LEVEL III DISSERTATION PROPOSAL
CONTENTS
4/PREFACE 5/INTRODUCTION 6/SEX IN CONSUMER CULTURE Beginning of an idea Cartogram History of Sex in Advertising Case studies Fourth-wave feminism Consumer Profiles Conclusion
20/CONSUMER, CHOICE AND CONSUMPTION Beginning of an idea Cartogram The Age of Cheap Choice Primary Research Consumer Profiles Post-subcuturalism Conclusion
ILLUSTRATIONS references BIBLIOGRAPHY APPENDIX
As I enter into my final year of my degree, it is time for me to prepare to think about ideas for my self-devised project that are creative, innovative and timely. I have done this by collecting and categorizing any articles, books and images that have interested me. To understand what topics would be most suited to my skillset, I have reflected on my experience and work on Fashion Communication and Promotion which has allowed me to identify where my strengths and weaknesses lie. Projects such as the Liz Earle Fashion Film and the Perfume Project allowed me to generate ideas for a Big Idea, understand consumers, gather inspiration, assist in photo shoots and create moving image for design layouts and executions. I found I particularly enjoyed these areas and the process from the Big Idea to Creative Concept which is where I would place myself in the FCP Triangle. Jobs in this segment include Creative Director, Graphic Designer, Copy Writer and Photographer. An area of weakness for me is creative primary research as I find it difficult to choose methods that are innovative and appropriate for the task which in turn provides useful insights. This is something that I intend to improve on with this report and my self-devised project.
preface
Introduction Working predominantly in the Context section of the FCP process, this report will outline two potential topics that I believe are important matters in the fashion industry using primary and secondary research, consumer profiles and cartograms. My first idea will investigate the influence of sex in consumer culture. With a focus on brands and products, I will looked at how brands use sex and associated terms as a marketing strategy to persuade consumers to buy into an ideal. I’ll also look at the social and cultural implications feminism and online media. Secondly, I will be investigating the connection between consumers, choice and consumption. I will examine the impact that fast fashion has had on consumer attitudes towards clothing and the fashion industry, consumption and consumer identities. From this report, I hope to gain a wide understanding of both of my topics generating insights which will in turn help me to narrow down my findings eventually leading to an outcome for my third year self-devised project.
SEX IN CONSUMER CULTURE
Fig 1.Calvin Klein, 2016
My idea began with the recent controversy of Calvin Klein’s Eroticism campaign, in particular the image caption ‘I flash in #mycalvin’s’ (Figure 1) photographed by Harley Weir. Some have deemed it iconic and beautiful whereas other have protested it is a sick glorification of rape culture and sexual harrassment (Vogue 2016). Within this topic, I aim to explore the ways sex is portrayed by advertising and brands and the impact it has on consumers. I will also look at the debate of empowerment over objectification and how the fourth wave of feminism has impacted this.
Reichert and Lambraise (2003) have defined 5 types of sexual content in advertising; nudity, sexual behaviour, physical attractveness, sexual referents and sexual embeds. In 1899, The Ladie’s Home Journal refused to print a R&G Corsets advertisement (Figure 2) as it was considered immodest for exposing the model’s arms and female form which is a far cry from the sexually explicit ads of today. (Sivulka in Reichert and Lambraise 2003). The progression of erotic ads over the last century is a direct reflection of society and what’s acceptable of the era. According to Schroeder and McDonagh (in Reichert, Childers, Reid 2012) sex is used as an attention-getting strategy however it could be argued that the excess of sex in modern consumer culture has desensitised us and as a result it takes more to grab our attention than ever before. Fig 2.R&G Corsets, 1899
Cartogram
Fig 3.United Colors of Benetton, 2011
Fig 4.United Colors of Benetton, 2012
In reference to my cartogram (Appendix I), Calvin Klein, United Colors of Benetton and American Apparel are examples of ‘Trend Drivers’ in the way sex in consumer culture is portrayed, perceived and discussed. Whilst these brands and sex in advertising in general has been criticised from a moralistic perspective, the real danger comes from the trivialisation of sex in society “promoting it with narcissism than with promiscuity, with consuming than with connecting” (Kilbourne in Reichert and Lambraise 2003). The issue is the impact it has on society, particularly influencing the younger generations (shown in Impacts and Consequences of the cartogram) and their attitudes towards sex.
