Earth 2030 - Drowning in Clothing - Process Book by livvyjai

Olivia Buckley 1901813 Process Book (3500 words) Level 5 Contemporary Fashion Communication AD5604 3

CONTENTS6-7: Introduction 8-9: Narrative PART ONE12-13: Research Themes 14-15: Word Bank 16-17: Consumer Profile 18-19: Market Level 20: Future of Fashion Comms 21: Designer Research 22-23: Simone Rocha 24-25: Priya Ahluwalia 26-27: Craig Green 28-29: Matty Bovan 30-31: Moving Forward PART TWO34-37: Croquis 38-39: Styling-Tim Walker 40-41: Robbie Spencer 42-47: Styling Developments PART THREE50-73: Test Shoot inspiratoin and imagery 74-75: Evaluation 76-91: Location Shoot 92-93: Distortion PART FOUR96-113: Image Development - Communicating 2030 114-115: Film 116-117: Exhibition Space 118-119: Conclusion 5

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Taking inspiration from current and likely future events, contemporary communication moving into a digital space as well as fast-changing consumer needs and habits, a video and imagery shot in the new landscape of 2030 combines the need for consumers to protect the planet and themselves in a symbiotic relationship. With sustainability, nostalgia and the environment at the heart of this narrative, it portrays how consumers and fashion will adapt to the changes to come in 2030 giving my campaign a holistic approach with multiple layers for the consumer to reflect upon. From this I have created a narrative named ‘Drowning in Clothing.’

As aforementioned in my exhibition book, I have chosen to expand on the narrative of ‘Renascence’. A projection into 2030, this narrative translates the uncertainty, environmental hardships and need for protection in future into film. As a vision of the future, this story celebrates traditional craftsmanship and heritage in a contemporary way through the re-use of garments relieving the strain on the planet whilst taking on a deeper meaning for consumers as a sentimental and psychological protection.

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INTRODUCTION

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NARRATIVE - In 2030 consumers live in a dilapidated landscape, suffocating in the carelessness of previous generations; drowning in clothing. Looking for safety in a distorted environment, consumers choose to protect themselves and the earth by immersing themselves in clothing providing nostalgia hoping to extrude happiness and security from the past to protect their future.

PART 10

ONE

In 2030 the environment in which consumers will live will be drastically different. By 2030, global greenhouse gas emissions must be cut in half (Wired, 2020), if this is not reached, the planet will buckle under the consequences of increased natural disasters and rising sea levels that will create unpredictable events and consequences posing the threat of great uncertainty to consumers in 2030, affecting everything in their lives.

Landfill 12

Climate

RESEARCH THEMES (Figure 2) Furthermore, in 2030 landfill issues will affect consumers more locally and socially. Fashion waste is costing the global economy more than $400 billion every year, moreover, by 2030 there will be a household waste capacity deficit of 6 million tonnes (Clothes Aid) The throwaway culture that has arisen over the last few years due to a mixture of Fast Fashion and social media’s ‘wear once’ ideologies have had lasting impacts on the environment. Environmental changes will have a significant impact on consumer psychology and how they view their buying habits, implying that fast fashion will be depleted, and consumers will turn to luxury garments suggesting longevity for safety.

Sustainability

This research into the environment gives evidence to suggest consumers in 2030 will be more responsible and sustainable in future and will expect this from fashion. The main 2030 consumer will be Generation Z, said to be the most conscious generation a 2019 survey found that 47% had boycotted products and services from a brand that violated their personal values with protecting the environment topping the list. (Rosmarin, 2020) Implying that as the consumer shifts, values surrounding transparency and sustainability within fashion will become increasingly important for brands to uphold to connect to consumers.

Nostalgia

After addressing how consumers will change the way they interact with clothing in future I reflected further on nostalgia. A growing body of research positions nostalgia as a psychological resource that draws on the past informing a future-oriented emotional experience. Nostalgia gives a sense of calm and control in an uncontrollable landscape, suggesting in 2030 it will be a prevalent emotion.

