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fashion communicator
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Culture/ Expansion/ Personal/ Insight/ Connections
immediate release date 2nd March 2016
creating a cultural platform for young creatives entering industry. Lindsay Sawers is a Fashion graduate (Communication and Image) focusing on fashion journalism, visuals and event management.
graduate fashion week student blog
bournemouth fashion show
graduate fashion week production
Launching the blog that month by month explores every decade of the 20th century right through to the newest student designers. By employing fashion graduates to write the blog posts will not only give them opportunity but will also enlighten and expand existing readers cultural understanding of the past 100 years.
Curating the event, both catwalk (3D work) and display (2D work) promoting the values that the university stands for whilst putting on an original and memorable event. Throwing model castings, organising hair & make up & assigning roles to other students, working to reflect students voices through their participation.
Assisting with the design of both the AUB stand and show production in order to stand out from other Universities. Working with a design team, gathering sponsors and making decisions regarding theme and layout that will attract the industry’s attention and demonstrate the students work in the best possible way.
The combination of the blog and both events gives graduating student a springboard and establishes a link between the students, their practise and the fashion industry. All of these work to conceptualize networks and allow students to launch themselves onto career paths, helping to break down the currently daunting barrier between industry members and graduates leading to success in students self promotion.
fashion communicator 07969619969 ljsawers@aol.com www.lindsaysawers.co.uk
let’s begin
Graduate Fashion Week (GFW) is an annual event, which runs during the month of June over a long weekend. Its aim is to provide an unrivalled platform for the promotion of new talent in the fashion world, bridging the gap between graduation and employment and is responsible for launching the careers of some of the most successful designers of our time including, Stella McCartney, Giles Deacon, Matthew Williamson and Julien Macdonald and, of course, Christopher Bailey, who was the winner of the first ever GFW Gold Award.
In celebration of GFW’s 25 Year Anniversary, I plan to launch a blog series, written by fashion students and graduates who are interested in fashion and cultural writing. The blog will have the same aim as GFW but will focus on showcasing new talent in fashion writing rather than design. The series will explore the fashion, art and music of every decade of the 20th century, decade by decade with articles being written month by month across the year. The blog will explore fashion and cultural history from 1900 to today and will focus on the influence of fashion, art, music, writing and theatre on each other and the culture of the decade.
aims
To create an opportunity to mirror the aim of GFW, creating a platform to showcase the works of graduate fashion students and bridge the gap between graduation and employment, specifically for fashion writers rather than designers. The event will sit within the framework of GFW and be promoted and published on their website.
The series will feature as part of GFW’s current blog on their website (http://www.gfw.org.uk/blog/), beginning in July 2016 and a new article will appear every week. Each article will be written by a different individual who has a passion for fashion blogging and will provide them with the opportunity to have their works published to be read by the fashion industry, hopefully then leading to job opportunities, bridging the gap between graduation and employment for fashion writers. For visitors to the GFW website, the blog series, titled ‘1 Year of Culture’, will enlighten and educate readers on the impact of fashion and the arts on the culture of each decade.
The blog will provide a cultural background for each decade in the century past and each article should provide the writer’s personalized insight, developing connections between the fashion, art and musical creative trifecta of their chosen era. Every month of the year will focus on a different decade, beginning with the 1900’s and sequentially moving through the twentieth century towards the current day. The website will promote, in advance, the four pieces to be covered that month, which will each have a different focus. The choice of topic will be mainly at the discretion of the writer but will fit with their chosen focus area. These focus areas will be: Iconic outfits and looks; an interview; a review; and the legacy of that decade. The blog will give graduates and students a springboard into their desired career and will establish a link between the students, their writing and the fashion industry. This platform for self-promotion, endorsed by GFW, will help to create professional networks.
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To put themselves forward to write blog entries students will sign up at GFW 2016. GFW 2016 will be held, as it has been for the past few years, at the Truman Brewery in East London. Its central location and industrial, edgy interior, make the Brewery the perfect venue for GFW.
Promoting the blog at this event will ensure that everyone showcasing their work and visiting the event will have the opportunity to take part. The footfall at this event was 36,000 in 2015. Facilitating a sign up method, which is quick and easy, will encourage budding fashion writers to engage. A small stand promoting the opportunity to blog on the GFW web site will be designed, posing the unmissable statement ‘Sign up to be a blogger for Graduate Fashion Week’. A
large screen video showing shots from the website will be projected. The stand will be manned and as individuals show an interest they will engage them in a conversation to encourage them to sign up. The signup sheet will document which dates each blog post will be scheduled to go live as well as informing the interested bloggers what decade and type of blog post is needed for specific dates. They can therefore select their preferred era and style of blog post e.g. July 3rd, era 1900-1910 style of blog post required, Iconic Outfits of the decade. An array of books will be provided on the tables to inspire potential writers. This will allow students freedom and creativity to decide which topic interests them enough to write a blog post.
SIGN UP TO BE A BLOGGER FOR GRADUATE FASHION WEEK Name
Email Address
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Iconic Outfits Interview Review Fashion Legacy
Iconic Outfits Interview Review Fashion Legacy February 2017
1970’S
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August 2016 Iconic Outfits Interview Review Fashion Legacy
Iconic Outfits Interview Review Fashion Legacy
Interview Review Legacy
A piece on the iconic, famous and memorable looks from the decade. Anything from celebrities or fashion trends to famous film costumes and the hair and make up of the time.
An interview with an expert on the decade. Ideally designers, authors, musicians, museum curators, and lecturers, all who have produced work reflecting the decade.
A review of a catwalk show, exhibition, album, song, collection, magazine spread, book or film that is related in some way to the specific decade.
A piece on the legacy of the decade; examining the way in which the decade has had a lasting effect on fashion design today – from the catwalk to the high street.
Each blog post is to be a minimum of 500 and a maximum of 1,000 words with supporting images.
Fashion Legacy October 2016 Iconic Outfits Interview Review Fashion Legacy
1990’S 1980’S
Review
Iconic Outfits Interview Review Fashion Legacy April 2017 Iconic Outfits Interview Review Fashion Legacy
November 2016 Iconic Outfits
May 2017
2000’S
Iconic
Interview
March 2017
Interview Review Fashion Legacy
Iconic Outfits Interview Review Fashion Legacy
December 2016 Iconic Outfits Interview Review Fashion Legacy
June 2017
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Across the year, month by month, decade by decade, the blog will explore cultural history from 1900 to today. The blog will be posted on the Graduate Fashion Week site and social media. There will be features on iconic outfits, interviews with cultural icons, a focus on the legacy of the era, as well as reviews of books, exhibitions and events relating to the period.
1940’S
The series will give the Graduate Fashion Week bloggers a springboard into a new career by establishing a link between their written practice and the fashion indusrty. This platform for self promotion, endorsed by Graduate Fashion Week, will help to create professional networks.
1950’S
Graduate Fashion Week are looking for fashion students and graduates, interested in writing about fashion, art and music, to take part in a blog series: 1 Year of Culture. The series is honouring 25 years of Graduate Fashion Week and will begin in July 2016. 1 Year of Culture aims to break down the currently daunting barrier between members of the industry and student graduates.
1930’S 1920’S
September 2016 Iconic Outfits
Email Address January 2017
1960’S
1900’S
July 2016
Iconic Outfits Interview Review Fashion Legacy
interview GRADUATE 25 FASHION
HONORING
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Jon Savage
MUSIC ART
Author of ‘1966: The Year The Decade Exploded’ Jon Savage, high profile music journalist and writer, released ‘1966: The Year The Decade Exploded’ in November last year. Savage, who was 13 during the year 1966, understands the in’s and out’s of the culture known as ‘Pop’. In his book he has looked to explore and understand the urgency and compression of ‘66 as well as digging deeper into the popular music, fashion, art and politics of the time. Meeting Savage at his book talk at the Fashion and Textiles Museum in London allowed us to discuss the research and inspiration behind his new release:
Why did you want to write about 1966 specifically? It was a very instinctive decision that took me five seconds to make, and after making the decision I then spent three years trying to work out why I had made that decision and that’s the book! What interests me about ’66 begins with music, I experienced
The end product would be the ongoing blog series itself. The product would only be established when specific fashion students had signed up and committed to each blog slot
music, I was young at that time, I was 12 or 13, that’s the time when music has a real impact an you are beginning to move away from your parents and start getting involved in the world of your peers. It’s a year of extremes, it’s a year of compression,
and the blog had been added to the GFW website. Once the blog series itself had begun in July 2016, the rewards of the scheme would begin to show.