Sexologist Igor Kon claims that sex as a product of mass consumption has become something to be consumed for the purpose of compensating for the unsatisfactory realities of life (Ibroscheva, 2013). It is impossible to imagine what our mass media popular culture would be without sexual appeal however the overwhelming notion that sex appeal is a product of what you have rather than what is within is one of advertising’s most worrying messages (Reichert and Lambraise 2003) and something I aim to explore in this topic. Throughout my cartogram, there is a running theme of empowerment. A word that was once used to increase autonomy and strength of marginalised groups of society is now become nothing more than a product to sell and buy, according to journalist Jia Tolentino writing for th New York Times (New York Times, 2016). Tolentino discusses how the now highly marketable concept is no longer about a collective message but about individual pleasure and insecurity and how brands are exploiting this. Similarly, journalist Hadley Freeman (Guardian, 2016) believes that nowehere is empowerment more meaningless than in consumerism. Both Tolentino and Freeman concluded that the irony with moden day empowerment is that the ones who came to have it and the ones the term is marketed for are the ones who need it the least. If we analyse these discussions further, it could debate the demographic for this concept might not be the problem but in the way it is executed. Similar to the way sex appeal is sold to consumers, so is empowerment; another marketing tool to persuade consumers to buy the latest commodity. The consequence is that if you can find empowerment in everything, than really it’s in nothing and while some consumers buy into this ideal, others find it offensive and objectifiying.
Fig 5. Calvin Klein, 2016
Case studies
Fig 7. Miley Cyrus,2014
Fig 6. Free the Nipple, 2016
FREE THE NIPPLE
Fig 8. Activist, 2014
Free The Nipple (Fig 6) is an equality movement advocating women’s rights to go topless in public as a means to empower them. Whilst the film of the same name, was predominately panned by critics, the movements has been elevated by the support of celebrities such as Scout Willis and Miley Cyrus (Fig 7) who have both protested the censorship policy of female nudity on Instagram.
Fig 9. No More Page 3, 2015
NO MORE PAGE 3
No More Page 3 was a campaign against the objectification of women in the Sun Newspaper, specifically the notorious page 3 spread of a topless woman. The comparison of these campaigns is not to question a consumer’s personal attitude or belief towards ‘Free the Nipple’ or ‘No More Page 3’ but to highlight the conflicting messages portrayed in our culture around women, their bodies and their sexuality. The lines between what is considered to be empowering and objectifying are increasingly blurred which could make it harder for consumers to formulate their own opinions.
A new feminist zeitgeist has formed from the influence of its predecessors as young activists “blend the micropolitics that characterised much of the third wave with an agenda that seeks change in political, social and economic structures much like the second wavE� - BanyTE ET AL, 2014
The power of the internet and online media has acted as a catalyst as it has never been so easy for one to express their opinion which many commentators believe has enable the fourth-wave of feminism. Munro (Munro, 2013) believes this has created a call-out culture where misogyny and sexism can be publicly critisiced much like No More Page 3, Free the Nipple and the Calvin Klein campaign has been. From a brand perspective, whilst this might seem like negative publicity, there are many who advocate sexualised campaigns. For instance #mycalvins has been used 362,000 times on Instagram and has been labelled one of the most successful uses of social media for advertising. This insight suggests that contorversial advertisements are created to provoke discussion and impact online – negative and postive - as well as for commercial purposes.
consumer profiles My research has led me to distinguish two consumer groups within this topic.
Fig 10. The Buyers 2016
The Buyers are
the consumers who buy into these ideals, brands and products. For instance, they would define the #mycalvins campaign as empowering and would feel empowered in their own life through the clothes they wear, music they listen and the activites they partake in.
Fig 11. The Rejectors, 2016
The Rejectors are the consumers who feel manipualted by brands and marketers and therefore do not buy the products. They would most likely have found the #mycalvins campaign offensive and objectifying and they would be likely voice these opinions as part of the “call-out culture�.
Conclusion
My research had led me to consider where I can take this idea for my self-devised project. Sex is fully immersed into our culture, from the brands and products we buy to the images we see to what we interact with on social media however my interpretation is that sex as well as empowerment has been so reproduced and redefined that the meaning and narrative has been lost in translation. I aim to investigate this problem over the summer to better understand the future of sex in consumer culture. I plan to conduct interviews and a focus group with people from both consumer groups as I believe it will be imperative to this topic to understand both consumer attitudes.