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(Figure 4) The consumer for this outcome is Generation Z. In 2030, Gen Z will make up 30% of the global workforce having huge economic and social power (Morgan, 2020). They will be aged between 18 and 33 years old which coincides with the ages at which nostalgia is most prevalent in a person’s life due to the changeability in their circumstances, suggesting they will be reminiscent in 2030. This may inform how they interact with clothing and brands – wanting to feel comforted and safe within fashion. Contrastingly, they are a forward-thinking consumer in areas such as sustainability with 54% stating that they are willing to spend 10% more on sustainable products. (Forbes, 2020) However, consumers are also looking to decrease their shopping habits, with 59% buying pre-used and upcycled products (Forbes, 2020). Gen Z no longer want to simply buy a product, instead they buy into the history and heritage of something aiming for a deeper connection with brand authenticity, longevity and quality. The change in interaction with clothing has also been impacted digitally. The COVID Pandemic has catalysed levels of consumer engagement over digital platforms. As a digitally native consumer Gen Z spend 74% of their free time online (Morgan, 2020) with the majority of that being on social media where they can interact with brands more personally and gain different access to brands than in a regular store. Moreover, their resilience and innovative nature has forced brands to think quick to keep up in a densely populated digital landscape. Feeling holistically connected to brands over multiple channels in a changing world is becoming more important to consumers, allowing them to escape within fashion and find new experiences online.

The market level for this project is Luxury. With Gen Z more economically and socially aware, and wanting longevity and authenticity from garments, becoming more sustainable and ethical will be non-negotiable in 2030. Luxury already exudes these qualities needed to engage with consumers on a more personal level however, this is set to take on new meaning in 2030. The Luxury sector will have a huge change in 2030, adapting to a new consumer base of Gen Z. This generation values experience over product, the fact that these consumers have been brought up in a digital environment has meant that they are now looking for more than just product – driven content. To truly connect with this consumer luxury brands will have to create a story-driven experience that encompasses the consumer from all angles both on and offline. In 2030, brands must excel in creating a customer journey bringing new life to the tradition of luxury - creating a once-in-a-lifetime experience and establishing an emotional relationship with a customer giving them a sense of belonging. With this relationship now adapting to digital landscapes, companies need to build and maintain brand equity in the new virtual world. Digitizing fashion gives an escapist quality that stores do not have, as well as making luxury more accessible and inclusive. Some may argue that this undermines the purpose of luxury by democratising it and reducing the personal touch however, as media evolves a new multi-sensory approach is key. My outcome for this project will fit into the luxury market level as it aims to focus on the emotional and physical connection between consumers and their clothing, challenging the fast fashion and ‘throw-away’ culture. Expanding on Gen Z and luxury values of sustainability and authenticity my narrative will show how the environment will look in 2030 and consequently how consumers will turn to heritage and luxury items to protect themselves and it. Taking my research, it is clear that my narrative must create an emotional connection to consumers.

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FUT URE OF FASH ION COM MUN ICAT ION

2030

As mentioned in my previous book, my narrative will be presented as a fashion film, allowing it to push into the future of fashion communication. Presently, as communication shifts to a virtual landscape, traditional means of promotion have been disrupted causing brands to innovate new ways to engage a digital audience. “Fashion films are an all-encompassing medium and they are the new way for the creative industry to express itself.” (Etro, 2020) Film is a richer form of content giving a holistic approach to communication – from sound to visuals it captures the attention of an audience, transporting them away, sparking an emotional connection and challenging them intellectually to seek out the message. I think this will be key to my narrative as I intent to immerse the viewer in the environment in 2030, questioning how they will adapt to protect themselves and the earth through ‘Drowning in Clothing’. Highlighting key issues such currently and forthcoming, my film will take on traditional values of nostalgia, sustainability and heritage, critical to luxury and Gen Z and push them into a digital sphere communicating them against the backdrop of a new landscape.

DESIGNER RESEARCH

SIMONE Simone

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Researching designers that linked with the themes of my narrative whose communication of their work influenced me and my final outcome, I looked at Simone Rocha. A Dublin born designer, she plays on her dual heritage in her work, taking cultural inspiration from the contrasts of Ireland and China. Typically known for her mix of femininity that tows the line between the flirtatious and the melancholy, Rocha’s designs have a captivating, eerie romance. Drawing on femineity, practicality, reality and strength in her designs Rocha continuously creates something new for women to feel powerful in. Her Fall 2020 collection encompassed layers of Aran knits, silks, linens, bows, furs, silks, pearls, and embroidered tulles. Inspired by the Aran Islands, their fishing towns and the Irish play ‘Riders to the sea’ she played on Birth, Life and Loss. Her layering and deconstruction of garments relates back to the underlying tone of contrast in her work, contrasting views of masculine and feminine and romantic and pragmatic. The idea of deconstruction and layering of textiles and fabrics to express a narrative is something that I have taken into my own work, allowing the viewer to unpick the story. I want to take this aspect forward into my own work, layering different textiles together to represent my theme of drowning in clothing and maintain interest surrounding the garment.

