HOW IS NEW MEDIA PROMOTION APPLIED IN THE FASHION INDUSTRY?

How is New Media Promotion applied in the Fashion Industry?

Lisa Lorraine Junor BA (Hons) Fashion Design Robert Gordon University Grays School of Art 2013

Table of Contents

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Chapter 1: Introduction 1.1 Why do Such a Study?

Technological advances in the field of online digital media have enabled businesses to progress in their approaches to promotion. These advancements have grown rapidly since the beginning of the 21 st Century. This is not merely due to the dot.com boom of the latter stages of the 20 th Century, but also to the advances in the fields of digital photography, cinematography, computer aided software and human-computer interface.1 Through these advances, an online presence for any business can become commonplace in their promotional strategy. Furthermore, with businesses utilising the potentials of online digital media, innovative methods of new media promotion are being discovered. These digital advances have become routine among modern day society. In Richard Watson’s book, Future Minds: “How the Digital Age is Changing Our Minds, Why This Matters and What Can We Do About It?” Watson identifies that in 2010, “The average person spends 45 per cent of their waking hours on media and communication.”

Furthermore, he continues that in the United States of America (USA), the average eight – eighteen year old will spend eleven hours in front of a media device. 2 These statistics indicate that we live in a digital age. For instance, the sentimental values gained from owning the newest edition of Vogue and physically flicking through the pages are becoming substituted by the detached features of the online version.

Therefore, the necessity of this study is based on the notion that society has moved forward and advanced into a digital age.

For my dissertation I investigate into, how is new media promotion applied in the fashion industry? The fashion industry has embraced new media in their promotional methods. This study will focus into how the fashion industry has begun implementing new media promotion into their everyday practice. The traditional means of fashion promotion such as, the photograph and the illustration are becoming surpassed by new digital media methods. Additionally, as the digital age continues to develop, new media as a subject is consistently providing innovative methods towards fashion promotion. Therefore, as the industry’s approach to promotion is consistently developing on a digital platform, I suggest that as a designer, it is important to gain an understanding of the subject and utilise this information for a successful progression in the fashion industry.

1 Manovich L. The Language of New Media. USA: Massachusetts Institute of Technology;2001.Pg 36 2 Watson R. Future Minds: How the Digital Age is Changing Our Minds, Why This Matters and What Can We Do About It? London: Nicholas Brealey; 2010. Pg 1

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The purpose of my investigation which has already been identified is based on the notion that, society has progressed into a digital age and old media methods are becoming surpassed by new means of promotion. Thus, for fashion designers and brands to continue or establish successful methods of promotion, a substantial knowledge into the workings of digital new media, could succeed in positive results for their business.

1.2 Dissertation and Studio Connections I am required to communicate a clear relationship between my dissertation and studio practice. My studio work comprises of the Surrealist art movement including the media techniques and concepts achieved. Surrealist art distorts reality by releasing the subconscious mind and therefore fashioning a dream-like composition. This subject involves the application of art medium techniques such as collage and photo montage.

My investigations into concepts within Surrealist art relay the use of scale, misplacements and distortions. (See Appendix 1.2) Additionally, these notions represent the various connections to my overall dissertation topic.

In relation to promotion, industries aspire to better their competition with innovative methods. New media methods are becoming customary alongside a company’s promotional campaign and therefore creative and new means of promotion are evident. Comparable to surrealist artist’s aspiration to create an exciting new reality, the fashion industry is implementing surrealist aspects to their means of promotion.

For instance, when we relate to fashion film, the designer has the ability to create a surreal environment for their collection and brand. This enables the designer to use advanced digital photography and filmography to create distortions and misplacements of the content. Therefore, this creates a surreal environment reminiscent to the designers’ identity.

When investigating into new media promotion in the fashion industry, this benefits in the marketing and promotion of my final collection. In achieving vast knowledge in the subject, I am able to implement these practices into my studio work and deliver a modern approach to exhibiting and distributing my work. Furthermore, I plan to produce my own fashion film which will be implemented into my presentation of my final collection.

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1.3 Dissertation Overview This dissertation communicates new media promotional methods already applied in the fashion industry. This will comprise of investigations into particular brands and designers, who are currently implementing these methods. Additionally, I have examined the impacts produced with new media promotion on the designer and brand and whether there has been an effective and positive response from the consumer.

From this examination, an argument of whether new media will continue to uphold its significant presence among the industry has been produced. With argumentative approaches towards the continuation of these methods, my dissertation has indicated whether the outcome of new media promotion in fashion is of a positive or negative nature. In addition, due to the contemporary status in which this subject holds, this study will achieve in either revealing new media fashion promotion to the reader, or increase the understanding which they already possess.

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Chapter 2: New Media Promotion 2.1 What is New Media Promotion?

The directional method in a promotional campaign is a fundamental element in the success of a business. A successful promotional campaign can support the establishment of a business, produce awareness and generate consumers. 3 Businesses utilising the advances in media and computing have enabled new approaches to be formed, resulting in new media promotion. This has been achieved with the combination of the digitally enabled data which the modern computer contains, and the evolvement of media technology. These advances have created new media attributes such as, moving images and digitally enhanced sounds. 4 The internet and computer multimedia are the common attributes in the description of new media. They contain the central elements in the development of modern promotion. Lev Manovich’s, New Media book: “The Language of New Media�, identifies the ability for new media to break down boundaries of conventional means of promotion. Manovich states that the revolution of new media is creating a changing impact on how we communicate data in various forms. For instance, the distribution and presentation of media has evolved into a computer based language. This adoption of a computer approach have contradicted customary promotional foundations of newspapers and magazines and advanced them into moving images. 5 Traditional techniques of promotion became secondary to new media promotional methods once the digital age materialised. 6 Conventional media methods are still evident today, however they are commonly collaborated with new media. Nowadays, for a business to sustain consumer awareness, they must include a digital promotional component in conjunction to, or replacement to, traditional methods. 7 For instance, in relation to the promotional method of photography; by incorporating the modern computer attributes and the advancements in digital media, an innovative new media promotion can be produced.

In the primary development of new media promotion, the internet supplied the ability for businesses to promote their company to a wider audience. These were in the form of popups, banners and flash advertisements. This basic approach consists of attaching promotional content alongside a webpage being viewed, or by opening a new page in conjunction to the previous webpage. These forms of promotion continue

3 Forsyth P. Marketing in Publishing. London: Routledge; 1997. Pg 47 4 Manovich L. The Language of New Media. USA: Massachusetts Institute of Technology;2001. Pg 49 5 Manovich L. The Language of New Media. USA: Massachusetts Institute of Technology;2001. Pg 43 6 Elnav G. The Impacts of Digital Technology in the 21st Century. New York: Springer; 2010 Pg 34 7 Brown E. Working the Crowd. Swindon, United Kingdom: British Informatics Society Limited; 2010.

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to be evident on various computer devices and maintain an important position in many businesses promotional campaign.8

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Decker F. Old Media Promotion Vs New Media Promotion.[www.smallbusiness.chron.com]USA:Hearst Communications, Inc.;2011[Updated 2011 Apr 8; cited 2012 Nov 25]Available from: http://smallbusiness.chron.com/old-media-promotion-vs-newmedia-promotion-41330.html

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Nevertheless, the success of these advertisements has been considered, insufficient.

This is due to the bothersome nature which the viewer felt towards them. Furthermore, the applications into producing such a means of promotion were inconsistent to the aspect of client and market focus. Despite the connection of the webpage and the embedded advertisement, the objective for a business to connect with their client and market is too elusive.9 In addition, chief executive of Digital Training Academy, Danny Meadows-Klue, defines this form of promotion as “bad promotion” 10. He explains that with the interruptive nature of these advertisements, this early use of new media was evidently going to fail.11 New media such as websites, social media, online video, live streaming and blogs have become standard practice in a business promotional campaign. The studied distribution of these methods, businesses can achieve their prospects of gaining awareness, consumer focus, loyalty from the consumer and generating sales. 12 These attributes come from the workings of interaction through conversation, engagement and encouragement towards the consumer. In relation to the consumer’s engagement, the ability to create a blog or website on an individual basis in any subject has led to a further component to the new means of the digital age. A new thought process has been established where the consumer has been branded as the new thought leaders of marketing and promotion. These consumers are the ones who are leading the conversations of businesses.13 Eileen Brown, author of New Media Promotion book: “Working the Crowd”, describes this combined leadership by stating; “Traditional advertising behaviours will change from broadcasting at the consumer to listening to them”14 Digital marketing has altered the way businesses converse with the consumer, resulting in a two way dialogue. Information from either entity can communicate and work alongside one another, thus establishing a two way conversation of promotion.