CONSUMERS, CHOICE AND CONSUMPTION
Fig 12, Edelkoort, 2014
In 2014, trend forecaster Li Edelkoort published a 10-point “Anti-Fashion” manifesto detailing the reasons “why the fashion system is obsolete” (Dezeen, 2016:Online). Under Manufacturing, Edelkoort believes the culture of fashion has been destroyed by supply chains exploiting cheap labour and consumers being lured by low-cost clothes.
the age of cheap In reference to my cartogram (Appendix II), whilst fast fashion is a ‘Trend Driver’, the ‘Trend Impact’ is “The Age of Cheap” (Bosshart, 2004). The increase demand for low-priced goods has led to a consumer behaviour shift whereby parsimony become superior to paying too much for a product that could have been bought cheaper somewhere else (Bosshart, 2004). This attitude has also impacted the value and longevity of the product as consumers are more likely to dispose of their clothing before necessary. This is proven with an estimated £100 million worth of clothing going to landfill in the UK every year (WRAP, 2015). In contrast, there has been a rise in consumers questioning the ethics of the fashion industry and manufacturing of clothing, following the collapse of the Rana Plaza factory complex in Bangladesh that killed 1,134 people and injured 2,500 more in 2013. Social media campaigns such as #whomademyclothes which had a reach of 63 million online in 2015 (Independent, 2016:Online) is enabling consumers to ask the hard questions about the origin of their clothing and the conditions in which they were made.
Fig 13, Rana Plaza Collapse, 2013
Fig 14, Landfill, 2016
Fig 14,#whomademyclothes, 2015
Choice Another impact of fast fashion is abundance of clothing available to consumers. It has created a structure of revolving trends and fads that mean that from one day to the next you could walk into a store and see completely new products which leads to an overwhelming amount of choice. In The Paradox of Choice (Schwartz, 2004), Schwartz discusses the positives and negatives of choice. Embedded into our lives, is the notion that more choice equates to more freedom, leaving a consumer to feel in control and liberated. However, on the other hand he argues that too much choice leads to “paralysis” whereby consumers are too overwhelmed to make a choice at all, or are less satisfied with their choice as it’s easy to imagine how an alternative would be better (Schwartz, 2006). Fig 15, Topshop VM, 2016
To further understand this, I conducted primary research, looking at the volume of choices for jeans in high street stores, Topshop and Primark (Appendix II). My results concluded there were Topshop there were 52 different pairs of jeans and in Primark 57 different pairs of jeans varying in colour, style and length. The fact that in one shop, in one town there are 50+ pairs of jeans clearly demonstrates how the option of choice has taken over from the shopping experience, leaving the consumer to have no idea what it is they actually want. This also doesn’t include the 337 pairs of jeans sold on the Topshop website.
“We know the value of everything and the price of nothing” - Oscar Wilde
On the other hand, it could be argued that “The Age of Cheap” means consumers don’t always have to make a choice and instead can afford to buy multiple products. The consequences of this however is over-consumption of products we don’t need or particularly always want but purchase for the principle that they can. I asked consumers aged between 18-76 what percentage of their wardrobe they wear regularly and 80% of participants said between 20-40% with the highest answer being 75% (Appendix III). The majority of consumers claimed to wear less than half of their clothes which indicates a problem we have with consumption across all ages. I intend to explore this research further, looking at what the reasons behind why certain clothes aren’t worn.
consumer profiles My research has led me to distinguish two consumer groups within this topic. For this topic, I will focus on the ‘Bargain Hunters’ as the concepts of choice and consumption are more appropriate to them.
Fig 16, Bargain Hunters, 2016
The Bargain hunters
are a well-informed consumer group who search for the lowest goods, discounts and sales. These consumers will evaluate all of their choices carefully during their consumer decision process however ultimately value and price will play the biggest role in their final purchase.
Fig 17, Sustainable Spenders, 2016
The sustainable spenders
are consumers who are more interested in the ethics and sustainability of products. More than the product, these consumers will think about the brand they are buying into and will remain loyal to a brand that reflects their morals and beliefs.
Fig 18, Hippie, 1969
Fig 19, Goth subculture,
Fig 20, Skinheads
Fig 21, Punk
Fig 22, Rave culture
post-subculturalism In post-modern thought, our identities have also become a choice. We no longer inherit our identities but invent them and we have the freedom to re-invent ourselves as often as we like (Schwartz 2005). Clothing is one of the fundamental ways in which we do this and the most visible form of consumption. Previously, we would have identified ourselves in a subculture based on mutual interest or appearance distinct from the mainstream culture. However, mass culture has become so fragmented and diverse that the concept of subcultures are no longer applicable, as there is no dominant culture for the subculture to resist against (Evans in Muggleton, 2002). Muggleton believes this has created an era of post-subculturalists who are aren’t defined by authenticity or social contexts, but instead by choice and the co-existence of a multitude of styles at once. This allows them to “style surf� a term coined by Ted Polhemus (Style Surfing, 1996) and move freely between styles at any time.
