Journey Book AD6606 LIBBY CHAMBERLIN
AD6606 BRAND MANAGEMENT JOURNEY BOOK LIBBY CHAMBERLIN 2.
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CONT ENTS
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CHAPTER 1 : 8-9 INTRODUCTION 10-15 BRAND ME REFLECTION 16-19 360 CAMPAIGN REFLECTION
CHAPTER 2: CHAPTER 3: 30-36 INFLUENCES 36-37 REPRESENTATION OF WOMEN 38-39 PROTESTS 40-41 STREET ART IN FASHION
22-23 INTRODUCTION INTO FMP 24-25 GAP IN THE MARKET 26-27 STREETWEAR
CHAPTER 4: 44-47 THE CONSUMER 48-49 THE CAMPAIGN 50 GOING FORWARD 51 CONCLUSION 54-55 REFERENCES 56 IMAGE REFERENCES 5.5.
CHAPTER ONE CHAPTER ONE 6.
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INTRODUCTION
The purpose of this book is to demonstrate the journey I have taken from my first Brand Me module to my final major project, focussing on skills I have developed throughout my final modules. I will describe my influences and what I have taken with me from my Brand Me and 360 campaign module. I will discuss the key areas which I have developed further in order to reach my final major project. Both my Brand Me module and my current Brand Management module have required a lot of research and thought which has helped me to shape and influence my brand concepts and aims. Both of these modules have allowed me to gain more knowledge of how I work creatively and business minded. My Final Major project has allowed me to gain many more skills as well as providing me with challenges which have strengthened my skill set.
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BRAND ME REFLECTION
Through my Brand Me module I learnt a lot about myself and was able to develop my understanding of myself as well as how I want people to see my brand. Brand Me has taught me a lot about the values I want my brand to have, with most of these values stemming from my childhood and upbringing. This module helped me to have a clear understanding of how I want to portray my brand.
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I presented my Brand Me findings and research through a digital sketchbook as this helped me to communicate my findings in the most beneficial way for myself. This sketchbook was the starting point of discovering my brand and how I want it to be portrayed by others. My sketchbook included multiple tasks which successfully helped me to respond to this module. These tasks included research to help me find out about myself in more depth and question things I hadn’t previously thought about. It was crucial to be completely honest and transparent whilst doing these tasks to get the full representation of my brand and who I really am. This research was extremely beneficial and allowed me to reflect on myself, my beliefs and values. Although at times talking about specific topics were personally challenging I was able to learn a huge amount about myself. I had the chance to think about how my childhood and other experiences have made me who I am today.
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As well as this I researched which brands, designers and market level I felt suited my brand best. From this I discovered I want my brand to emphasize the message of acceptance and diversity creating positivity and a sense of meaning. I want my target consumers to relate to my brand and feel accepted in the streetwear community. The second part of my sketchbook was based on secondary research including brand research. I chose two brands which were influential to me and resonated with my brand. These brands were A-Cold-Wall and Off-White. From this research I discovered how these brands in the streetwear market are currently using cultural commentary to connect to their consumers.
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As well as this I was heavily influenced by their brand aesthetic and was something I hoped for my brand to resonate with. Samuel Ross, the founder of A-Cold-Wall has been heavily influenced by his cultural backgrounds after coming from a working class background. Their community growing up has helped him to shape his brand today. Samuel Ross has been influenced by the public housing that he grew up in and uses the colour palettes and industrial settings in his collections.
A-COLD-WALL* began as a think piece posed by founder and creative director Samuel Ross, exploring ideas of inclusivity and communication via design and construction with a particular emphasis on Britain’s working class. Whilst holding multiple meanings, the core concept behind the brand is to represent the juxtaposition of class systems within Britain and the paradox that it in turn creates for thousands of inner-city people. Its output stands as proof that circumstance and location no longer restrict a person’s taste levels or ability to create. Besides offering a new perspective, it’s also the chance to start a new conversation. A Cold Wall’s aesthetic and colour palette also resonates with how I want my brand to look. The brand has a minimal approach and combined with their colour palette creates a contemporary presence.