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GFW is a charity and sponsor funded event. Sponsors include retailers such as George at Asda (who have been the title sponsor for the past 4 years), Karen Millen, Boohoo.com, L’oreal, Samsonite, and Drapers. Ideally the blog series should create the opportunity to showcase fashion writers at no cost to the event. This would be possible were the opportunity to blog on GFW web site perceived by fashion student as a career promoting incentive and be a task they would carry out without financial reward. The marketing and promotion supporting the blog series would be positioned on the GFW web and social media sites. With a following of 10,000 on Instagram, Facebook and Twitter, the marketing could be created completely online. By ensuring that the blog series will be written entirely by emerging Fashion journalism students, there will be no additional cost to GFW. In fact it may also encourage more students to attend GFW simply to sign up to the opportunity. The success of the blog should encourage more hits to the GFW website as readers log on regularly to read the next article in the series.
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Strengths The competition has been around for 65 Years Offers prize money for the winners, as well as the opportunity to work at Vogue for a year The majority of the winners have landed themselves a long term job at Vogue through their winning entry and have remained there for many years The competition includes 3 parts, an interview, an observation piece and article proposals, allowing room for different specialisms
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Weaknesses Unless you are looking for it, the competition only advertises online and in 1 issue of Vogue per year Once a year does not give all interested writers the opportunity to enter e.g. University deadlines at the same time Only having 1 winner eliminates and disheartens a great deal of people As the finalists have to attend a lunch before the winner is decided, it indicates that the Talent contest is not 100% based on the written work submitted
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Opportunities Instead of having the competition once a year, make it biannual to allow more people the chance and time to enter Introduce a few different categories throughout the competition, to give more people the motivation to enter. Such as interview OR creative writing OR review Introduce a competition that is for a different age range that is above 25 Promote the competition in every issue in a subtle way in order to attract more attention
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The majority of entrants who are around University student age, have tight deadlines around the time of year that the competition entries have to be submitted: April 8th 2016, this may put people off entering In this day and age the prize money (£1,000 for the winner and £500 for the runner up) is not of a huge value anymore, people may think the odds are too thin and the prize not worth it Competitors offering magazine space for winners, e.g. iD Magazine’s Diversity Now
Vogue Talent Contest
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Have a large following and a large number of paying members who would be excited to read the blog posts
Other blogs cover more than just costume, for example culture such as art and music, this may be more appealing for certain writers
Employee more Ambassadors in order to produce more blog posts
Have a meeting with all of the Ambassadors once every few months in order to generate ideas
A lack of original ideas, due to the society discussing costume history
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Have two blog editors to ensure a high quality of writing is published on the blog
Not a great deal of exposure to the public, unless you have been told about the society or stumble across it on social media, it is not well known
Due to the Ambassador position being a voluntary one, Ambassadors could feel they have taken on too much and drop out
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Interview potential Ambassadors prior to confirming their job role and read old work before interviewing
Offer a scholarship placement for one of the Ambassadors at the end of the year judging on how hard they have worked, either within the Costume Society or another close company
The Costume Society Ambassador Program
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Ambassadors are allowed free entry to Costume Society conferences
The additional task of keeping the social media up to date one day a week a long side a monthly blog post, even though it is possible to schedule in advance may be originally off putting to potential applicants
There is potential that the Costume Society will lose their income (which is made from people paying for membership as well as donations) and, even though they use a lot of volunteers, such as the Ambassadors, not be able to keep the Society afloat
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Offer Ambassadors compensation for visits to exhibitions and interviews for the blog
Put Ambassadors in touch with specific industry members in order to interview them
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creative academic bold open-minded opinionated passionate cultural determined ambitious dedicated researcher motivated independent engaging driven inquisitive
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‘1 Year of Culture’ is specifically targeting fashion students, either recently graduated or currently at University. Whether they are Fashion Journalists, Marketing students or have opted to take the design path and are desperate for a written outlet, they will be extremely driven. They are looking to differentiate themselves from the pack and want to demonstrate to future employers that they are passionate about the world of fashion and culture and can express themselves with flair and creativity. They are intrigued by fashion, art, music, film, books and plays; magazine articles on key trends, to black and white films, to Shakespeare, there is no end to the scope of their interests. They travel far and wide to see new collections on the catwalk; seeking out obscure musical festivals; attending cultural exhibitions; listening to artistic talks and staying up
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late scrolling through a stranger’s blog posts. They are motivated to learn more about what influences and impacts on their cultural passions and will take time to research facts and opinions before forming their own views, which they will share with clarity and exuberance. Although they are independent, they enjoy being part of a team and thrive on the feedback and views of others who read and critique their work. They work well under pressure and to tight deadlines, often working through the night, egged on by coffee and the sense of achievement when a piece of work is finished. They want nothing more than for their voice to be heard and their views valued. They are Generation Y, however they are fascinated by the generations past, looking to understand and investigate the impact that these eras have on today’s culture.
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Charity Organisation 30,000+ guests each year 40+ involved Universities Boasts successful designers such as Stella McCartney and Christopher Bailey Sponsored by well-known brands Provides Graduates with recognition Partnered with Drapers Jobs, Fashion Scout and more Victoria Beckham and Christopher Bailey are 1st ever Patrons for GFW
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Branch out & host GFW’s in other countries Add more sponsors therefore increasing budget One on one interviews with industry members at the event More social media presence Pre-organised job interviews at the event Allowing students to be involved with the event management Working with LFW to increase publicity Behind the scenes coverage Inviting international industry members and bloggers the event
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+ Only shows the top students for each University + High focus on 3D Designers as opposed to 2D creatives + Crammed stand space for many Universities + Social media is not updated often Blog is not updated often + Social Media’s soul focus is on 3D designers + Website design is out dated + Website does not provide much information about the event + Not many event seats available
T H R E A T S
+ Competitors who are focusing more on 2D work + Sponsorship falls through + Other Universities follow St Martins and London College of Fashion and go straight to the LFW catwalk + Competitors such as the Vogue Talent contents and The Costume Society steal away fashion journalists + University costs cause less students and therefore a lower standard of final work + Ticket prices put of visiting public from attending the event
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Rising University costs may put future students off attending and therefore leaving the blog series as well as the whole GFW event with a lesser talent and less interest.
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Keeping on top of current social events and trends is equality as important as the ‘1 Year of Culture’ blog series that looks back over the last 100 years. GFW’s Social media and original blog should still be kept up to date to be suitable for every target market.
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Articles must be double checked to ensure that no plagiarism has occurred. Writers and editors for the blog must be aware that all positions are unpaid before they commit to the blog series and a contract must be drawn up so that the responsibility of each job is covered.
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Due to the blog series not being a profitable organization at current, the economic climate will not directly damage the effect of the blog on the brand GFW, however if GFW loses it’s funding, through sponsors etc., the website and therefore the blog will be come irrelevant.
T E C H N O L O G Y
As the blog series will be published online, and due to the increase in online publications and use of the Internet, there could not be a better time to launch. The progression of technology, online at least, will do nothing but benefit the series.
E N V I R O M E N T
Due to the series being published online rather than in magazine or newspaper format, the company is indirectly working to help the environment. The public may opt to read the blog series as opposed to a magazine due to it being more ecofriendly as well as not having any cost.
iconic The 1960’s The Outfits and Trends that Defined the Decade The swinging sixties: the era of psychedelia and the baby boomer generation, the hippy decade, the years of inspiration behind Austin Powers; a techno coloured explosion. Who could forget the 60s? The decade when England won the World Cup, the decade President Kennedy was assassinated, the decade the Berlin Wall was built. It was a decade of firsts; the first man walked on the moon, the first episode of Coronation Street was aired and the first Woodstock festival was held. It was the decade when Martin Luther King inspired us with his iconic speech “I have a dream”. Not only was it a decade of firsts but it was a year of unrivalled culture. We remember the 60’s for popularising the hippy tie-dye t-shirt, the Volkswagen camper van and its peace sign bumper sticker. We consider 60’s fashion as boisterous and flamboyant. To state that we do not give this decade enough credit for it’s cultural development is an understatement. The 1960’s were the years in which the arts experienced a revolution, the years in which fashion,
The 1960’s were the years models became idolised. Models in the 60’s had a certain ‘je ne sais quoi’ about them that made them an untouchable inspiration. Twiggy was a structural beauty, all legs and no a bra. Her childlike body, a rarity for any woman over the age of 20, set her apart and stood her on a pedestal. She confidently and controversially introduced us to the pixie cut, which became the 60’s iconic hair statement. Penelope Tree, the muse of photographer David Bailey, became New York’s answer to Twiggy. It was said that London had ‘the twig’ but New York had ‘the tree’. The Pixie cut’s boyish style made a statement. It was no longer frowned upon for a woman to wear her hair cut in a fashion that toned down her femininity. In a similar manner, Andre Courreges clothes designs challenged women’s femininity. His 1964’s womenswear collection made a brave statement by adding female trousers to the catwalk, something that had not been seen before. The pixie cut was in the spotlight throughout the decade, worn by the likes of Edie Sedgwick and Mia Farrow, who
Twiggy, wearing a dress from her own ‘Twiggy’ range, January 1967 music and art collided with such force that the entire decade seemed to explode into a theatrical, yet clearly unrehearsed, performance. Writer Kenneth Tynan described the teenagers of the 60’s as bored: “There was this desire to break glass”. So that’s what the youth did. And for ten years, the world simply took a large step back and watched.
