Exhibit by Millie Lewis

Camilla Lewis N0436588 FASH30001 Negotiated Project Stage 1

<title>

How necessary is being a digital narcissist to get a career in todayâ&#x20AC;&#x2122;s creative industries? </title>

contents page: Introduction

Stage 1: context > Chapter One: Being Digital

> Chapter Two: Famously Narcissistic

> Chapter Three: Revolutionising Recruitment

Stage 2: big idea > Chapter Four: Key Insights

> Chapter Five: Introducing Exhibit

Stage 3: creative concept > Chapter Six: Exhibit

Stage 4: execution > Chapter Seven: The Launch

Conclusion

83 89

introduction </heading>

We have always had to self-promote our skills and our abilities. Once this was done vocally through job interviews and written on our CVs to help us stand out from our competitors. With the advent of the Internet, this has changed: we have a following. Both friends and strangers act as our audience for whom we must stay relevant, with a strong potential to affect the way employers learn about us. Online platforms play a big part in how we live out and document our physical lives; it seems the physical can no longer be without the digital. Figure 1. (Lewis, 2015)

Two incidents happened to me during the summer of 2014, which inspired my exploration of this idea (see appendix 2.1). These incidents illuminated an important phenomenon of this generation: digital narcissism.

Finding work experience in New York

Not having a smartphone

for two months.

? How necessary is being a digital narcissist to succeed in todayâ&#x20AC;&#x2122;s creative industries?

Figure 2. Context Diagram (Lewis, 2015)

The term ‘narcissism’ has gained popular currency in recent years, especially with the rise of online social media platforms and the “selfie” in particular (The Guardian, The New Yorker, Twenge and Campbell, 2010). It originates from the figure of Narcissus in Greek Mythology, a young man who upon seeing his reflection in the water of a spring, falls in love with it. This Greek tragedy, cautioning against the dangers of self-love, raises important questions around illusion and reality (Spaas and Selous, 2000: 1). It has been applied and adapted across different disciplines and is officially classed as a personality disorder (APS 2012: 211; WHO 1993: 211). Sociologists and other analysts draw on this myth as a metaphor for modern society (Spaas and Selous, 2000: 4), with some applying the concept of the stream, or the mirror, in innovative ways to

Figure 3. Narcissus (Lewis, 2015)

show how people invest resources and energy in the self so as to reflect themselves ‘as they wish to be seen’ (Spaas and Selous, 2000: 4); Szabó, 2000: 57-66). Digital narcissism, then, sees online social media platforms as a tool through which users digitally invest resources in themselves, including time, creating and depicting their ‘selves’ to their audience, or ‘following’, as they wish to be seen. Asking the question ‘how necessary is being a digital narcissist to succeed in today’s creative indutries?’, it is this phenomenon that I explore in this dissertation and its implications for recruitment in creative industries (ranging from art and fashion to graphic design and video games) in particular. Acknowledging that I am part of this digital¬¬ narcissistic shift, I approach this report as inclusive of myself and therefore have chosen to write myself in.

Having briefly introduced the topic of the project, this is how it proceeds: the first section is the context stage of the project in which I review existing literature. In the first chapter, I set the scene by exploring how the birth of the virtual realm has influenced our lives and altered our attitudes. In the second chapter, I discuss the ways in which this digital shift has affected a rise in digital narcissism with profound impacts, including on the world of recruitment into creative industries. It is this last aspect, job seeking, which I explore in the third chapter. My research then formed the foundation for the second section of my project, the big idea. Using this increasing shift and applying existing technologies for digitally pairing individuals, this section proposes to fill a gap in the market for young creatives and recruitment with â&#x20AC;&#x2DC;Exhibitâ&#x20AC;&#x2122;. Finally, I conclude by drawing together my discussion and proposal.

Di git ing

itm

ru t

c Re

al Narcissism

The Conext Stage

Key Insights

The Big Idea Stage

Creative Concept

Execution

Exhibit

Figure 4. Report Diagram (Lewis, 2015)

stage 1: context 15

Chapter One Being Digital </heading>

Technological advancements have made a profound impact on societal behaviour. Nicholas Negroponte predicted 20 years ago that being digital would be genetic. Every generation would become more digital than the proceeding one (Negroponte, 1995: 231). This will be a natural progression as we inherit technology and become more familiar with it. The digital realm has changed the way we interact and according to Happen, over a third of people admit to using technology to communicate with someone in the same house as them (Happen, 2014: 17). By 2020 the number of products that will be connected to the Internet will rise to 26 billion

(LS:N, 2014). It is simply impossible to not be a part of the World Wide Web, as it is seamlessly linked into everything we do and everywhere we go (Krotoski, 2013: 37). This has resulted in us being constantly connected and virtually transported to copious amounts of information at high speeds. As connectivity becomes everyday reality, consumer demands are changing; no longer is freedom of choice a highly valued asset but an expected requirement. Brands have to adapt to these new expectations by â&#x20AC;&#x2DC;chopping up their products to fit their shortened attention spanâ&#x20AC;&#x2122; (Carr, 2010, p: 94).

“I don’t give a damn ‘bout my reputation. You’re living in the past, it’s a new generation.” - Bad Reputation by Joan Jett and The Blackhearts Figure 5. Connected (Lewis, 2015)

i am digital </subheading>

Generation Y, born from 1981to 2000, is the first generation to exist in the digital world, raised with technology unlike any proceeding generation (Delcampo and Haggerty, 2011: 16). Having access to digital technologies from the day they were born, they know no other reality than an interactive one. As a result, this generation have been nicknamed the Digital Natives (Palfrey and Gasser, 2008: 346). As Digital Natives reach their 20â&#x20AC;&#x2122;s, they will have been exposed to more than 30,000 hours of digital information (Tapscott, 2008: online).

Figure 6. Post-Internet (Lewis, 2015)

Calculated by Small and Vorgan in 2008, the amount of time American children devote to social media is equivalent to a full- time job (University Business, 2012: online). It is a generation that has become heavily reliant on digitalisation and connectivity, their reliance is developing at a time when their brains are most sensitive to outside change, that is, as they are growing up. Ultimately, this has reshaped the way they absorb and learn information, misconstrued as lazy by elements of the older generations (Summerton, 2014, see Appendix: 5.6). Digitalisation not only impacts our attitudes towards ourselves, as explained in Chapter Two, but can also affect us professionally when we strive to get a job and to keep it. In creative fields, employers are keen to see how candidates represent themselves creatively by promoting their aesthetic styles through Pinterest, Tumblr and Instagram, for example (Summerton, 2014 see Appendix: 5.6). Equal to this, the online activity records how they engage with their audience in a (hopefully) sensible and professional manner.