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Off-White is another influence of mine. Off-White is a luxury fashion label founded by Virgil Abloh. The history of Off-White started with a ‘vision from Virgil’, and soon became a brand on everyone’s lips. Off-White is best known for its diagonal lines and industrial yellow tape. The designs of Off-White flaunt streetwear in a unique light. Virgil stated he is 'defining the grey area between black and white'. As stated by Virgil Abloh, it isn’t easy to categorize it as a fashion or an art brand due to its diversity.
I was also able to understand my aesthetic and how I want to portray my work. I want my brand to be a reflection of my own style and dedicated to the appreciation of art and aesthetic. Through this research I developed the understanding that I am drawn to a simplistic and minimal aesthetic with pops of colour which I hope to reflect within my branding. My brand will have a strong emphasis on the future consumer and creating an inclusive yet still exclusive brand. When considering what kind of communicator I am I found that In terms of how safe I am as a communicator I would say I don’t tend to take big risks but equally I don’t think I am particularly safe. Since then I have tried to push myself out of my comfort zone in order to push my limits as a communicator.
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360 CAMPAIGN REFLECTION
Moving on from my Brand Me module I began the next part of my module; The 360 Campaign. For this module we were to focus on creating a well rounded fashion campaign of our choice. My 360 campaign book demonstrated the research I carried out to create a 360 campaign strategy and idea based on my findings from my Brand Me report. Following on from my brand me findings, I started thinking about how my work would fit in the streetwear accessible luxury market. Throughout this book I explored how my research and influences would help me to find a gap in the market to produce a 360 campaign. I demonstrated a clear understanding of what my brand stands for and the reasonings behind my brand messages and values. From further research I was able to discover that it is the streetwear market that I am drawn to. Due to the brands I was researching and influenced by being mostly male founded I came to the realisation that women do not have enough recognition in the streetwear market. After more research in this area I further discovered that streetwear has primarily catered to men, leaving women left on the sidelines. The communities who originally commenced streetwear were mainly male dominated. Therefore, the streetwear style was originally embraced and driven by men, creating masculine looks. Although streetwear collections are usually unisex there is a growing gap for brands to design collections explicitly with the female consumer in mind.
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CONCLSUSION
To conclude, my 360 campaign outcome will shine a new light on the womenswear market, focusing on the message of acceptance and inclusivity. The campaign will be shared by a digital zine and with a social media campaign which will create a sense of community for women and space where they can feel accepted.
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CHAPTER TWO CHAPTER TW0
INTRODUCTION TO MY FINAL MAJOR PROJECT
My Final Major Project is based around creating an accepting and inclusive space for women in the streetwear market. I was able to find a gap in the streetwear market by shining a new light on womenswear in this market who are largely unappreciated and seen. By encouraging women to be confident in themselves and teaching people the importance of inclusivity and acceptance, hopefully positive steps forward can be made. In order to appeal my campaign to the new consumers of streetwear I was aware I needed to continuously assess my campaign against the needs of my consumers. My aim is to promote a positive community around my brand where consumers are able to feel connected towards my brand and where women can feel accepted and free to express themselves.
As part of my final major project I will be creating a social media campaign on Instagram targeted at female generation Alpha consumers. By creating a social media campaign I will spread these messages to the next generation of fashion consumers. My social media campaign will include meaningful and engaging posts which will create a sense of community for women. By creating an online community of like minded and positive consumers and providing a safe space my campaign will aim to shine a new light on women in the streetwear industry. I decided this will be a good way to keep my campaign interactive and therefore will target my consumer well. As well as my social media campaign I intend to create a digital brand zine to promote my campaign. I believe creating a digital zine will be a beneficial way to convey my brand messages and will also appeal to my consumers.
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GAP IN THE MARKET
As we began our final major project we were intended to find a gap in the market within the fashion industry relating to our chosen topic which we could solve the problem to. For many years, men's streetwear has dominated, leaving women on the outside looking in. The communities that started streetwear were predominantly male-dominated. As a result, men were the first to adopt and drive the streetwear trend, resulting in macho appearances. Although most streetwear collections are unisex, there is an increasing need for labels to produce collections specifically for female consumers. I was able to find a gap in the market between women and streetwear and the all-embracing representation and inclusivity of women. I want my brand to resonate with my consumers and allow my audience to feel accepted in the industry.