Mia Farrow, on set whilst filming Rosemary’s Baby, 1968
Penelope Tree, New York, July 1967, Photographed Richard Avedon sported the hair crop whilst acting in Rosemary’s Baby in 1968. Jean Seberg was another to opt for the chop. The American actress of the 60’s appears to have inspired our Alexa Chung. Seberg’s fashion sense was a combination of American prep and French chic. Her love for stripy t-shirts and ballet shoes mirror outfits we see Chung wearing today. The culture-collision between art, music and fashion was inevitable throughout the 60s. Pop art was gripping the nations, with David Hockney London’s choice, whilst Andy Warhol took the spotlight in New York. Andy Warhol preened and nurtured many of the ‘It Girls’ of the time. His famous art studio and film set, ‘The Factory’ was home to many damaged socialites, whom Andy couldn’t help but parent. Edie Sedgewick became the “Girl of the Year” in ’65 after acting in Warhol’s films and modeling for Vogue. Although he denies the affair, it is rumored that Bob Dylan’s hit ‘Just Like a Woman’ was written about Sedgewick. She became THE fashion trend. Remembered for her leotards and opaque black tights, Edie’s ‘poor little rich girl’ persona was reflected in her fashion sense. She paired every outfit with her grandmother’s jewels and was
never photographed without shoulder grazing chandelier earrings. Edie Sedgewick inspired our love for costume jewellery; if you can’t afford it, fake it. Nico was another of Andy’s superstars. The model and singer accompanied The Velvet Underground, who Warhol was managing at the time, on one of their albums in 1967. The German beauty became ‘the style icon to the style icons’ in her masculine, tailored suits and her blunt, peroxide fringe. The 60’s would not have been nearly as dramatic without the collaboration between music and fashion that is the Rolling Stones, not forgetting their venomous entourage. Anita Pallenberg and Marianne Faithful became ‘bff’s’ and made it to top of the bands groupie list, between them managing to sleep with the majority of the bands original members. The girls dipped their toes into the world of fashion, modeling and music, but never managed to break free from the label Stones’ girl. Anita Pallenberg brought the mini skirt into the limelight (with
Audrey Hepburn, as Holly Golightly, Breakfast at Tiffany’s, 1961
Edie Sedgwick, Vogue, 1965 more than a little help from designer Mary Quant) whilst Faithful sported the kneehigh socks, which were to become a staple piece in any young woman’s wardrobe. Both girls boasted hippy hairstyles; long locks with a messy blonde fringe. The 60’s were not all rock n’ roll turtlenecks and hippy toe rings. The glamour revolution was inspired by Audrey Hepburn’s character, Holly Golightly, in Breakfast at Tiffanys in 1961 who will be remembered forever for her combination of oversized sunglasses and huge array of pearls. Later in the decade the glam set looked to Jackie Kennedy, America’s First Lady, an avid believer in the shift dress and guaranteed to sport a pillbox hat at least once a month. The combination of expressive fashion, art and music allowed the baby boomer generation to cause the controversial eruption that they wanted and claim the decade as their own. From the high maintenance false eyelashes and shift dress to the bare footed, tie-dyed hippy; from the mod monochrome to the geometric orange and fuchsia patterns, the 60’s broke all fashion traditions. It was the first time that London, quickly followed by New York, had managed to steal the fashion limelight from Paris. The ‘anything goes’ era allowed fashion icons to contribute their own style to the trends and in doing so, produce some of the most iconic outfits of the 20th century.
interview GRADUATE 25 FASHION YEARS
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Jon Savage
MUSIC ART
Author of ‘1966: The Year The Decade Exploded’ Jon Savage, high profile music journalist and writer, released ‘1966: The Year The Decade Exploded’ in November last year. Savage, who was 13 during the year 1966, understands the in’s and out’s of the culture known as ‘Pop’. In his book he has looked to explore and understand the urgency and compression of ‘66 as well as digging deeper into the popular music, fashion, art and politics of the time. Meeting Savage at his book talk at the Fashion and Textiles Museum in London allowed us to discuss the research and inspiration behind his new release:
Above: Life Magazine, May 13, 1966 - Mod male fashions to talk about the various liberation methods of the time, including civil rights, the early days of the women’s movement and the ground of the gay movement, to talk about the reaction to them and the adult and states reaction to disassortative new Popular Culture, so it’s not just about the music
How did you decide which areas of your research were valid for your book?
Why did you want to write about 1966 specifically? It was a very instinctive decision that took me five seconds to make, and after making the decision I then spent three years trying to work out why I had made that decision and that’s the book! What interests me about ’66 begins with music, I experienced
it’s the last year when the single is king, in 1967 LP out sold the single for the first time and also the charts were still very important and so you got a sequence of extremely compressed records often 20-40 minutes of ideas compressed into 2 or 3 minutes aimed at the pop charts and often getting there. A lot of the songs from 1966 form part of the classics soundtrack of the 60’s, Sunny Afternoon, Good Vibrations etc., but I wanted to go deeper because so many of those records have so many ideas, some of them are very compressed and violent, its not a feel good year, it’s a very angry year even though you start to get drug culture, its also a year of flowering in fashion, and you might have seen some image of fashion from that time, one of my favourites, is LIFE Magazines May edition in 1966, and it’s Americans dressed Carnaby Street Gear, that doesn’t quite fit them because they are a bit too chunky! You have boys in the mid-west looking a bit gay and that’s a fantastic moment in Pop Culture, you start to also get a bit of gender blurring which to me is fascinating. What I wanted to do in the book is to take the records that had deeply affected me; in those records I heard the sounds of freedom. How did that translate into the world? What was the freedom that they were talking about? So as well as celebrating the records I wanted
music, I was young at that time, I was 12 or 13, that’s the time when music has a real impact an you are beginning to move away from your parents and start getting involved in the world of your peers. It’s a year of extremes, it’s a year of compression,
Pop Music was this vessel in which everything was poured, politics, esthetics, fashion obviously and to an extent philosophy. It was the way that I interpreted the world, made sense of the world in a way that nothing else did, in the way that TV and newspapers didn’t. The music was the thing that made sense in the world to me, so that’s where it started. A lot of the research I did was from the materials that I have, extensive library of old music papers. What I wanted to do was to not talk about he past in the language of the present but to talk about 1966 as much as I could in the
language that people used then. I wanted to have some reaction to the swinging London perception that everything was pop and everything was groovy when it obviously wasn’t and so in order to do that there is quite a lot of material about what happened in ‘66 that allowed adults to finally start to twig that right under their noses there is this youth culture going on that is propagating anti-war messages, messages about LSD, messages about sex and gender, messages about how we would live in the future that wasn’t the way that adults were living and
they suddenly wake up and they start to ban things. LSD is banned in Britain and America in ‘66; the government starts to ban the pirate radio stations,
which for a lot of us where a lifeline. The police cut down on Sunset Strip in LA and there were riots, which were a small taste of student riots to come.
How do you think that the nuclear bomb scare effected 1966? One of the dissolving agencies in 60’s culture, as I call them, was this fear of being destroyed by nuclear bombs, it had been three and a bit years since the Cuban missile crisis, I remember feeling even at that age in London, seeing posters of CND (Campaign for Nuclear Disarmament)
which were a major youth cultural thing, it was a nationwide youth movement. So if you think you’re going to be blown up tomorrow by some nutter then you might as well live exactly as you want, you might as well forget all that you have been told.