ROCHA Rocha

Priya AHLUWALIA Priya Ahluwalia is a British menswear designer with a sustainable edge. Taking inspiration from her multi-cultural upbringing and heritage she uses deadstock and vintage items to bring her designs to life and offer something unseen to the menswear market. In 2018, Ahluwalia released Sweet Lassi, a book representing her first response to her discovery that vast amounts of clothing waste discarded by Western countries was being sent to India to be sold by traders as a way of ‘recycling.’ “Looking at the piles and bundles of all these different garments sticking out of each other, that’s when I thought of the idea of patchworking things to create a new textile” (Ahluwalia, 2018) It is this that has influenced her style today. Alongside this idea of patchworking, Ahluwalia also takes inspiration from nostalgia, piecing together memories using old family

photos to influence her work. For example, her S/S20 collection reimagined her parents’ wardrobe, using the philosophy of passing clothing down through generations to inspire her designs. “Designing is essentially problem solving, reducing negative impacts of production into your problems to solve can actually be really interesting and good for the planet,” (Ahluwalia, 2019) I was inspired by this quote and Ahluwalia’s work as her use of second-hand fabrics mixed with family nostalgia is something, I want to bring into my outcome creating a multisensory experience for consumers.

Craig Green is a London-born designer who explores concepts of uniform and utility seeing fashion as, “escapist,” (Green, 2017) I think that this is clear in the contrast of simplicity and depth of his work. His 2020 collection with Moncler played on ‘transparency and protection,’ the sculptural and conceptual yet functional style of the garments gave a versatile effect whilst twisting the heritage of Moncler’s outerwear in a forward-thinking way. Moreover, his Fall 2020 collection played on a ‘packaged- person’ someone who keeps their past with them via garments, surrounding themselves with ‘an imprint of the past [on them].’ (Green, 2020) Consisting of protective armour, bomb-proof tabards and field hats, the collection delved into the psychology of clothes and their effect on a person. I feel my narrative relates to the ideologies of both these collections using clothing as protection as well as something that retains memory.

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Matty Bovan

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Matty Bovan’s style of sci-fi dystopia contrasted with traditional knitwear makes him an interesting designer. His A/W18 collection encompassed deconstructed tweed, tulle, tartan and thick knits that had a new take on English heritage and tailoring. Referring to his pieces as ‘heirlooms’ (Bovan, 2018) he draws on his own heritage to inform his designs creating unique garments and suggests he wants for his consumers to have as much an emotional response to heritage as he does. With ragged seams and unexpected pairings, he pieces his fabrics together layering them to create voluminous dresses and garments that play with proportion. I like the slightly haphazard layering style of Bovan’s work using traditional materials and propelling them into push boundaries.

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MOVING FORWARD... To move forward with how my outcome would look, I put my research into visuals to understand how I could express my narrative of ‘Drowning in Clothes’. I realised a recurring theme of layering from my research into designers, I liked this concept of layering clothes for protection. By layering clothing, I could express the need to re-use in future to reduce landfill, link back to using clothing as protection against a unpredictable environment as well as consumers smothering themselves in sentimental fabrics to express the nostalgia concept of psychological protection. Moreover, the layering effect reflected a more structured, luxury and thought-out approach than simply throwing a pile of clothes at a person to suggest drowning. I also feel that the layers reflect the narrative well as there are many parts to this outcome, the layers engage a consumer for longer and allowing them to question and immerse themselves in the story reflecting communication in future. I created some digitally styled croquis to express my narrative– using traditional materials such as tweed, net, wools and lace alongside tonal colours of beige, brown, grey and white that link back to my original trend colours as well as reflect the ‘nostalgic’ aesthetic of re-use.