Furthermore, if an individual creates a blog or website featuring their opinions on the fashion industry, then by communicating the personal views on, for instance; the colours featured in a certain trend, this information automatically becomes available for internet users to consume. These users could become inspired by the individuals views and re-interpret them into their own blogs or websites. This process can continue and progress, which could result into a fashion trend originated by the 9 Decker F. Old Media Promotion Vs New Media Promotion.[www.smallbusiness.chron.com]USA:Hearst Communications, Inc.;2011[Updated 2011 Apr 8; cited 2012 Nov 25]Available from: http://smallbusiness.chron.com/old-media-promotion-vs-newmedia-promotion-41330.html

10 Meadows-Klue D. An Intro to digital marketing tools and techniques.[online video]. 2009 [cited 2012 Oct 27]. Available from: http://hstalks.com.ezproxy.rgu.ac.uk/main/view_talk.php?t=1437&r=459&c=250

11 Meadows-Klue D. An Intro to digital marketing tools and techniques.[online video]. 2009 [cited 2012 Oct 27]. Available from: http://hstalks.com.ezproxy.rgu.ac.uk/main/view_talk.php?t=1437&r=459&c=250

12 Decker F. Old Media Promotion Vs New Media Promotion.[www.smallbusiness.chron.com]USA:Hearst Communications, Inc.;2011[Updated 2011 Apr 8; cited 2012 Nov 25]Available from: http://smallbusiness.chron.com/old-media-promotion-vs-newmedia-promotion-41330.html

13 Brown E. Working the Crowd. Swindon, United Kingdom: British Informatics Society Limited; 2010 14 Brown E. Working the Crowd. Swindon, United Kingdom: British Informatics Society Limited; 2010

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consumer. In addition, this two way dialogue produced through new media has become a common element to modern fashion promotion. 15 2.2 An Introduction into New Media Fashion Promotion New media and fashion have begun building a substantial relationship for promoting the industry. The visual characteristics created through new media such as, the moving image, have been welcomed by the industry and explored into various methods. 16 Furthermore, a vast amount of new media is being utilised and developed appropriately with either the designers or the brands identity.

In the next three chapters, I have investigated into the main contributors of new media in the fashion industry. These include the development of digital photography and cinematography to produce the independent genre of Fashion Film. Subsequently, an analysis into the implementation of holograms in fashion promotion will establish a secondary method of new media. Finally, social media has been examined in relation to fashion promotion. Social media is having a pronounced impact in modern society.

The online communicators are providing the fashion industry further methods of promotion in new media. In this investigation, I have found that due to the amount of information and development, these 3 new media methods are currently the most significant uses of promotion in the fashion industry.

15 Dillon S. The Fundamentals of Fashion Management.UK: AVA Publishing;2011 Pg95 16 Dillon S. The Fundamentals of Fashion Management.UK: AVA Publishing;2011 pg96

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Chapter 3: Fashion Film 3.1 What is Fashion film?

Fashion film has become a revolutionary approach to new media promotion. Contrary to the principle of the static photograph, an occurrence of motion is delivered. The genre has broken the boundaries of how we consume and observe fashion since the start of the 21st Century.17 The photograph is described as static and has a past presence. There is no movement within a photograph and it is placed in a bygone impression. 18 Fashion film expresses the concept of motion within fashion, where there is a permanent presence.

The term, permanent presence, describes the ability that the spectator can consume Fashion film at any given time, appreciative to the internet. Furthermore, as the new media is exhibited online, the past impression found in the photograph is replaced by an unrestricted permanent presence. 19 Therefore, when we discuss this concept of time in Fashion film, an essential factor is realised.

In contrast to the photograph and cinematic film, Fashion film delivers an unrestricted approach to time. The photograph portrays a static image where time is still.

Cinematic film delivers the principle of restricted time. This is produced by a narrative structure implemented in the production of a film. Fashion film is a development of digital photography, and therefore, is based around a fragmented time structure.

Incorporating the digital photography methods of editing, cutting and speed, fragmentation in time is produced.20 Furthermore, in Sigmund Freud’s psychoanalytic theory essay: “Beyond the Pleasure Principle”, he relates the concept that there is no recording of time with the unconscious. In comparative to Freud’s observation, fashion film’s fragmented approach to time delivers similar attributes. 21 Therefore, the new media method illustrates a timeless approach to spectating fashion.

In Nathalie Khan’s Fashion film journal: Cutting the Fashion Body: “Why the Fashion Image is No Longer Still”, Khan considers the possibility that the new media could have a diminishing effect on the fashion photograph. Furthermore, she states that fashion film could generate the photographic still as an out-dated source of fashion promotion.22 17 Khan N. Cutting the Fashion Body: Why the fashion Image Is No Longer Still. Fashion Theory: The journal of Dress, Body & Culture. 2012; 16(2): 235-249

18 Breward C. Fashion. UK: Oxford University Press; 2003. Ch5:124 19 Khan N. Cutting the Fashion Body: Why the fashion Image Is No Longer Still. Fashion Theory: The journal of Dress, Body & Culture. 2012; 16(2): 235-249

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Khan N. Cutting the Fashion Body: Why the fashion Image Is No Longer Still. Fashion Theory: The journal of Dress, Body & Culture. 2012; 16(2): 235-249

21 Freud S. Beyond the Pleasure Principle. W.W.Norton: New York; 1961 pg67 22Khan N. Cutting the Fashion Body: Why the fashion Image Is No Longer Still. Fashion Theory: The journal of Dress, Body & Culture. 2012; 16(2): 235-249

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3.2 Fashion Film as a new media promotional tool “SHOWstudio is based on the belief that showing the entire creative process-from conception to completion-is beneficial for the artist, the audience and the art itself.”23 SHOWstudio is an online platform where there is an unrestricted access of consuming fashion. The website produces and exhibits fashion films, digital photography, filmed interviews and broadcasts live internet streaming catwalk shows. This has been achieved with the utilisation of technological advances in the fields of media and computing. At the forefront of SHOWstudio is photographer, Nick Knight. Knight is one of the leading photographers in fashion image. He is the creator and director of the website, and embarked on Fashion film at the beginning of the century in 2000. He has succeeded SHOWstudio in becoming the lead distributor of fashion film promotion.24 The new media promotional method offers the designer an innovative use of promoting their brand or product. Additionally, by implementing fashion film into their promotional strategy, there is a possibility of gaining exposure through those who do not follow fashion, but have an interest in digital photography and film. In addition, by exhibiting a fashion film together with its photography processes, filmed interviews and backstage features of the film, Knight and the contributors have enabled the spectator to access all areas of the fashion process. Furthermore, SHOWstudio has adopted the new media development of a two way dialogue. This has been achieved by the spectator being able to observe, comment and respond with the contributors on the website.25

Fashion film is beginning to have an important presence in the fashion industries promotional strategy. Whilst observing the self-acclaimed, “Home of Fashion Film” website, a notable amount of fashion designers and brands have adopted the new media 23 www.SHOWstudio.com Showstudio is a company founded by photographer Nick Knight. They create Fashion Film, photography, collection overviews and technological advances in the field of promoting fashion.

24 Knight N. Nick Knight. Collins Design: New York; 2009 Pg23 25 www.SHOWstudio.com Showstudio is a company founded by photographer Nick Knight. They create Fashion Film, photography, collection overviews and technological advances in the field of promoting fashion.

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method. Therefore, to gain a greater knowledge into Fashion film as a promotional method, a further investigation into how these designers and brands have implemented the technique has been produced.

Figure 1.1: Webpage of the vast content available to the spectator in SHOWstudio

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3.3 Case Study To provide a greater knowledge into the new media, I have completed a study into two contrasting fashion designers, fashion films created by the designer and SHOWstudio.

The content and promotional intentions of both films have been investigated.

Furthermore, an investigation into the promotional strategies placed within the films has determined the effectiveness of both projects, in the aspect to the designer and spectator. The first case study combines characteristics of a cinematic time structure and fashion films fragmented approach to time.

3.3.1 Hotel Skovgaard Room 77

Danish shoe designer, Camilla Skovgaard implemented fashion film for her Autumn/Winter 2012 and 2013 resort promotional campaign. Skovgaard applies the method of cinematic narrative structure, by featuring an actress running through the darkness and subsequently appearing at a door entitled room 77. Once entering the room, the atmosphere of the film alters into a surreal reality, where fragmentation of time is incorporated by utilising the main components of fashion film; editing, cutting and speed. Skovgaard communicates an impression of dark beauty. When defining dark beauty, I indicate that the phrase contradicts with the conventional concepts of beauty. This concept is a depiction of Skovgaard’s concept of the reinterpret notions of beauty.26

Figure 1.2 Still from Hotel Skovgaard Room 77

Throughout the fashion film evident amounts of promotion is acknowledged. The nature of promotion I observed illustrates an awareness approach towards the brand and designer identity, rather than the collection itself.

26 Mostafa A. Skovgaard C. Hotel Skovgaard Room 77.[online video]2012 [cited on 2012 Oct 15] Available from: http://showstudio.com/project/hotel_skovgaard_room_77

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In an interview with SHOWstudio subsequent to the film, Skovgaard regards the choices of representing the environment and mood being reminiscent to her personal and brand progressions. She states; “I am becoming more true to myself and not necessarily conforming to what others may want me to be.”27 Skovgaard continues to comment that her fashion film has enabled the consumer to notice change within herself and the brands identity. She articulates that the use of fashion film is a fresh way of transmitting the brands signature to the consumer. 28 Furthermore, by replacing the static fashion photograph for fashion in motion, Skovgaard is able to communicate her new signature in a more thorough manner.