You’re a writer by profession, how did you music commentary and journalism evolved in the 60’s? Everyone thinks now that rock journalism pompousness that you get certainly in began with Rolling Stone, NME etc. but the music press beginning in the late 70’s. actually there was an incredible vigorous and well-informed music press in Britain from the early 60’s onwards. This again goes counter the myth that it was only a few people in London who understood music; it wasn’t like that at all. These magazines were being pummeled out weekly to teens all over the UK, magazines like Fabulous, Rave that was actually a monthly that was aimed at men and women, all of the record papers; Melody Maker, New Musical Express and my favorite being Echo. You also had Ready Steady Go that was a very much so on the ball youth program nationwide. There were a lot of women involved in these magazines, particularly Vicky Wickham was editor of Ready Steady Go, and one of my favorite writers of the time, Penny Valentine, who was a weekly record reviewer who was fantastic. And there were other people like Tony Hall, and these people were really on Cilla Black and Cathy McGowan on Ready the ball without the self-importance and Steady Go. Photography: Philip Townsend
Would you say that the music industry and the fashion industry went hand in hand throughout the 1960’s like they do today? In ‘64, the Beatles were all wearing sharp suits, white shirts and ties, they all drank and smoked far too much, ate big steaks and were basically living the high life. Come ’65 people started to smoke Marijuana maybe take LSD, by the end of the year members of the Beatles, the Stones and Bob Dylan had all taken LSD and the clothes started to get loser. Many polo necks, suede’s, jeans, casual gear because when smoking dope you don’t want to go to a posh restaurant you want to stay at home and get a takeaway. The music they were making got away from show business as well, however the Beatles HAD to be show business in order to succeed in the way they did in ’63. If the Beatles appeared in ’63 like they did it ’65 they wouldn’t have been given the time of day. Fashion also crossed referenced with art, Bridget Riley visited America in ’65
and she was a complete sensation, and on her taxi journey she sees her designs on dresses in a department store window and she nearly has a nervous breakdown. The fashion industry became so big because of the success of the Beatles and the demographic of youth culture.
The Rolling Stones Playing ‘Paint It Black’ In1966 on Ready Steady Go
How do you think that the media influenced the music industry in the 60’s?
The Beatles during their 1966 world tour. Pictured clockwise from left are George Harrison, manager Brian Epstein, Ringo Starr, Paul McCartney, John Lennon. Photographed by: John Whitaker
I think that what you have in the 60’s is the start of what we are completely used to now, saturation in media, you really had the start of that. One of the stories I always liked in 1964 was Journalist Michael Braun followed the Beatles around and commented on the fact that they would be having conversations, listening to the radio, watching TV and reading a book and in a way the Beatles were the forerunners of the future in which we now live, doing five things at once and the 60’s are really when this begins to start.
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Laid out in a month-by-month format, each chapter covers a different topic, from the banning of LSD (before and after); Warhol’s America; the Kinks’ chart topping ‘Sunny Afternoon’; to gay rights; feminism and the effects of the Vietnam war. Savage expressed strong views on the Vietnam war, focusing on the nuclear bomb scare and how the youth responded;
Jon Savage
1966: The Year The Decade Exploded The years in which hemlines got shorter; men’s hair grew longer; and trousers were for women as well as men. The years when Woodstock, Barbie’s new boyfriend ‘Ken’ and The Rolling Stone Magazine were born. The ‘swinging 60’s’, the era famous for its flamboyance. But the Baby Boomers who were around at the time will testify, the 60’s began, not in 1960 but in 1963, when the unforgettable ‘Bewitched’ graced the nations screens and The Beatles ventured to the US for the first time, and came to a jolting halt in 1974, the Vietnam war declared over and The Beatles declared finished. ‘1966- The Year the Decade Exploded’ is Savage’s celebration of the fiftieth anniversary of the year that he remembers upturned history and that pop culture exploded. Savage, who was 13 in 1966, has put together an outstanding fact file on everything you could want to know about ’66, and remembers it especially for being the last year in history that the 7” vinyl single outsold the 12” vinyl album. Although his book covers many aspects of the culture of the time, it is his unrivaled knowledge
Andy Warhol with ‘Flowers’ at The Factory- 1966
“If you think you’re going to be blown up the next day by some nutter, then you might as well live exactly as you want.” This statement seems to have summed up the attitude of 1966 in a sentence. An explosion of popular culture seemed to have gripped the nation, going hand in hand with the hectic growth and sudden downfall of the global economy. Savage’s narrative tone, mixed with a brilliant personal insight into these events, demonstrates the relaxation
of rules and the profound urgency to ‘”live each day like it was your last”. Admirably, Savage’ years of journalistic experience is reflected in his writing style throughout the book, never allowing facts, figures or quotes to take away from his informal tone, the swinging voice that so mirrors the era that he has focused in on. It is safe to say that after reading all 547 pages, I know more of the ins and outs of ‘66 more than any years that I have lived through. Having overdosed on names, dates and song titles, closing the final page leaves us mourning the deaths of, music industry hero’s, Brian Epstein and Joe Meek; wishing that ‘Ready, Steady Go’ was still prime time Friday night viewing and holding onto hope, that having started my career, like Dusty Springfield, working in Bentalls there might be hope for me yet.
“The 60’s were about the singer, not the song.” Andy Warhol “1966- The Year The Decade Exploded” - 19th November 2015 of the musical scene of the time that draws the reader in, song by song.
The Roundhouse: New Years Eve Event Poster- December 31st ‘66
The book ends in the last few seconds of 1966, describing an all-nighter at the ‘Roundhouse’ featuring the Move, Pink Floyd and the Who battling it out for the top spot. We’re not told who stole the limelight. Because, by then, it was 1967.
legacy The 1960’s How the 60’s Have Taken Back the Catwalk The 60’s, a decade that inspired 21st century fashion. It can often be impossible as to tell apart what was on the catwalk 50 years ago with what is on the catwalk today.
boots and our no waisted shift dresses, to highlight but a few. It was a time that opposing cultural groups influenced the youth’s style; the clashing, bold, patterned looks of the hippies contrasting The 60’s was a decade famous for it’s dramatically with the clean cut, variety, it’s fast moving, ever changing monochrome feel of the London ‘Mods’. pace created a legacy of more fashion statements and timeless trends than any This year alone, the 2016’s other decade. We owe many garments catwalk collections are a not-soto the 60’s: our mini skirts, our knee-high subtle devotion to the 1960’s.
Jeremy Scott Spring/Summer 2016 Collection at New York Fashion Week
Beginning with the Jeremy Scott’s readyto-wear Spring Summer 2016 collection which could have been blatantly taken right out of a 1964 magazine editorial introducing Biba’s first ever lineup. It is very clear from Scott’s catwalk collection that the shift dress is back. The thigh grazing hemline, round ribbed neckline and bare arms of the shift dress was the core silhouette of his collection. The line up boasted accessories galore: huge plastic hoop earrings, fishnet tights and patent ankle boots, even the most toned down outfit was jazzed up with a 60’s flair (not to mention matching 60’s beehive hair). The bold patterns and geometric shapes
clashed perfectly with his colour scheme of choice. Jeremy Scott has combined the predictable bright oranges, hot pinks and playful blues, synonymous with the hippy wave with the sophisticated blacks and whites of the mod generation. Scott kept the theme alive in his next A/W ’16 collection, dressing his female models in plastic, neon boots, oversized belts, a great deal of leather and illustrated guitar printed dresses, that pop art creators everywhere would be in awe of. Lacoste have played on the ‘sportswear as casualwear’ addiction that the public is currently lusting after. From those darlings who can can afford designer, to us high-street hoarders, to your best friend’s dad who is wearing his battered trainers in public again, sportswear allows us to feel comfortable while claiming to be fashionable. Lacoste have taken vintage 60’s silhouettes of the skiwear variety and turned them into a collection with a futuristic twist. By crafting comfortable, practical clothing, something rarely seen on the catwalk today and even rarer in the 60’s, the collection has subtle hints of Mod inspiration, which may go unnoticed to an untrained eye. Symmetrical stripes litter the collection screaming vintage sportswear, while the occasional frill of peplum
Prada Spring/Summer 2016 Collection at Milan Fashion Week
Lacoste Fall/Winter 2016 Collection at New York Fashion Week or pop of bubblegum pink gives the collection a feminine edge. The stiffness of the scattered turtlenecks would give Rolling Stones’ Mick Jagger a run for his money and an overdose of PVC, the 60’s fabric of choice, has allowed Lacoste to create workable trench and raincoats in psychedelic oranges and pinks. Prada’s S/S ’16 collection also asks the question ‘love it or hate it’ of PVC, adding stripes of the plastic to tailored jackets. Prada focuses on Mary Quant’s legacy- the mini skirt and ensures a fun, 60’s vibe when accessorized with large, shoulder grazing earrings. Rebecca Minkoff’s S/S ’16 collection also exhibits 60’s flair- the collection features a range of different feminine shift dresses, with eyelet detailing, in a Mod monochrome colour palette. It is apparent, giving the decade ended nearly 50 years ago; that the 60’s fashion influence isn’t going away any time soon. Aspects of 60’s trends are always subtly intertwined into our current catwalk collections. Let us hope for tasteful adaptations, avoiding tie-dye at all costs, and that the best of the swinging 60’s legacy lives on for years to come.