Figure 7. Whatâ&#x20AC;&#x2122;s wrong with this picture? (Lewis, 2015)

“I’m so much cooler online. So much cooler online.” - Online by Brad Paisley

i am i? </subheading>

Identity is the most integral part of an individual (Kakales, 2014: online). We turn to the online world as we strive for individuality, with social media platforms offering a way to express our unique qualities while reaching a much wider audience (Kakales, 2014: online). The Internet has evolved. No longer is it a place solely to gather information but a place of self-expression (Krotoski, 2013: 187). Through technology, we derive a large part of our identity from our online activity, this is done through sites such as Facebook, Twitter and Instagram as they log our life experiences and broadcast them to our followers. Aleks Krotoski explains that this â&#x20AC;&#x2DC;public display of what you are doing is one of the ways we develop online intimacyâ&#x20AC;&#x2122; (Krotoksi, 2013: 91).

Figure 8. Elasticated Identity (Lewis, 2015)

The Internet is a faceless space, a place where each individual seeks validation and appraisal from their friends, strangers – their audience, who become their omnipresent listeners. Sherry Turkle argues that technology allows us to live out three fantasies: 1. We can put our attention wherever we desire. 2. We will always be heard. 3. We never have to be alone. (TED talks, 2012)

Figure 9. Too many friend requests (Lewis, 2015)

These are aspects that an individual would hope to not be without, basic needs. Yet, Turkle sees this as a negative result of such a revolutionary invention as Digital Natives now expect ‘more from technology than from each other’ (TED talks, 2012). ‘Spending an average of six hours a day in two dimensions’ (Greenfield, 2008: 1), the more we are connected digitally, the less we are interested in other people believes Tomas ChamorroPremuzic (The Guardian, 2014: online). Being digitally closer to others has, paradoxically, made us more anti-social (ibid). An appealing aspect to connection is having the sense of control over where the user puts their attention, mainly if it benefits them and their self-image. However, Tricia Wang believes that the digital realm is ‘an expressive environment that allows us to be curious, explorers, to be makers and to ultimately be human.’ (Wang, 2014: online). A place of expressionism, it is a cornerstone for how we make sense of ourselves today.

Figure 10. Onlive vs Offline (Lewis, 2015)

As such a vast amount of time is invested into the virtual dimension, the time put into their online personalities raises the question: is our virtual self more important than our physical self? To test this out, I posted the following question on Twitter to reach my audience directly: “who is better, your virtual self vs real life?”. This platform being a space where Digital Natives are familiar interacting in, might give them the freedom to answer on their own terms and allowing them to think about and edit their answer as they wish, although, being restricted to 140 characters. Given that I currently have 149 followers with the age ranging from 18-25, this was a great way to reach a sample of the Digital Natives as 58% ‘use Twitter ‘all the time’ (The Next Web, 2012: online). I received 12

respondents and found the results somewhat surprising as respondents were adamant that their virtual persona is a miner aspect to them, with one reply stating ‘my virtual self is an idiot’ and another admitting that her online self is ‘only a snapshot’ (see appendix: 5.7). This was unexpected result given the vast amount of time Digital Natives spend online, as shown above. Moreover, it also contradicts what LS:N Global expressed at their ‘Me-conomy’ A/W 14 Trend talk stating that ‘we are what we share’ (LS:N Global, 2014). This small sample of responses nuances this claim, suggests that at least some Tweeters value their real life persona’s higher than their virtual one, and thus that the physical world is still important to them.

i am post-produced </subheading>

The introduction to social media has allowed Digital Natives to engage in selfexpressionism (Palfrey and Gasser, 2008). ‘The core of every successful app and website is self-expressionism and digital exhibitionism’ states Chamorro-Premuzic (The Guardian, 2014: online). With the purpose for each form of social media being to celebrate ourselves as individuals (Twenge and Campbell, 2010: 109), it surely is only to be expected that the way we actually think of ourselves changes towards a more self-important direction. Students ‘can’t be blamed for growing up in a time when outlets were created specifically to talk about [ourselves]’ (ibid).

Figure 11. Social media (Lewis, 2015)

Figure 12. Virtual judging (Lewis, 2015)

As more and more people are meeting online, socially and professionally, before taking it offline (Palfrey and Gasser, 2008), the way we present ourselves in the digital world is nevertheless incredibly important. First impressions now happen online. Our faces are being judged before our personalities, we are now digitally judging a book by its cover, though instead of a book, it is a personâ&#x20AC;&#x2122;s online profile. This in itself is not new, though the means through which this is done are. To give a stranger the best possible immediate reaction to ourselves, we present the self that we want to be by editing and retouching our face, voice and body to leave the best mark on someone. â&#x20AC;&#x2DC;It is you, but betterâ&#x20AC;&#x2122; (Vogue, October 2014: 336). These tools enable us to showcase our best qualities, exploiting them to the targeted field we want to work in, ensuring we stand out from the rest.

We are facing a time, where if we don’t edit ourselves online to such extremes, we won’t have the right impact for it to go offline. Social media has changed the way we date and how we meet people in today’s modern day (Denton, 2014, see appendix: 5.5). ADULT magazine represent today’s digitised society with their short film ‘Long Exposure’ (see appendix: 7.1).

Figure 13. Long Exposure (Lewis, 2015)

“Edit your life frequently and ruthlessly. It’s your masterpiece after all.” - Nathan W. Morris

i found that... </subheading>

Focusing on the influence of social media on Digital Natives, this chapter has started to piece together the impact of living in and through a digital world. While my limited sample showed the continued value of the physical world, this section nevertheless highlighted the large proportion of time invested in the virtual realm, used as a tool to discover and create who they are. Next, I will be looking at the reasons behind the increase in our self-admiration and the impact it has on creatives and getting a job.

Figure 14. Modern Narcissus (Lewis, 2015)

“I’m too hot (hot damn) Bitch say my name you know who I am.” - Uptown Funk by Mark Ronson

Chapter Two Famously Narcissistic </heading>

Following the Myth of Narcissus introduced above, narcissism is defined as having an excessive interest of oneself and ones physical appearance. The qualities of a narcissist are: extreme selfishness, lacking empathy, the need for admiration and being competitive (Oxford Dictionary, 2014: online). Their personal belief that they are above others is conflicted with evidence that there is actually no evidence to prove that narcissists perform better than anyone else (Twenge, and Campbell, 2010: 42).

