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Melissa Wallis N0427213 2016 Fashion Communication and Promotion Self-Devised Project: Wired: Proto - Fashion Forward Technology Tutor: Si Beales Word Count: 8792
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Fig 1. Proto Logo, 2016 Fig 2. Contents Page, 2016
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Fig 3. Noa Raviv, 2015 Fig 4. Chapter Page 1, 2016
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1A. THE LAND THAT STYLE FORGOT
Fig 5. Oculto, 2014 Fig 6. The Unseen, “015 Fig 7. Joe Early, 2016
Although people have been trying to merge Fashion with technology since 1960 when Thorp and Shannon, two MIT mathematics professors, embedded technology in to a shoe and consequently designed and constructed the world’s first wearable computer; it is only recently we’ve been using what would have been purely decorative to actually do something. It’s worth remembering that, although today’s fashion and technology industries seem to have very different value systems, they actually have a deeply integrated history which is not often recognised. We are progressively moving away from tech that is just used for monitoring performance in to areas much more sophisticated and advanced, becoming less about function and more about feeling. There is scope for our clothes to collect and display personal data and allow us to communicate, whilst also changing to reflect the latest fashionable colours and patterns of the season. The Ralph Lauren Polo Tech Shirt is able to take biosensing silver fibres woven into the shirt, and store biometric data that can be manipulated on an app through a smartphone or tablet, while The Unseen’s Lauren Bowker has embedded ink that changes colour depending on different climatic conditions into a feathered garment. (see appendix for full case study)
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Agins (1999) has declared the end of fashion, but only as it has been known historically. The fashion industry is forever innovating and adapting to change, and this is the reason why it has been able to grow at such a rapid pace to become the multi-billion-pound industry it is today. Despite still being a growing industry; as other sectors, from music to transport, are being radically reshaped by technology-driven innovation, fashion remains a laggard. “Technology enables fashion to reinvent itself,” said Tim Steigert, strategy leader at General Electric Germany (2016), “It’s the time; the question is: what will designers do with technology?” he asked.
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The problem, is that there is lack of mainstream awareness around the really innovative technological advancements taking place that affect the fashion industry. Currently, content and articles on wearable tech are predominantly focused on the Apple Watch or similar devices. Let the tech industry dominate the wrist. It’s become increasingly overcrowded, anyway. Tech-infused apparel is a more fertile, unexplored territory. According to Davide Vigano, Co-Founder of Sensoria (2015) products like the Fitbit are growing at 30% a year, whereas the wearable fashion and apparel industry, despite being huge is only growing at 3-4% a year. “Novelty can compete with tomorrow, but to create something classic is timeless innovation.” (Iris Apfel, 2016)
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Developing technology is inevitable and is now moving at an incredible rate. The ones who are going to be most affected by it are the Millennials; these consumers will need a greater understanding of this on a more human level in order for things to move forward. According to WGSN’s trend ‘The Pause’, 2017 will crown a period of pause, where humanity takes stock of technological advances by integrating them in to the fields of art and design. Objects will increasingly take on human qualities and tactility, and the artificially made will feel completely natural. Technology will go beyond the functional to enhance wellbeing and create meaning and experience. (Alex MacDonald et al, 2015) Here they are talking about, how for technology to be accepted it needs to be used to add value and meaning to products.
Fig 8. The Pause WGSN, 2015 Fig 9. Imke Ligthart, 2016 Fig 10. Enchanted Objects, 2015
Fig 11. Jawbone, 2015 Fig 12. Wonderluk logo, 2016 Fig 13. Wonderluk for Topshop, 2015
1B. FASHION REVOLUTION Gartner’s 2015 Hype Cycle for Emerging Technologies highlights that Wearables are at a peak of inflated expectations, predicting that it will take 5-10 years for a plateau of productivity to be reached, whilst areas such as human augmentation are forecasted to take more than 10 years. Despite the fact that currently many fashion tech pieces being showcased are simply conceptual, there are some products already on the market and wearable tech is appearing on the highstreet. Topshop in particular has launched tech integrated accessories through its first 3D printed accessory pop-up with Wonderluk. Smart watches, tracking bands, notification bracelets and rings are available to buy. However, Amanda Parkes (2015) says “Fashion has the potential to leapfrog the gadget-focused consumer electronics industry and tap the growing wearables market with fashionable high-tech textiles.” One of the most exciting wearable technologies on the market right now is Nike Flyknit; a process innovation that brings structure and form directly into the weave of a shoe. Nike itself has called this the future of their company and yet the media has largely remained focused on connected devices like the Nike Fuelband.
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Fig 14. Exotic Matter, 2015 Fig 15. Chapter Page 2, 2016
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In Veblen’s (1899) Trickle Down Theory, Fashion is considered a vehicle of conspicuous consumption and upward mobility for those seeking to copy styles of dress. When speaking to Claire DukeWoolley, Fashion Tech Analyst at Beecham Research (2016) she said it’s important to recognise that Fashion Tech has mostly been a bottom up led industry, and only in recent years have we seen lots of publicity around top down activities from major brands. By bottom up, she isn’t talking about ideas and products coming from the consumers themselves, but rather from individuals or startup companies as opposed to the luxury heritage brands. Many products are now launched through platforms like Kickstarter and Indiegogo. This could be one of the reasons that Fashion has been so slow at adopting emerging technologies, as start-up companies may not always have the budget to create an awareness of their prototypes and products at a mass-market level. Sally Denton (2016) stressed at the LSN Global AW 17-18 conference I attended, the importance of tech, affirming that we are in a watershed moment in terms of technology and that Fashion is starting to become secondary to this.
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2A. WEARABLE EXPERIENCES
“If we extend our senses, then, consequently, we will extend our knowledge. It’s really very basic.” - Neil Harbisson, 2015 14
Francis Bitonti said “I don’t want technologies that integrate with my body, I want clothing and accessories that make my body do things and feel things I have never thought I was capable of”. (see appendix page … for case study) Although we’re at the early stages of fashion tech, there are concepts and even products that show us we’re moving into this direction. For example, jackets that can warm you up when you’re cold or purses and scarves that can cool you down. Studio XO is a hybrid fashion and technology team which includes designers, coders, material experts and engineers, and they are spearheading the wearable revolution. They have established a new genre; digital couture, producing garments that can change size or even download images and videos. By using haptic feedback embedded into clothing we can also connect with other people and experience what they feel. When in conversation with Kristina Dimitrova, Founder of Interlaced (2016) she spoke of how we’re definitely moving into that space but also thinks that, in the future, we will have technologies embedded directly into our bodies. Sally Denton (2016) reaffirms this declaring that every item you have in the future will have some sort of tech embedded in it. Although these sorts of advancements won’t directly influence the
Fig 16. Carlos Cruz-Diez, 2012
As electronics continue to be figuratively and literally woven into the fabric of our physical world Niccolo Casas (2016) is beginning to imagine how these new materials and interactions will impact the way we connect, communicate and relate to one another. An example is the ‘Synapse Dress’ created with Anouk Wipprecht for Intel Edison; a dress that enables the wearer to change the appearance of the garment by mood-logging and leveraging her body’s electrical current. While young designers such as Annelie Gross are touching on this unexplored territory between man and machine, designing wearable objects that seem to fuse body and clothing into one seamless unit. During the Spring 2016 fashion month, Andrealage offered a whole collection made of photosensitive textiles, forcing the audience to stretch their hands holding flashing smartphones to reveal patterns and shades of primary colours, while Iris Van Herpen live 3-D printed on Gwendoline Christy.