3.3.2 Gareth Pugh Autumn/Winter 2009

Contradictory to Skovaard’s approach to fashion film, radical fashion designer, Gareth Pugh has opted to solely focus on the fragmented nature of the new media. Pugh began, and continues implementing fashion film as a method of promotion since 2009.

For this collection, he replaced the tradition of promoting on the catwalk for the new media.29 There is no indication of a narrative structure and the concept of a timeless film is produced.

The main components of Pugh’s film are of a theatrical nature. He promotes his collection with the utility of surreal and graphic effects, and delivers a strong importance on the collection. This fashion film comprises of a complete collection emphasis throughout with no accompanied background or setting. The concept of the catwalk is evident in fragments, by the models performing out a catwalk routine.

Furthermore, with SHOWstudio’s film director, Ruth Hogben implementing the editing, cutting and speed methods, the ordinary representation of the catwalk is transformed.

Hogben creates a fragmented interpretation of the catwalk. The models movements have been restructured and have illustrated the perception that she is walking into herself. This results in the model becoming stagnant. Therefore, Hogben and Pugh achieve a static within a motion.30

27 Skovgaard C. Interviewed by: The SHOWstudio team. 2012 Sept 6 28 Skovgaard C. Interviewed by: The SHOWstudio team. 2012 Sept 6 29 SHOWstudio. Gareth Pugh A/W 2009.[www.SHOWstudio.com]UK: SHOWstudio; 2009[updated 2009 March 4;cited 2012 Nov 26]. Available from: http://showstudio.com/project/gareth_pugh_a_w_09

30Hogben R. Pugh G. Gareth Pugh Autumn/Winter 2009.[online video] 2009 [cited 2012 Oct 15] Available from: http://showstudio.com/project/gareth_pugh_a_w_09

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Figure 1.3 Still from Gareth Pugh’s Fashion film displaying static within motion

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In a promotional perspective, I have discovered that Pugh’s response is to exhibit his collection. This is seen by the solitary focus on his garments and his attempts to communicate the importance of the fabrics. Throughout the film, the models exhibit the garments in various positions, and result in focusing in on the fabrics used in the construction. Furthermore, these movements distinguish Pugh’s intention of communicating his concept of versatility and transformability. Nevertheless, by identifying Pugh’s choice of new media promotion, fashion film depicts similar attributes to the identity of the designer. Fashion film offers a dynamic and unconventional approach to promoting a collection. Pugh, as a fashion designer also maintains to produce dynamic and unconventional collections, which has branded him as an experimental fashion designer. Therefore, Pugh’s adoption of fashion film, illustrates the designers identity successfully.

3.4 Is Fashion Film a Sustainable Method of Promotion?

From studying Skovgaard’s and Pugh’s fashion films, I have realised they have attempted to communicate their collections and identity to their consumer and the spectator. Despite the differences in which aspect they are promoting, the result for the designers is correspondent to the other.

In the designers’ aspect, fashion film is a notion of adapting to the digital age and producing a forward thinking approach to promotion. Furthermore, the press in fashion and film could consider fashion film as a more lucrative attribute of reporting, than designers who have promoted through the conventional catwalk and photography. In addition, as stated, fashion film can produce new spectators to fashion and therefore, designers utilising the method could benefit from gaining extra exposure. 31 However, when you spectate fashion film on a consumer basis there may be conflicting attributes towards the new media. In a positive outlook, with the ever evolving digital age, consumers have the benefit of appreciating the latest from fashion without the turning of a page. In an article by Christopher Michael for Vogue Italia, Michael states that Fashion film is: “An invitation to a world of dreams and the creations of designers are experienced as they were meant to be, in motion.”32 Therefore, the customary media methods of communicating trends are becoming surpassed for an innovative and dynamic approach of consuming such information.

31 McInerney A. Dressing the Screen:FashionFilm.[www.timeoutbeijing.com]Beijing:TimeoutBeijing;2012[Updated 2012 oct 29;cited 2012 Nov 25]Available from: http://www.timeoutbeijing.com/features/Blogs/17100/Dressing-the-Screen-fashion-film.html

32 Michael C. Moving Fashion. [www.vogue.it]. Italy: Vogue Italia; 2012 [updated 2012 Jan 23; cited 2012 Oct 20]. Available from: http://www.vogue.it/en/people-are-talking-about/music-theatre-cinema/2012/01/moving-fashion

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Nevertheless, the dynamic characteristics of fashion film could also be its downfall.

Fashion film’s dynamic nature produces an issue on whether the spectator can really appreciate the concept of the new media. For instance, if the fashion film is directed at an open-minded individual, it would be likely that the individual could appreciate the designer’s concept of forward thinking and the innovative approach to promotion.

However, if the spectator is not accepting such methods, then it would be questionable on whether they would have the same appreciative response to fashion film.

Therefore, this could evidently have a diminishing return on the consumers purchase direction.33 Fashion films development is principally appreciative to digital photography and film.

In 2013, photography franchise, Sony will be launching DSLR camera’s that include advanced features when creating a fashion film. In particular, the Sony Cyber-shot RX1 will be able to produce progressive frame rates alongside the highest quality in High Definition (HD), which in result produces photographs into films. Sony also asserts that with their automated modes of Program, Aperture Priority, Sutter Priority and Manual (PASM), the photographer can produce films with innovative flexibility. 34 Furthermore, with cameras like the RX1 being available to the public, I indicate there could be a possible increase in fashion film production. If an increase becomes apparent, fashion film could grow with further similar companies such as SHOWstudio being produced. Therefore, in my opinion, with the assistance of the progressing digital age, Fashion film will continue to maintain and develop its presence within the fashion industry.

33 Michael C. Moving Fashion. [www.vogue.it]. Italy: Vogue Italia; 2012 [updated 2012 Jan 23; cited 2012 Oct 20]. Available from: http://www.vogue.it/en/people-are-talking-about/music-theatre-cinema/2012/01/moving-fashion

34 Sony. Cyber-shot™ DSC-RX1 from Sony is world’s first compact camera with 35mm full-frame 24.3 effective megapixel sensor.[www.sony.co.uk]UK:Sony;2012[updated 2012 Sept 12;cited 2013 Jan 19]Available from: http://presscentre.sony.eu/content/detail.aspx?ReleaseID=8036&NewsAreaId=2

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Chapter 4: The Holographic Catwalk Holograms have established a presence in the fashion industry since the latter stages of the last decade. They have been implemented into the industry’s promotional strategy and have been exhibited on a global scale. 35 The holographic technology promotes an alternative concept to the conventional catwalk. However, before I investigate the holographic catwalk, an understanding of holograms as a media should be discussed.

4.1 What is a Hologram?

A hologram is described as a photographic image that has a 3-dimensional status. It is achieved with the use of two dimensional layered images of the same object being situated at different focus points. Light, lasers and a photographic plate are the instruments implemented to achieve the procedure. To begin, the light is spread with the use of the laser beams, which results in the consistency of the laser to diminish.

Secondly, as established in a camera, one of the beams provides a two dimensional image of the object. The other laser beam is utilised to lighten the object. Therefore, with both lasers serving their purpose the photographic plate displays the object and the lightening is recognised by the second laser which results in the view of the two images being observed at the same time; thus creating a hologram. 36 Figure 1.4 The Holographic process image

4.2 Pepper’s Ghost Holograms have been implemented to amaze audiences for many years. The illusions were first established by J H Pepper in a theatre in 1862 at the Royal Polytechnic Institution in London. Pepper tricked the audience with a holographic illusion by creating a ghost on stage. The indication of Pepper tricking his audience is directed at the fact that the effect he created was not of an actual hologram, but of a holographic illusion.

35 Shepter J. The Rediscovery of Holograms. Communication Arts. 2012; 54(1) Pg27 36 www.wisegeek.com This website delivers information about technological advances being discovered in the world.

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A genuine hologram is where light is logged in a complete view of the audience; a 360 degree holographic image. If the audience change the direction in which they are viewing the hologram, the angle will alter giving them a full view of the object or body.

In regards to the instruments implemented in Peppers event, if the audience is at a distant position and at an obscure angle, the illusion will be lost. To fashion the somewhat artificial holographic illusion, a sheet of glass was placed at a forty five degree angle across the stage. Hidden from the audience at the right hand side below the stage, an actor was covered by a white sheet and performed in a ghostly manner.

The actor was caught by the sheet of glass and reflected onto the stage, achieving the illusion of Pepper’s Ghost.37 Figure 1.5 Pepper’s Ghost Diagram

4.3 Employment of Holograms in fashion Despite the fashion industry developing a strong presence on the new media, the holograms implemented in catwalk shows are of Pepper’s Ghost holographic illusion and therefore maintain equal disadvantages. To overcome these disadvantages, organisers of catwalk shows have to be conscious of these weaknesses and insure that the audience is correctly seated. This will enable the illusion to become a genuine hologram in the eyes of the viewer. 38 Nevertheless, there are advantages in implementing the new media method on the catwalk. For instance, by substituting a physical model for a holographic model, the typical backstage pandemonium can be averted. Bill Jurewicz of Space 150: CEO of the digital innovation agency describes the advantage by stating; “With a holographic runway show, there can be a lot of savings in money, headache and hassle. Runway shows are completely chaotic backstage.