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TWO

ROQUIS . DEVELOPMENTS . CROQUIS . DEVELOPMENTS . CROQUIS . DE CROQUIS . DEVELOPMENTS . CROQUIS . DEVELOPMENTS . CROQUIS . D

IGITAL STYLIN DIGITAL STYLING

I created some digitally styled croquis to express my narrative– using traditional materials such as tweed, net, wools and lace alongside tonal colours of beige, brown, grey and white that link back to my original trend colours as well as reflect the ‘nostalgic’ aesthetic of re-use.

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SMOTHERED . DROWNING . SAFETY . LUXURY . WRAP . NOSTALGIA . HERITAGE . SECURITY . ADAPT . ENVIRONMENT . SUFFOCATE . RE-USE . SUSTAINABLE . 2030 .

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‘I like capturing stuff that is disappearing. That is the point of photography, photographing an imaginary place that never existed, but is connected to something that has already been.’ Tim Walker

To inform how I would conduct my styling and photoshoot, I researched into the work of Tim Walker who perfectly photographs images that transport the viewer into a new world. His art of storytelling is unchallenged, with his surreal approach meaning his imagery tells multiple stories within one singular image. In his ‘dreamscapes’ he plays with proportion, colour and inanimate objects that seem out of place yet somehow the images make sense. Known for his work with fashion magazines such as Vogue and Love he promotes escapism within his work, giving the audience a new take on fashion. As well as still image Walker also expresses his creativity via film for example his surrealist style captured the Louis Vuitton F/W20 collection. The ‘Heaven on Earth’ film draws on distortion and camera trickery to emphasise Abloh’s vision of freedom of youth. The juxtaposition of a well-established brand and a surreal way of communicating created a collection of unconventional yet alluring imagery.

Styling Research

TIM

WALKER 39

ROBBIE SPENCER

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Robbie Spencer is a stylist and Executive Fashion Director of Dazed Magazine. He is known best for his striking editorial imagery and ability to find beauty where others cannot. He has worked with Another and Vogue Italia to Simone Rocha and Craig Green. The pictures (left) are from Simone Rocha’s A/W19 book styled by Spencer and photographer by Harley Wier. There is femininity and intimacy within the images, the fact that the clothing isn’t always the main focus draws attention to the emotion and narrative as the feature. The image of the woman in the water is reminiscent of Ophelia – a Pre-Raphaelite painting depicting a woman’s tragic death after falling into a stream and drowning. I have taken inspiration from this looking at the emotions around drowning and how I can use these emotions in my shoot to promote my own concept to give my narrative deeper meaning. (Figure 17)

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STYLING DEVELOPMENTS

Volume expressing sheer amount of waste as well as protective element- something to hide behind. Net & Old bed sheets crumpled to reflect the look of waste on landfill site.

Layering of coats, jackets and other ‘heritage’ style clothing - to show how consumers will act in future.

Texture - lace, net , wool sensory and nostalgic touch.

Tonal garments - holistic collection. Grey boots (right) to add a more practical approach to the environment in 2030.

After deciding on layering for my final look – I gathered materials repurposed from old art projects, and my family’s wardrobes. Given the sustainability focus of this project it was important that I reflected this in my garment by re-using, moreover, using my nana’s old jackets and my mums trench coat gave the sentimental and nostalgic feel to my garment I wanted to reflect onto the consumer. Starting with a white shirt I gradually added more fabric to give the desired effect of being ‘swamped’ in clothing.

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THREE 49

Test Shoot Plans/Inspirations

DROWNING

Using my sister as a model in my living room due to Corona Virus restrictions, I conducted a test shoot to understand how my final imagery would look. After looking stylists and how they use poses in particular to tell stories, to create a deeper narrative of how I wanted my model to look and feel, I decided to research into what emotions a person feels when they drown. Typically, when a person drowns their survival instincts kick in where they start to defend themselves against the elements kicking out. After this, they begin to struggle to breath tilting their head back and holding their breath subconsciously protect themselves. They then run out of oxygen and become motionless. These emotions informed my shoot poses portraying a sombre and motionless state of 2030. This also informed the hair and make-up. I decided to keep the make-up quite natural and the hair messy suggesting it was unfinished and unkept. This was important as due to the suggested conditions in 2030 survival will be a main priority. I also trialled a ‘wet’ look to suggest the drowning narrative.