Over the years there has been a rise in the number of people showing narcissistic traits, with 89% more students answering in a narcissistic direction in 2008 compared to 1994 (Twenge and Campbell, 2010: 33). This unsettling statistic will only be on the rise with the growth of self-admiration in the post Internet age as narcissism is â&#x20AC;&#x2DC;becoming widely acceptedâ&#x20AC;&#x2122; (25 Magazine, 2013).

i am my selfie, my selfie is I </subheading>

Technological advancements allow for all things ‘me’ in this digitised society. This is particularly evident through the constant stream of self-taken photographs of oneself, commonly referred to as ‘selfies’. The Oxford Dictionary named the word ‘selfie’ as the word of the year in 2013 as the usage of the word had increased by 17,000% since 2012 (LS:N, 2014). Samsung claim that 30% of the photos taken on their phones by 18-24 year olds are selfies (Peredby, 2014: online) and more than 188 million photos on Instagram are under ‘#selfie’ (i-D, 2014: 28). Figure 15. The Girl with the Selfie (Lewis, 2015)

Figure 16. CK me for me (Lewis, 2015)

As i-D magazine dedicated a whole issue to this new phenomenon and models are teaching us how to take the perfect selfie thanks to W magazine. This, in effect, is teaching us how to be our own biggest fan. If that wasn’t enough, new technology inventions are aiding us to get the perfect, handsfree angle as we can now purchase Nixie ‘the first wearable camera that can fly’ (Fly Nixie, 2014: online) along with the new craze being the ‘selfie stick’. A self-portrait is no longer about a special occasion, it is a reminder. A reminder to your audience that you are relevant, exciting but more importantly: worth following. A brand that has learnt to join in on this self-admiring opportunity is Calvin Klein (Case Study, see appendix: 7.2).

iâ&#x20AC;&#x2122;m on TV </subheading>

Celebrities are super spreaders of the narcissistic virus. As the media allows us to follow their every move, watching them like a hawk, it fuels the growth of obsession with their rich and glamorous lifestyle. Their signs of being narcissistic are significantly higher than the average person, as demonstrated by Dr Drew Pinksy and the Narcissistic Personality Inventory test. He did this by getting 200 celebrites to fill out the NPI test that consists of 40 questions. A perhaps surprising result due to being famous for everything but their talents showed that reality TV stars are top of the list, scoring 19.45 out of 40 (Pinksy, 2009: 127).

Figure 17. Google me (Lewis, 2015)

The media was once an escape for a consumer’s own reality, taking them to a fictional fantasyland. This took a significant turn in 1992 when The Real World, a reality show set in New York, took to the screens, setting out to showcase the modern-day melting pot of youth culture. A gap in the market was discovered as the audience was craving a show that mirrored their experiences, seeing their generation as they saw themselves (Pinksy, 2009: 62). This was a catalyst to bring to the screen a broad variety of reality TV, though they all had one thing in common; they exploit narcissistic behaviour for dramatic effect. A result of these shows, is that no matter what the contestants are competing for, at the end, they are all rewarded for the same thing: being vain and ruthless (ibid). The audience watching the shows may be easily influenced into thinking this is how to succeed. Although we all measure success differently, for these people it is about being in the spotlight and the reason why, being irrelevant.

Figure 18. It’s all about me (Lewis, 2015)

The 1990s were a breeding ground for a new type of ‘celebrity’ (if that is what we have to call them). ‘Reality TV combined with the widespread accessibility of the Internet, have completely reshaped the scope that is fame and has dramatically influenced the public’s relationship with the celebrity’ (Pinksy, 2009: 59). Being famous has been completely detached from talent, it is now seen as a game that anyone can play with ever-changing rules for how to take part.

“In the future everybody will be world-wide famous for 15 minutes.”

- Andy Warhol

i will be famous </subheading>

The birth of celebrity culture is increasingly accessible and more desirable due to social media, it could be said that 15 minutes of fame is no longer enough for someone to have in the spotlight. Dr Jean Twenge conducted a poll in 2006 and discovered that 51% of 18-25 year olds said that becoming famous was an important goal for them. This correlates with children saying that being famous was the best thing about the world, found in another study (Twenge and Campbell, 2010: 95).

Figure 19. I am not famous anymore (Lewis, 2015)

The publicâ&#x20AC;&#x2122;s interaction with celebrities has changed over the years. One thing that can be put down to this affect is social media. With fans having access to the famous via their posts on social media, witnessing their self-indulged and egotistical behaviour fuels the need for the average Joe to do the same. Ellie Knight, an Illustrator who splits her social media activity into different profiles to suit the right, targeted audience has said that having the access to these iconic people through social media â&#x20AC;&#x2DC;gets in the way of us being our own individual as we are so focused on being famousâ&#x20AC;&#x2122; (see appendix: 5.2).

Figure 20. Watch me (Lewis, 2015)

i am creative and connected </subheading>

Figure 21. Creativity is intelligence (Lewis, 2015)

Anja Rubik, model and Editor of 25 Magazine, dedicated the third issue of the magazine to narcissism. Witnessing the era we live in being of all things “me”, she argues that ‘the positive reinforcement we get from watching our fame grow provides a boost in self-confidence…the advent of social media narcissism may be the best thing that has happened to mankind’. Rubik believes that narcissism is a double-edged sword, an immodest quality that we may need to succeed, ‘in order to accomplish in the creative field, you need to believe in yourself to the point of obsession’ (25 Magazine, 2013). This obsession is made easier by having access to the online medium, which connects brands with their consumer, celebrities with their fans and aspiring professional creatives with their audience and employers, though it is yet to be systematic.

Getting online is a sure way for creatives to find people with similar interests, their target audience, peers and businesses that they look up to. Social media makes it ‘easy to become connected to people that can further your career in a creative field which is a huge plus’ states Sam Owen White, a Music Producer and Visual Merchandiser at Jaeger, when I asked him what he thought the positives of the online connection is (appendix, 2014: 5.7).