Fig 17. Annelie Gross, 2015 Fig 18. Synapse Dress, 2014 Fig 19. Unfold, 2002
millennial generation, it is important for them to be aware and to start a discussion around how technology can start to be integrated in to our lives without sacrificing our basic human connections.
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2B. MATERIAL ALCHEMY Materials define a shape, texture and mood. They are getting clever, unexpected and overly functional. Garments are more defined by the fabrics used than ever before; meaning understanding this has never been more relevant. Materials offer a new and engaging tactility and fabrics will become smarter as technology is fused with textiles. We will be able to seamlessly wear devices on our bodies, interact with them naturally and adapt and convert products to respond to consumer needs and wants. Sansom (2012) backs this up saying how we are continuously seeking more from our products and are after things that appeal more to our senses. This could see the reinvention of universal topics concerning experience and desire; how to mutate, how to disappear or how to get energised. Photochromia is a collaboration between two companies at the intersection of apparel and technology. A collection of sunlight sensitive garments, created by Maddy, co-founder of The Crated, & Meredith, co-founder of Print All Over Me. “We believe that PHOTOCHROMIA is a small, but sure step towards reactive garments being integrated into our everyday lives. Even more so, we believe that collaboration within the design and technology world is essential and we hope
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Fig 20. Moodboard, 2016
to inspire future collaborations between NYC start-ups in the future. Let’s create a world full of enchanted objects rather than backlit screens.” (Maddy Maxey, 2015) Whilst, Google’s Project Jacquard makes it possible to weave touch and gesture interactivity into any textile using standard, industrial looms. Everyday objects such as clothes and furniture can be transformed into interactive surfaces. LEDs, haptics, and other embedded outputs provide feedback to the user, seamlessly connecting them to the digital world. “The technology has evolved to a point where it can now be synthesised with clothing. It wasn’t wearable six months ago in ways that it is today. The goal now is to merge it into all kinds of clothing. It will be mind-blowing five years from now,” (David Lauren, 2016) At a panel discussion on Future Fashion at the IoT Tech Expo I attended, Lynne Murray said “So much of the things we wear is driven by an affinity, materials driven; the challenge is to find some way to integrate tech in to garment that is responsive but completely hidden and isn’t dumb. There’s so much opportunity but it isn’t really working yet.”
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Fig 21. Moodboard, 2016
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2C. ORGANIC X MANMADE “The sci-fi fantasy aesthetic is falling out of fashion, at least for now, and consumers are looking for things that disguise the technology rather than shout about it” said Becky Stewart (2016) during an email interview. Whilst in the WGSN Report ‘No Middle – Gender’s Defined’, the trend ‘Soft Tech’ shows how brands and innovators are responding to a demand with more ‘feminised’ tech, trying to deliver a more human and emotional tech experience. (Claire Varga, 2015) Deceptive materials, haptic interaction, hyper-sensory experiences and tactile surfaces will give design a delicate strength, a steely intimacy. SXSW Interactive 2016 confirmed this trend; presenting calm technology, subtle interfaces and a more mediative approach to the digital world. Andy Puddicombe (2015) spoke at the event saying how we’re so early on in our relationship with technology, we haven’t yet worked out a skilful way to interact with it. Perhaps making technology a more seamless part of life like fashion, is the answer.
Fig 22. Print Design, 2016
The exhibition ‘Electronic Superhighway’ explores the relationship between art and the internet over five decades and invites visitors to immerse themselves in the possibilities. When attending I observed a strong theme of mixing both analogue and digital elements and believe that post-internet art will drive a new direction. At the same time, nostalgia for 20th Century technology will bring back analogue elements. Experimental and highly tactile, design will become infused with the look and feel of the internet. Design will be injected with high-octane colour, bold graphics and creative customisation. Such as Douglas Coupland’s ‘Deep Face’ (2015) where coloured shapes reminiscent of pixels as well as abstract painting, critique Facebooks development of facial recognition software. This internet art trend is highlighted again by Tumblr, the go-to social network for beautiful images from the Internet has launched its own clothing line. Unveiled at a NYFW party, the collection featured garments with selected designs from six of Tumblr’s best-known artists.
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2D. NEXT IS NOW WEARABLE FUTURES
Fig 23. Moodboard, 2016
As we become more dependent on technology, we become increasingly interested in the way it will impact us. Fashion related tech will only work if it also looks good and the latest designs will need to combine style with technology. This sector is now being recognised as a valuable asset and a vital component if Fashion brands want to stay relevant. (Muchaneta Kapfunde,2015) The first expo focusing on wearable technology was held for the first time in the UK in March 2014, New York Fashion Week featured a clothing line by Londonbased wearable electronics company CuteCircuit and technology giant Intel is partnering with US fashion brand Opening Ceremony on the design of a wearable technology bracelet. Five years ago, these collaborations would have seemed totally bizarre but today are accepted in this digitally advanced age.
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Fig 24. Moodboard, 2016
In an interview with Claire Duke-Woolley (2016) she described how we are trying to create great user experiences by making technology less obtrusive and disappear into the background so that we engage more meaningfully with it. Tech has to fit into our lifestyles, we should not have to conform to it or be restricted by it. We should not have to change our routines in order to adopt it, it should fit into our lives and enhance them. As the concept of wearable technologies moves from simple tracking devices, it will evolve to represent a tighter alliance between the body and our garments. Technology will significantly change how we interact with the world around us. ‘Wearables that enhance your lifestyle’ is the direction that most companies and brands are aiming for. Whether currently that is just
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something really beautiful and fun, or something that improves on, and even adds new functionality to the products we already use. When in discussion with Madison Maxey who founded The Crated; a company who experiments with textiles and technology (2016) she said we are going to start seeing a lot more cross development, allowing something that’s functional to also be beautiful. Sarah Ballaben, Technology Analyst (2015) believes that appearance and design are the most important purchase driver for wearables. As these products begin to blend in more smoothly with consumers’
personal styles, increased exposure through experiences will foster interest in and social acceptance of wearables, thus strengthening their confidence in using the devices and positively impacting on mainstream adoption. “In five to 10 years, all the little gadgets we have to carry around – like mobile phones, cameras or bracelets – will disappear and everything will be integrated into a garment,” (Francesca Rosella, Creative director, CuteCircuit, 2015) When speaking to consumers about this, they said it sounds like it would make life easier but is it really a practical solution.
