDER CAMPAIGN COMPETITOR SWOT ANALYSIS (2015) WATSON, KATHERYN. CONDUCTED DURING COMPETITOR ANALYSIS TO COMPARE STRENGTHS, WEAKNESSES, OPPORTUNITIES AND THREATS.

APPENDIX 6. LCF BA (HONS) FASHION PHOTOGRAPHY COMPETITOR SWOT ANALYSIS (2015) WATSON, KATHERYN. CONDUCTED DURING COMPETITOR ANALYSIS TO COMPARE STRENGTHS, WEAKNESSES, OPPORTUNITIES AND THREATS.

APPENDIX 7. PRUE STENT COMPETITOR SWOT ANALYSIS (2015) WATSON, KATHERYN. CONDUCTED DURING COMPETITOR ANALYSIS TO COMPARE STRENGTHS, WEAKNESSES, OPPORTUNITIES AND THREATS.

APPENDIX 8. GENERATION GEN CAMPAIGN SWOT ANALYSIS (2015) WATSON, KATHERYN. CONDUCTED TO ANALYSE AND EVALUATE STRENGTHS, WEAKNESSES, AND THREATS. ALSO TO HIGHLIGHT FUTURE OPPORTUNITIES.

APPENDIX 9. BRAND ONION DIAGRAM (p 147. 2011) POSNER, HARRIET. A BRAND ONION IS USED TO ANALYSE AND MAP THE BRAND IDENTITY AND SHOW IT IN DIAGRAMMATIC FORM. GUIDELINES/METHOD FOLLOWED TO CREATE THE GENERATION GEN BRAND ONION.

APPENDIX 10. GENERATION GEN BRAND ONION DIAGRAM (2015) WATSON, KATHERYN. CREATED FOLLOWING THE HARRIET POSNER DIAGRAM. USED TO SUMMARISE THE GENERATION GEN BRAND IDENTITY, AND VISUALLY SEE THE DIFFERENT LAYERS OF THE BRAND/CAMPAIGN.

APPENDIX 11. CONSUMER PEN PORTRAIT/IMAGE MAP (2015) WATSON, KATHERYN. A MARKETING TECHNIQUE USED TO DEFINE THE GENERATION GEN CONSUMER. LIFESTYLE AND DEMOGRAPHIC VARIABLES SUCH AS OCCUPATION, AGE, AND INCOME HAVE BEEN CONSIDERED

APPENDIX 12. ROGER’S DIFFUSION OF INNOVATIONS DIAGRAM (p 119, 2011) POSNER, HARRIET. EVERRETT ROGER’S THEORY IN WHICH THE WAY AN INNOVATIVE NEW IDEA, OR TREND, IS TAKEN UP BY CONSUMERS AND MOVED THROUGH THE POPULATION. USED IN THIS REPORT TO ANALYSE HOW CONSUMERS WILL RESPOND TO THE GENERATION GEN CAMPAIGN, AND HOW THIS WILL INFLUENCE LATER CONSUMERS TO ADOPT THE CAMPAIGN.

APPENDIX 13. THE COMMUNICATION PROCESS MODEL (p158, 2009) JACKSON AND SHAW. MARKETING COMMUNICATION MODEL ILLUSTRATING THE 2-WAY COMMUNICATION PROCESS BETWEEN A BRAND AND IT’S CUSTOMERS. USED AS A BASIS FOR THE GENERATION GEN EXAMPLE OF THE COMMUNICATION PROCESS.

APPENDIX 14. THE COMMUNICATION PROCESS GENERAION GEN EXAMPLE (2015) WATSON, KATHERYN. MARKETING COMMUNICATION MODEL ILLUSTRATING THE COMMUNICATION/MESSAGE FROM THE GENERATION GEN CAMPAIGN TO CONSUMERS. EVALUATING HOW NOISE (MARKETING INTERFERENCE) CAN CONFUSE THE INTENDED MESSAGE. ALSO ILLUSTRATING HOW EACH ASPECT OF THE MODEL IS USED AND HOW GENERTATIN GEN INTENDS ON IMPLEMENTNG THIS.

APPENDIX 15. THE PROMOTIONAL MIX DIAGRAM (2015) PEGG, ANNA. FASHION PROMOTION IS A SUBSET OF THE MARKETING MIX. A MENU OF COMMUNICATION TOOLS/CHANNELS/METHODS THAT CAN BE USED SEPARATELY BUT IDEALLY IN COMBINATION. ASPECTS OF THE PROMOTIONAL MIX HAVE BEEN USED IN THE ‘PRE-LAUNCH’, ‘LAUNCH’ AND ‘POST-LAUNCH’ STATES OF THE LAUNCH EVENT TIMELINE.