“post subculturalists revel in the availability of choice�
- david muggleton, 2002
The dissolution of style boundaries can be seen as both positive and negative. Relating back to Paradox of Choice (Schwartz 2002), lack of restrictions can have a positive influence on our self-identity and individuality as consumers have more freedom to develop their identity based on their own choices. On the other hand, as individuals we aspire to be part of a collective. Our identities occur subconsciously, heaving influenced by our environment and relationship with people (Bartholomew, 2010). In conjunction with this, the notion of individuality and more specifically originality is arguably nonexistent. According to John Hegarty, nothing can be truly original and everything we create is based on something’s that’s gone before (Hegarty, 2014). This has always been apparent in the fashion industry, as trends are recycled and reinvented year after year which is something that was highlighted during the fashion history project. The fluidity of post-subculturalism stands to question that if we can no longer identify as part of a group yet individuality is unattainable what is the future of identity and how will this impact consumer consumption.
Conclusion
My primary and secondary resech has generated insights around consumer consumption as a potential self-devised project. At the centre of this idea is the consumer, with fast fashion, cheaper clothing, more choice and identity acting as influencers for change in consumer behaviours. My conclusion is that marketers are so busy trying to give consumers what they think they want, without considering what they need or how it will effect them. Peter Graves discusses how if you asked a participant if they wanted less choice they would most likely say no, however a live test proved that less choice meant consumers spent more time looking at products and had an overall better shopping experience (Consumerology, 2010) proving what the consumer believes isn’t always right. I intend to explore this over summer, by completing my own experiment evaluating consumers experience with choice. I also want to further investigate ideals around identity to determine the future of this trend.
illustrations
Fig 1.Calvin Klein, (2016) Eroticism [Photograph]. Available at: http://www.vogue.co.uk/news/2016/05/16/calvin-kleinupskirt-ad-controversy-klara-kristin-defends-photograph (Accessed: 29 May 2016).
Fig 12, Edelkoort, (2014) Anti-Fashion Manifesto [Photograph]. Available at: http://www.edelkoort.com/ shopping/sample-product/manifesto-by-lidewij-edelkoort/ (Accessed: 29 May 2016).
Fig 2.R&G Corsets (1899) [Photograph]. Available at: https://lra.le.ac.uk/bitstream/2381/10257/1/2012haoyphd. pdf (Accessed: 30 May 2016).
Fig 13, Rana Plaza Collapse (2013) [Photograph]. Available at: http://www.vogue.co.uk/news/2015/06/02/rana-plazaowners-charged-with-murder-bangladesh-factory (Accessed: 30 May 2016).
Fig 3.United Colors of Benetton (2011) Available at: https:// madeleineking58.wordpress.com/2013/04/15/unhatecampaign-united-colors-of-benetton/ (Accessed: 30 May 2016).
Fig 14, Landfill (2016) Available at: https://www.flickr.com/ photos/23335593@N05/2988795145 (Accessed: 30 May 2016).
Fig 4.American Apparel (2012) Available at: http://www. nydailynews.com/life-style/controversial-american-apparelads-gallery-1.2386169?pmSlide=1.2386158 (Accessed: 30 May 2016).
Fig 14,#whomademyclothes (2015) Guardian [Photograph]. Available at: http://www.theguardian.com/fashion/ gallery/2015/apr/24/wear-your-clothes-inside-out-fashionrevolution-day (Accessed: 30 May 2016).
Fig 5. Calvin Klein, (2016) Available at: http:// qz.com/682846/calvin-kleins-hypersexual-new-ad-campaignis-creeping-people-out-just-like-the-old-days/ (Accessed: 30 May 2016).