“The Crated is investing in the idea that the future of wearables is not miniaturized wrist-worn computers, but rather technology that’s woven straight into the stuff we put on every day by necessity: our clothes...” - Wired Magazine, 2015
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Fig 25. Phone Art, 2016 Fig 26. Chapter Page 3, 2016
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3A. WOMEN IN TECH The tech industry is overwhelmingly dominated by men. For every two men who receive a degree this year, three women will achieve the same. And yet, women are still occupying proportionally fewer positions in technology based positions than men. (Socialcast, 2013) However, it is good to note that there are a lot of women leading the pack when it comes to wearables and smart textiles. Besides the designers of wearables there are also the coders like Kimberly Bryant, and fashion technology writers such as ‘Women Who Dare’ who bring these amazing advancements to the ears of consumers. This shows that women are now expressing an interest in technology more so than previously. On the other hand, when attending the IoT Tech Expo 2016 I noticed the significantly small number of females in attendance; both visiting and exhibiting. This is not due to lack of interest but because this arena has always been dominated by males. Bringing in the Fashion element may encourage the participation of more women.
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When discussing this topic with Becky Stewart (2016) she said “I think the most important thing is to improve the environments where technology is created and remove the barriers that keep women from thriving or just feeling comfortable in those domains.”
Fig 27. Ethan Allen, 2016 Fig 28. Holographic Shirt, 2014 Fig 29. Nastya, S., 2012
The Women In Tech Conference at the University of Nottingham encouraged women to get involved with Tech, teaching them how to consume and even make their own technology. On attending, a speaker at the event, Dr Shima Barakat (2016) spoke of how she believes in today’s society we have elevated a notion of masculinity and that by creating some kind of platform we could increase female participation in the subject. When speaking to consumers about this they agreed, saying as women, they feel they aren’t really included in the technology discussion.
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Fig 30. i-D Editorial, 2015
3B. CREATING A DIALOGUE As demonstrated earlier on, currently the concept of Fashion related Tech has not been effectively communicated to the wider public. Consumers need to be more educated about Fashion Technologies and encouraged to participate in the dialogue surrounding the future of fashion in order to help steer it in the right direction. To stand out in a heavily saturated market, young creatives predominantly need to become more aware about a wide scope of possibilities and inspired to innovate through technology; create new ways to express themselves and find their own demand. Kristina Dimitrova (2016) explained to me, “Once there is more of a consumer demand this will begin to speed up the adoption of smart fashion, which up until now has been relatively slow.� However, when asking people about this, these particular
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consumers expressed they need to know what is the value that they’re getting, why they should pay more compared to other products and how do such products fit into their lifestyle.
fashion influence as a process of “collective selection” whereby the formation of taste derives from a group of people responding collectively to the zeitgeist. Muchaneta Kapfunde, Founder of FashNerd (2015) explained to me how she felt that there was gap in the market for an informative site that would educate people about technology in a consumer friendly voice. She believes that wearables need to make sense so consumers can feel the urge to want to learn more, and that it is unfortunate the educating people on the future of technology is not moving at the same pace as the technology itself. “What it all comes down to is that the more people are kept informed, the more they will likely embrace and adapt.”
Fig 31. Current Obsession, 2015 Fig 32. A1, 2013
This is one of the prime reasons why Kristina Dimitrova set up Interlaced. However as with any industry conference or trade show, the majority of their events are usually exclusive for industry people. Tickets are quite costly to get in if you’re just someone interested in the field but not working in it. One interesting point is that through Interlaced, they partnered with selected fashion and style bloggers who then communicated the notion of fashion tech to their readers. Fashion involves change, novelty, and the context of time, place, and wearer. Blumer (1969) describes
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3C. THE LANDSCAPE Many platforms already exist online to inform consumers on Fashion related technologies. For example, Clausette is a digital magazine that updates people on the future of fashion; Paul Cosgrave (2015) when discussing the building of Clausette said it was natural for them to look around at other key industries that are being disrupted by technology; and that’s fashion. While this offers great content it isn’t very consumer focused, and isn’t updated regularly. When conducting consumer research, I found that the awareness of these platforms was strikingly
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low, for example 23% of consumers had heard of Clausette, while only 8% had heard of Interlaced and Third Wave. Simultaneously there are various popular trend forecasting sights such as WGSN, Cool Hunter and LSN Global that offer stacks of information on what is to come. Although these are more known by the consumer; with 100% having heard of WGSN and 92% LSN, these aren’t available to most people as they work on a paidfor subscription service which is usually very costly.
Fig 33. Chapter Page 4, 2016
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4A. THE BIG IDEA
Fig 34. Powder, 2016
A platform to inspire and enlighten emerging creatives on fashion forward technology. Allowing the fashion and technology communities to connect, the aim would be to help to shape this market area, encouraging people to see the huge opportunities and the ways in which these could be realised. It would work as a source of inspiration for makers and creatives from all walks of life, whether you’re interested in tech or not. Importance will be placed on starting a dialogue between innovators and established players in the space as well as academia. “A lot of people are getting to a point where they’re more comfortable seeing that technology is an art form in and of itself” - (Zoe Klintberg - Artistic Director, 2016) So if future talents want to be successful, they will need not only creative skills but engineering ones too.
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“Innovation is cultivated when knowledge is shared” (Jenny Lee, 2015) Blending innovation with tradition we can cultivate new expressions of creativity. Therefore, collaborating two worlds in to one application would be pivotal. When discussing the concept of collaboration with Kristina Dimitrova (2016) she said it’s essential. Cross industry learning between designers and engineers can result in both stylish and functional turnaround products. What technology companies can learn from the fashion industry is the importance of The Muse (or the consumer). Knowing who they are designing for should guide everything around these upcoming products; from their style and functionality to price, promotion and distribution.
On attending the Designs of the Year 2015 exhibition I gained the insight that technology has made communicating ideas easier than ever and encouraged designers working with print to create considered work that is at once original and lasting. It also showed the strong emphasis on inspiring young people to feel confident using tech and retaining a sense of making in the digital process. This was portrayed through products that redefine our relationship with technology through creativity; such as a think-tank studio designing possible futures and colourful coding kits. Whilst the Inition event ‘The future of the customised retail experience’ showed how tech has massively matured to an extent where brands now see tools such as 3D printing as a valuable asset.
