NATASYA LUND - N0506051 FCP 2 - FASH20032 PREPARING FOR LEVEL 3 Words: 3318
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ONTENTS//
PREFACE//
INTRODUCTION//
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SOCIAL MEDIA’S IMPACT ON TODAY’S SOCIETY//
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YOUTH SUBCULTURES, STYLE, IDENTITY AND GENDER REPRESENTATION//
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CONCLUSION// ILLUSTRATIONS// REFERENCES// BIBLIOGRAPHY// APPENDIX//
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REFACE// In order to move forward, I believe reflecting on feedback I’ve received the past 1.5 years will be beneficial to recognise my strengths and what needs improving before going into level 3.
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So from the feedback, it’s clear that my strength lies in the visual aspect of the course; e.g. producing mood boards, portraying mock-ups of campaigns, and page layouts. In addition to that, it has been mentioned that the research I’ve conducted into brand history and identity is strong. Therefore, applying it to the FCP triangle, my strength comes under the context, creative concept and execution points. In reflection of myself as an individual, my confidence has always been within styling and photography, which has grown strength to strength from projects both within and out of University. This is because it’s the area of the industry I’m most interested in, so my effort mainly goes into these certain aspects of each project.
STRENGTHS
WEAKNESSES Lastly, my weaknesses throughout University has always been the lack of academic references, showing clear development processes, Havard referencing, then the 2 biggest issues are time management and presentations. Before beginning level 3, it is important for me to read valid source references whether it’s books or journals, then to remember to follow the FCP triangle during every development process, learn how to Havard reference from links provided on NOW, then to set myself a timetable of deadlines so projects can be completed at an appropriate time and at the best of my ability. In relation to my improvement within time management, presenting will become easier as I will allow myself time to practise in order for a good performance without the use of a script.
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SPIRATION//
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Applying my strengths alongside the FCP triangle, and comparing it to my aspiration of graduating into becoming a stylist, it fortunately matches.
Executions
Finalised outcomes and integrated communication
Creative Concept
Creative interpretation of the big idea from visual referencing
The Big Idea
An idea that disrupts and creates impact to achieve the stated aim
Context
Insight leg strategy from primary and secondary research
With a wide range of responsibilities including attending fashion shows, trend forecasting, fabric and clothing research, and creating an image; a stylist fits into the context and creative concept segments of the FCP triangle.
FCP TRIANGLE// 7
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NTRO//
‘Fashion is therefore an essential element in the identity-building process of both individuals and social groups… Clothes are a major, though not unique, element in the status signalling of individuals and social groups’ (Frederic Godart, 2012: p.31)
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‘Branding and marketing practices have become indispensable tools, further bolstered by platforms like Instagram and Twitter. Social media has provided a complete revolution in the way that the fashion industry operates.’ (Chris Danforth, 2015)
For level 3, the topics of choice are ‘social media’s impact on branding and the society’ and ‘history of youth subcultures, style, and identity and gender representation within fashion’. It’s come to a decision to focus on those subject matters because both has always been an interest of mine, as well as standing out as current trends within the fashion industry, and from personal observations. Furthermore, this report aims to outline the research undertaken leading me to my two ideas, the analysis within them and the target of outcomes from both. Additionally, a plan of action will be included at the end, of tasks to complete over the summer.
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OCIAL MEDIA’S IMPACT ON TODAY’S SOCIETY//
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‘In a world where what you wear and who you wear are projections of your values, more and more people are using social media for wardrobe advice, inspiration, and to find the latest trends. Brands have taken notice and are competing fiercely for your business.’ (Camille Bautista, 2013)
This quote shows that social media has grown majorly in the past couple of years, which means that more and more brands are aware of this rise, leading to a big impact within fashion branding. Not only is it affecting the lives of brands but also their consumers, encouraging the growth of the narcissist within the millennial generation.
Being a big advocate of Instagram and Snapchat, I have noticed that social media is making an impact on branding and events. It has been an ongoing trend for a few years, however it’s the last year especially, that the sudden growth of Instagram and Snapchat has become obvious.
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INSTAGRAM// ‘Instagram grew by 50% between March and December 2014 and exceeded the 300 million user mark… with much faster growth momentum. Instagram is already becoming a hot space for brands due to its amazing engagement rate.’ (Luke Brynley-Jones, 2014) Instagram is the clear dominant tool for brands to use to communicate to their target markets and potential customers, as shown by the 3.31% engagement rates, over 40 times more than that of Twitter. Brands are obviously keen to cash in on this trend and recognise that the direct marketing that social media platforms provide can be a key aspect of competitive advantage to launch them ahead of competition.
SNAPCHAT// Another social media platform that is flourishing in the current digital world of consumers lives is Snapchat. ‘Fashion brands embraced Snapchat this season to give their consumers secret insider content, providing more access to the inner workings of putting on a runway show.’ (Sarah Jones, 2015) Fashion brands in particular seem to have accepted Snapchat as the new medium to connect with consumers, as shown by Fashion events being shown first and foremost by the app. Consumers who would have previously been unable to access these exclusive peaks at the inner workings of the shows have them readily available at their fingertips. A change which fashion designers are cashing in on and in doing so are launching their brand reputations even further into the lives of their customers. Such exposure is an obvious advantage and is likely to increase brand awareness and in turns sales, turnover and profitability.