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Graduate Fashion Week 5th - 8th June 2016 Truwman Brewery, E1, London
Palmer’s are owned by the E.T Browne Drug Company, one of the longest standing proprietors of skin and hair care products in the US.
Clearspring, beginning in 2010, have a goal to get organic food back on the dining table ‘so that you can enjoy the same quality of foods as your grandparents did’.
Palmer’s have donated samples of their famous cocoa butter to our goodie bags.
Clearspring have donated 200 packets of organic pumpkin seeds to our goodie bags.
The cocoa butter is an intensive moisturiser that softens, smooths and relieves rough or dry skin.
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They are the perfect healthy snack for our guests to eat at the event as they are nutritious and filling.
I have approached a range of different companies who I feel would be a perfect fit for our VIP goodie bags. The goodie bags are put on the VIP chairs at Graduate Fashion Week, They will contain
a university prospectus, a copy of our NIL publication and a selection of products provided by sponsors. It is crucial to include sponsors who are ethical and respectable companies.
Tea Pigs began in 2006, motivated to promote high quality teas to the public. Tea Pigs pride themselves in only ever selling the highest quality of tea’s which are sold as loose leaf or in tea temples. Tea Pigs have donated 200 tea samples that have been individually packaged. They are an organic and ethically aware company .
The Pink Sweet Shop began quite small, but are gradually getting bigger and bigger. They work with lots of large companies and charities . The Pink Sweet shop are will to donate 200 ‘Black and White Swirly Pop Lollipop’s’ to our VIP Goodie Bags. By sending us the black and white lollipops, they will be in keeping with the monochrome look of the goodie bag.
Scheckter’s Organic Energy Drinks was founded in 2010. The company’s mission is inspired by a passion for natural and organic ingredients, great taste and performance. Scheckter’s are donating 200 cans of their energy drinks to our goodie bags. They are a perfect addition as they will hydrate and revitalise guests.
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It was crucial to organise a model casting for the Bournemouth Show. This allowed us to be able to view a range of different models and decide which looks we wanted for the catwalk show. We held two separate castings, to ensure that we
had seem as much variety as possible. After the casting we decided on the specific models by their look and measurement specifications. It is necessary that all of the models fitted well together and will therefore walk the catwalk in a flowing order.
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Since February 2016, I have been an official Ambassador for the Costume Society. As an Ambassador, it is my responabiliy to continue to build the society’s presence online by developing content for their social media channels and contributing by writing journalistic pieces for their blog once a month.
The Costume Society is a lively, friendly organisation whose aim is to promote the study and preservation of historic and contemporary dress. Membership is open to anyone with an interest in the subject - and whatever the level of your interest and enthusiasm, the Costume Society will have something to offer. Lectures, study days and the annaul conference, held in different parts of the UK, give members an opportunity to keep up to date with the most recent scholarship and to visit museums, exhibitions and private collections of dress, fashion and textiles. Occasional overseas tours are also arranged. As well as a six-monthly Newsletter our dress studies journal, Costume, is published in January and June each year. And as a registered charity with educational aims, the Costume Society offers a number of awards and bursaries to students, researchers and trainee museum curators.
Before waterproof fabric was manufactured, people had to make do with the materials they had available. Alternatives included wool, which as a natural insulator, ensured that the wearer stayed warm and dry, even when the overcoat was wet. In Asia handmade woven baskets were particularly popular and were held like small umbrellas over the head, whilst in the Amazon clothing was coated in a substance extracted from a rubber tree. Oiling clothes with
A Burberry advert, 1918
The raincoat: one of the most functional pieces of clothing in our wardrobes. No other item allows us to protect our clothing whilst appearing chic at the same time, and if we’re being honest, nobody wants to be seen being blown away by an inside out umbrella. With spring in the UK comes the ominous flood warnings and the promise of an outfit ruined by a heavy downpour. So it seems an appropriate time to look into the history of the iconic raincoat.
either vegetable oil, or in fishermen’s case, fish oil, also provided a level of protection from the elements. Despite many long-winded attempts by other scientists, it was Scottish chemist, Charles Macintosh, who, in 1823, created a rubberised liquid that, when painted onto fabric, made it waterproof. The result, waterproof cloth which he patented as ‘Indian Rubber Cloth’. Macintosh warned keen tailors who rushed to use his rubber cloth, that their needle holes would lead to leaks in the clothing. In order to protect his creation, Macintosh eventually was driven to open his own store, selling tartan-lined raincoats with fully sealed seams. The now fully waterproof coat became famously nicknamed, after its creator and designer, the ‘rain mac’. Later on the Macintosh coat was enhanced by the addition of eyelets built into the armpits, allowing the jacket to breath. At the beginning of the 20th century and throughout the First World War
A history of rainwear, just in time for those April Showers. March Submission ‘16
soldiers wore the ‘trench coat’, designed by Thomas Burberry. After submitting his designs to the United Kingdom War Office, the trench coat became an optional uniform for officers to wear whilst fighting in the trenches. Although similar to Macintosh’s Raincoat in design, the trench coat was made from a different material, one that was not quite as waterproof and allowed more flexibility. The coat was traditionally a khaki colour, initially to allow camouflage, however the khaki colouring has lived on. The iconic Burberry trench coat has more history behind it then most other fashion staples. The trench coat’s sales did not dip after the war was over; in fact it continues to remain in style to this day more than 100 years on. With the famous Burberry checked pattern in the lining, the classic coat is worn by royalty and celebrities alike and, in the 21st century, is unlikely to retail at less than £1,000.
"All a woman needs to be chic is a raincoat, two suits, a pair of trousers and a cashmere sweater" Hubert de Givenchy It is clear from London Fashion Week catwalks throughout the passed few years, with brands such as Orla Kiely and Hunters dressing up the raincoat with patterns and bold colours, that it is still an essential wardrobe stable for any fashionista. Whether it is a Mackintosh, a Burberry trench coat or a Paddington Bear inspired bright yellow waterproof, it appears that the raincoat is equally as popular today as it was in its beginning. Men, women and children across the globe will continue to wear the raincoat as long as there are grey clouds in the sky. Long lives the classic raincoat.
Punk StyleThen & Now April Submission ‘16 Whilst deciding on a dissertation topic at the beginning of this year, I became fascinated by youth sub-cultures, particularly punk, and their fashion development in the 21st century. Bursting onto the avant-garde scene in Britain, Australia and America in the mid 1970’s, the origin of the punk movement is still unclear and will forever cause controversy. Punks used their bodies to promote their political beliefs, a protest sign, to make people question their own views. They broke down the walls between the male and female genders. Experimenting with clothing to blur this distinction began with punk. They aimed to create a world in which gender did not exist, where a woman did not have to be beautiful and understated, where hygiene was not important and where cross-dressing didn’t turn heads. Sexuality was on display. Things that were normally kept hidden, punks paraded. Wearing underwear on top of clothing, branded t-shirts displaying their unconventional sexual orientation, dressing seductively yet still being taken seriously were all punk statements.