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STREETWEAR
Throughout the process of my final major project I explored various luxury streetwear brands such as Supreme, Palace and Off-White who all use diversity and inclusivity throughout their brands. Streetwear brands are a prime example of engaging today’s youth and have a very open and diverse attitude. Virgil Abloh said “My approach is to make the creative industry inclusive, not exclusive, shifting the veil of secrecy feels new.” Through drop culture streetwear brands have created clothing which is both accessible and exclusive. The effect of this is Generation Alpha value inclusivity and expect luxury brands to create accessibility. The future of the luxury market is transparency and sharing values with their consumers. As previously discussed, at the beginning of my research I came to the realisation that the streetwear scene is predominantly dominated by men. However, women are starting to open up conversations on inclusivity and diversity that could positively determine the future of streetwear.
“I was always very much [about] why can’t girls do what boys do and that was going to be the attitude behind the brand too.” Leah McSweeney, Married to the MOB 26.
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CHAPTER THREE
INFLUENCES
During the development of my work I researched many different pioneering women’s streetwear brands. It's no secret that men dominate the streetwear sector. Women's names are frequently omitted while looking at the timeline. While streetwear has progressed and is possibly more gender-fluid than it has ever been, it did not happen overnight. Women have played an important part in establishing the category and bringing it forward over time (Newman, 2022).
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X-GIRL
FIGURE 2: x-girl
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FIGURE 3: x-girl x MADE ME
One of the main women owned brands which influenced me was X-Girl. X-girl is credited with starting the "Girl's Movement" in the fashion business, which included art and music. Since its inception in 1994 by Sonic Youth's Kim Gordon and famous stylist Daisy Von Furth, X-Girl has been a source of inspiration for alt females and budding streetwear brands alike. The brand was once linked to celebrities like Chloe Sevigny and Sofia Coppola, further establishing its reputation as a streetwear pioneer. The company hasn't forgotten its roots and continues to produce bright, edgy cool-girl apparel (Nast, 2022). The garments were a little mod, a little Godard girl, and a whole lot tomboy. They were slimmed-down copies of their brother company X-Large's for skaters, posers, and want tobes. “Back in the 90s, you weren’t cool if you weren’t wearing X-girl” says Dazed magazine’s Morgan Nyfeler, “with its logo t-shirts, A-line dresses and androgynous look, the brand established itself as the go-to for skater girls.”
X-Girl made trousers which women didn’t drown in and made you look like a girl but still with the street aesthetic they hoped for. “It was the gateway fashion drug for ’90s girls like me who were anti-establishment, anti-mainstream, anti-consumer, strictly secondhand, skate-schooled, reared on DIY ethics, on punk, hip-hop, with a shot of indie rock’’ Rebecca Johnson (Nast, 2022). X-Girl successfully subverted the industry standard for women. This was liberating for women at the time who were used to wearing men’s trousers with the waist folded over.
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FIGURE 4: x-girl -- got a crush on me
SORELLA
Another influence of mine over the course of my project has been the brand Sorella, founded by Heather Sanders in 2012. Sanders is a great example of a driven businesswoman, she started her clothing brand with no fashion background or experience in the industry however had a lot of hustle and ambition to bring her ideas to life. Following on from the launch, she opened her first store in Los Angeles which quickly became every LA’s women’s go-to place for fashion. Soon after this she launched her women’s body-positivity movement #GIRLSTOUR. Sanders' aim for this movement was to represent strong, working, and independent women of all ages, ethnicities, and sizes. Women all throughout the world are being empowered to not only be confident and visionary, but also to “be a dope girl with style and hustle” (Sorella, 2022).
Since the launch of the brand Sorella have grown a full team of creatives and designed thousands of new styles for women. The #GIRLSTOUR wall located in LA has become an international landmark for women and a very popular photo destination. Sorella embodies the ever-evolving culture of what it takes to be a badass girl with style, class, and business, with a focus on women's empowerment and advancement. One of Sorella’s main messages is for women to feel confident and empowered in how they dress which resonates well with how I want my brand to be perceived.