Girls can trip, get a run in something or lose an accessory.” 39 Jurewicz discusses that the logistical aspect to staging a runway show is simplified. In addition, holographic models advantage factual models in regards to hair, make-up and fatigue.

37 Shepter J. The Rediscovery of Holograms. Communication Arts. 2012; 54(1) Pg26 38 Shepter J. The Rediscovery of Holograms. Communication Arts. 2012; 54(1) Pg27 39 Shepter J. The Rediscovery of Holograms. Communication Arts. 2012; 54(1) Pg27

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Furthermore, with the advances of portability and decreased costs in production, designers have discovered that the cost value to generate a traditional catwalk show is three times the amount of a holographic show. 40 These lucrative attributes, have instigated designers across the world to invest into the new media.

Fashion designer Stefan Eckert is one designer who has included the concept of the holographic catwalk into his promotional strategy. In his Autumn/Winter 2011 show entitled ‘Space Blues Symphony’, Eckert displayed a spectacular arrangement of holograms in fashion.41 The concept of Pepper’s Ghost was essential to the operation of Eckert’s show. This was identified during the brief introduction of the preparations before the show began.

In this introduction, I noted a fully sized sheet of glass placed at a forty five degree angle at the back of the stage. 42 Additionally, once the holographic display began, it became apparent that Eckert’s had produced a model-less fashion show.

Nevertheless, at particular occasions, the holograms displayed a dense amount of complexity where in result; the audience could have mistaken them for factual models.

Figure 1.6 Eckert’s ‘Space Blues Symphony’ Holographic Models 2011

Eckert’s presentation was complex and very well choreographed. The holographic models performed synchronized martial art movements, alongside exhibiting the garments. Throughout the show, I perceived a diverse range of moods. A peculiar application of mime orientated dance was juxtaposed with suggestive movements from one hologram. Furthermore, the atmosphere of Eckert’s presentation could have been considered as a theatrical performance, when compared to the conventional catwalk. It could also be argued that Eckert’s emphasis was on the promotion of the 40 Shepter J. The Rediscovery of Holograms. Communication Arts. 2012; 54(1) 26-29 41 Jacobson T. Stefan Exkert’s Holographic Fashion Show.[www.fashionising.com]UK:Fashionising.com;2011[updated 2011 July 9;Cited 2012 Oct 24]Available from: http://www.fashionising.com/pictures/b--Stefan-Eckerts-holographic-fashion-show-7206.html

42 Eckert S. Yessian Music - Stefan Eckert - Live 3D Fashion Show Presentation.[online video] 2011 [cited 2012 Oct 20] Available from:http://www.youtube.com/watch?v=SBn2o5-WmB4

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technology rather than the promotion of his collection. However, in the opinion of the spectator this could be construed as a positive method of promotion.

4.4 Is the Holographic Catwalk a sustainable method of Promotion?

Fashion designers have confidence in their shows to create extra exposure and establish a positive reaction from the spectator and media. 43 Implementing holographic notions, the designer has the belief that this method of demonstration will leave an encouraging and lasting effect. The holographic performances obtain innovative and astonishment factors in comparison to the customary catwalk. Therefore, this could create a higher awareness for those designer’s collections that have been placed in conjunction with the new media promotional method. Furthermore, in correspondent to fashion film’s lucrative attributes to the press, increased coverage and exposure could develop designer’s promotion as opposed to the designers who have promoted through conventional methods.

In a consumer point of view, the holographic catwalk could be considered a more enjoyable manner of observing the latest in fashion. In a press release from fashion retailer, Forever 21’s, Linda Chang states; “Our customers are always searching for the next big thing, or fashion trends before they happen. We love that about them, so we are always thinking about how to surprise them, show them things they've never seen before and give them new exciting ways to get Involved with Forever 21”. 44 However, contradictory to Chang, an article by The Independent stated a negative observation to Eckert’s holographic catwalk. The question is raised whether the conventional concept of witnessing the clothing characteristics in real life is becoming overshadowed by the theatrical effects achieved through holographic technology. 45 In addition, for the holographic catwalk to continue its path, I depict that it may have to work in conjunction with the customary catwalk. This will assist the consumer, spectator and press in receiving as much knowledge as possible of the designer’s collection.

43 Fitzpatrick A. Organising a Fashion Show. [www.peopleandplanet.org]UK:Environmental Justice Foundation; 2012[Updated 2012 Oct 22;cited 2012 Nov 12] Available from: http://peopleandplanet.org/dl/efjfashionshowguide.pdf

44 Anderson G. Holographic Model Walk Forever 21’s Runway. [www.retailwire.com]USA: Retail Wire Ltd; 2011[updated 2011 May 3;cited 2012 Nov 26]Available from: http://www.retailwire.com/discussion/15227/holographic-models-walk-forever-21srunway

45 Relax News team. 3D hologram technology soon to replace runway models? [www.independent.co.uk]UK: The Independent; 2011[updated 2011 July 01; Cited 2012 Nov 25] Available from: http://www.independent.co.uk/life-style/fashion/3d-hologramtechnology-soon-to-replace-runway-models-2305338.html

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Chapter 5: Social Media 5.1 What is Social Media?

Social media has become the communication hub of modern day society. The main contributors to society’s new approach of communication are, Facebook and Twitter.

Though both are social media sites, there are dissimilarities in their original concepts.

Facebook’s original concept is to keep in contact with friends and family, regardless of how close or distant they are. We have the ability to share our lives with our connections and can “like” and “comment” on others. Furthermore, Facebook reported that they have one billion users in 2012 and therefore is at the forefront of social media. Twitter, a less popular social media site, with five hundred million users, formed the concept that we can follow our favourite celebrities and inspirational personalities, and “tweet” (comment) them back. 46 “Trends” (topics) can be fabricated in seconds resulting in tweets on the subject being produced.

5.2 Social Media as a New Media Promotional Tool in Fashion Social media has become a revolutionary tactic to fashion promotion. The fashion industry has utilised the social media promotional tool. Furthermore, the two competing sites have established new approaches for fashion designers and brands to promote their business.

5.2.1 Twitter

Twitter has implemented methods to achieve a position in the fashion industry’s promotional strategies. The original concept of Twitter has enabled the industry to communicate with their audience on a broader spectrum. For instance, global fashion label, Burberry instigated the new media method in 2011. The brand offered their followers a taster of the new collection before those who were attending their show at Fashion Week.47 This was achieved with images of their collection being uploaded to Twitter moments before the catwalk show. Furthermore, by implementing this approach, the exclusivity of attending a catwalk show became substituted for an unrestricted inclusivity towards the spectator.

46 www.expandedramblings.com This website gives the audience the latest in digital marketing in tips, trends and reports.

47 Arthur R. Fashion Week: Designers Divided Over Digital Media. [www.telegraph.co.uk]. London: The Telegraph;

2012 [updated 2012 Feb 19; cited 2012 Oct 25]. Available from: http://www.telegraph.co.uk/technology/news/9089664/fashion-weekdesigners-divided-over-digital-media.html#

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Another approach to promotion through Twitter is a less complex method. The original concept of communication produces the capability to promote a collection or product to a whole spectrum of individuals. The designer has the ability to tweet about there up and coming collections, events, sales opportunities and general news on the brand.48

Figure 1.7 A Twitter Homepage of Fashion Designer Karl Lagerfeld

Therefore, by creating a twitter account featuring this information, the designer has produced another alternative for the consumer to receive promotions and knowledge on the brand.

5.2.2 Facebook

Facebook has identified the market of fashion designers; both emerging and established, intent to implement an online presence. The social media site has formulated the possibility for these designers to target their audience unaware and consciously.49 The methodology behind this is simple, however effective. There are three methods of promoting through Facebook and this has been discovered by examining Facebook’s advertising pages. The first method is a consumer conscious approach, which is similar to the process of setting up a personal Facebook page. The designers can add photographs of their collections and introduce sale promotions and incentives. Furthermore, designers have direct contact to their consumers, with the consumers having direct contact to them. Therefore, the implementation of a two way dialogue is achieved. In addition, the consumers have the ability to “like” the page and receive updates when the brand has added further content. This approach to new media promotion produces an online presence which is available to one billion people.

48 Boches E. The World has Changed Time to change with it.[www.commarts.com]CA(USA):Coyne & Blanchard;2011[Updated 2011 May 12;cited 2012 Oct 28]Available from: http://www.commarts.com/columns/world-has-changed.html

49 Strugatz R. Fashion World Mulls Facebook IPO’s Impact.[www.wwd.com]USA:WWD;2012[Updated 2012 May 18;cited 2012 Oct 28]Available from: http://www.wwd.com/media-news/digital/forecasting-facebooks-impact-5916205?full=true

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To further the ability of this method, Harrods, one of the world’s most famous department stores have utilised this method to produce a direct relationship with their audience.50 In 2012, they comprised a higher degree of consumer opinion by distributing images of Burberry’s, up and coming collection onto their Facebook page.

Fans on Facebook were to click the “like” icon on the items that they were fond of.