Figure 22. Connected (Lewis, 2015)

As connections in the creative fields are key to moving into the industry whether that be with a career or work experience, having an honest online presence that strongly represents your work as a professional in the chosen industry will help you cut corners (Schawbel, 2010: 4). This can fast track yourself directly to your chosen target market, promoting your talents and ultimately get you noticed. Jack Goncalo says that ‘narcissists may be particularly skillful not only at convincing themselves of the high quality of their creative ideas, but at conveying their ideas with enough enthusiasm and confidence to impress their peers’, he explains that the qualities that are associated with narcissism may actually be suited to support creative talents (Goncalo, 2010: online). Therefore, these qualities help to promote their own work and crucially for my purposes, get them noticed by their future employers. 38

i found that... </subheading>

This chapter argues that an affect for the rise in narcissism can be explained by the increase of interest and access to celebrity culture provided by social media as children grow up aspiring to be famous. Narcissists are selfish and competitive (Oxford Dictionary, 2015: online). These are traits that are considered to be negative in a person socially, yet, they hold a quality of enthusiasm that could positively affect a person’s success within creative fields. Jean Twenge titled her book ‘The Narcissism Epidemic’, stating that ‘it is much easier to spread narcissism than fast-food restaurants’ (Twenge and Campbell, 2010: 259). Indeed, there seems to be no signs of the virus dying down as it moves over to the professional side of social media and recruitment. In my final chapter of the context stage, I explore how the virtual presence affects employment and how it can move forward in regards to enabling creatives getting a job.

Figure 23. Ink (Lewis, 2015)

Chapter Three Revolutionising Recruitment </heading>

As ‘a scant web presence is so rare these days’ (Dunham, 2014), we do not necessarily think about the precautions that our online presence may have in the future. As discussed below, a tweet that takes seconds to send could have effects that reverberate for years. If we are not careful, which then could result in losing a possible job opportunity. To support this idea, Devonté Hynes tweeted ‘I see you deleted your tweet but the Internet is made of ink’ (Twitter, 2014: online). Once it is out there, there is no ESC or DLT button to help you.

i will post sensibly </subheading>

According to The Harvard Business Review, 75% of recruiters search candidates online before considering them for an interview (Talan, 2012: online). Amy Lee, a boutique Fashion Designer in the Garment District of New York, agrees that if candidates cannot represent themselves smartly online, it would affect her decision as to whether she would hire them (see appendix: 5.3b). With such a high percentage of employers being concerned how candidates represent themselves online before hearing them offline, I wanted to see how this affects the content that is posted on Digital Natives profile’s. To do this, I put together an online survey to evaluate the importance of self-promotion in the digital age. Out of the 66 respondents, 56% admitted that their content is affected by the prospect of it being seen by future employers. Though one respondent stated that it ‘doesn’t affect my content as I want my content to be a reflection of who I am’ (see appendix: 5.1). Our online presence can be a partial reflection of particular aspects of one’s perceived identity, consciously controlled by ourselves.

Figure 25. Reflection (Lewis, 2015)

Job

Figure 26. Competition (Lewis, 2015)

Digital Natives are facing a competitive world as they are finding it increasingly challenging to find jobs after university, argues Darcy Summerton (see appendix: 5.6). Though, now they are also facing a tougher time getting into higher education as the statistics show that Stanford University only accepted 5% of applicants for the class of 2018. Enrollment for universities is growing while the number of candidates accepted is declining (New York Times, 2014: online). This means that every individual need to work harder to promote themselves in order to stand out in the wide pool that is the web, ensuring they donâ&#x20AC;&#x2122;t float away. This is echoed for creatives, as today, there is so much talent that can be found at the click of a button, getting online and promoting oneself to a mass audience is a sure way to get the attention that is needed, though needing to work hard to ensure they donâ&#x20AC;&#x2122;t blend in with their competition.

Figure 27. Blank space (Lewis, 2015)

‘If I don’t promote, I won’t have an audience. If I don’t have an audience, I might as well keep my dreams to a hobby.’ (see appendix: 5.3c) Kaylyn Scardefield is a singer/ song writer as well as an actress; being a creative she has a strong online presence to promote her career progress. She believes that no longer do we live in a time where ‘word of mouth’ serves as a primary tool in building a following. Like other interviewees, she has a strong belief that there will always be a need for the physical. There will always be a need for us to interact in the physical world, as we are physical beings (Denton, 2014, see appendix: 5.5).

The senior curator of architecture and design at the Museum of Modern Art (MoMA) in New York, Paolo Antonelli, states that ‘we live not in the digital, not in the physical, but in the kind of minestrone that our mind makes of the two’ (New York Times, 2014: online). Living in a world where the two mediums have blended, physical and the digital, we must use each medium for a reason and make the most out of its qualities (Denton, 2014, see appendix: 5.5). In the creative industries, having a digital portfolio is a useful tool for others to see your work instantaneously, wherever they may be in the world, at their own convenience (Scardefield, 2014, see appendix: 5.3c). It is also a great space to promote and expand on the traffic that has access to your work by disseminating it through online platforms. 79% of respondents to my survey believe that online self-promotion is important in the digital age (see appendix: 5.1). An activity that may seem self-indulgent, increasing their narcissistic behaviour, is a crucial step to get a career in today’s digitised society. ‘The only and best person to manage your brand is yourself’ (Talan, 2012: online).

i am what i post </subheading>

Recruitment Consultant, Shelley Hamilton explained to me that ‘a person’s online presence needs to be carefully considered, they need to think about how they want to represent themselves…I’ve known employers [who] visit LinkedIn, also Twitter and Facebook and they’ve reconsidered job offers based on what they’ve seen’ (see appendix: 5.8).

Figure 28. @kanyewest (Lewis, 2015)

It is becoming clear that individuals are now their own brand. This means needing to present ourselves well 24/7, as we do not know who our future employer will be (Talan, 2012: online). Darcy Summerton argues this case saying that ‘thinking holistically and delivering true continuity in the [social media] experience is important, making sure your tone of voice is mimicked across all platforms’ (see appendix: 5.6). Scott Talan reinforces this idea, believing that the self that you present must be seamless throughout each medium (Talan,

2012: online).In the creative industries, it is integral to believe in ones capabilities and talents if you want to transform your hobby into your career (see appendix: 5.3c). This means having a sense of confidence and belief that your work is as good or even better than anyone else’s. With Picasso, Dali and Warhol all being examples of artists who had these egotistical narcissistic traits, ‘without that kind of forbidden self-worship we wouldn’t have these awesome artists that we have today’ explains Anja Rubik (25 Magazine, 2013).

“If you think you all the time: ‘I am a genius,’ you will eventually become a genius.” - Salvador Dali

For Matt Willcocks, a Lifestyle Photographer, his social media presence is a key part to his brand as ‘generating a strong online image and showcasing my work to a consistently high level have enabled me to build a solid client list’ (see appendix: 5.3a). This inevitably has led to his success as he states that he is continuously in demand, gaining new jobs with companies all over the country as his work gets noticed on various platforms.