FIGURE 5: GIRLS TOUR 34.
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REPRESENTATION OF WOMEN
Another development that I focussed on was the representation of women in the fashion industry and women empowerment. I want my campaign to represent women in a positive and hopeful way which will add to my brand messages of acceptance and inclusivity. Women's empowerment is defined as promoting women's self-esteem, ability to make their own decisions, and right to affect societal change for themselves and others. Women's empowerment and the promotion of women's rights has become a prominent global movement that has been breaking new ground in recent years. International Women's Empowerment Day, for example, is gaining popularity. Nonetheless, despite significant improvements, women and girls continue to experience discrimination and violence in every country.
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Fashion is still a male-dominated industry, with women spending 226 percent more than their male colleagues, but males still control the majority of the authority in fashion businesses. According to "The Glass Runway," a study spearheaded by the CFDA, Glamour, and others, HR managers interviewed admitted that when interviewing for managerial positions, they prefer male candidates over female candidates, and unmarried women and older women over married women of childbearing age, even when candidates are comparably qualified (Eva Zubaviciute, 2021). I want my campaign to show women that they should feel equal to men and still have the same chance to express themselves and have a right to affect societal changes themselves. 37.
Consumers today and the future generation, Generation Alpha are concerned about the ideals embodied in the clothing they wear. Sustainability, ethical labour, and establishing a responsible supply chain are all factors that impact purchasing decisions. This is fantastic news for social impact causes that focus on women. Even if diversity isn't the most important value for fashion buyers, the fact that society cares more in general sends a powerful message to fashion firms. Companies understand that they can no longer disregard gender-related issues in advertising, size, design, and employment. Audiences throughout the world are watching businesses, ready to make a conscious decision based on principles they understand and identify with (Yur, 2022).
PROTESTS
During my research I looked into many different protest movements such as Black Lives Matter and The Suffragettes. Both of these movements have been extremely significant in paving the way for rights and societal changes. The Suffragettes were part of the long-running 'Votes for Women' campaign, which battled for women's right to vote in the United Kingdom. They fought for female suffrage through art, debate, and propaganda. Black Lives Matter (BLM) is an international social movement founded in 2013 in the United States to combat racism and anti-Black violence, particularly police brutality.
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Not only have I looked into these movements as they link to my brand messages of social consciousness and inclusivity but I also wanted to delve deeper into the propaganda and symbols of protests. Two symbols which I looked closely at were the ‘black power raised fist’ for the Black Lives Matter movement and The Feminist ‘Femme Fist’ for women’s rights. The designer of the ‘Femme ‘Fist’ Pardue claims her image was inspired by an unsuccessful search for "feminine-appearing clenched fists," which she discovered were "all still extremely forceful and male looking" even when used for 1970s women's movements (Gosling, 2022). The majority of significant protests such as BLM and The Suffragettes use signs to convey meaningful messages and slogans. In most recent protests the signs and messages used are as important as the protest themselves and probably the most shared aspect across social media platforms. This is something I wanted to use in my campaign in order to voice the messages of my campaign. I wanted my messages to be clear and eye catching for my audience and believed this was an impactful way to do so.
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STREET ART AND FASHION
Throughout the process of my final major project I have also been influenced by graffiti and street art. Street art is seen in many places as a way for people to publicly express their opinions and social messages by leaving written messages in public spaces. These can usually be seen in urban or industrial areas. Because of its versatility, street art allows for several modes of communication and expression. Street art has been implemented into streetwear from graphic t-shirts to photoshoot backdrops. It didn’t take long after the advent of street art in the latter half of the twentieth century for street art to have an impact on the graphic t-shirt market, and that influence continues to this day. Street art blends well with a fashion business that strives to be edgy, outspoken, and fashionable.
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Brands such as Supreme and Stussy implement street art in their designs through graffiti style images and typography. There are also many streetwear brands who have collaborated with street artists such as Kaws x Uniqlo. Kaws and Uniqlo collaborated on a limited-edition t-shirt featuring Kaws’ artwork in 2016. Few other graffiti artists have been as successful as Kaws have been. With this being said graffiti is something which I definitely wanted to incorporate into my final major project imagery, such as my photoshoot. As well as this I also want to incorporate the graffiti and graphic style to my styling.