Fig 15, Topshop VM, 2016 [Photograph]. Available at: https://uk.pinterest.com/pin/180495897540787514/ (Accessed: 30 May 2016). Fig 16, Bargain Hunters, 2016 [Own Image]
Fig 6. Free the Nipple (2016) Available at: http:// freethenipple.com/ (Accessed: 30 May 2016). Fig 7. Miley Cyrus,(2014) [Photograph]. Available at: http:// www.telegraph.co.uk/women/womens-life/10880647/ Topless-women-campaign-to-Free-The-Nipple-why-onearth-do-women-want-to-walk-around-topless-in-public.html (Accessed: 30 May 2016). Fig 8. Activist (2014) [Photograph]. Available at: http:// www.telegraph.co.uk/women/womens-life/10880647/ Topless-women-campaign-to-Free-The-Nipple-why-onearth-do-women-want-to-walk-around-topless-in-public.html (Accessed: 30 May 2016) Fig 9. No More Page 3, (2015) Independent [Photograph]. Available at: http://www.independent.co.uk/voices/ comment/no-more-page-3-our-grassroots-campaign-took-ona-huge-corporation-and-we-won-9992371.html (Accessed: 30 May 2016). Fig 10. The Buyers 2016 [Own Image] Fig 11. The Rejectors, 2016 [Own Image]
Fig 17, Sustainable Spenders, 2016 [Own Image] Fig 18, Hippie (1969) Time Magazine [Photograph]. Available at: https://uk.pinterest.com/ pin/92816442295503685/ (Accessed: 30 May 2016). Time Magazine (1969) Hippie [Photograph]. Available at: https:// uk.pinterest.com/pin/92816442295503685/ (Accessed: 30 May 2016). Fig 19, Goth Sub-culture (2016) [Photograph]. Available at: https://uk.pinterest.com/pin/443041682064596054/ (Accessed: 30 May 2016). Fig 20, Skinheads (2016) [Photograph]. Available at: https://discowarriorblog.wordpress.com/ (Accessed: 30 May 2016). Fig 21, Punk (2013) Punk [Photograph]. Available at: http://www.express.co.uk/news/uk/389259/Hate-crimesto-now-include-attacks-on-emos-punks-goths-and-metalheads (Accessed: 30 May 2016). Fig 22, Rave (2016) Rave culture [Photograph]. Available at: https://uk.pinterest.com/pin/443041682065082013/ (Accessed: 30 May 2016).
references
Banyte, J., Paskeviciute, K.P. and Rutelione, A. (2014) ‘Features of shocking advertizing impact on consumers in commercial and social context’, Innovative Marketing, 10(2), pp. 35–46. Bartholomew, M. (2010) ‘Advertising and social identity’, SSRN Electronic Journal, . doi: 10.2139/ssrn.1457236. Bosshart, D. (2007) Cheap: The real cost of the global trend for bargains, discounts & customer choice. London: Kogan Page Fairs, M. (2015) Li Edelkoort publishes manifesto on why ‘fashion is obsolete’. Available at: http://www.dezeen. com/2015/03/02/li-edelkoort-manifesto-anti-fashionobsolete/ (Accessed: 30 May 2016). Free the Nipple (2016) Available at: http://freethenipple. com/ (Accessed: 30 May 2016). Freeman, H. (2016) From shopping to naked selfies: How ‘empowerment’ lost its meaning. Available at: http://www. theguardian.com/world/2016/apr/19/from-shopping-tonaked-selfies-how-empowerment-lost-its-meaning-feminism (Accessed: 30 May 2016). Hegarty, J. (2014) Hegarty on Creativity: there are no rules. London: Thames & Hudson. Ibroscheva, E. (2013) Advertising, sex, and post-socialism: Women, media, and femininity in the Balkans, Lexington Books. (Accessed: 29 May 2016). Maclaran, P. (2015) ‘Feminism’s fourth wave: A research agenda for marketing and consumer research’, Journal of Marketing Management, 31(15-16), pp. 1732–1738. doi: 10.1080/0267257x.2015.1076497. Muggleton, D. (2002) Inside Subculture: The Postmodern meaning of style (dress, body, culture). Oxford: Berg Publishers.