Figure 1.8 Harrods 2012 Burberry Buyer Promotion on Facebook

The garment with the most “likes” was situated in the stores to sell. 51 Therefore, by implementing this method, the department store was able to receive first hand marketing sources. This resulted in a positive attribute to Harrods promotional strategy. Nevertheless, in reviewing the outcome, there were negative aspects to Harrods promotional campaign. In comparison to Facebook’s one billion users, the amount of fans who participated in the promotional event was nine hundred and fifty eight.52 With this ratio of nine hundred and fifty eight to one billion; the effectiveness and awareness of the campaign could be considered insufficient. Furthermore, there is also the possibility that a quantity of the participants were not consumers and were merely fans of the Facebook page. Therefore, in result the sources established would not be the clientele of Harrods.53 The second technique is a subliminal promotional approach where Facebook have implemented an advertising filter technique. To establish an understanding of this, I have tested the system to analyse the result. In effect, the ability to promote to a specific audience is achieved.

50 BBC News. History of Harrods department store. [www.bbc.co.uk]UK: BBC; 2010[updated 2010 May 8;cited 2012 Oct 20] Available from: http://www.bbc.co.uk/news/10103783

51 Arthur R. Fashion Week: Designers Divided Over Digital Media. [www.telegraph.co.uk]. London: The Telegraph;

2012 [updated 2012 Feb 19; cited 2012 Oct 25]. Available from: http://www.telegraph.co.uk/technology/news/9089664/fashion-weekdesigners-divided-over-digital-media.html#

52 Harrods.Be a Harrods Buyer-Burberry Autumn/Winter 2012 [www.facebook.com]USA:Facebook;2012[updated 2012 Feb 22;cited 2012 Oct 27]Available from: http://www.facebook.com/media/set/? set=a.10150626799982458.411739.188213917457&type=3

53 Arthur R. Fashion Week: Designers Divided Over Digital Media. [www.telegraph.co.uk]. London: The Telegraph;

2012 [updated 2012 Feb 19; cited 2012 Oct 25]. Available from: http://www.telegraph.co.uk/technology/news/9089664/fashion-weekdesigners-divided-over-digital-media.html#

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Within Facebook, the homepage of a personal account displays advertisements down the right hand side of the screen. These advertisements fall in conjunction with the individual’s interests and lifestyle.

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This is not a coincidence, but of a filter system adapted to utilise the information that the individual shares on the social media site; such as relationship status. For instance, if a bridal designer wishes to employ this technique, the designer can achieve this by the use of filters.

The designer applies the filter method and targets those who have displayed their engagement and who have shown an interest in bridal themed pages. Therefore, by consuming this information, the designer has created a direct target market and the consumer becomes a spectator of the advertisement. 54

Figure 1.9 Advertising set up filter page on Facebook

This method can be considered as an effective approach to new media promotion.

The technique is not revealed to the individuals and therefore on the surface, the advertisement appears as a gratified coincidence.

In 2013, Rachel Strugatz, journalist for Women’s Wear Daily (WWD), reported that Facebook has introduced a further method of promoting fashion. The social media site has implemented a new tool entitled, Graph Search. Graph Search, will enable brands and designers to search user profiles of their fans friends.

Figure 2.1 Facebook’s New Promotional Tool, Graph Search

54 Facebook.Create an Ad.[www.facebook.com]Available from: www.facebook.com/ads/create/

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Similar to the current filter tool, the new method will enable designers to enhance the personal approach to the consumer. This is achieved by the graph providing information into what users are searching for and when. In addition, they will also have the capability to identify who the users are connected to.

Furthermore, Susan Etlinger of Altirmeter Group’s, industry analyst claims that: “You can see influencers and who influences sales.” 55 This statement applies to the consumer and not the typical influencers of fashion, such as media stylists. Etlinger continues by stating that the consumer has the ability to inspire what their friends purchase.56 Therefore, we relate back to Brown’s description of a combined leadership with the consumer and brand.57 5.3 Is Social Media a Sustainable Method of Promotion?

Social media has positive and negative attributes for fashion promotion. In relation to the designer, an understanding into what they aspire to achieve through social media should be decided. This can range from; consumer loyalty, customer service issues or generating exposure.58 A consumer loyalty promotional campaign can be achieved through methods of social media. This is achieved by designers communicating their brand identity to the consumer, which would therefore assist in founding a relationship. 59 In positive reference to Harrods promotion with Burberry, a two way dialogue has been produced, therefore adding loyalty from the consumer to the brand. Nevertheless, developing this dialogue could have a damaging effect. With the freedom surrounding social media, the consumer could manipulate promotional campaigns. For instance, when retailer, Next produced a modelling competition through Facebook, the campaign ended in tampering of votes. This was achieved by repetitive clicks of “like” on one contender and therefore resulted in a negative consumer loyalty campaign. 60

55 Strugatz R. Facebook Introduces Graph Search[www.wwd.com]USA:WWD;2013[Updated 2013 Jan 16;cited 2013 Jan 17]Available From: http://www.wwd.com/media-news/fashion-memopad/facebook-forges-ahead-6616340?module=media-news-page-1

56 Strugatz R. Facebook Introduces Graph Search[www.wwd.com]USA:WWD;2013[Updated 2013 Jan 16;cited 2013 Jan 17]Available From: http://www.wwd.com/media-news/fashion-memopad/facebook-forges-ahead-6616340?module=media-news-page-1

57 Brown E. Working the Crowd. Swindon, United Kingdom: British Informatics Society Limited; 2010.

58 Littleton T.On trend: fashion brands and social media.[www.econsultancy.com]UK:econsultancy;2012[updated 2012 Sept 10; cited 2012 Nov 26] Available from: http://econsultancy.com/uk/blog/10658-on-trend-fashion-brands-and-social-media

59 PS Print. Social Media Marketing Pros and Cons.[www.psprint.com]USA:PS Print; 2001 Available from: http://www.psprint.com/resources/small-business-marketing/general-small-marketing/social-media.php

60 Littleton T. How Fashion Retailer use Social Media. UK:emoderation;2012

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Furthermore, in conjunction to consumer loyalty methods, brands can incorporate customer service features to enhance loyalty. This has been achieved by online retailer, ASOS. ASOS have produced a twitter page specifically for customer service queries.

Figure 2.2 ASOS’s Customer Service Twitter Page

Therefore, this enables the brands main promotional twitter page to become exempt from customers complaints and queries.61 In relation to gaining exposure, brands have the positive aspect of targeting new audiences where traditional promotional techniques cannot. 62 This is identified by the amount of social media users where the ability to connect with a global audience is evident. Furthermore, these users have the capability to distribute imagery and information of a brand across the internet and therefore have the potential of gaining exposure for the brand.

In conducting a survey; which can be identified in (Appendix 1.1), towards fashion professionals and established fashion brands, I was able to identify another positive attribute of social media promotion. The cost of a brand promoting through traditional methods such as, publication advertisements has become more expensive than promoting through social media. For instance, Vogue, reports to cost $121,000 for a page.63 To promote using Facebook small businesses can use a click and pay of $5 to encourage consumers to view their promotion. Larger businesses that use Facebook for promotion on larger scale pay a minimum fee of $9,000. 64 Nevertheless, despite saving in promotional expenditures, the brands return investment of time spent in promoting can produce a negative concern.

61 Littleton T.On trend: fashion brands and social media.[www.econsultancy.com]UK:econsultancy;2012[updated 2012 Sept 10; cited 2012 Nov 26] Available from: http://econsultancy.com/uk/blog/10658-on-trend-fashion-brands-and-social-media

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PS Print. Social Media Marketing Pros and Cons.[www.psprint.com]USA:PS Print; 2001 Available from: http://www.psprint.com/resources/small-business-marketing/general-small-marketing/social-media.php

63 Erik Abels J. How to Make Readers Really Want You: Vogue turn to web television to juice its appeal. [www.forbes.com]USA:Media Biz; 2008[updated 2008 Sept 17;cited 2013 Jan 8] Available from: http://www.forbes.com/2008/09/17/vogue-tv-models-tech-mediabiz-cx_jea_0917vogue.html

64 Needleman S. Rusli E. What’s a Facebook Follower Worth?[www.wsj.com]USA:Wall Street Journal; 2012 [Updated 2012 Oct 11;cited 2013 Jan 18] Available from: http://online.wsj.com/article/SB10000872396390444657804578048750390978708.html

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The time it takes to build aspects such as, loyalty and exposure, can be long-lasting and therefore a return in sales could take time. 65 Furthermore, there is a concern on the control which the brand possesses of their page. 66 For instance, one contributor to my survey displayed a concern of controlling criticism on their page, which depending on the severity could result in a bad reputation. Additionally, by directing questions in my survey on a consumer basis, the positive aspect of accessibility materialised. In the past, particular content of a brand was exclusive to a limited audience. However, due to social media immediate and unrestricted content can be accessed. Therefore the boundaries of fashion exclusivity are becoming more inclusive for the consumer. In addition, the participants realised the increased access to discover new designers with the use of social media. However, eight out of the eleven participants communicated negative comments towards social media promotion. The key concern of the consumer was that brands can over publicise themselves. Taking this into account, the consumer may not fully engage with the promotion and evidently avoid further interaction with the brand.

In addition, from the evidence sought, social media as a fashion promotion method is continuing at strength for the moment. The investigations produced have indicated that brands can succeed in promoting through social media, however need to be aware of the possible complications. This new media approach to fashion promotion is in the same category as fashion film and the holographic catwalk of early development. Social media is at an early stage of progressing. Therefore, with the continuous technological advances in the digital age, I find that there is a strong possibility that social media promotion will continue to grow.