“To me they don’t look like men, they look like some sort of third sex. It’s strange, they look like invaders from another planet or something” Anonymous Teddy Boy Band Member
“Fashion was much more important that the music. Punk was the sound of fashion.” Malcolm McLaren, 2007 Interview with the Telegraph. The fashion industry remains haunted by beautiful reminders of rebellion and anarchy that are icons of the punk era. The convention of displaying items of clothing that are meant to be kept hidden has carried on over the last 40 years. While such messages are normally more subtly presented in the 21st century, this is not always the case. A blood red ink covered tampon earring worn on a catwalk show (Meadham Kirchhoff’s SS15 Collection) was overtly sexual and pushed this concept to a further level of extremism. Zandra Rhodes was the first designer to add an obvious punk flair to a catwalk collection. Her runway show in 1977 featuring ripped clothing and chains saw the start of punk gracing the high-end fashion industry. Versace’s signature little black dress displays large safety pins holding together a provocative slit, created in the early 90’s and still available to purchase today. The Mohawk hairstyle makes a regular appearance on the catwalk at London Fashion Week and each year Rick Owens is just one of the designers to keep punk alive, creating unconventional, sexualised clothing. The birth of the studded leather belt and iron-on badges are modern trends that have true punk at their core, along with the now timeless ripped jeans, worn and loved by all the ages. Safety pins holding together their garments, exposed skin contrasting with the deep colours of their fishnets and oversized t-shirts, they succeeded in dressing to ensure that mothers and children would cross the street on their approach. Their ensembles combined a mixture of styles from different post-war youth cultures such as Teddy Boys, Mods, Skinheads and Black Culture with additional slashes and extensive hair gel. The punks became recognised by their stained jackets, see-through tops, Doc Martin boots and dog collars and chains. Their use of studs and leather caused them to be perceived as dangerous. The subculture was mainly formed of working-class youths and they paraded their roots, using safety pins and black tape, a ‘mend and make-do’ theme holding together their clothing. The wearing of bin liners suggested transgressive S&M connections.
It has reached a point in time that it is neither surprising nor shocking to see people clad in elements of punk style fashion walking down the high street. But surely that has changed the original purpose of punka movement that grabbed peoples attention and made a statement- it was always supposed to rebel, repulse, turn heads, cause a stir. “It’s not rebellious now, green hair is the norm, tattoos are the norm, spiked bracelets, piercings, you’re not scaring your mum; your mum takes you to get it” Fletcher Dragge- Pennywise
To the masses 21st century punk fashion trends seem to lack the same angry enthusiasm that was promised by the 1970’s punks. Many elements of punk style have become iconic today, although it is difficult to analysis the symbolism of items that have been recycled for nearly 40 years, a safety pin, black PVC and the ghost of a black bin liner, seem to lack the hard core attitude that went with them in the 70’s. Despite their antiestablishment views, the punks incorporated nationalism After all, why would you safety pin together your own clothes when in their fashion, notably the British punks- the Union Jack based prints, there is an outfit available to purchase in high street stores that has embroidered images of the Queen and displays of tartan. Their ragged already incorporated the safety pin and would save you the hassle of creativity? style demonstrated a white take on black cultural fashion.
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#DiversityNOW
“One piece of energetic writing, charting a thoughtful and adventurous journey, to include a brief analysis of the current culture of beauty and body ideals from your perspective and act as a revolutionary piece of text to inspire the next generation.”
Beauty is a seasonal trend, carved by society. Whether we care to admit to it or not, we are ‘glass half empty’ forms of our selves. Diluted by the everlasting, ever changing definition of “beauty”. It’s almost obligatory. We compare ourselves to everyone around us. They’re all perfect. And this perfection can only be achieved by improving ourselves until we are flawless. We despise the things we can’t change about our bodies: the freckles, the moles, the birthmarks. Once, the mask of Maybelline's Dream Matte Mousse worked as confidence booster, covering what our parents adoringly nicknamed ‘individual kisses from the sun’. But in 2015, the Freckle Pencil decided for us that, love them or hate them, freckles were now on trend. Everyone has heard their Mother’s sighs, as she wishes away her silver strands, paying good money to colour her roots and live like Peter Pan in denial just a little while longer. But suddenly the hashtag #grannyhair plasters Instagram, demonstrating that, whilst we have been encouraged for decades to hide any signs of aging, its now socially acceptable to throw away your boxed root disguise and embrace maturity. Now, even teenagers wish away their youth, sporting shiny silver locks. It seems the world of beauty is a fickle one. The once much desired thigh gap has transformed to the now aspired thigh-brow (the skin roll that forms at the top of your thighs when you sit down- yes, this is now a ‘thing’). The curves that were once the enemy are now a girl’s best friend. Cara Delevingne convinced us all to bin our tweezers and the Rimmel London advert featuring Georgia Jagger, has promoted paying for a gap between one’s front teeth- now know as the ‘London Look’.
We live in a society dictated by seasonal trends. By the time we have saved up enough money to purchase the desirable piece of SS’16 statement jewellery, the simplest silver hoops have topped the must have list, rendering your new, once sought after bling, out-dated. Beauty trends are no different. It seems impossible for us to be at peace with our appearance when we work against the constant changing specifications defining ‘beauty’. Beauty is an ever-shifting goal post. The media, through mass marketing, plays generation after generation, proving that we are gullible enough to believe that beauty is not natural and can go in and out of style, and weak enough to allow marketing campaigns to dictate our selfconfidence. There are currently a number of beauty campaigns that focus on our insecurities and attempt to reeducate us to believe that beauty is in fact natural and that we are all uniquely beautiful, bucking the media trend. However lets not overlook that their main aim in redirecting the definition of beauty is to point us towards their own products- a marketing campaign allowing women to feel more confident in themselves, with the underlying shove towards buying the specific brands products. We run in ever increasing circles seeking contentment with our beauty ideals. This is completely unachievable as the media projection of beauty itself is that it is changeable. As long as we allow ourselves to be the Photoshop image that can be continually altered and touched up, we will never achieve perfection. We test, try, compare and manipulate, basing our self-artwork on unrealistic stereotypes and peer pressure. Our generation must take pride in what we currently label as flaws. Basing our body confidence on beauty trends and ‘what’s in’ this month, will never lead to selfacceptance and belief. We need to break free of our media marketing beauty harness. Would we be happy bringing up children in a world that immediately hands them a rulebook determining what to class as beautiful? A rulebook that is constantly rewritten? Beauty is simply a perception. Let us agree to disagree with the ever-changing trend that is ‘beauty’.
Written by Lindsay Sawers
JOSEPH VINTAGE WEAR MARKETING STRATEGY WWW.LINDSAYSAWERS.WORDPRESS.COM
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It is this projects aim to create a strong brand identity for JVW and build brand awareness of this new brand to drive sales growth through repeat and new business. In order to achieve aims, the objectives are to look at four key areas:
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To strengthen the brand identity To enhance the website to attract more viewings and increase new business To build the brand’s presence on social networking sites and increase the following of the brand on social media platforms To build a ‘community’ of followers and a lifestyle identity this will develop customer loyalty and new business.
Joseph Vintage Wear works to use yesterday’s wardrobe as tomorrow’s inspiration. By marketing a range of innovative branded products, josephvintagewear. com has become the core of online vintage fashion with the hope of enabling students to favour the art of recycling. Offering a marketplace platform for newly emerging designers and artists to sell own branded exclusive items, Joseph Vintage Wear is more than just an Ecommerce site. With every product being selected to
reflect the personality of our consumers, our customers work as our mood board. Determining an eco friendly mantra and looking into quality over quantity, Joseph Vintage Wear still focuses on ensuring that every product is at an affordable price. Joseph Vintage Wear allows the urban student to dig deeper than this decade’s fashion and embrace the beauty of vintage.
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COMPETITOR ANALYSIS ROKIT LONDON Rokit Vintage is currently JOSEPH Vintage Wear’s main competition; they have reached the level of success within their brand that every vintage clothing company would wish to rival. With 30 years of experience behind them, Rokit currently have 4 thrift stores all based in London along side a up to date website that allows the consumer to purchase online.
BEYOND RETRO Beyond Retro, a warehouse turned retail store that was founded in 2002, and Rokit Vintage, are both Camden’s many vintage babies that turned their stalls into well known brands, are both two of the well known vintage brands in the UK, both aimed at students and teens and are the top two results under ‘vintage clothing UK’ on Google.
LOU LOU’S VINTAGE FAIR Vintage events are becoming more and more popular with a larger target market than ever before, students’ looking for vintage finds and older women feeling nostalgic and wanting to drink from floral printed tea cups like it’s the 1980’s. Lou Lou’s Vintage Fair, Winner of 'Best Vintage Fair' in the UK 2013, 2014 & 2015, pop’s up around UK all year round. The fair offers vintage stalls, entertainment and food. Each stall is open to any business for rental, meaning that Lou Lou’s Vintage fair remains fresh and ever changing.