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Rogers (1962) proposes that four main elements influence the spread of a new idea: the innovation itself, communication channels, time, and a social system. This together makes up the diffusion of innovation. From this I deciphered that I would look at targeting the early adopters and early majority, this is because following this model the innovations are starting to be developed but the communication aspect is lacking, and so targeting the early adopters would be the best way to start encouraging adoption within the other majority groups. Millennials are the next generation. Every brand will soon rely on them to be customers, and every company will soon rely on them to be employees. They are so far the most diverse, thanks to our global world, and educated generation (40% are in higher education). They think about their future and mostly about the
Fig 35. Tazologist, 2015
future of their planet and so it makes sense to target them. It is interesting for me to consider the new Fashion subculture, the “Post-Tumblr generation�. These sit within the 15-35 age bracket and use their digital knowledge to invent and reinvent fashion, out of its known circuits. Personalised, nerdy, without any limits of reference or gender. They are fashion zappers; they live in a world where information moves at the speed of light. They are a multiplicity of human beings, having swallowed thousands of cultures and content and have a lot of hopes in what technology can help us bring to a better world. (Virgil Abloh,2015) From this I decided to break this consumer down in to three archetypes to help me to understand them on a more personal level and target more specifically, these are; The Professional Creative, The Visual Hacker and The Print Hoarder.
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Fig 36. The Visual Hacker, 2016 Fig 37. The Professional Creative, 2016 Fig 38. The Print Hoarder, 2016
4B. THE POST-TUMBLR GENERATION
THE VISUAL HACKER
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This consumer loves the idea of combining the physical and digital worlds. They are a technology enthusiast but are more interested in the form than the function and still like the idea of something physical to keep them grounded. Their life revolves around the new and the next, regularly attending tech events to keep up with the newest innovations and network with likeminded people. They are all about show and primarily purchase magazines for decoration; for their coffee table or to post images on social media and suggest something about their lifestyle to others. They tend to be drawn to a visually pleasing cover due to their heightened appreciation for beautiful design. Particularly fashion focused, they spend their spare time gathering visuals for moodboarding or scrolling through Instagram. Due to the speed of technology, they have a low attention span so need to be kept engaged. Magazines are often glanced at or flicked through as opposed to carefully read. Age: 23 Study: Fashion Design Most sentimental item: Cameo Ring Inspirational place: Saatchi Gallery Favourite Magazine: Kinfolk Reason for purchase: Moodboarding Define ‘Creative’: Looking beyond what others see
THE PROFESSIONAL CREATIVE This consumer lives and breathes information to help gain insights on a particular subject area. They are highly digital and reliant on the internet but love the tactility of physical magazines. They carefully consider their purchases and will primarily invest in magazines based on need, whether for inspiration, moodboarding or for a more informed opinion to help with their work. Not immune from impulse purchases in terms of low value goods such as stationary and reading material, they don’t necessarily have the money but enjoy being enriched and like to be kept in the loop. They use past issues of magazines as a reference point and are prone to follow their favourite publications on social media to get an insight in to aspirational lifestyles. They may be in the process of establishing themselves in their professional careers and so thrive around other creative communities and discussions around shared interests. Age: 21 Study: Printed textile design Most sentimental item: Camera/Scrapbook Inspirational place: Botanical Gardens Favourite Magazine: Dazed/i-D Reason for purchase: Inspiration Define ‘Creative’: Thinking outside the box
THE PRINT HOARDER This consumer prefers the tactile experience of a physical magazine and will always showcase them within a display in their home. Their interests stretch across the arts; everything from fashion to film to music, you name it. They purchase and digest magazines on a regular basis to gain a more informed opinion and immerse themselves in a melting pot of culture. They reflect a nostalgia for the past and enjoy collecting things on their travels to remind them of certain era or moment; filling their personal space with tangible objects that embody the idea of intelligent, independent design. They prefer purchasing in store so they can get the full experience of the publication and usually like to combine this with a coffee and catch up with friends. Age: 19 Study: Graphic Design Most sentimental item: Artwork Inspirational place: Independent coffee shops Favourite Magazine: Cereal Reason for purchase: To be informed Define ‘Creative’: Freedom with imagination
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4C. A GAP IN THE MARKET
Fig 39. Unexpectable Boxes, 2016
Through observational research across WHSmith and Waterstones, then generally observing the publications on offer in public spaces such as waiting rooms, I found that the technology and fashion markets are completely split in two. Although the Fashion magazine market is highly saturated, there is not a publication specifically related to the Fashion Tech arena, only publications that contain the occasional dedicated article on the topic. On the other end of the spectrum, the Tech magazines on offer such as Wired, are totally male-oriented and often operate like instruction manuals.
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As a mass media theory, niche is broadly defined as a medium’s use of limited resources that determines its ability to compete and coexist with another medium (Dimmick, et al., 2000; Kayany & Yelsma, 2000). The metaphor further defines magazine consumers as the resource that a medium must draw upon in order to survive (Newell, 2008). From this I went on to conduct some consumer research to gage the opinions of ‘The Professional Creative’. I found that this consumer was in total agreeance and is unaware of any current print magazine that offers information on Fashion Tech and despite their being various other platforms out
there digitally and in the form of events, they had not heard of these. When testing the concept of a Fashion Tech publication one respondent said “I think this will definitely help to generate excitement for new products.” My first aim was to find out whether my consumer does actually prefer the format of print or digital and why. 13/15 respondents said they generally favour print format for various different reasons such as they like the physical connection, it feels more of an intimate experience and is more relaxing. In Grant McCracken’s (1986) theory on culture and
FIg 40. Lucy McRae, 2013 Fig 41. Artwork, 2014
consumption he discusses the idea of possession rituals and how the meaning of goods shifts to the individual consumer through the act of acquiring and using them. Consumers obtain, utilise, and enhance the meaning of goods, in order to align their sense of self and identity with the meaning embedded in a particular product (Holt 1997). Through possession, exchange, and grooming, goods become individualised by consumers with new symbolic meanings (McCracken 1986). This could be linked to how one respondent said how they would be more likely to sit down with a print magazine and take the time to actually read it than something
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online. Another interesting point from my testing was that they see a printed version as more of collector’s item and therefore the if the design if right, the object itself becomes a keepsake. I also found that my consumer generally purchases magazines monthly and likes the content of magazines such as ‘Wired’ but prefers more visual, beautifully designed magazines for layout and imagery. When asked what their favourite magazine was; publications such as ‘Dazed & Confused, I-D, Oh Comely and Kinfolk’ popped up several times. This is interesting as according to Jeremy Leslie in the book ‘The Modern Magazine’ (2013) i-D is the most cited magazine for inspiration.