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INSPI

RATION Figure 20)

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TEST

SHOOT

WET LOOK

DRY LOOK

EVALUATION My shoot allowed me to test out different styling techniques, hair styles and poses to determine how I want my narrative to be portrayed in my location shoot. I feel that the styling worked well with the textures and layering communicating my narrative on camera, alongside the dead pan look of the model suggesting the emotional reality of 2030. However, some poses needed to be stronger and not as whimsical – taking inspiration from Walker I retook pictures from obscure angles to create more interesting visuals. I also experimented with net over the face and completely damp hair to convey my narrative and provide a more fashion forward look.

HESWALL& MEOLS BEACH

OCATION

Given the national lockdown I knew I had to make my shoot outdoors, however this fitted my theme of adapting to the environment in 2030. I, therefore decided to shoot at the beach, given the changeable environment in 2030, I realised the beach reflected this as it never looks the same twice depending on how water interacts with, moreover the harsher rocky scenery gave a more futuristic tone. Adhering to the lockdown guidelines I was able to gain the imagery needed for my final outcome.

LOCATION SHOOT 12.02.2021 80

DISTORTION

After looking at my shots I realised that the look of the landscape was not futuristic enough to represent the landscape in 2030. Despite my theme hinting to the past via luxury, nostalgia and heritage I wanted it to be communicated in a sense that these values would protect against a dilapidated environment in the future. I reflected on the nostalgia element of my forecast and possible ideas I could extract from it. Nostalgia it is often a distorted version of events the mind creates to interpret what has happened. It is often a take on the truth rather than reality. Looking at water as a tool for distortion given the location of my images as well as it being a factor of my ‘drowning’ narrative, I used the ideology of distortion, to reflect the harm that consumers are enforcing on the planet yet turning a blind eye to currently by editing my imagery to look more dystopian and distorted. This allowed me to visualise the environment in 2030 and communicate how the clothing I had created would protect consumers in future. 93

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COMMUNICATING

2030 96

IMAGE DEVELOPMENT

Bringing 2030 to life - editing my imagery to ‘futurise’ it communicating to conusmers how they and fashion will be interacting with the new landscape. Communicating my drowning and distortion narratives I photoshopped my shoot imagery to contextualise how my final trend would look in future.

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Landscape

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FILM To bring all my research, styling and shoot together, I created my fashion film. I filmed in portrait as this suits an Instagram Reel where my target consumers would view this film making my audience easy to reach. I chose a dystopian and distorted style of music (almost reminiscent of the 90s) that reflected the landscape in 2030 transporting my viewer. After constructing my film, I realised I did not have enough film, nor did it portray the 2030 landscape narrative I needed to connect to consumers. I therefore, entwined my digitally edited and styled imagery and gifs that illustrated the ‘drowning’ aesthetic as well as the 2030 environment aesthetic I needed alongside my moving video. Alongside the imagery I weaved purposeful words that reflected my narrative and explained more about the story and meaning for consumers.

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CONCLUSION

Overall, I feel my visualisation of 2030 has communicated the different angles of my trend and narrative ‘Drowning in Clothing’ well. Giving a multi-sensory and holistic approach to my outcome, taking into account current and future events from my original forecast and current and upcoming communication trends I have expressed how Gen Z consumers will interact with fashion and the environment in 2030. Presented in a contemporary way whilst being reflective of the future my final exhibition shows how fashion will be used as a mechanism for protection; to protect the planet from further destruction, increasing sustainability as well as protect consumers allowing them to attach sentiment and meaning to their clothing to act as a protection of the mind. My outcome has also met the standards and values of Generation Z and the new luxury market of authenticity, longevity, escapism and a new connection to fashion. My film will be posted onto my Instagram page alongside my imagery and developments over the project. (livvyjai_fmc)