ASOS MARKETPLACE Founded in 2010, ASOS.com branched out from a regular fashion Ecommerce site and, in opening ASOS Marketplace, allowed the public to sell their own handmade items as well as promoting any vintage businesses through the ASOS platform. The company now offer over 900 different boutiques, who are all available on their website, selling different styles, trends, conditions and at different prices.
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PROMOTION VIDEO AW15
Promotion film. Film has become one of the most powerful tools in communicating ideas. The youtube.com 2015 statistics demonstrate that 1 billion people use the video platform. In putting together a short promotional film to advertise the brand, suitable for the website and social media such as Facebook and Instagram, customers will understand the brand in seconds. The film will be focused on the personality of JOSEPH Vintage Wear, rather than simply the clothing. With short clips of thrift shops, photo shoots, Friday nights and travelling all tied together by music, the viewer will not only be watching a visual customer profile, but will also be subconsciously viewing the brands collection at the same time.
WE’RE LIVING IN A WORLD WHERE ONE GOOD VIDEO CAN LEAD TO A MASSIVE SOCIAL FOLLOWING MIKE HENRY
” - VINTAGE - HOME MADE - SEPIA - VIGNETTE BOARDER - FACE PACED - YELLOW LETTERING - LIFESTYLE - MOVES TO MUSIC - BRANDED - SUBTLE - FEATURES JVW CLOTHING - TRAVEL - PHOTOSHOOT FOOTAGE - SLOW MOTION CLIPS
PROMOTION VIDEO AW15 STILL SHOTS
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FOALS “SNAKE OIL”
https://vimeo.com/145735270 RUNNING TIME 1.17 MINUTES
AW15 PHOTO SHOOT
- RUSTIC - HANDMADE - LIGHT HEARTED - BLACK AND WHITE - URBAN - INDUSTRIAL - RUN DOWN - VINTAGE - WIDE LENS - CLUTTERED - TAKING A STEP BACK - NATURAL - MESS - SUBTLE - RELEVANT - BRAND DESCRIPTIVE - PERSONALITY - COMMUNITY
COLOUR SCHEME
Creative Director: Alice Day Photographer: Sam Scales Stylist: Lindsay Sawers Models: Tom Gilbert & Greta James
Hers Rucksack: Fjallraven Dungarees: Tommy Hilfiger Turtleneck: Joseph Vintage Wear Shoes: All Star Converse Coat: Fjallraven
His Gillet: Penfield Turtleneck: Topman Jumper: Nike Jeans: ASOS Shoes: Doc Martins
Hers Puffer Jacket: Bastos T-Shirt: Tommy Hilfiger Denim Jacket: Roca Jeans: Topshop Shoes: Doc Martin Hat: Carhartt Rucksack: Fjallraven His Camo Jacket: Vans Pull Over: The North Face Jacket: Penfield Shoes: Doc Martin Trousers: Joseph Vintage Wear
Hers Shirt: Joseph Vintage Wear Turtle Neck: Joseph Vintage Wear Jeans: ASOS Boots: Public Desire Hat: Carhartt Jacket: Carhartt Rucksack: Pantagonia His Raincoat: Peter Storm Jeans: Levis Shoes: Doc Martin Jumper: Joseph Vintage Wear
Rock and Roll will never die, it just might dress a little differently. Lets be honest, in this day and age, a pair of jeans and a slogan t- shirt just isn’t going to cut it on a rock tour anymore.
The white face paint with the black lightning bolt intervals combined with the spikes, studs, and platform boots, the over the top leather trousers and chains could easily be mistaken for a Halloween costume capturing the attention of the public more than their musical talent.
Most band members would claim that they are far too ‘drugs, sex and rock and roll’ to care about fashion, but their fans will not only follow their music and oh so important stage presence but will copy their attire in search of their rock star image. Groups that date back to the mysterious era that was our parents’ childhood began to recognise that what they wore mattered. From Elvis’s white satin jumpsuit, Bowie’s unisex cat suits, to Freddie Mercury’s infamous outfits, guaranteed to blow your mind! A drastic and terrifying example in the outfits of KISS; the American 70s ‘Glam Rock’ band who are remembered more for their costumes than their hits.
The Swedish rock band The Hives present themselves dramatic clad to ensure that the audience’s eye is focused on them. Their crazy stage presence clashes entirely with their outfits of choice; a vast array of suits. No hideous t-shirts with the suits painted on them, for these gents it’s the real deal; head to toe in suits, bow ties and top hats In modern day ‘Indie Rock’ (and I use the word Indie with a slight look of disgust that it now represents bucket hats and the Supreme brand) it’s all about the thrift shop identity. No rock band wants to look they’re posing for a high-street clothing advert. Current band of the moment, Peace, believe that if it looks new, it won’t do. The quartet, who won NME’s 2014’s Best Album perform their gigs in a subtle yet distinct dress code. Dr. Martens maintain their rock and roll image. Lead singer Harry Koisser is renowned for his fur jackets and the large hoop earring he wears in one
Above: Rock band KISS
ear. The mixture of the band’s clashing shirts, suede jackets, patterned leggings and turtle necks give them the look of four lost boys who have played dress up in their great granddads closet. It’s a look that works giving the band the alternative identity that so many bands crave. Up and coming group Temples, who Noel Gallagher (not renowned as a fashion icon and no doubt in his jeans and t-shirt) states, “are the best new band in Britain” are another group with outfit personality. How can gold glitter eye make up and low-neck tops create the hard image that is rock? Yet somehow Temples manage it. 28-year-
old lead singer James Edward Bagshaw sports a Noel Fieldingesque bob while the others bring back the long hair of the 60s hippies. This bands hair alone gives them a stand out factor. They combine heavy leather jackets with femininity; a large Aztec necklace or some sparkly socks (which are now sold in Topshop all over the country. Coincidence? I think not) somewhat controversial for an all male rock group. So for band members who say ‘It’s all about the music man’ they are denying a huge factor in their own marketing plan as musicians. If you have a style, people are going to copy it. If you dress unusually, people are going to notice it. And so the next time you see a longhaired boy walking down the street in a fur jacket and sparkly socks with his headphones turned up to deafening level, witness the marriage between the fashion and music industry. Written by Lindsay Sawers
Above: Indie Rock band Temples
Sia Vs. Presumptions Perception is key. The second film in musician Sia’s trilogy, Elastic Heart, is debatably the most controversial music video since Greg James attempted to recreate Miley Cryrus’ Wrecking ball where, regrettably, he put a little too much of his own wrecking ball-s into the filming. Elastic Heart’s video was released five weeks ago and since then has left the public in an almighty strop. Maybe the Christmas hype over and everyone sulking at they contemplate
the weight they have to lose over the next few weeks has made them quite so unwilling to look beyond the aggressive YouTube comments when it comes to an art piece. The video is the second that has been released in the trilogy, the first; ‘Chandelier’, was considered far less shocking. Both feature 12-year-old Maddie Ziegler, the dancing star, wearing a skin coloured leotard and a Pulp Fiction style blond wig. The theme of the videos are connected by the dingy setting and Maddie’s characteristics, which remain unchanged throughout. Sia’s identity is withheld throughout this video; she does not feature at all. The blond wig that is worn by Maddie is becoming symbolic of Sia. The singers face has not been seen in any interview or performance, she remains anonymous; the music and the empty blond wig represent her personality. Set in an empty room with a dome shaped cage in the center, inside the two characters: Shia Labeouf and Maddie Ziegler. The 28-year-old eccentric is perfect for the part reaching different emotional levels whilst fully embracing the character. According to Maddie, adopting his character involved avoiding showers and refusing baby wipes. Her respect for her co-star diminished slightly when she had to bite Shia’s filthy hand during filming. During the five-minute music video, the two dance around each other, in a beautifully
choreographed cage fight. The wolfish characteristics of Maddie’s dancing, combined with Shia’s almost submissive attitude have built up a deeper, more personal video than ‘Chandelier’. And so the pedophilia rumors began. The skin coloured clothing mixed with the dancing lead to the public pointing fingers at the apparent ‘inappropriate’ video. When did it become acceptable to suggest that if there is skin on show, it represents sex? That if two people are touching they are involved in a physical relationship? Because we live in a media run country where the Kardashian’s become famous by leaking a porn video, this shouldn’t mean that every piece of art work is grouped into this shallow, sex obsessed, stereotype. The costumes in the video play a huge part in the accusations. Our fashion world has reached an extreme level in which sex and censorship is becoming a very common topic. Designer Rick Owen’s recent menswear collection has caused an uproar similar to that of Sia’s music video. His creations lack material in the genital area, giving the audience access to a flash of many male models’ dignity. The topic of sex is seen again across the face of Givenchy and Elle Cover star Lea T.