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CHAPTER FOUR
THE CONSUMER
From the very start of this journey it has been crucial to consider my target consumer. The target consumer for my final major project is Generation Alpha. Generation Alpha represent the future and provide an insight into the next decade. Although we don’t know a great amount about this generation yet we do know that they are linked to their millennial parents. Generation alpha are seen to be influenced by millennials and their brand loyalties, however they also have their own goals and values. It is expected that generation alpha will have brand loyalties, passed down from their parent’s beloved brands. Generation alpha’s already stand out from Gen Z in their worldliness and brand awareness. Generation Alpha are unapologetically themselves, disregarding gender stereotypes and cultural norms but still considering how others see them in their online presence.
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Increased access to technology means that consumers will have more choice than ever and more tools at their disposal. These resources allow alpha consumers to research and scrutinise their opinions before making their own decisions and choices. To be effective, brands must provide the authenticity and diversity that the future consumers expect. Generation Alpha stands to be the most educated generation to date. They will have increased cultural diversity and individuality. In multiple sources online they talk about this generation being more involved in technology, more likely to be surrounded by college educated adults and even more racially and culturally diverse than the generation before them (Casey, 2020). These consumers will also be concerned for their rights as individuals. The digitally native generation will utilize the power of social media to keep up to date with the world happenings and to participate in protests.
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Generation Alpha is growing up amid a period of significant historical change, having observed key events during their childhood. As a result, they have shown their discontent by protesting for issues that are important to them. Alpha consumers are expected to face even more times of change and therefore by rebelling against certain matters such as diversity and standing up for rights of themselves and others they will shape the future of society.
THE CAMPAIGN
Leading up to my campaign shoot I finalised my styling, props, organised my location and models who I thought would best fit my brand campaign. I chose to do one half of my shoot in the studio and the other half on location. I chose an urban landscape which had graffiti to fit with the aesthetic of my brand. My shoot took a lot of consideration and thought in order to reach an end product which resonated with the story and messages I was trying to convey.
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GOING FORWARD
In order to move on I have created a number of different books to explain in depth the story of my final major project. These books include my brand book, zine, campaign lookbook, 10x10 book and research book. My research book includes secondary resources and pictures which have helped shape my brand and my knowledge of certain topics. In my brand book I have explained in more depth how and why I have used social media to promote my campaign and the steps I took to reach my final product.
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CONCLUSION Overall, I am confident I have successfully created a final major project which conveys all the messages I hoped for. I have been able to create a theory to market to my target consumer and narrow a gap in the streetwear market. I feel positive about my journey and successfully being able to execute a fashion campaign along with its promotion. I have found my final module extremely beneficial to my growth as a creative as well as a marketing and communications student. I believe I have successfully demonstrated my digital skills in both my social media campaign and zine. I have explained the narrative of my campaign and the messages which I wished to convey. I have been able to develop new skills as well as develop pre-existing skills. I have had the chance to develop in all aspects of my learning, from written and verbal communication to creative and digital skills. 51.