Figure 29. Kanye on Kanye (Lewis, 2015)

Personal Branding is about revealing our unique qualities whilst making everyone aware of them (Schawbel, 2010: 3). Dan Schawbel, an author on personal branding, says that when we have our own brand ‘you are your own free agent: you have the freedom to create the career path that links your talents and interests’ which ultimately will act as a fast track lane to the place we want to be (Schawbel, 2010: 4). Schawbel believes that social media is a great tool to authentically build and project our personal brand.

i will be successful </subheading>

Figure 30. Climb the ladder (Lewis, 2015)

The Internet is changing. Evolving into a tool that allows the user to command their future at the click of a button, it is also reshaping attitudes towards the workforce. Darcy Summerton, Futures Consultant at LS:N Global expressed that â&#x20AC;&#x2DC;society has labeled [Digital Natives] as lazy, a misconception as they have such a strong belief that they will be financially successful when entering their careerâ&#x20AC;&#x2122; (2014). Ambitious, they have the empowerment that they will get their dream job due to the times they were brought up in with the influence of their parents, the baby boomers (Denton, 2014). Growing up with constant praise and rewards has resulted in a strong air of selfconfidence to succeed (Delcampo and Haggerty, 2011).

Figure 31. Google offices (Lewis, 2015)

Indeed, they have been nicknamed the ‘ID’ generation, an acronym for I Deserve (Schawbel, 2010: 30). Yet, these narcissistic traits can be ‘developed into a positive for the future in terms of the creativity, selfexpressionism and entrepreneurial skills of this generation that will create and drive the economy going forward’. Sally Denton, a Trend Forecaster, expressed this when I asked her where she sees this narcissistic trend heading in the future (see appendix: 5.5). Another aspect to consider, however, is that Digital Natives tend to demonstrate a weaker work ethic than Generation X (born between

1961-1981) as they put a higher value on leisure time and job satisfaction (New York Times, 2014: online). This according to Forbes, results in Digital Natives changing their employer on average every three years or less (Forbes, 2013: online). It is estimated that by 2020, the Digital Natives will account for 46% of the US workforce (Brack, 2014, p.1). As such, if this high turnover rate is maintained or increases, this will inevitably continue to have implications for the world of recruitment, which will need to adapt to finding potential candidates quickly.

i am the best for the job </subheading>

The rise of the Internet changes the world of work, traditional methods of communication and career development are evaporating. Job searching through traditional boards such as corporate websites and job fairs are becoming less relevant as the success rate is rapidly decreasing. For every 14,070 CVs circulating around there is approximately one job offer (Schawbel, 2010). No longer is a physical sheet of A4 piece of paper enough to represent someone as a valid candidate for a job vacancy in the digital creative sphere as the

information can be learnt and processed much faster online as opposed toin the mail. As we enter the post-Internet era, the way companies recruit is evolving. A company that is an extremely successful example of this is LinkedIn (Case Study, see appendix: 7.3). As a project, LinkedIn is successful in the number of people who are subscribed to it, though what else does it offer? There is no portfolio platform, a crucial aspect for creatives as their body of work is what helps make them stand out.

The success of people being recruited through online platforms is increasing, therefore, changing the perceptions of the conventional. Through my survey findings I discovered that: 86% of respondents would consider getting a job through online platforms if applicable, as they recognised that this is where the world of work is heading (or has already landed). 67% agreed that the creative industries will move towards the digital space to recruit future employees, though some weren’t convinced that it will move fully as ‘it would be nice if something more physical was invented to bring bricks and mortar back to recruitment – testing real skills not just our online edited selves’. Many believed that the face-to-face interviews would continue to be an integral part of the recruitment process to see whether they would be a good fit for the company (see appendix: 5.1). Overall, these outcomes suggest that as we are adopting the virtual world, recruitment needs to be better adjusted online in regards to the creative industries though will never make a complete move.

Figure 32. Physical meets digital (Lewis, 2015)

i date

Figure 33. eExhibitionism (Lewis, 2015)

</subheading>

Yet, Tomas Chamorro-Premuzic, a Professor of Business Psychology, writes that ‘the digital age is yet to revolutionise recruitment’. Despite companies spending a vast amount on recruitment on business such as LinkedIn, Chamorro-Premuzic suggests there is still a high level of unemployment as companies struggle to find the talent they are looking for (The Guardian, 2013: online). Could looking at the evolution of online dating and its vast success, be the answer? A survey conducted by Pop Sugar, a lifestyle digital platform, found that 59% of Internet users agree that it is a good way to meet new people (Pop Sugar, 2014: online). As discussed above, Digital Natives place a higher value on common interests with the company, fitting in

socially, in order to enjoy their position. Recruitment may therefore, benefit from turning to online dating mechanisms to increase the 4.6 year average duration of an employee at a company (Business Insider, 2014: online) as it is a way of filtering out the weak and highlighting the strong. This system would work for both parties: the employee and the employer. Going online will inevitably save time and resources, ‘by doing this they will only be going to the interview stage with the people with the highest potential = time and money not wasted’ (see appendix: 5.1). Could the modern way to get your dream job be to e-date your future employer? eHarmony believe this is the way forward as they launch their recruitment equivalent Elevated Careers (Case Study, see appendix: 7d).

i found that... </subheading>

In this chapter, I explored how the process of getting a job has been affected in the digital age. Through this I argued that the way we present ourselves online affects us in two ways: it allows us to reach our targeted audience instantaneously, but at a high price for our future if something is posted that may not present us in the best light. This idea that social media is now being blurred between social and professional, the two are now one as our employers become curious as to what we post online. Our profiles need to be seamless and honest, dressing to impress our virtual selves as well as the physical.

stage 2: big idea 55

Chaper Four The Problem </heading>

Through my research, I discovered that although statistics suggest a rise in narcissistic traits, it is less about ‘digital narcissism’ but ‘digital exhibitionism’. While the discussion above, and the term used in the literature reviewed was of ‘digital narcissism’, the aspect that is of central importance for online recruitment efforts in creative industries is digital exhibitionism. By having the self-belief and the means to exhibit one’s work through digital platforms, digital exhibitionism helps drive us to our future as it will help us separate ourselves from the overcrowded online space.