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Fig 42. Jourdan Dunn, 2013 Fig 43. Chapter 5 Page, 2016
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“New technology doesn’t have to mean the end of old technology.” (Ruth Jamieson,2015) One of the most pervasive theories suggests there are two separate realms: the real physical world and the internal private one. This is called dualism and is embraced by most major religions across the world. Rene Descartes (1662) believed the physical and non-physical worlds connected via the pineal gland, a tiny structure in the centre of the brain. The intention of this publication would be to amalgamate the two; combining the digital and physical.
Fig 44. Christopher Kane, 2013 Fig 45. VLF, 2012
5A. TECH MEETS TRADITION
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Mintel’s 2015 UK Magazine forecast states that print versions continue to be very popular among the magazine-buying public, specifically in younger generations who appear to have strong relationships with magazine titles and brands, often having grown up reading a particular publication that they have stayed loyal to, which is very encouraging for the market as it develops. They go on to say how overall
52% of people had read a print magazine over a sixth month period, compared to 19% of people who had read a digital magazine. Indicating that people have an affinity for the format and enjoy the experience of having something physical in their hands. “Paper is a luxury material and I think that consuming a magazine is a luxurious experience. It is very different from the way that you engage with online content,” said Penny Martin, The Gentlewoman (2015). Working in print can build a different, more desirable relationship with readers than online; it extends to things like the quality of the photography and the production and the way it is graphically designed; it’s a very timeconsuming but personal operation. At Raw Print, Danny Miller (2016) concurred this view stating that magazines are outstanding communication tools that really resonate with people. With a current market value of some £2.1bn and a combined print/digital
Fig 46. Ying Gao, 2014 Fig 47. Untitled, 2015
circulation of around 46.5 million copies, the size and scale of the market remains substantial despite declining circulation figures. A prime example of print’s power in this digital age would be the independent-magazine subscription service, Stack. Last year they reported a 78 per cent increase in revenue, with its number of subscribers growing by 76 per cent. “There’s something about the physical nature of them that means we can’t really give up on them. There’s still a role for magazines.” (Steve Watson, 2015) However a general fashion or interiors magazine simply won’t do anymore; you need to corner a specialised market, know your audience and speak to them. (see page 44 for full case study) As McLuhan (1995) once famously stated: “the medium is the message.”
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5B. ANTIAUTHENTICITY
Fig 48. Pantone Colours of the Year, 2016 Fig 49. Moodboard, 2016
The idea of being authentic could be considered the backbone of print magazines. A theory of authenticity was proposed by Erich Fromm (1995). He considered behaviour of any kind, even that wholly in accord with societal mores, to be authentic if it results from personal understanding and approval of its drives and origins, rather than merely from conformity with the received wisdom of the society. However, at the Future Laboratory trend briefing I attended, they predicted a new trend called ‘Anti-Authenticity’; here the aesthetic of authenticity will continue to shift and change, and as brands begin to understand it is
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no longer a value they can rely on, they will have to identify their own core offer that feels truthful and appropriate. Authenticity, or this essential idea of genuineness, remains important of course. Antiauthenticity is not about shunning the principle itself, but all of the visual language and buzzword overkill that has thwarted it. Craft is a word that used to mean something. It meant an activity that involved a skill using your hands. But it has been co-opted by brands and strategists to sell us a story about authenticity, which has diluted its meaning. Now the authenticity bubble is about to burst.
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CASE STUDY. STACK
“It’s fine for people to focus on a niche, that’s often when they’re most interesting.” Steve Watson (2014)
THE SITUATION Stack is an independent magazine subscription service. They select the best indie mags and deliver them direct to your door. The main criteria are that they have something to say for themselves. There are lots of magazines out there that look great on the shelf, but when you take them down and start trying to read you realise that there’s not a lot going on. THE IMPACT Often finding quality independent magazines can be difficult; so Stack has made it cheaper and easier than ever for people to find those magazines relevant to them and enjoy them. THE INSIGHT Steve Watson says he founded Stack as he felt that people want something better to read. Every month you get sent an envelope containing your magazine but you never know what you’re going to get sent. This element of surprise creates a unique selling point for the brand and allows them to ensure that beautiful, unknown magazines get read. The fact that every delivery comes with a letter from Watson, explaining why he picked the magazine and telling you more about it, gives you an extra glimpse in to the world of independent publishing.
Fig 50. Stack, 2016 Fig 51. Chapter 6 page, 2016
THE CONCLUSION You should feel some connection with the people making the magazine, and understand what it is that makes them want to pour heart and soul into making this object you’re holding in your hands.
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6A. PRODUCT TESTING When testing my idea with experts I received an overwhelming positive response. Dr Conor Farrington (2016) said the kind of magazine I was describing would be very appealing to someone like him with interests in technology, fashion, design, and medicine. But there could potentially be a risk of Wired and Vogue readers both staying away. To solve this problem, I will be launching the magazine as an offset from Wired, taking in to consideration their brand values and aesthetic but creating a feminised version to bring in the female audience. I felt that although an independent publication could be truly beautiful, based on my research I came to the conclusion that using mainstream media as a platform would be a more
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effective way to target my particular consumer. Madison Maxey (2016) suggested that a “hybrid of Interlaced and Make Magazine with great design and in print could be stellar�. While the founder of Interlaced itself, Kristina Dimitrova (2015) acknowledged that there is a market for a truly tech print publication despite options such as Third Wave Magazine and Interlaced too, already existing online. Educating consumers is a hugely important part of the industry. Especially because the consumers with the most disposable income are not always the most technology literate.
Fig 52. GG-LL, 2016 Fig 53. Vivienne Sassen, 2015 Fig 54. Symbiosis Instinct, 2015 During an email interview, Claire Duke-Woolley (2016) talks of how technology is becoming so much a part of our culture and lifestyle that publications that ignore it are in danger of being left behind and becoming irrelevant. She goes on to say that our lives are now heavily lifestyle driven and that tech effects every part of our lives, saying that there is plenty of room for a Fashion Tech publication, however the angle and areas it will cover and the audience it will appeal to needs to be carefully considered. As this is such a broad topic area, it is important to cover stories that are relevant and specific to the consumer. Covering less but in better quality would give the publication a stronger voice over the massive buzz and hype around
this industry. To solve this, I will be looking in to the idea of creating a different focus for each issue of the publication. When proposing the idea to potential consumers I also received a positive response with 14/15 respondents saying they would definitely purchase this product, with one stating “Yes this would be fantastic, something more visual and readable, not like a manual that is too rigid to follow� and another saying how they think it would be particularly helpful for creatives who could be inspired by this publication, which confirms my idea perfectly.