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REFERENCES Notjustalabel.com. 2022. A Gender Gap: Why Do Men Still Rule the (Fashion) World?. [online] Available at: <https://www.notjustalabel.com/editorial/gendergap-why-do-men-still-rule-fashion-world> [Accessed 24 May 2022]. Islaberlin.com. 2022. A look at cult 90s label X-girl. [online] Available at: <https://islaberlin. com/blogs/blog/everything-you-need-to-know-about-cult-90s-label-x-girl> [Accessed 25 May 2022]. sosorella. 2022. About us. [online] Available at: <https://www.sosorella.com/pages/about-us> [Accessed 25 May 2022]. Encyclopedia Britannica. 2022. Black Lives Matter | Definition, Founders, Goals, History, & Influence. [online] Available at: <https://www.britannica.com/topic/Black-Lives-Matter> [Accessed 25 May 2022]. Vogue Australia. 2022. Fashion has a gender problem, so what can we do about it?. [online] Available at: <https://www.vogue.com.au/culture/features/fashion-has-a-gender-problem-sowhat-can-we-do-about-it/image-gallery/fe823dbebfa7e5beb621a71d2193c5e8> [Accessed 22 May 2022]. Gosling, E., 2022. The Real Meanings Behind Six Symbols of Protest. [online] ELEPHANT. Available at: <https://elephant.art/the-real-meanings-behind-six-symbols-of-protest-01072020/> [Accessed 25 May 2022]. Printsome Insights. 2022. How street art has influenced T-shirt design through history. [online] Available at: <https://blog.printsome.com/street-art-t-shirt-design/> [Accessed 25 May 2022]. Nast, C., 2022. The X-Girl Factor: How the Cult ’90s Label Set the Standard for Skater-Girl Style. [online] Vogue. Available at: <https://www.vogue.com/article/x-girl-kim-gordon-skater-girlstyle-90s-fashion-chloe-sevigny-beastie-boys> [Accessed 23 May 2022]. Only, A., 2022. X-Girl The 90s Streetwear Pioneers. [online] Goodhood. Available at: <https:// goodhoodstore.com/blogs/features/x-girl-the-90s-streetwear-pioneers-goodhood> [Accessed 25 May 2022]. Complex. 2022. The 10 Pioneering Women’s Streetwear Brands. [online] Available at: <https:// www.complex.com/style/women-in-streetwear-pioneering-brands-timeline> [Accessed 25 May 2022].
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Medium. 2022. The Fashion Industry, Body Image, and Representation. [online] Available at: <https://medium.com/@hattiebanfield/the-fashion-industry-body-image-andrepresentation-5716e2123bc1> [Accessed 22 May 2022]. KULDROP. 2022. The Influence of Street Art on Fashion Design | KULDROP. [online] Available at: <https://kuldrop.com/the-influence-of-street-art-on-fashion-design/> [Accessed 25 May 2022]. McCrindle. 2022. Understanding Generation Alpha - McCrindle. [online] Available at: <https://mccrindle.com.au/insights/blog/gen-alpha-defined/> [Accessed 25 May 2022]. Vulture, C., 2022. Why is Cultural Awareness Important?. [online] Commisceo Global Consulting Ltd. Available at: <https://www.commisceo-global.com/blog/why-is-cultural-awareness-important> [Accessed 22 May 2022]. Yur, M., 2022. The Future of Fashion Is Women. [online] Kornit Blog. Available at: <https://www. kornit.com/blog/the-future-of-fashion-is-women-3-thoughts-on-gender-and-fashion/> [Accessed 24 May 2022].
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IMAGE REFERENCES
FIGURE 1: Streetwear The VOU. 2022. 33 Best Streetwear Brands In The World In 2022 (Underground & Upcoming). [online] Available at: <https://thevou.com/fashion/streetwear-brands/> [Accessed 25 May 2022]. FIGURE 2: x-girl Only, A., 2022. X-Girl The 90s Streetwear Pioneers. [online] Goodhood. Available at: <https://goodhoodstore.com/blogs/features/x-girl-the-90s-streetwear-pioneers-goodhood> [Accessed 25 May 2022]. FIGURE 3: x-girl x MADEME Only, A., 2022. X-Girl The 90s Streetwear Pioneers. [online] Goodhood. Available at: <https://goodhoodstore.com/blogs/features/x-girl-the-90s-streetwear-pioneers-goodhood> [Accessed 25 May 2022]. FIGURE 4: x-girl -- got a crush on me Got a Girl Crush. 2022. Got a Girl Crush On: Kim Gordon and Daisy Von Furth’s epicly 90s women’s line X-girl — Got a Girl Crush. [online] Available at: <http://www.gotagirlcrush.com/archive/got-a-girl-crush-on-kim-gordon-and-daisy-von> [Accessed 25 May 2022]. FIGURE 5: GIRLS TOUR sosorella. 2022. About us. [online] Available at: <https://www.sosorella.com/pages/ about-us> [Accessed 25 May 2022].
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