Using a cross-sectoral research methodology (see appendix: 4), I was able to collate a range of key insights that illuminated a gap in the market within the industry for creatives to facilitated their search for a career. These are: > Narcissism is on the rise. >Social media is integral for creating business in the digital age. >There will always be a need for the physical. We are physical beings in a digital world. >The digital age has yet to revolutionise recruitment, as job searching through traditional methods are becoming less relevant. >The average Digital Native changes their job every 3-5 years due to not getting along with the company socially or due to not seeing themselves grow within the company in regards to promotions. >Online dating is more acceptable and increasingly successful with the same methods being applied to professional work, yet no such forum or platform lives for creative industries specifically. The key insights I have gathered through my research have allowed me to identify key aims and objectives for my next stage in this process, leading me to my big idea. These are to revolutionise recruitment in the digital age in regards to helping creative individuals find a job and increase longevity at a company. This is an issue that needs solving in post-Internet times as the traditional ways of finding a job are declining. The way I propose to fill this gap is through â&#x20AC;&#x2DC;Exhibitâ&#x20AC;&#x2122;.

Figure 34. Key Insights(Lewis, 2015)

Chapter Five Introducing Exhibit </heading>

Exhibit is an online platform allowing the user to be in full control of their digital profile, a seamless space which acts as a blend between a digital portfolio and recruitment website that is inspired by online dating. There are three essential aspects that make exhibit unique: each user has their own virtual exhibition inspired by Google’s Cultural Institution (Case Study, see appendix: 7.5); it is a recruitment platform inspired by online dating tools and thirdly it creates a small community by the user being able to see who has visited their exhibition and by ‘watching’ other peoples they find inspiring.

r te et

rtf

Figure 35. Fragmented communication diagram (Lewis, 2015)

ail

Figure 36. What does the Internet look like (Lewis, 2015)

Through my research, I discovered that although the activities we have the opportunity to do online are vast, they are incredibly fragmented (The Economist, 2012: online). We have no access to one place that allows us to have all the information in one area that we post online about ourselves. From my experiences, the current process of applying for an internship or a job is not too dissimilar to this one: you send an email to a hopeful future employer, the content of that email is a cover letter with an attached file of your CV that they will open to read more about your background. A link to your online portfolio is also inserted into the email for the employer to learn even more about you, once they have opened the link, they can then see your body of work. If they like what they see and read, this will lead to them searching you through various social media sites to see how you present yourself online and then finally (possibly) invite you to an interview. This long-winded process proves to be more than a little time consuming, is also a broken form of communication.

This process involves the employer leaning about potential recruits from at least four different hosts, is it really a wonder why connections continue to be crucial to make it in the creative industries? Exhibit takes inspiration from other existing online platforms such as Tumblr and Cultural Institution to create a truly revolutionary platform.

stage 3: creative concept 63

Showcase your creative DNA with Exhibit. 64

Chapter Six </heading>

Our brand promise:

â&#x20AC;&#x2DC;Exhibit ensures that we connect our creatives with only the strongest compatible companies to enhance the working environment and relationship. We believe it is integral to allow the user to have full control over their profile and curate their own exhibition to promote their body of work. A platform that not only enables the users to showcase their talents but to elevate and launch them to their dream career.â&#x20AC;&#x2122;

how Exhibit works </subheading>

To begin the process of joining Exhibit, the consumer will fill out a questionnaire, similar to one that would be filled out when joining a dating website. These questions will revolve around their personality, creative interests, work ethic including the working environments that they are most productive in. This will then match up hopeful employees with possible employers based on their compatibility strengths and job vacancies.

Once complete, each profile acts as a virtual exhibition for every consumer who has joined up to the platform, where each of their visitors can virtually walk around their body of work. This allows it to be a place dedicated to the consumer whilst celebrating their work and gaining exposure by inviting people to visit their exhibition. Whilst having an exhibition for their work, they will also have a feed linked with their social media accounts, which pull together their recent posts on the different platforms,

creating an online activity page. The benefit of this is that it no longer creates a fragmented form of communication as it bringing together all mediums the user expresses themselves on. This can be accessed on their exhibition page for visitors to view. As employers will still need to read the candidates working history, their CV, there will also be a page that is dedicated for this information.

If a creative wants to promote themselves to a company they will send a virtual invitation to them to visit their exhibition, in other words, apply for the job. Exhibit filters the candidates for these companies by only presenting the strong matches. Indeed, Exhibit will only show their users the most suitable fits for a company, resulting in recruitment time being saved for both the employer and the employee. This was an important outcome from my survey (see appendix: 5.1). By

sending the top selected candidates allows for the recruitment process to still be on the employersâ&#x20AC;&#x2122; terms when looking for new candidates as they can learn about each then make a decision. Once an employer sees a viable candidate, they will then send them a virtual invitation to an interview, to then take the process offline. At Exhibit we strongly believe that face-to-face communication continues to be an important part of the traditional interview process.

Figure 37-50. Exhibit (Lewis, 2015)

Figure 51. Exhibit x Community (Lewis, 2015)

The third aspect to the platform is community. Creatives often use the digital space to find people with similar tastes and interests. Petra Collins, Fashion Photographer, states that the digital world makes it ‘easier to find people who are the same as you’ in a video for Class of 2014 issue for i-D (i-D, 2014: online). This is translated into Exhibit by being able to see who has visited their own exhibition, along with ‘watching’ fellow users’. This creates a small community as it allows the users to form connections with creatives who inspire each other, even possibly help connect them to a possible job opportunity.

Figure 52. Exhibit’s Instagram (Lewis, 2015)

Shelley Hamilton expresses that within recruitment ‘the candidate numbers have increased since it’s been online as people can view jobs…from anywhere on their devices, get vacancy alerts sent directly to them and…within minutes [be] contacting us to enquire or apply for a role’ (see appendix: 5.8). Exhibit has been designed to not only work on desktops but smartphones as well. It is integral to the company and the consumer to have an App running in sync with the Website, working seamlessly together, hand in hand. The consumer may not always be logged on to their accounts on their laptops but they will always be carrying their smartphones. The App is essential for Exhibit to drive employment going forward as it allows the user to keep up to date with their profiles, new connections or possible invitations to an interview by using push notifications. They do this whilst being able to scroll through the live social media feed, rather than it being broken up on various sites.

The employers would use this solely as a recruitment purpose, whilst having their own exhibition to keep it up to date with their recent work and social media feed for creatives to follow. Companies can create a log full of candidates who have invited them to look at their profile though may not have been right for that specific job. This way, strong candidates are not lost for future reference if another opportunity comes along.