65 PS Print. Social Media Marketing Pros and Cons.[www.psprint.com]USA:PS Print; 2001 Available from: http://www.psprint.com/resources/small-business-marketing/general-small-marketing/social-media.php

66 PS Print. Social Media Marketing Pros and Cons.[www.psprint.com]USA:PS Print; 2001 Available from: http://www.psprint.com/resources/small-business-marketing/general-small-marketing/social-media.php

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Chapter 6: Conclusion This dissertation has explained the significant importance of new media in the fashion industry. Society has adapted to the digital age and so have the industries of business. We are witnessing the development and progression in new media as a subject and as a promotional method. Furthermore, new media is progressively surpassing the conventional methods of promotion.

In regards to the fashion industry, the development of new media has become the customary application in a promotional campaign. In the distribution of new media to the consumer, designers and brands are benefiting in a number of factors. The internet has enabled designers to exhibit their brand and collections to a global audience. This has produced the possibility of increasing awareness beyond the abilities of old media, such as national fashion magazines.

Furthermore, in the realisation of the importance of social media, the fashion industry can increase consumer loyalty through promoting on these sites.

Effective implementation of Facebook or Twitter in their promotional campaign will result in a two way dialogue. Therefore, a signification of loyalty to the consumer is established in gaining awareness and increasing consumer loyalty.

These essential factors assist in generating sales to the designer. All three new methods evaluated in this dissertation provide innovative means of influencing consumer sales. Social media provides a direct linking to the designers’ collections, which therefore creates purchasing easily attainable. Furthermore, in regards to Brown’s statement of a change of leadership, social media enables the consumer to become an influencer and therefore could result in sales.

Fashion film and the holographic catwalk depict another source of generating sales. A designer aspires that these promotional tactics will leave a lasting effect on the spectator. In achieving this, the spectator may become a consumer, thus creating sales. These findings suggests that in general, to effectively compete in the fashion industry an implementation of new media promotion should be produced. Despite the continuation of old media such as photography, by issuing new media, an increase in the central factors of a successful promotional campaign can be achieved.

The purpose of this dissertation was to determine how new media is applied in the fashion industry and whether there are any limitations in the implementation of new media. With having identified how new media has become essential to the fashion promotion, I have also communicated that despite the positive results of new media, there are also negative effects.

In regards to social media, three negative issues have been discovered. Identified through Harrods promotional campaign with Burberry, the possibility that the fashion industries fans on Facebook and Twitter may not be a consumer is evident. This therefore creates a negative impact on generating sales through social media. Furthermore, as communicated from a participator of my survey, there is an ability for negative feedback to become displayed for spectators of the page to witness. This in result could persuade the consumer to purchase elsewhere. In addition, as observed in Next promotional campaign, the freedom of social media enables users to tamper in results. Therefore, this would have a diminishing effect on consumer loyalty.

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The holographic catwalk depicts negative issues when relating to the traditional catwalk. For instance, in Eckert’s demonstration, there is a concern of whether the emphasis on the collection has been substituted for the effects of implementing holograms. Despite aspiring to create a lasting effect, it seems that the catwalk is situated to exhibit the characteristics of the collection. The argument communicates on these characteristics becoming lost in the theatrics of holograms. Referring back to technology of holograms, the negative aspect of Pepper’s Ghost is evident. The implication of correctly positioning the spectator suggests that the technology used to produce the holographic catwalk has not been fully developed.

I have identified that fashion film has the least negative attributes for a promotional method. Fashion film’s dynamic characteristic may not be appreciated by a particular audience. If the spectator is not an open-minded individual, this could result in a negative impact on consumerism. Therefore, by not appreciating the new media the spectator may not fully engage with the content being exhibited.

In general, it seems that with the opposing attributes of implementing new media in the fashion industry, designers and brands must be aware of the implications.

This will ensure a positive and successful new media promotional campaign.

To conclude, this dissertation was limited by the contemporary nature of the subject.

With the advances in media and computing initiating at the beginning of the 21 st Century, historic research on the subject is restricted. Furthermore, the new media promotional methods explored in this dissertation have an average of 5 years background information. Therefore, this has resulted in a limitation of resources on the subject. Nevertheless, as the digital age is advancing rapidly, it would be interesting to thoroughly assess the effects on future new media methods. Further research might investigate into technological businesses, which in result could determine future methods implemented by the fashion industry. These future methods may completely alter the approach which we consume, exhibit and distribute fashion. Old media could become substituted with motion, computerised data and three dimensional holograms. In result, fashion becomes digitalised.

Appendices 1.1 Primary Source Survey www.smartsurvey.co.uk 32

New Media Promotion in Fashion To gain primary knowledge in the impacts of social media in fashion promotion from the consumer and business, I have conducted a survey. The images below display the results.

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Appendices 1.2 Studio Work I have included excerpts from my Surrealist Research Book. This communicates the connections from my studio work and my dissertation.

Appendices 35

1.3 Links to Online Video’s featured in the Bibliography 1.3.1 Stefan Eckert’s ‘Space Blues Symphony’ Holographic Show http://www.youtube.com/watch?v=SBn2o5-WmB4 1.3.2 Gareth Pugh’s Autumn/Winter 2009 Fashion Film http://showstudio.com/project/gareth_pugh_a_w_09 1.3.3 Camilla Skovgaard’s Hotel Skovgaard, Room 77 Fashion Film http://showstudio.com/project/hotel_skovgaard_room_772.1.4 1.3.4 SHOWstudio’s ‘The Fashion Body’ Fashion Project Films http://showstudio.com/project/the_fashion_body/videos

1.3.5 Karlie Kloss and Kate Phelan’s Newgen/Ten Fashion Film http://showstudio.com/project/newgenten/fashion_film

1.4 Further Recommended Readings New Media Lev Manovich - The Language of New Media Eileen Brown – Working the Crowd Digital Photography Christopher Breward - Fashion. (Fashion on the Page) Fashion Film Laura Mulvey - Death 24x a second: Stillness and the Moving Image.

Nathalie Khan - Cutting the Fashion Body: Why the fashion Image is No Longer Still.

Holographic Catwalk Jason Shepter - The Rediscovery of Holograms.

Social Media Tia Littlejohn - How Fashion Retailers use Social Media.

References

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Anderson G. Holographic Model Walk Forever 21’s Runway. [www.retailwire.com]USA: Retail Wire Ltd; 2011[updated 2011 May 3;cited 2012 Nov 26]Available from: http://www.retailwire.com/discussion/15227/holographic-models-walk-forever-21s-runway Arthur R. Fashion Week: Designers Divided Over Digital Media. [www.telegraph.co.uk].

London: The Telegraph; 2012 [updated 2012 Feb 19; cited 2012 Oct 25]. Available from: http://www.telegraph.co.uk/technology/news/9089664/fashion-week-designers-divided-overdigital-media.html# BBC News. History of Harrods department store. [www.bbc.co.uk]UK: BBC; 2010[updated 2010 May 8;cited 2012 Oct 20] Available from: http://www.bbc.co.uk/news/10103783 Boches E. The World has Changed Time to change with it. [www.commarts.com]CA(USA):Coyne & Blanchard;2011[Updated 2011 May 12;cited 2012 Oct 28]Available from: http://www.commarts.com/columns/world-has-changed.html Breward C. Fashion. UK: Oxford University Press; 2003 Brown E. Working the Crowd. Swindon, United Kingdom: British Informatics Society Limited; 2010 Decker F. Old Media Promotion Vs New Media Promotion. [www.smallbusiness.chron.com]USA:Hearst Communications, Inc.;2011[Updated 2011 Apr 8; cited 2012 Nov 25]Available from: http://smallbusiness.chron.com/old-media-promotion-vsnew-media-promotion-41330.html Dillon S. The Fundamentals of Fashion Management.UK: AVA Publishing;2011 Eckert S. Yessian Music - Stefan Eckert - Live 3D Fashion Show Presentation.[online video] 2011 [cited 2012 Oct 20] Available from:http://www.youtube.com/watch?v=SBn2o5-WmB4 Elnav G. The Impacts of Digital Technology in the 21st Century. New York: Springer; 2010 Erik Abels J. How to Make Readers Really Want You: Vogue turn to web television to juice its appeal.[www.forbes.com]USA:Media Biz; 2008[updated 2008 Sept 17;cited 2013 Jan 8] Available from: http://www.forbes.com/2008/09/17/vogue-tv-models-tech-mediabizcx_jea_0917vogue.html Facebook.Create an Ad.[www.facebook.com]Available from: www.facebook.com/ads/create/ Fitzpatrick A. Organising a Fashion Show. [www.peopleandplanet.org]UK:Environmental Justice Foundation; 2012[Updated 2012 Oct 22;cited 2012 Nov 12] Available from: http://peopleandplanet.org/dl/efjfashionshowguide.pdf Forsyth P. Marketing in Publishing. London: Routledge; 1997 Freud S. Beyond the Pleasure Principle. New York: W.W. Norton; 1961