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APPENDIX 16. THE COMMUNICATIONS WHEEL DIAGRAM (2015) PEGG, ANNA. METHODS OF COMMUNICATING THE BRAND TO THE CONSUMER. IN THE ‘PRE-LAUNCH’ SECTION OF THE GENERATION GEN CAMPAIGN, ASPECTS OF THE WHEEL INCLUDING BRANDING, THE LOGO, THE GENDER NEUTRAL EDITORIAL PHOTOGRAPHIC, A PUBLICATION (THE TASTER ZINE), POSTERS AND SOCIAL MEDIA. ALL OF THESE FEATURES RELATE SOLELY BACK TO THE ATTENTION OF THE CONSUMER, AND WAYS TO COMMUNICATE THE PRE-LAUNCH OF THE CAMPAIGN TO THEM.

APPENDIX 17 (OPPOSITE). GENERATION GEN LAUNCH EVENT TIMELINE (2015) WATSON, KATHERYN. VISUAL OF THE LAUNCH EVENT PLAN, 6 MONTH PERIOD, SPLIT INTO 2 MONTH SECTIONS. EACH TASKS THAT NEEDS TO BE COMPLETED HAS BEEN HIGHLIGHTED WITHIN IT’S APPROPRAITE SECTION.

72 A R T I C L E S . Ferrier, M. (2015) Gender-neutral fashion: Beyond menswear and womenswear. Available at: http:// www.theguardian.com/fashion/2014/aug/11/-spthe-rise-of-gender-neutral-fashion (Accessed: 14 November 2015). Firth, P. and Robinson, H. (no date) The polarity paradox. Available at: https://www.lsnglobal.com/ macro-trends/article/15374/the-polarity-paradox (Accessed: 9 October 2015). Maciejowska, K. and Smith, J. (2015) Mission media. Available at: https://www.lsnglobal.com/micro-trends/ article/17743/mission-media (Accessed: 9 October 2015). Walker, D., Buchanan, V. and Stott, R. (no date) Neutral culture. Available at: https://www.lsnglobal. com/macro-trends/article/18091/neutral-culture (Accessed: 19 October 2015).

P R E S E N T A T I O N S . Pegg, A. (2015) AUB. What is Fashion Promotion?. Available at: https://mycourse.aub.ac.uk/bafsc6/wpcontent/uploads/sites/46/2015/10/WEEK-12-WHATIS-FASHION-COMMUNICATION.pdf (Accessed: 18 November 2015).

Posner, H. (2011) Marketing fashion: Portfolio series. London: Laurence King Publishing. Shaw, D. and Jackson, T. (2007) Mastering fashion marketing (Palgrave master series). New York: Palgrave Macmillan.

I M A G E S . STENT, P. (no date) Pink [PHOTOGRAPH]. Available at: http://www.pruestent.com/untitled-gallery (Accessed: 23 November 2015). WATSON, K. (2015) COLOUR PALETTES [MOODBOARD]. Available at: https://generationgen. wordpress.com/2015/10/26/colour-palettes/ (Accessed: 23 November 2015). Watson, K. (2015) GENERATION GEN LOGO DEVELOPMENT AND FINAL ANALYSIS [ILLUSTRATION]. Available at: https://generationgen. wordpress.com/2015/11/09/generation-gen-logodevelopment-and-final-analysis/ (Accessed: 23 November 2015). Watson, K. (2015) GENERATION GEN PHOTOSHOOT IMAGES [PHOTOGRAPHS]. Available at: https://generationgen.wordpress. com/2015/11/19/generation-gen-photoshoot-images/ (Accessed: 23 November 2015).

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74 W E B S I T E S . Stent, P. (no date) Home. Available at: http://www. pruestent.com (Accessed: 23 November 2015). Team, W. (no date) BA (Hons) fashion photography. Available at: http://www.arts.ac.uk/fashion/courses/ undergraduate/ba-fashion-photography/ (Accessed: 23 November 2015). Watson, K. (2015) ‘BRAND - GUCCI’, Generation Gen, 28 October. Available at: https://generationgen. wordpress.com/2015/10/28/brand-gucci (Accessed: 17 November 2015). Watson, K. (2015) ‘BRAND - JW ANDERSON’, Generation Gen, 26 October. Available at: https:// generationgen.wordpress.com/2015/10/26/brand-jwanderson/ (Accessed: 17 November 2015). Watson, K. (2015) ‘BRAND - PRADA’, Generation Gen, 28 October. Available at: https://generationgen. wordpress.com/2015/10/28/brand-prada (Accessed: 17 November 2015). Watson, K. (2015) ‘BRAND: RAD HOURANI UNISEX’, Generation Gen, 4 November. Available at: https://generationgen.wordpress.com/2015/11/04/ brand-rad-hourani-unisex/ (Accessed: 17 November 2015). Watson, K. (2015) ‘BRAND ALIGNMENT - ASHISH’, Generation Gen, 19 October. Available at: https:// generationgen.wordpress.com/2015/10/19/brandalignment-ashish (Accessed: 17 November 2015). Watson, K. (2015) ‘BRAND ALIGNMENT WEEKDAY’, Generation Gen, 19 October. Available at: https://generationgen.wordpress.com/2015/10/19/ brand-alignment-weekday/ (Accessed: 17 November 2015).