Exhibit’s consumers </subheading>

Figure 53. Exhibit’s consumer(Lewis, 2015)

Exhibit’s primary consumer is a creative digital native. Aged between 21-30 they have a strong knowledge of who they are online and what they have to say, setting them apart from others. Their online presence is consistent throughout each platform, tailored for their audience, with the main focus revolving around their branded self in regards to their work. The three consumer’s, Matt Willcocks, and Ellie Knight, each use their social media platforms differently, though both are a relevant consumer to Exhibit. As information on the Internet is free and my consumer lives online, it seemed only sensible

to create a capsule profile from information they post to represent their virtual selves. After previously reaching out to them to find out their view on the importance of self-promotion in the digital age and what their social presence means to them, I went on their social media pages to see how they enforced their beliefs (see appendix: 5.2, 5.3a, 5.3b). As they have a strong virtual presence, I wanted to create their consumer profiles with answers from what they had posted. I was making assumptions that can also be made by future employers who visit their profiles.

why they need it: </subheading>

In this ever increasingly competitive and distracting world (Carr, 2010: 94), the consumers need to be in control of where their attention goes and how they spend their valuable time. Exhibit caters for this as it engages with the targeted creative audience given that they have the availability to curate their own personal exhibition space, which then is targeted towards their own audience. The reason they need this platform is that not only that it allows them to shamelessly and proudly present and promote themselves and their work online, but also encourages only the best job opportunities that suit their work ethic and cultural interests.

Figure 54. Twitter post(Lewis, 2015)

As their social media feeds are connected to Exhibit, Exhibit is also connected to these sites. The benefit of this is that when they add a project or change their layout, a tweet will be posted on their behalf on twitter (if they wish) with a link to their exhibition. This expands the scope that sees their work, visiting their page as Exhibit is allowing them to indulge in their digital exhibition needs. This also increases the exposure of the platform, using the consumers to be brand advocates.

Constant & Consistent:

: Matt Willcocks

: @matthew_willcocks

: 28

: @matt_willcocks

: Freelance Lifestyle Photographer

www.matthewwillcocks.com

About Matt: an average sunday for me is...

<instagram>‘Chilled sunday flex’</instagram>

I procrastinate by... <tweet>‘One of my favourite procrastination port of calls is http://convoy.tumblr.com/.’</tweet> my place to escape...

<instagram>‘My thinking spot.’</instagram>

I invest in...

<instagram>‘Left arm blackout accomplished. Thanks @ martincraigtattoo for what has to be the most mundane 16hrs of both our lives. Thank fuck it’s completed.’</instagram>

my work ethic is...

<instagram>‘work life balance.’</instagram>

my words of wisdom... <tweet>A simple rule should be applied in society. If it’s not good for everyone, it’s not good at all’</tweet> where do you get your creative inspiration from? <tweet>’I want my life to look like a Wes Anderson movie.</tweet>

Elasticated & Efficient:

: Ellie Knight

: @elkniel/@elk.design/@ek.eats

: 22

: @elkniel

: Illustrator

www.elkdesign.uk

About Ellie: guilty pleasures? <tweet>’My fingers always slip and order a Dominos’</twee>

an average day is... <tweet>‘I waste so much ‘time wasting’ time by not doing A THING when I could at least waste time doing productive stuff like reading buzzfeed.’ </tweet>

i feel most comfortable...

invest in...

<instagram>‘I buy things that will better my future, like this beautiful vintage danish chair, unfortunately it was died in.’</instagram>

work ethic is...

my words of wisdom... <tweet>‘Can we all take a few minutes to imagine a snake with hair.’</tweet> where do you get your creative inspiration from?

<instagram>‘I have a need to create beautiful things, mainly inspired by nature’</instagram>

Exhibitâ&#x20AC;&#x2122;s competitors </subheading>

success

compatibility

creative freedom Figure 55. Exhibit perceptual triangle (Lewis, 2015)

Exhibit is a timely and revolutionary idea, though, it is difficult to distinguish specific competitors as there is no one company that offers all aspects that Exhibit does. However, there are companies that have been successful within the creative industries, which work on a portfolio basis whilst having companies post job vacancies. These include:

compatibility

Figure 57. The Dot’s perceptual triangle (Lewis, 2015)

Figure 56. Behance perceptual triangle (Lewis, 2015)

success

creative freedom

Behance is a platform that is used to showcase and discover different creatives’ work. Launched in 2006 with the aim to put the creative control in the user’s hands, the success of the website is undeniable with nearly 50 million project views over the past 30 days worldwide. The company has strong links within the industry, which allows the creative to broadcast their work on a global scale. The users have access to job vacancies through a search engine where they are able to filter down what they are looking for in a certain area (Behance, 2015: online).

success

compatibility

creative freedom

Both of these platforms have a very structured wireframe, this means each users profile ends up looking similar as they don’t have the creative freedom to change the layout. This doesn’t give Digital Natives the freedom of choice that is highly valued with the generation as previously discussed (See Chapter 2). The way Exhibit differs and excels above these existing companies is through its functioning, which parallels that of online dating. This is done through a filtering system, similar to that of eHarmony (see appendix: 7.4), determined by the answers given when joining. Ensuring that the users are not bombarded with endless amount of possible jobs and potential candidates, it eliminates weak matches to make sure no time is wasted and longer lasting working relationships are established.

My second main competitor is The Dots. This is a professional networking platform, helping individuals and companies showcase their work and connect them with commercial opportunities. It allows creatives to publish their work as well as keeping them up to date with recent job opportunities that may interest them. The free platform is currently linked to the UK only, they are selling themselves as the fastest growing professional creative community (The Dots, 2015: online).

stage 4: execution 81

Chapter Seven </heading>

Exhibitâ&#x20AC;&#x2122;s launch </subheading>

The promotional strategy in place to launch Exhibit has been focused on the before, during and after of joining the platform. Having this in place will enable Exhibit to achieve the goals that are set in place: to increase the longevity that a Digital Native stays at a company by connecting people to their ideal positions along with matching their cultural interests with their work ethic and to revolutionise the recruitment industry focused on the creative fields.