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REFERENCES

Ahluwalia, 2018 - The Westminster grad shining a light on fashion’s massive overconsumption- Retrieved fromhttps://www.dazeddigital.com/fashion/article/40332/1/priya-ahluwalia-westminster-fashion-overconsumption-india-recycling-book Ahluwalia, 2019- Priya Ahluwalia, the Designer Turning Family Photos Into Fashion- Retrieved fromhttps://www.anothermanmag.com/style-grooming/11205/priya-ahluwalia-the-designer-turning-family-photos-into-fashion-ss20-interview Bovan, 2018 -The interview, Matty Bovan – Retrieved fromhttps://www.matchesfashion.com/womens/ the-style-report/2018/09/the-designer-spotlight-issue/the-interview-designer-matty-bovan-coach-collaboration-aw18 Forbes, 2020 – Sustainable retail: How Gen Z is leading the pack- Retrieved fromhttps://www.forbes. com/sites/gregpetro/2020/01/31/sustainable-retail-how-gen-z-is-leading-the-pack/ Green, 2017 – LMFW:All eyes on Craig Green- Retrieved fromhttps://www.vogue.co.uk/article/craiggreen-london-fashion-week-mens-interview Green, 2020 – Craig Green F/W 2020 – Retrieved fromhttps://www.vogue.com/fashion-shows/fall-2020menswear/craig-green Mondalek, 2020 – What does a winning post Covid marketing plan look like? – Retrieved fromhttps:// www.businessoffashion.com/articles/marketing-pr/fashion-marketing-post-covid-print-digital-tiktok-instagram-google-search Morgan, 2020 – Stats all marketers must know about Gen Z- Retrieved fromhttps://www.forbes.com/ sites/blakemorgan/2020/02/28/50-stats-all-marketers-must-know-about-gen-z/ Rosmarin 2020 -Sustainability as a value is changing how consumers shop- Retrieved fromhttps://www. businessinsider.com/sustainability-as-a-value-is-changing-how-consumers-shop?r=US&IR=T Wired, 2020 -Heres’ what the world will look like in 2030- Retrieved fromhttps://www.wired.com/story/heres-what-the-world-will-look-like-in-2030-right/

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IMAGE REFERENCES

Figure 1 - ‘Drowning’ image - Retrieved from - https://i.pinimg.com/originals/70/1b/79/701b799591a0ba9875d5e9eb858cc1dc.png Figure 2- Ice Melting Image - Retrieved fromhttps://www.fieldmag.com/articles/sup-greenland-climate-change-documentary-film Figure 3- Girl in flowers- Retrieved fromhttps://i.pinimg.com/originals/75/7f/3d/757f3d4fe5641be2153bdac6b25d7983.jpg Figure 4- Gen Z consumer - Retrieved from - https://hypebae.com/2019/3/naked-adidas-consortium-magmur-runner-release-exclusive-look Fgure 5- Jil Sander Promotion - Retrieved from - https://hypebeast.com/2020/1/jil-sander-spring-summer2020-campaign Figure 6- Louis Vuitton Image - Retrieved from - https://www.campaignasia.com/article/luxury-2030-what-luxury-brands-need-to-start-doing-now/456408 Figure 7- McQueen Image - Retrieved from https://www.marieclaire.co.uk/fashion/shopping/best-fashion-beauty-advertising-campaigns-23617 Figure 8&9- Simone Rocha image x2 - Retrieved fromhttps://www.vogue.com/fashion-shows/spring-2020ready-to-wear/simone-rocha Figure 10- Craig green - https://www.anothermanmag.com/style-grooming/10766/designer-craig-green-ss19aw19-ss18-alexander-fury-interview Figure 11- Craig green x Moncler - Retrieved from - https://hero-magazine.com/article/130850/craig-greenon-how-protective-equipment-influenced-his-new-moncler-collab/ Figure 12- Matty Bovan A/W18 -Retrieved from - https://www.livingly.com/runway/ London+Fashion+Week+Fall+2018/Matty+Bovan Figure 13- Tim Walker (Margot Robbie) - Retrieved from - https://www.wmagazine.com/gallery/tim-walkerbest-photographs-in-w Figure 14-17- Robbie Spencer images x3 - https://www.dazeddigital.com/fashion/article/46306/1/simone-rocha-chloe-sevigny-lily-cole-aw19-book-harley-weir Figure 18- Drowning Figure - Retrieved from - https://kafull.wordpress.com/2012/08/07/laurence-demaison-13/ Figure 19- Margeila ‘Underwater’ headpiece - https://www.highsnobiety.com/p/maison-margiela-ss21/ Figure 20- Woman in Sea - Retrieved from - Figure- https://store.dji.com/guides/drone-wedding-photogra121 phy/

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Earth 2030 - Drowning in Clothing - Process Book

Articles inside

Evaluation

Film

Croquis

Simone Rocha

Priya Ahluwalia

Craig Green

Matty Bovan

Research Themes

Introduction

Future of Fashion Comms

Consumer Profile