Muggleton, D. and Weinzierl, R. (2003) The postsubcultures reader. Oxford: Berg. Munro, E. (2013) ‘Feminism: A fourth wave?’ Political Insight, 4(2), pp. 22–25. doi: 10.1111/2041-9066.12021. Polhemus, T. (1996) Style surfing : what to wear in the 3rd millennium. London: Thames & Hudson Reichert, T. and Lambiase, J. (2003) Sex in advertising: Perspectives on the erotic appeal. United States: Lawrence Erlbaum Associates. Rivera, L. (2016) The true cost of ‘fast fashion’: Why #whomademyclothes is trending this week. Available at: http://www.independent.co.uk/life-style/fashion/fashionrevolution-2016-the-true-cost-of-fast-fashion-a6991201.html (Accessed: 30 May 2016). Schwartz, B. (2006) The paradox of choice. Available at: http://www.ted.com/talks/barry_schwartz_on_the_ paradox_of_choice?language=en#t-475486 (Accessed: 27 May 2016). Schwartz, B.N. (2004) The paradox of choice: Why more is less. New York: HarperCollins Publishers. Tolentino, J. (2016) How ‘empowerment’ became something for women to buy. Available at: http://www.nytimes. com/2016/04/17/magazine/how-empowerment-becamesomething-for-women-to-buy.html?_r=0 (Accessed: 30 May 2016). WRAP (2016) Valuing our clothes. Available at: http:// www.wrap.org.uk/content/valuing-our-clothes (Accessed: 30 May 2016).
BIBLIOGRAPHY
Aston, C. (2015) No more page 3: Our grassroots campaign took on a huge corporation, and we won. Available at: http:// www.independent.co.uk/voices/comment/no-more-page-3our-grassroots-campaign-took-on-a-huge-corporation-and-wewon-9992371.html (Accessed: 30 May 2016). Banyte, J., Paskeviciute, K.P. and Rutelione, A. (2014) ‘Features of shocking advertizing impact on consumers in commercial and social context’, Innovative Marketing, 10(2), pp. 35–46. Bartholomew, M. (2010) ‘Advertising and social identity’, SSRN Electronic Journal, . doi: 10.2139/ssrn.1457236. Bosshart, D. (2007) Cheap: The real cost of the global trend for bargains, discounts & customer choice. London: Kogan Page Catterall, M., Maclaran, P. and Stevens, L. (2013) Marketing and feminism: Current issues and research, Routledge. Fairs, M. (2015) Li Edelkoort publishes manifesto on why ‘fashion is obsolete’. Available at: http://www.dezeen. com/2015/03/02/li-edelkoort-manifesto-anti-fashion-obsolete/ (Accessed: 30 May 2016). FashionRevolution (2016) Fashion revolution. Available at: http://fashionrevolution.org/ (Accessed: 27 May 2016). Free the Nipple (2016) Available at: http://freethenipple.com/ (Accessed: 30 May 2016). Freeman, H. (2016) From shopping to naked selfies: How ‘empowerment’ lost its meaning. Available at: http://www. theguardian.com/world/2016/apr/19/from-shopping-to-nakedselfies-how-empowerment-lost-its-meaning-feminism (Accessed: 30 May 2016). Graves, P. (2010) Consumerology: The myth of market research, the truth about consumers and the psychology of shopping. Boston: Nicholas Brealey Publishing. Hegarty, J. (2014) Hegarty on Creativity: there are no rules. London: Thames & Hudson. Hultin, M., Lundh, E. and Farhang, M. (2004) Sex in Advertising. Available at: http://epubl.ltu.se/14045508/2004/167/LTU-SHU-EX-04167-SE.pdf (Accessed: 30 May 2016). Ibroscheva, E. (2013) Advertising, sex, and post-socialism: Women, media, and femininity in the Balkans, Lexington Books. (Accessed: 29 May 2016). Maclaran, P. (2015) ‘Feminism’s fourth wave: A research agenda for marketing and consumer research’, Journal of Marketing Management, 31(15-16), pp. 1732–1738. doi: 10.1080/0267257x.2015.1076497. Muggleton, D. (2002) Inside Subculture: The Postmodern meaning of style (dress, body, culture). Oxford: Berg Publishers. Muggleton, D. and Weinzierl, R. (2003) The post-subcultures reader. Oxford: Berg. Mulvey, J. and Managing, B. (2012) Why sex Sells…More than ever. Available at: http://www.businessnewsdaily.com/2649sex-sells-more.html (Accessed: 27 May 2016).Munro, E. (2013)
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APPENDIX
i. cartograms Cartogram for: Sex in consumer culture
Cartogram for: Consumer, choice and consumption
ii. primary research Images taken in high street stores Primark and Topshop, in Nottingham.
iIi. primary research Results from asking participants what percentage of their wardrobe they wear regularly. As you can see the majority of results were betwen 20-40%.
iv. methodology table For the research I have already conducted and for the primary research I plan to conduct over summer.
KATIE HAMILTON N0563195 Fashion Communication and Promotion FASH20032