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Hogben R. Pugh G. Gareth Pugh Autumn/Winter 2009.[online video] 2009 [cited 2012 Oct 15] Available from: http://showstudio.com/project/gareth_pugh_a_w_09 Jacobson T. Stefan Exkert’s Holographic Fashion Show. [www.fashionising.com]UK:Fashionising.com;2011[updated 2011 July 9;Cited 2012 Oct 24]Available from: http://www.fashionising.com/pictures/b--Stefan-Eckerts-holographicfashion-show-7206.html Khan N. Cutting the Fashion Body: Why the fashion Image Is No Longer Still. Fashion Theory: The journal of Dress, Body & Culture. 2012; 16(2): 235-249 Littleton T.On trend: fashion brands and social media. [www.econsultancy.com]UK:econsultancy;2012[updated 2012 Sept 10; cited 2012 Nov 26] Available from: http://econsultancy.com/uk/blog/10658-on-trend-fashion-brands-and-socialmedia Littleton T. How Fashion Retailer use Social Media. UK:emoderation;2012 Manovich L. The Language of New Media. USA: Massachusetts Institute of Technology;2001 Martin-Robbins K. Dressing the Screen: Fashion in China. [www.BritishCouncil.org]UK: British Council; 2012[Updated 2012 Oct 24;cited 2012 Nov 15] Available from: http://backoftheenvelope.britishcouncil.org/2012/oct/24/dressing-screen-fashion-film-china/ McInerney A. Dressing the Screen:FashionFilm. [www.timeoutbeijing.com]Beijing:TimeoutBeijing;2012[Updated 2012 oct 29;cited 2012 Nov 25]Available from: http://www.timeoutbeijing.com/features/Blogs/17100/Dressing-the-Screenfashion-film.html Meadows-Klue D. An Intro to digital marketing tools and techniques.[online video]. 2009 [cited 2012 Oct 27]. Available from: http://hstalks.com.ezproxy.rgu.ac.uk/main/view_talk.php? t=1437&r=459&c=250 Michael C. Moving Fashion. [www.vogue.it]. Italy: Vogue Italia; 2012 [updated 2012 Jan 23; cited 2012 Oct 20]. Available from: http://www.vogue.it/en/people-are-talking-about/musictheatre-cinema/2012/01/moving-fashion Mostafa A. Skovgaard C. Hotel Skovgaard Room 77.[online video]2012 [cited on 2012 Oct 15] Available from: http://showstudio.com/project/hotel_skovgaard_room_77 Needleman S. Rusli E. What’s a Facebook Follower Worth?[www.wsj.com]USA:Wall Street Journal; 2012 [Updated 2012 Oct 11;cited 2013 Jan 18] Available from: http://online.wsj.com/article/SB10000872396390444657804578048750390978708.html PS Print. Social Media Marketing Pros and Cons.[www.psprint.com]USA:PS Print; 2001 Available from: http://www.psprint.com/resources/small-business-marketing/general-smallmarketing/social-media.php Relax News team. 3D hologram technology soon to replace runway models? [www.independent.co.uk]UK: The Independent; 2011[updated 2011 July 01; Cited 2012 Nov 25] Available from: http://www.independent.co.uk/life-style/fashion/3d-hologram-technologysoon-to-replace-runway-models-2305338.html Shepter J. The Rediscovery of Holograms. Communication Arts. 2012; 54(1) 26-29

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SHOWstudio. Gareth Pugh A/W 2009.[www.SHOWstudio.com]UK: SHOWstudio; 2009[updated 2009 March 4;cited 2012 Nov 26]. Available from: http://showstudio.com/project/gareth_pugh_a_w_09 Skovgaard C. Interviewed by: The SHOWstudio team. 2012 Sept 6 Strugatz R. Facebook Introduces Graph Search[www.wwd.com]USA:WWD;2013[Updated 2013 Jan 16;cited 2013 Jan 17]Available From: http://www.wwd.com/media-news/fashionmemopad/facebook-forges-ahead-6616340?module=media-news--page-1 Strugatz R. Fashion World Mulls Facebook IPO’s Impact. [www.wwd.com]USA:WWD;2012[Updated 2012 May 18;cited 2012 Oct 28]Available from: http://www.wwd.com/media-news/digital/forecasting-facebooks-impact-5916205?full=true Watson R. Future Minds: How the Digital Age is Changing Our Minds, Why This Matters and What Can We Do About It? London: Nicholas Brealey; 2010. www.expandedramblings.com This website gives the audience the latest in digital marketing in tips, trends and reports. www.SHOWstudio.com Showstudio is a company founded by photographer Nick Knight. They create Fashion Film, photography, collection overviews and technological advances in the field of promoting fashion. www.wisegeek.com This website delivers information about technological advances being discovered in the world.

Bibliography 39

Books Austin T, Doust R. New Media Design. London: Laurence King Publishing; 2007 Breward C. Fashion. UK: Oxford University Press;2003 Brown E. Working the Crowd. Swindon, United Kingdom: British Informatics Society Limited; 2010 Dillon S. The Fundamentals of Fashion Management.UK: AVA Publishing; 2011 Elnav G. The Impacts of Digital Technology in the 21st Century. New York: Springer; 2010 Forsyth P. Marketing in Publishing. London: Routledge; 1997 Freud S. Beyond the Pleasure Principle. New York: W.W. Norton; 1961 Littleton T. How Fashion Retailer use Social Media. UK: emoderation;2012 Manovich L. The Language of New Media. USA: Massachusetts Institute of Technology;2001 Mulvey L. Death 24x a second: Stillness and the Moving Image. UK: Reakition Books; 2005 Ritchie I. New Media Publishing. Bedfordshire (UK):Pearson Professional Ltd; 1996 Rush M. New Media in Late 20th-Century Art. United Kingdom: Thames &Hudson world of art; 1999 Watson R. Future Minds: How the Digital Age is Changing Our Minds, Why This Matters and What Can We Do About It? London: Nicholas Brealey; 2010.

Blogs Schuller M. The British Council promotes Fashion Film overseas.[blog].2012 Oct 29[cited 2012 Nov 6]. Available from: http://showstudio.com/blog/post/the_british_council_promotes_fashion_film_overseas_

Interviews Skovgaard C. Interviewed by: The SHOWstudio team. 2012 Sept 6

Journals Khan N. Cutting the Fashion Body: Why the fashion Image Is No Longer Still. Fashion Theory: The journal of Dress, Body & Culture. 2012; 16(2): 235-249 Shepter J. The Rediscovery of Holograms. Communication Arts. 2012; 54(1) 26-29

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Online Videos Eckert S. Yessian Music - Stefan Eckert - Live 3D Fashion Show Presentation.[online video] 2011 [cited 2012 Oct 20] Available from:http://www.youtube.com/watch?v=SBn2o5-WmB4 Hogben R. Pugh G. Gareth Pugh Autumn/Winter 2009.[online video] 2009 [cited 2012 Oct 15] Available from: http://showstudio.com/project/gareth_pugh_a_w_09 Meadows-Klue D. An Intro to digital marketing tools and techniques.[online video]. 2009 [cited 2012 Oct 27]. Available from: http://hstalks.com.ezproxy.rgu.ac.uk/main/view_talk.php? t=1437&r=459&c=250 Mostafa A. Skovgaard C. Hotel Skovgaard Room 77.[online video]2012 [cited on 2012 Oct 15] Available from: http://showstudio.com/project/hotel_skovgaard_room_77 Foxton S. Hogben R. Jones S. Knight N. The Fashion Body.[online video]2010[cited on 2012 Oct 13]Available from: http://showstudio.com/project/the_fashion_body/videos Kloss K. Knight N. Phelan K. Newgen//Ten.[online video]2012 [cited on 2012 Oct 13] Available from: http://showstudio.com/project/newgenten/fashion_film

Online Articles Anderson G. Holographic Model Walk Forever 21’s Runway. [www.retailwire.com]USA: Retail Wire Ltd; 2011[updated 2011 May 3;cited 2012 Nov 26]Available from: http://www.retailwire.com/discussion/15227/holographic-models-walk-forever-21s-runway Arthur R. Fashion Week: Designers Divided Over Digital Media. [www.telegraph.co.uk].