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6B. ENCHANTED OBJECTS
Fig 55, Holon, 2015 Fig 56. Moodboard, 2016
According to WGSN in 2017 surfaces will come to life, as designers explore the magical effects of interactive design. At this year’s Milan Design Week, ‘Dutch Invertuals’ touched upon the future of integrated technology. Entitled ‘Body Language’, the items on show were specifically described as creatures, with character and behavioural traits. There is an enchanting personification of design as everyday objects are animated into life. During testing, consumers were asked about ways the magazine could be augmented, numerous people suggested an app to go with it to unlock video content, and spoke of how using swatches or tactile materials could help to link the two. Although using unusual materials could make it a more sensory experience, the cost of this would just not be practical and would
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make the cover price too high for the consumer. Sally Denton (2016) says technologies such as augmented reality is making things physically possible, creating a fully immersive experience for consumers and blurring boundaries between the real and digital worlds. An interesting example is in the book ‘Material Alchemy’ by Studio Aikieu, they have collaborated with a digital producer to create an interactive publication that merges the analogue with digital. All you have to do is simply download their free app and scan the pages to reveal the unseen. This then triggers additional info such as animations and conceptual films to further explain the narratives. Utilising the idea of hidden interactive content could be an innovative way to bring my publication to life and provide justification for using the medium of print.
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CASE STUDY. GARAGE MAGAZINE
“I have always been very intrigued by the idea that there can be more behind just the page.” Charlotte Stockdale (2015)
THE SITUATION SCANable provided the infamous Garage Magazine with 3D body scans of supermodels such as Cara Delevigne and Jourdan Dunn, for this special Garage Magazine augmented reality app feature. After downloading the app you can point at the digital magazine covers for a unique and revolutionary experience; they quite literally jump off the page. The layer of digital content continues inside the book with an augmented fashion editorial. THE IMPACT The five cover stars released their retrospective covers via Instagram to a combined audience of 30 million followers. The renderings blend the magic touch of a makeup artist with the technical wizardry of a special effects studio, showing that collaboration is key. THE INSIGHT The true reveal didn’t happen until the physical issues hit the newsstands as to start a buzz around it first and build up the hype slowly to ensure the excitement lasts.
Fig 57. Fig 58. Chapter 7 page, 2016
THE CONCLUSION Conveying a sense of nothingness and emptiness on certain pages will encourage people to actually use the app. So, is digital the future of print? “I think the interaction between the two is very interesting. I am sure that by next year there is going to be a whole new layer of stuff that we can do.”
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7A. THE PROFESSIONAL CREATIVE
Fig 59.Illusaion of a Silhouette, 2015 Fig 60. Define Creative, 2016
To make my targeting more specific I have decided to focus on ‘The Professional Creative’ archetype as I believe this could be the most influential and active group. They will use the magazine primarily for inspiration and appreciate its design and beautiful imagery. Through the magazine the hope will be to instil a sense of excitement in to the consumers who have been underwhelmed by the release of products such as the Apple Watch and Fitbit, and crave innovations that will captivate them and demonstrate what technology can really do for Fashion. This will also aim to instigate an attitude change amongst those who reject the idea of wearable technologies and invite them to celebrate the magic of it. Due to the nature of the consumer, the advertising and integrated marketing campaign will have to reflect this; building on the idea of creativity
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and ensuring every touchpoint is stimulating and motivating. Traditional marketing alone won’t work, from in depth conversations with consumers I found that the reason they buy print over digital is that they feel they are getting extra value, and so importance will be placed on creating even more value beyond the product itself. Angela Rumsey (2015) states that shoppers are now moving away from relationships with retailers that are defined by transactions and are instead looking for ones defined by experiences. While Elizabeth Chin (2001) states that consumption is not limited solely to buying and selling, but is a larger social process which includes thinking about goods, talking about purchases, collecting objects, imagining fantasy purchases, and a diverse array of other activities, ideas, and engagements with objects.
The two main aims of this new product launch are: firstly, to reach out to a much wider audience, although Wired is already phenomenally successful, they have the potential to increase their readership by appealing more to a female audience as well as male and encouraging the millennial generation to become interested in technology on a more advanced level. The second is to create more of an excitement around fashion tech amongst the target consumer and encourage a harmony between the two.
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Name: Sophie Wade Age: 21 Study: Printed Textile Design Institution: Nottingham Trent Get Creative: Send a piece of your work that represents you.. 7 things you love about this? - Pastels - Future thinking - Being Inspired - Experimenting - Texture - Form - Design
Name: Beci Spilsbury Age: 23 Study: Fashion Design Institution: Manchester Met Get Creative: Send a piece of your work that represents you.. 7 things you love about this? - Collage - Creativity - Freedom - Negative Space - Experimental with colour - Genuine - A story behind a collection
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Fig 61. Sophie Wade, 2016 Fig 62. Beci Spilsbury, 2016 Fig 63. Chapter 8 page, 2016
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8A. SMART EDITORIAL Wired is a magazine that reports on current technological trends, they capture the world in progress and analyse how developing technology affects modern society. To become more familiar with the brand, I created this essence to decipher Wired’s values and goals. Some interesting insights I drew from this were that despite revolving around a subject area that is usually based on function, they choose to focus primarily on design, making them a perfect counterpart for fashion. They command the attention of a visual culture and fill their pages with highly stylised images and profoundly unreal colourways. In the book ‘Brand New’ by Jane Pavitt, Renzo Rosso (Diesel, President & Founder) suggests that brand values are a way to ‘feel’ the product as part of their own personalities. Consumers have to identify themselves with the product they are buying, with it’s lifestyle, its attitude. Currently their average reader is 30-50, has an income of £45,000 or greater and works in the computer or
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high tech industry. The consumer is predominantly male and the magazine loosely fits in to an existing hegemonic discourse of gender inequality; this could be one reason why they have such a low female readership. 52% of their readers are university graduates meaning there is scope to target this consumer from a much younger age when they are emerging rather than established creatives. The reason I will be using Wired is because taking in to account the product life cycle, they have reached the Maturity stage; in which they are achieving constant sales and increasing profits. This means they would have the expenditure and feasability to release a new product to perhaps move them slightly back in to the growth stage and avoid decline. When talking about their print magazine, Scott Dadich, Editor in Chief (2015) said; “We need to do something that doesn’t exist online, and do it in a superior way. Otherwise we should just do it online.”