Watson, K. (2015) ‘BRAND COMPETITOR - DAIMORF’, Generation Gen, 4 November. Available at: https://generationgen.wordpress. com/2015/11/04/brand-competitor-daimorf/ (Accessed: 17 November 2015). Watson, K. (2015) ‘COMPETITOR - LCF BA HONS FASHION PHOTOGRAPHY’, Generation Gen, 4 November. Available at: https://generationgen. wordpress.com/2015/11/04/competitor-lcf-ba-honsphotography/ (Accessed: 17 November 2015). Watson, K. (2015) ‘COMPETITOR - PRUE STENT’, Generation Gen, 2 November. Available at: https:// generationgen.wordpress.com/2015/11/02/ competitor-prue-stent (Accessed: 17 November 2015). Watson, K. (2015) ‘COMPETITOR BRAND - FENDI. RADICAL NEW GENDER AGENDA’, Generation Gen, 4 November. Available at: https://generationgen. wordpress.com/2015/11/04/competitor-brand-fendiradical-new-gender-agenda (Accessed: 17 November 2015). Watson, K. (2015) ‘GENDER WITHIN FASHION SURVEY RESPONSES ANALYSING’, Generation Gen, 2 November. Available at: https://generationgen. wordpress.com/2015/11/02/gender-within-fashionsurvey-responses-analysing/ (Accessed: 17 November 2015). Watson, K. (2015) GENERATION GEN- TASTER ZINE. Available at: http://issuu.com/katherynwatson/docs/ taster_zine_generation_gen (Accessed: 23 November 2015). Watson, K. (2015) Gender within fashion survey. Available at: https://www.surveymonkey.com/r/t6wjktt (Accessed: 17 November 2015).

76 Watson, K. (2015) Generationgen. Available at: https://generationgen.wordpress.com (Accessed: 17 November 2015). Watson, K. (2015) ‘LAUNCH EVENT - AMBIENCE’, Generation Gen, 17 November. Available at: https:// generationgen.wordpress.com/2015/11/17/launchevent-ambience/ (Accessed: 23 November 2015). Watson, K. (2015) ‘SELFRIDGES AGENDER’, Generation Gen, 19 October. Available at: https:// generationgen.wordpress.com/2015/10/19/ selfridges-agender (Accessed: 17 November 2015). Watson, K. (2015) ‘SOCIAL MEDIA CAMPAIGNS’, Generation Gen, 16 November. Available at: https:// generationgen.wordpress.com/2015/11/16/socialmedia-campaigns/ (Accessed: 23 November 2015). Watson, K. (2015) ‘THE LAUNCH EVENT OVERVIEW AND PLACE’, Generation Gen, 17 November. Available at: https://generationgen. wordpress.com/2015/11/17/the-launch-eventoverview-and-place/ (Accessed: 23 November 2015). Watson, K. (2015) ‘UNISEX BRANDS - ARMOIRE OFFICIELLE/MORRISON-HOWLIN’/LEVIT’, Generation Gen, 19 October. Available at: https:// generationgen.wordpress.com/2015/10/19/unisexbrands-armoire-officiellemorrison-howlinlevit/ (Accessed: 17 November 2015).

77 Watson, K. (2015) ‘UNISEX BRANDS - BOY LONDON, WILLIS CHAN’, Generation Gen, 26 October. Available at: https://generationgen. wordpress.com/2015/10/26/unisex-brands-boylondon-willis-chan (Accessed: 17 November 2015). Watson, K. (2015) ‘UNISEX BRANDS OLDERBROTHER AND BUTCH BABY’, Generation Gen, 19 October. Available at: https://generationgen. wordpress.com/2015/10/19/unisex-brandsolderbrother/ (Accessed: 17 November 2015). Watson, K. (2015) ‘UNISEX BRANDS - YOHJI YAMAMOTO’S GROUND Y’, Generation Gen, 19 October. Available at: https://generationgen. wordpress.com/2015/10/19/unisex-brands-yohjiyamamotos-ground-y/ (Accessed: 17 November 2015). Watson, K. (2015) ‘WEEKDAY - MTWTFSS/HE’, Generation Gen, 19 October. Available at: https:// generationgen.wordpress.com/2015/10/19/weekdaymtwtfsshe/ (Accessed: 17 November 2015).

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KATHERYN WATSON FA S H I O N P R O D U C T D E V E L O P M E N T C O M M U N I C AT I O N ARTS UNIVERSITY BOURNEMOUTH w w w. g e n e r a t i o n g e n . w o r d p r e s s . c o m