London: The Telegraph; 2012 [updated 2012 Feb 19; cited 2012 Oct 25]. Available from: http://www.telegraph.co.uk/technology/news/9089664/fashion-week-designers-divided-overdigital-media.html# BBC News. History of Harrods department store. [www.bbc.co.uk]UK: BBC; 2010[updated 2010 May 8;cited 2012 Oct 20] Available from: http://www.bbc.co.uk/news/10103783 Boches E. The World has Changed Time to change with it. [www.commarts.com]CA(USA):Coyne & Blanchard;2011[Updated 2011 May 12;cited 2012 Oct 28]Available from: http://www.commarts.com/columns/world-has-changed.html Decker F. Old Media Promotion Vs New Media Promotion. [www.smallbusiness.chron.com]USA:Hearst Communications, Inc.;2011[Updated 2011 Apr 8; cited 2012 Nov 25]Available from: http://smallbusiness.chron.com/old-media-promotion-vsnew-media-promotion-41330.html Erik Abels J. How to Make Readers Really Want You: Vogue turn to web television to juice its appeal.[www.forbes.com]USA:Media Biz; 2008[updated 2008 Sept 17;cited 2013 Jan 8] Available from: http://www.forbes.com/2008/09/17/vogue-tv-models-tech-mediabizcx_jea_0917vogue.html Fitzpatrick A. Organising a Fashion Show. [www.peopleandplanet.org]UK:Environmental Justice Foundation; 2012[Updated 2012 Oct 22;cited 2012 Nov 12] Available from: http://peopleandplanet.org/dl/efjfashionshowguide.pdf

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Graziadaily. Burberry show to feature giant 4D hologram of Rosie Huntingdon-Whiteley. [www.graziadaily.co.uk]. London: Grazia Daily; 2011 [updated 2011 Sept 19; cited 2012 Oct 21]. Available from: http://www.graziadaily.co.uk/fashion/archive/2011/09/19/burberry-inventsthe-twitterJacobson T. Stefan Exkert’s Holographic Fashion Show. [www.fashionising.com]UK:Fashionising.com;2011[updated 2011 July 9;Cited 2012 Oct 24]Available from: http://www.fashionising.com/pictures/b--Stefan-Eckerts-holographicfashion-show-7206.html Kramer L. The Fashion Industry Embraces for Digital Media. [www.businessinsider.com]USA:Businessinsider;2011[updated 2011 Feb 27;cited 2012 Nov 6]Available from: http://articles.businessinsider.com/2011-0227/entertainment/30049075_1_digital-media-product-lines-users Leeser M. Top Tech Trends for 2013.[www.huffingtonpost.co.uk]UK:AOL;2013[updated 2013 Jan 1;cited 2013 Jan 18]Available from: http://www.huffingtonpost.co.uk/matt-leeser/top-techtrends-for-2013_b_2344828.html Littleton T.On trend: fashion brands and social media. [www.econsultancy.com]UK:econsultancy;2012[updated 2012 Sept 10; cited 2012 Nov 26] Available from: http://econsultancy.com/uk/blog/10658-on-trend-fashion-brands-and-socialmedia Martin-Robbins K. Dressing the Screen: Fashion in China. [www.BritishCouncil.org]UK: British Council; 2012[Updated 2012 Oct 24;cited 2012 Nov 15] Available from: http://backoftheenvelope.britishcouncil.org/2012/oct/24/dressing-screen-fashion-film-china/ Masters S. What is Pinterest? Is it Good for Marketing? [www.business2community.com]UK:Business2Community;2012[updated 2012 Aug 28;cited 2012 Nov 25] Available from: http://www.business2community.com/pinterest/what-is-pinterestis-it-good-for-marketing-0258924 McInerney A. Dressing the Screen:FashionFilm. [www.timeoutbeijing.com]Beijing:TimeoutBeijing;2012[Updated 2012 oct 29;cited 2012 Nov 25]Available from: http://www.timeoutbeijing.com/features/Blogs/17100/Dressing-the-Screenfashion-film.html Michael C. Moving Fashion. [www.vogue.it]. Italy: Vogue Italia; 2012 [updated 2012 Jan 23; cited 2012 Oct 20]. Available from: http://www.vogue.it/en/people-are-talking-about/musictheatre-cinema/2012/01/moving-fashion Needleman S. Rusli E. What’s a Facebook Follower Worth?[www.wsj.com]USA:Wall Street Journal; 2012 [Updated 2012 Oct 11;cited 2013 Jan 18] Available from: http://online.wsj.com/article/SB10000872396390444657804578048750390978708.html PS Print. Social Media Marketing Pros and Cons.[www.psprint.com]USA:PS Print; 2001 Available from: http://www.psprint.com/resources/small-business-marketing/general-smallmarketing/social-media.php Relax News team. 3D hologram technology soon to replace runway models? [www.independent.co.uk]UK: The Independent; 2011[updated 2011 July 01; Cited 2012 Nov 25] Available from: http://www.independent.co.uk/life-style/fashion/3d-hologram-technologysoon-to-replace-runway-models-2305338.html SHOWstudio. Gareth Pugh A/W 2009.[www.SHOWstudio.com]UK: SHOWstudio; 2009[updated 2009 March 4;cited 2012 Nov 26]. Available from: http://showstudio.com/project/gareth_pugh_a_w_09 42

Strugatz R. Facebook Introduces Graph Search[www.wwd.com]USA:WWD;2013[Updated 2013 Jan 16;cited 2013 Jan 17]Available From: http://www.wwd.com/media-news/fashionmemopad/facebook-forges-ahead-6616340?module=media-news--page-1 Strugatz R. Fashion World Mulls Facebook IPO’s Impact. [www.wwd.com]USA:WWD;2012[Updated 2012 May 18;cited 2012 Oct 28]Available from: http://www.wwd.com/media-news/digital/forecasting-facebooks-impact-5916205?full=true Tan L. Fashion Weeks have gone digital, so what? [www.guardian.co.uk]. London: The guardian; 2012 [updated 2012 Oct 3; cited 2012 Oct 25]. Available from: http://www.guardian.co.uk/media-ne2rk/media-ne2rk-blog/2012/oct/03/fashion-week-digitaltechnology-relevance The Guardian Media Ne2rk. Digital catwalk: where fashion meets technology. [www.guardian.co.uk]. London: The Guardian; 2012 [updated 2012 Sept 13; cited 2012 Oct 26]. Available from: http://www.guardian.co.uk/media-ne2rk/media-ne2rkblog/2012/sep/13/digital-fashion-technology-henry-holland

Webpages De La Renta O. The Board. [www.oscardelarenta.com]Available from: http://theboard.oscardelarenta.com/ Facebook.Create an Ad.[www.facebook.com]Available from: www.facebook.com/ads/create/ www.expandedramblings.com This website gives the audience the latest in digital marketing in tips, trends and reports. www.SHOWstudio.com Showstudio is a company founded by photographer Nick Knight. They create Fashion Film, photography, collection overviews and technological advances in the field of promoting fashion. www.wisegeek.com This website delivers information about technological advances being discovered in the world.

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List of Figures Figure 1.1 SHOWstudio.Hermes A/W 2011[www.SHOWstudio.com]London:SHOWstudio; c. 20002012[updated 2011 Sept 1;cited 2012 Nov 16]Available from: http://showstudio.com/project/hermes_aw_2011

Figure 1.2 SHOWstudio.Hotel Skovgaard, Room 77[www.SHOWstudio.com]London:SHOWstudio; c.

2000-2012[updated 2012 Sept 6;cited 2012 Nov 16]Available from: http://showstudio.com/blog/post/exclusive_fashion_film_hotel_skovgaard_room_77

Figure 1.3 SHOWstudio.Gareth Pugh S/S 2012.[www.SHOWstudio.com]London:SHOWstudio;c.20002012 [updated 2011 Sept 26;cited 2012 Nov 16]Available from: http://showstudio.com/project/gareth_pugh_ss_2012

Figure 1.4 Szanto L. The Strange Theory of Light.[www.holography.org]Czech Republic:Tojeono; c.20112012[updated 2011;cited 2012 Nov 2] Available from: http://qed.wikina.org/holography/

Figure 1.5 Francis D. ‘Pepper’s Ghost’. In: Australian and Victorian Museum. Print-Theatre Performance of Pepper’s Ghost, showing Audience & Production of illusion, circa 1860-1900. [www.museumvictoria.com].Australia:Australia and Victoria Museum; c. 2002-2012 [updated 2002;cited 2012 Nov 13].Available from: http://museumvictoria.com.au/collections/items/376496/print-theatre-performance-of-pepper-sghost-showing-audience-production-of-illusion-circa-1860-1900

Figure 1.6 Trendland. Stefan Eckert 3D Holographic Show.[www.trendland.com].New York: Trendland;2011 [updated 2011 April 13;cited 2012 Oct 17]Available from: http://trendland.com/stefan-eckert-3d-holographic-show/stefan-eckert-3d-holographic-show-4/

Figure 1.7 Twitter. Karl Lagerfeld. [www.twitter.com]. USA:Twitter; c. 2006-2013 [updated 2013 Jan 21;cited 2012 Nov 28]Available from: https://twitter.com/karllagerfeld

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Figure 1.8 Facebook. Be a Harrods Buyer- Burberry Autumn/Winter 2012. [www.facebook.com]. USA: Facebook; c.2004-2013 [updated 2012 Feb 21;cited 2012 Oct 28] Available from: http://www.facebook.com/media/set/? set=a.10150626799982458.411739.188213917457&type=1

Figure 1.9 Facebook. Create an Ad.[www.facebook.com]USA: Facebook; c.2004-2013 [updated 2006;cited 2012 Oct 28] Available from: www.facebook.com/ads/create/

Figure 2.1 Wired. The inside Story of Facebook’s Bold New Graph Search.[www.wired.co.uk]USA:Wired; c. 1998-2013 [updated 2013 Jan 16;cited 2013 Jan 17] Available from: http://www.wired.co.uk/news/archive/2013-01/16/inside-graph-search?page=2

Figure 2.2 Twitter. ASOS Here To Help. [www.twitter.com]. USA: Twitter; c.2006-2013 Available from: https://twitter.com/ASOS_HeretoHelp

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