Figure 58-59. Exhibit competition & invitation (Lewis, 2015)

Figure 60. Exhibit x GFS logo (Lewis, 2015)

To infiltrate awareness around the platform ahead of the launch, a competition will be set in place one month before the event. Consumer awareness will be important before the launch to ensure a connection can be made in advance, generating excitement but most importantly, demand. The competition is for the consumer to design their own advertising campaign for the platform revolving around their work, this means they are their own advertising campaign; Exhibit simply helps them get noticed. This strategy is in place to reinforce the exhibitionism trend along with the importance of self-promotion in the digital age. To reach the Digital Natives, the competition will be announced on the Graduate Fashion Weekâ&#x20AC;&#x2122;s social media accounts and website, instantly connecting the platform with the companyâ&#x20AC;&#x2122;s following.

Before: Exhibit will launch at Graduate Fashion Week on 30 May 2015. Sponsoring such a trusted event filled with an audience of recently graduated new talent within the creative fields will increase the quality of Exhibitâ&#x20AC;&#x2122;s brand promise (Inc, 2012: online) whilst gaining the exposure that is needed. As people attending the event are having such an exceptional experience, they will remember that Exhibit was a part of this day, accumulating a sense of trust and loyalty with the brand at such an early stage. In turn, being brand advocates, spreading awareness of the platform through word of mouth, and gaining a larger following.

To coincide with the competition, to give Exhibit a consistent online presence in the run upto the launch, Exhibit will do an Instagram takeover of the Graduate Fashion Week’s (GFW) account for a week in the run up to the event. As 60% of the consumer have an active presence on Instagram (see appendix: 5.1) having access to GFW’s followers, being just shy of 4,800, will generate the initial attention to begin Exhibit’s journey. As every individual need to promote and represent themselves consistently throughout various social media sites, it is important that Exhibit does the same. This will be done through a Twitter and Instagram page that will be updated with posts that are intended to motivate and connect with the consumer on a social level, a key aspect that will drive Exhibit forward into a successful future.

A key learning from my research was that there will always be a need for the physical (see appendix: 5.5). To accommodate this, at GFW, there will be a ‘starter pack’ given to each of the attendee’s, which includes an instruction manual for how to use the platform. An informative product, doubles as a memento from the event for the consumer to take home to display but most importantly, a reminder to sign up and join Exhibit. This manual will also be downloadable for any user that didn’t attend the event and who wishes to have an electronic or physical copy

Figure 61. Exhibit Starter pack (Lewis, 2015)

After: To maintain consumer satisfaction and loyalty once a member, Exhibit will let a consumer’s audience know when they have updated their profile or changed work status, allowing them to visit their page or congratulate them, similar to LinkedIn (LinkedIn, 2014: online). The aim is for the loyalty loop to be a frequent act throughout the consumer’s working week as they will want to keep up to date with job matches and their live social feed. Keeping connected with users is important to maintain the relationship. One way this will be done is by sustaining contact with a user once they have been successfully matched and been hired by an employer. Exhibit would like to know how they are getting on and ask them to review the platform to inform whether it helped the process of finding a job and a suitable employer in a more efficient and effective way. It is expected that users will maintain their activity with the Exhibit after being recruited, due to the fact that it is a space dedicated to themselves, ensuring they are not forgotten by their community of people who are ‘watching’ them.

During: Keeping consumer engagement whilst joining the platform will be easy, as the hard work has already been done to advertise the launch of Exhibit by directing the consumer’s attention to the platform. Signing up with the company is when the fun begins. This process commences with the self-analysis quiz, devised into four sections: personal characteristics, leisure time and interests, work ethic and values and the industry sector. This process will be painless as they enjoy talking about and promoting their abilities. Once this step is complete, they can select which exhibition they want the layout for their work to be displayed on, along with other creative selections to give them the control over how their space looks, as well as maintaining their personal brand identity. This maintains their engagement as it is all about the consumer, allowing them to dedicate their time to promote themselves to their best standards.

BEFORE

Sponsoring GFS Starter pack

Consider

Evaluate

Competition

Advocate

Loyalty Loop Join

AFTER

DURING

Enjoy Figure 62. Exhibit loyalty loop diagram(Lewis, 2015)

The promotional strategies put in place for Exhibit to get the right exposure needed to launch it in the industry will need quite a big budget, though this will be justified with the proof of the members that it will gain. Through â&#x20AC;&#x2DC;word of mouthâ&#x20AC;&#x2122; by having brand advocates to help the launch of the platform as it is trust, free publicity.

<!DOCTYPE html> <html> <heading>

conclusion </heading> <body>

The aims of this project set out to explore the rise of digital narcissism and the affects the online world has had on the first generation to grow up being digital, and specially the implications of this digital phenomenon on recruitment into creative industries. To do this, I used several methods of primary and secondary research, which can be seen in my methodology (see appendix: 4). These steps that I took enabled me to discover that although researchers have found a significant rise in narcissism among the Digital Natives, with signs of this trend increasing, it is not a crucial part of getting a career in the creative industries. What I discovered was that digital exhibitionism is a lot more prominent, as individuals brand themselves to promote their work online to their targeted audience.

Figure 63. PC world (Lewis, 2015)

The problem that I discovered through my research was that recruitment needed to be revolutionised in the digital world we have adopted within the creative industries. I developed a range of key insights which allowed me fill this gap in the market in an effective and successful way. By learning from the success of online dating, I believe that the way to improve recruitment is to apply these tools this field. â&#x20AC;&#x2DC;Exhibitâ&#x20AC;&#x2122; is an online platform designed to match hopeful employees with employers based on their compatibility criteria and strengthsÂŹ whilst giving each consumer their own virtual exhibition to showcase their work in an interactive and engaging way. A key component is that whilst self-promoting and connecting with future employers online, Exhibit maintain the physical aspects of recruitment alive by encouraging face-to-face communication with employees and employers once they have connected as this was a key insight from my research.

Ultimately, Exhibit, is the way to revolutionise the recruitment industry within the creative fields as it allows the consumer to showcase their virtual identity with their body of work, whilst joining them with companies they have a strong compatibility with to ensure a happy working relationship that increases their duration at the company. Now I understand why those incidents happened to me in the summer.

the future </subheading>

50000 members

10000 members

1000 members

2 years

1 year

‘‘word of mouth’

Sponsor GFS & The Launch

Instagram take over

Advertising Competition

1 month

In the more distant future for the company, if Exhibit keeps expanding as expected, I would like to see it move throughout Europe and then ultimately, to the US as the success will hopefully keep on growing. As Exhibit grows, to keep the consumer’s engagement with the platform, a live Q&A will be introduced with a different guest speaker within the creative industries. This will allow the user’s to send in their questions and gain valuable advice for how to advance in their careers from the comfort of their own home.