Fig 64. Product life cycle, 2016
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8B. WIRED: PROTO
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theme whether that be smart textiles, embedded tech, accessories etc and will consider the fashion technology world in terms of big data, trends, the current and future state, education, entrepreneurship and so much more. This could be an opportunity to connect and familiarise the consumer with fashion tech pioneers, inspire and excite them about the possibilities in the sector and provide them with invaluable information and beautiful imagery. With the main aim of the publication being to bridge a gap between the physical and digital worlds. Proto understands the value of carefully considered and expertly curated editorial and so will ensure a relevant and timely selection of articles. Hopefully this will all add a sense of affinity to an already trusted brand with a loyal consumer. More detailed information will be provided in the Promotional Pack I will be producing alongside a protoype version of the magazine.
Fig 65. Proto Branding, 2016
‘A magazine is an organism, it has certain characteristics, and those are best communicated through design’ – Adam Moss, Editor of New York (2013) Although taking in to consideration features and devices that Wired typically use; this offset print magazine will present a heavily fashion-focused design and layout and highly feminised colourways to meet the needs of the consumer. This is drawing from WGSN’s ‘Soft Tech’ trend featured earlier on the report. From primary research I found that the target consumers are anxious about technological advancements and the unknown and so feel that a softer colour palette and flowing forms and patterns will make the topic feel more human and approachable and will also help to encourage an increased female readership for the Wired brand. Print media will be used to fulfil the consumers desire for physical experiences. The exact content of the publication is yet to be defined; however, each issue will focus on a different
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THE APP
On attending the Designs of the Year 2015 exhibition, visitors were offered the opportunity to use the brand new Microsoft Lumia device and the specially designed app to access more information on each of the category winners, through photography, quotes and interviews, as well the option to offer their own opinion on what makes a Design of the Year. Proving that consumers are now looking for more than meets the eye. Alongside the magazine will sit an accompanying augmented reality app that will bring the pages to life. To keep the concept simple, the sole function
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of the app will be to scan select images within the publication by hovering over them, and provide the viewer with video content around this. By combining digital and physical aspects it will bring the pages of the magazine to life, give more of an indication in to the capabilities of the designs and materials and provide the viewer with more of a tactile experience. The best thing about Proto is that it works with or without the app so it’s up to the consumer how they decide to personalise their own experience; essentially offering a customisable product that will stand out in an oversaturated market.
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Fig 66. Proto App, 2016
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Fig 67. Proto Mock up, 2016 Fig 68. Chapter 9 page, 2016
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Fig 69. Ansoffs Matrix, 2016 Fig 70. Holographic, 2015 The ascendance of digital has also contributed to a rise in the number of touchpoints between consumers and brands, who now come into continuous contact with each other across a much wider range of platforms, from Instagram to e-commerce sites, resulting in more complex, non-linear paths to purchase. Therefore, it is fundamental to deliver complete consistency and coherence across all of the brand’s consumer touchpoints. (Vikram Kansara, 2016) People will need to experience a piece of clothing before buying it, especially if it’s more expensive. It’s about coming up with a way in which technology can facilitate this. (Boryana Pencheva, 2016)
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9A. THE ROUTE
The Uses and Gratifications theory (Blumler & Katz, 1974) assumes that audience members are not passive consumers of media. Rather, the audience has power over their media consumption and assumes an active role in interpreting and integrating media into their own lives. Unlike other theoretical perspectives, UGT holds audiences responsible for choosing media to meet their desires and needs to achieve gratification. Whilst the book ‘Cool Brands’ (2010) suggests that brand is the nucleus of sales and marketing activities, generating increased awareness and loyality when managed strategically. The best brand identity systems are memorable, authentic, meaningful, differentiated, sustainable, flexible and add value.
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Fig 71. Hacking Infinity, 2015 Fig 72.
9B. PRE-LAUNCH
The first step will look at starting a conversation with ‘The Professional Creative’. Wired will release snippets of content relevant to the Millennial generation to get people talking about the brand and fashion tech without revealing what is going to happen. This will utilise mainstream channels of communication to reach people on a mass level; with the particular audience I am focusing on being more active on Instagram and Twitter than Facebook, these will be the primary focus. 62% of millennials say that if a brand engages with them on social networks, they are more likely to become a loyal customer. They expect brands to not only be on social networks, but to engage them. This obviously takes more labour from companies to be able to maintain social networking feeds, but it’s worth it if you want to reach your consumer.
Stockholm that challenged passers-by to run past the display. If the person could beat a 10.5 mile per hour pace, she would be rewarded for her quickness with a new pair of ZPump 2.0 shoes. Whilst for the launch of the Kit Kat’s “Have a Break” campaign, the brand installed billboards that would vibrate when people leaned against them, providing passers-by with a quick, stress-reducing massage. Utilising traditional routes and free press, an advertisement will feature in the latest print issue of Wired to promote the launch of their new magazine ‘Wired: Proto’. This will intrigue current Wired readers and perhaps encourage them to tell others, who they feel may be interested in it. Word of mouth; although
Following this, interactive billboards will be installed in city centres UK wide. These will invite you to come over and on approaching you will then be presented with a catalogue of wearable tech that through a hidden camera in the billboard, you will be able to try on and photograph and then upload to Instagram. You will then be instructed to download the Proto app and scan the billboard if you want to find out more. This is an opportunity to make use of the clever and engaging content that Wired offers and provides viewers with food for thought. It would also encourage the downloading of the app prior to the release of the magazine. The importance of this sort of advertising is shown by the fact top brands are adopting it. Earlier this year, Reebok installed a speed camera and tracking technology in an outdoor ad in
impossible to track, is one of the most important forms of marketing. There will be an insert form for people to choose to pre-order a copy of the magazine or sign up to the newsletter, there will be a link to take you to the website if you would prefer to do this online. The last stage before the launch will be to promote Proto across all Wired Platforms, this includes the website, app, social media and events. Each platform will feature slightly different content to ensure current, loyal Wired followers aren’t being bombarded with repeat information.
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9C. THE LAUNCH
Industry Launch – Wired will present Proto at a private and bespoke dinner that will be held and hosted by David Rowan, Editor of Wired. This invite only gathering will be an opportunity to leverage Wired’s network and has proved to be a successful marketing technique for the brand in the past. Attendees will consist of Senior Executives, Innovators & Influencers within the technology, fashion and creative industries. Promoting the publication to key players in the industry so that they can then inspire consumers; this is known as The Influencer Effect. After the event attendees will be able to take away a copy of the magazine to experience before the rest of the general public.