The transgender model broke into the fashion world in 2012 with an eyebrow-raising runway show. Fashion is becoming more revealing, more transparent and far kinkier, so please let’s not get upset over something that would be more than acceptable at a dance studio. We are living in a time where #freethenipple is trending on twitter, where Fifty Shades of Grey brings people running to the cinema and where nude coloured clothing, according to The Guardian, is racist to anyone that isn’t the exact same skin tone as the colour ‘nude’. Nudity is current. It is on catwalks everywhere and, like it or not it is becoming more and more accepted. So when pop stars (I truly am trying my hardest not to point my finger at the past Hannah Montana star) are able to be topless, and in some cases bottomless, in their own music video, why the sudden uproar when a girl in a leotard, similar to those worn at a 6-year-olds ballet class is seen dancing? We all know this would not be an issue if she had been wearing a onsie. Shia and Maddie’s relationship can be seen as a father and daughter bond; the 16-year age difference is quite clear. The choreography can be viewed as a graceful play fight. Daniel Askill, co-director, explained his interpretation of the video during a Youtube interview: “Sia came up with the concept that Maddie is one of his self-states, maybe an inner child or maybe one of his demons, essentially to be seen as the same person.” The connection between both characters is powerful. Shia is the older, worn version of himself. The empty cage is to represent a skull, dusty and empty, with only Shia himself and a distant memory inside. Maddie is the childlike essence. Throughout the piece Maddie dances around him, growling and snarling, innocent and naïve. She moves faster, beating him. This demonstrates his immaturity breaking through. Nearing the end of the video, Maddie burst through the cage. The last minute of the film focusing on the tangling of their arms as they work together to release Shia from the cage, as it proves impossible Shia gives up, whilst Maddie in her childish state refuses to admit defeat. The piece has a subtle theme of sadness throughout; both inner characters caring for each other despite being opposites. Sia preformed the piece live on SNL, invoking the same emotions as her videos. The dancing was the main focus. However, although a similar routine was recreated on stage, featuring Maddie, Shia was replaced with an older, female look a like of Maddie. This decision was surprising; a white flag? Was Shia left out so the performance would be more acceptable? Has Sia proved the Stick and Stones theory wrong, and taken the negativity to heart? For the sake of Sia’s music and allowing controversy to be a selling point, here’s to hoping that Shia Labeouf was simply unable to attend SNL than allowing the media to beat down the interpretative dance. Sia stated during a YouTube interview, “I am so rarely moved; I have to be moved.” Despite the articles condemning this video and ambush of negative comments, the beauty behind the piece is that it’s left up to your interpretation, in a way that any piece of art should be.
Perception is key.
And after all, controversy will forever be the easiest way into the spotlight. Written by Lindsay Sawers
Victoria and Albert Museum, 3rd May ‘14 – 15th March ‘15 The Victoria & Albert Museum have ushered the public in to witness their fluffy, white, beaded retrospect of bridal fashion over the past 250 years.
Never will there be a garment to match the wedding dress. A dress dripping in romance, commitment and decision, a uniform that expresses, “Till death do us part”. A dress that personifies the women’s character, status, dreams; no other item of clothing brings tears to a father’s eye. A dress that costs more than anything she will ever buy again, the promise: life full of bliss. Today is the spectacle; all eyes are on her.
bridal gowns. The museum is currently home to their exhibition; 80 wedding dresses in total. The overdose of taffeta and suffocating sequins is enough to make many a man run for the hills. But this exhibition is more than a fashion collection of pearly white dresses; it leads us through a timeline of wedding history, demonstrating how significant changes in society are reflected in the design of the most significant dress. It portrays the wedding dress as an icon, an institution, a goal in every woman’s life.
Bravo, the V&A Museum have exceeded expectations once again. The Wedding Dress Exhibition allows us all to believe that if you find the perfect dress, the perfect marriage will follow. It reminds us that lifelong happiness can be found in a Philip Treacy headpiece, or in Jasper Conran couture, that all that matters is the outfit and that the man waiting at the end of the aisle, well, he’s simply a bonus.
The dresses are cocooned simply in glass casing focusing us on the garments. Subtle use of back panels displaying line drawings illustrates the location in which each dress was worn. The pastel colours of the walls, the mixture of teals and nudes are comparable to the inner packaging of a Barbie Doll box, creating a feminine and playful feel. This youthfulness, combined with the petite sizing of shown dresses make it clear that some of our brides of the 18th century would have been no older than 14 on their wedding day.
During the last 5 years curator Edwina Ehrman collected the most perfect array of
The first exhibit is Queen Victoria’s eye-catching dress, worn in 1840 at her marriage to Prince Albert. On the lower level we take a tour of dresses from the mid 18th to the mid 20th century. A large number of social and economic changes are reflected in wedding fashion in this time period, which encompasses two World Wars, the vote for women and a number of royal weddings. Victoria’s all white, satin creation is rumored to be the beginning of the white wedding tradition. Edwina Ehrman’s 300 years of Fashion explains that only an upper class woman could afford to marry in white, the colour symbolized wealth; a poorer woman couldn’t afford to clean a white gown. Most were married in colour that they could re-wear after their wedding day.
certainly did the job. In contrast, works of art such as London designer Osman’s ‘All White’ sculptural gown are slightly over shadowed.
The showstopper is the silk wedding dress worn by Margaret Whigham at her first wedding in 1933. This dress pinpointed her as glamorous for years to come at a time when women started expressing their individuality through their clothing. The dress itself, with a glorious five-metre train covered in beading and applique would make for an impossible runaway bride outfit.
Wedding dress celebrity designer Vera Wang is surprisingly not the most acclaimed here. Galliano takes centre stage. The couture masterpiece that he created for supermodel Kate Moss, using 120,000 sequins taking 710 hours to hand stitch is displayed. His next triumph: THE Gwen Stefani dress. One of the most controversial wedding dresses of the 21st century: polling 2nd in Glamour’s Best Celebrity Wedding Dresses and a contrasting 1st place in The Daily Mail’s Worst Celebrity Wedding Dresses, the dress caused an explosion on social media. The white gown is made up of a lingerie style corset, something that may have given away a little bit too much of a wedding night preview. As always Galliano has captured the personality of his client perfectly: “I am an accomplice to helping women get what they want.” The most startling quality of this dress is the dip-die of pink on the train. This statement turned lots of heads but either way, love or hate it, this is Galliano.
Background slideshows highlight the wartime struggles; the make-do-and-mend motto was put into play and passing down of wedding items previously thought of as heirlooms were now necessity. The plaque on the wall tells us that many wartime wedding dresses were created out of old curtains and parachute silk.
The exhibition makes us all question: Is white right? Every woman can dream of the one day they get to wear their own white dress, but in this day and age where expressing yourself through fashion seems to be more relevant than chastity, the values which a white wedding stereotypically portrays are slowly being eroded.
Ending the first level: film clips show a string of royal weddings. A patriotic clip of Princess Margaret wedding Antony Armstrong-Jones at Westminster Abbey in 1960 and the famous video of Kate and Will’s wedding in 2011, the Duchess of Cambridge dressed in her Sarah Burton of Alexander McQueen applique creation.
The exhibition does miss out on a few historical dresses. Stephanie Seymour's dress from the Guns 'n' Roses' November Rain video, its controversial short front, and Princess Diana’s exquisite Emanuel cream puff of a gown, with its 25 foot train, the dress that is potentially the most famous in the world. Both are notable by their absence.
The upper level in all its architectural beauty is a marvel, a panoramic view into the myriad of celebrity. Surely this is the part of the exhibition that everyone has been waiting for; the chance to see Sarah Jessica Parker’s Sex and the City Lanvin layered creation, Katie Shillingford’s wedding gown that was custom made by Gareth Pugh and Lisa Butcher’s cut out number. The unusual colouring of Dita Von Teese’s wedding dress strikes you immediately. The model, engaged to Marilyn Manson, selected Vivienne Westwood to create her dress. If she was aiming to shock, the royal purple explosion
The exhibition has an ongoing narrative flow that guides each visitor through the transformation behind the wedding dress: the historical tale behind the most iconic outfit in the world. As promised and as expected, the V&A museum turns garments full of Lady Havisham style memories and outfits stinging with divorce warnings into a spectacle; a beautiful collaboration of true love, history’s best parties and an array of mainly white dresses that will never be forgotten. Written by Lindsay Sawers