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Fig 73. Visual Media, 2015 Fig 74.Vending Machines, 2010 Fig 75. Bombay Electrics, 2011 Public Launch – A two-day pop up event will be held at the London College of Fashion to encourage females to get involved with technology. This will consist of a mixture of talks, demonstrations and interactive workshops where people will have the chance to make something to take away from our pop up store. We will encourage attendees to post photos of their creations using the hashtag #protoshop. This then creates a memorable experience and positive associations with the brand. Loewenstein (1999) theory discusses how things bring us happiness when we use them but not so much when we merely think about them. We are more likely to mentally revisit our experiences than our things as
they are more connected to our identities. On day two of the event people will be invited to bring their magazine along to the event where they will have the opportunity to design their own packaging for it, encouraging people to see this magazine as a valuable object and a keepsake, something that’s importance was highlighted during consumer testing. Van Boven and Gilovich (2003) defined the difference between experiential and material products. With experiential as the desire of acquiring a life experience or an event that one lives through, where material purchases are simply for the tangible object. Here is an opportunity to connect a physical product with the idea of experience.
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The initial launch event will coincide with London Fashion week to ensure maximum participation, afterwards these pop ups will then tour around selected universities across the UK. Simultaneously Proto will be released across all major UK retailers such as WHSmith and Waterstones. To reflect the highly creative and fashionable nature of the consumer it will also be sold in places of inspiration such as galleries and within stores such as & Other Stories; which alongside it’s fashion and beauty ranges, stocks a range of beautiful and relevant publications, as well as being available to order online. A promotional video
will be released alongside this to show users how the app works in conjunction with the publication, if they choose to download it. 42% of millennials said they are interested in helping companies develop future products and services. In our society, companies usually create products and hope that their target market will consume them. When it comes to millennials, they want to be more involved with how products get created. Companies that enable them to be part of the product development process will be more successful.
CASE STUDY. ADIDAS x DERRICK ROSE THE SITUATION Campaign on reaching the ‘incredibly hard to talk to; in an attempt to raise awareness of the brand. This unique store gave fans a chance to jump with the Chicago Bulls point guard to get a pair of Derrick Rose signature Adidas sneakers. Chicago Bulls star Derrick Rose took up residence at a “pop up store” in Hackney where all the Adidas shoes were free, as long as visitors could reach them from a ten foot high shelf. THE IMPACT Simple, smart promotion. Although the concept was simple, they added depth to their activation. Gave the consumers a perspective in to the players lives – literally be in their shoes.
THE CONCLUSION Shows people love something for free, especially the Millennial generation who are always looking for the value they can get from their products. Whether they won or not they all walked away with an experience and positive associations of Adidas as a brand.
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Fig 76. SOMA, N.d Fig 77.Tokyo Fashion Week, 2013
THE INSIGHT Acknowledgement that they are talking to a closed-loop audience. You don’t have access to them, they don’t want to talk to you. Creating an experience around a product is more exciting than just trying to sell, sell, sell.
9D. POST-LAUNCH
Issue 1 of Proto magazine will be embedded with a unique code. Users can use the corresponding app to scan the code to see if they have won an exclusive invite to Wired’s first Fashion Tech Runway show and event. This factors to in that element of surprise and extra value which was an important asset according to my consumers. At the same time, reviews will begin to appear in mainstream press and on websites such as Creative Review. According to Bazaar Voice, 84% of shoppers now look to reviews prior to making a purchase decision and 43% of millennials rank authenticity over content when consuming news. They first have to trust a company or news site before they even bother reading the content that they produce. Blogs are meant to be authentic and many of them are run by a single individual. The Professional Creative
connects best with people over logos, reviews and endorsements sell more products and customercreated content is more trust-worthy than branded content. Therefore, relevant bloggers and influencers will be commissioned to write reviews around their thoughts on the magazine. It is important to think again about Thorstein Veblen’s (1899) theory of conspicuous consumption. Today, the term is more frequently used to indicate a purchase that signals a high-status position, often a luxury branded good such as an automobile or handbag. Fashion blogging is a clear display of consumption to an audience, with the intention of portraying one’s personal style. Outside of a fairly small range of “luxury” fashion bloggers, most bloggers are not signalling wealth, but creative expression and originality that will be trusted and respected by their peers.
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Fashion Tech Runway Show – 100 magazines will feature a winning code linked to a ticket for the Wired Fashion Tech Runway Show held at Olympia, London where such events as the IoT Expo and Wearable Technology shows take place. Although the itinerary for the event will be top secret until the day of; attendees of the event will be encouraged to share images with friends on social media using the hashtag #proto. This will then produce a ripple effect where consumers will tell a friend about the brand, share additional posts and therefore people be more likely to purchase from brands that friends recommend. The Media System Dependence theory states that as a person becomes increasingly dependent on media to satisfy their needs, that media will become more important in a person’s life and thereby will increase influence and effect that person. (Sandra Ball-Rokeach and Melvin Defleur in 1976) Despite popular belief millennials do indeed develop strong brand loyalty when presented with quality products and actively engaged by brands,” says David Arabov, CEO Co-founder Elite Daily (2016)
Fig 78. Seismes, 2016 Fig 79. Loyalty Loop,
From my research I found that my consumer is highly likely to post images of their magazine purchases on Instagram as well as following their favourite magazine brand, so this could be an appropriate channel to utilise. “Fashion is one of the most loved verticals on Instagram,” says Eva Chen, Instagram’s head of fashion partnerships. “Fundamentally, it’s a storytelling platform and it’s really important for brands and designers to remember that. People are looking for narrative when it comes to Instagram.” Using influencers can help to raise brand awareness when introducing a product to a new audience, whilst showing products in context helps potential customers to envision how they could use them. Marketers rate industry relevance, content, quality and personality of creator higher than popularity when choosing an influencer. They can also be used for damage control to help reverse negative opinions and reviews, whilst sharing your content through influencers in your industry is found to increase conversion by at least a 3x-10x higher rate. (Content Marketing Institute, 2016) It is also important to think about those people who can directly influence people such as family and friends, not just bloggers of celebrities.
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Technology has undoubtedly improved magazines due to the smooth integration of layout, photographic manipulation and illustration software. ‘It’s Nice That’, through their biannual print prove that having a physical representation of their output means advertisers and clients will take them more seriously. In a discussion with Lauren Bowker from ‘The Unseen’ at the IoT expo, she said “we are seeing fast products coming out in wearable tech, products are being used to get press, not actually being used for a purpose; but this is the nature of Fashion”. Although many of these designs are not intended to be consumer-ready, they will surely peak interest and develop markets for future products. Embracing collaboration will enchant audiences and through relevant content, commerce and conversation I intend to create covetable, collectable, coffee- table-worthy publications. On the surface it may appear to be far removed from tech, yet the themes it explores rekindle the sense of mystery and magic that technology can offer.
Fig 80. Osso, 2014 Fig 81. Noa Raviv, 2015 Fig 82. Chapter 0 page, 2016
9E. CONCLUSION