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NARCISSIST//
However the fashion designers advantage does not end there as due to the narcissist nature of consumers in the current day and age mean that they benefit from free exposure. A narcissist consumer is likely to instantly feel the urge to share new purchases of labels and in doing so is further spreading brand awareness essentially for free. Clearly this is a situation that fashion designers and labels are eager to accept and this narcissist nature of the consumer is an added symptom of the current social media focused world.
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TREND INNOVATORS//
TREND DRIVERS//
TREND IMPACT//
TREND CONSEQUENCE//
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ARTOGRAM// According to this cartogram, it’s the founders of Snapchat and Instagram who are the innovators of this trend, which then the designers and brands (Michael Kors and Valentino) follow as the drivers of this trend by pushing it further into the fashion industry, bringing forward the attention on social media sites, especially Snapchat and Instagram. This leads to the impact, which is the discover news add on, live fashion event coverages (Michael Kors and Burberry), and views of cities around the world (Snapchat), then quick updates of campaigns, rise of hashtags on Instagram (Michael Kors up close and personal – direct message from himself, through hashtag #MKdirect). Finally, the consequences of it all are the exclusivity to events and shows, free experiences of fashion shows from the comfort of your own home enabling social media users to feel as though they are part of something. The cartogram has then facilitated towards the first research question: to analyse how social media is making an impact on fashion branding and the society, influencing the narcissist reflecting the ‘bragging culture’ that we live in.
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ONSUMER// Therefore, the target consumer would be part of the millennials who have grown up in a fast growing society alongside the fast technology world. Additionally, would consider themselves a common user of social networking sites.
A consumer profile linking to my idea is as shown: 20 year old fashion student, active on most social networking sites such as facebook, Instagram, twitter and snapchat, calls herself a ‘shopaholic’ and an Instagram addict.
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URVEY//
To further my research surrounding this topic, I produced an online survey to find out a range of views and opinions on social media and the digital world. A majority of answers came from 16-25 year olds who were active across many social media platforms, which fits the target consumer perfectly. The survey results showed that social networking sites were used for socialising and posting, mostly commonly used were Facebook, Instagram and Snapchat. Another research topic was narcissism in the current digital world, with the question; ‘People are more concerned with proving to the rest of the world that they’re having the time of their lives than actually enjoying themselves.’ Do you agree or disagree? And why?’ A majority agreed to an extent, saying people often forget to ‘live’ the moment. The survey succeeded in collecting opinions about social media’s impact on branding with the overall consensus being it acts as a tool for closer connections between brands and consumers. One student says ‘I see it as a positive way for brands to communicate and market to their customers and target markets, and unlike in previous generations the customers now have the ability to reply back instantaneously.’ 100%
95% 82%
41% 24%
Facebook Instagram Snapchat Twitter Tumblr ACTIVE SOCIAL MEDIA PROFILES
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DEA//
‘It's about focusing on one or two of the best platforms for your business and really building quality connections on those platforms," she says. "If you try to spread yourself thin, whether it's across all social media platforms or trying to get huge quantities of followers, how will you engage with all of them effectively? I advise clients to go for meaningful engagements.’ (Diane Leon, 2015)
Expanding on the research question, comes the idea (Trend future) where I will be creating a new online fashion brand, with only the use of social media to launch it. The main focus of additional secondary research is to collect statistics on social networking sites to find out which site will achieve a brand launch effectively. Whilst also gathering brand inspiration and successful social media branding strategies, to narrow down this broad topic giving me a clear direction to work towards when creating an online based brand. Lastly, primary research such as focus groups to ask questions based on the trend future idea, finding out what needs to be considered in order to communicate a brand new online fashion brand based around social media strongly.
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OUTH SUBCULTURES, STYLE, IDENTITY AND GENDER REPRESENTATION//
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YO U
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The 20th century evolution of ‘youth culture’ first came alive post-war where Britain played a crucial role behind the creation of many subcultures. The tribes developed by the amalgamation of several reasons, whether it was music taste, social class, fashion, or religious beliefs; people came together according to each other’s life decisions. However once it all sunk into the world, it caused many contradictive reactions; adolescents who were part of these subcultures were looked upon as dangerous, misunderstood which people feared but also thought as a new consumer group and the future. The indecisive world couldn’t come to grips to this decision making ‘youth culture’.
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‘By choosing clothes or accessories, individuals constantly reaffirm their belonging or non-belonging to various social, cultural, religious, political, or professional groups.’ (Frederic Godart 2012: p.34)
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‘Without the hipsters, teddy boys, beats, rockers, rude boys, mods, surfers, hippies, punks, b boys, flygirls, ragamuffins – and all other street style originals – most of us would be left without anything to wear.’ (Ted Polhemus 1994: p.7)
So what triggered this emergence within Britain? ‘British post-war youth culture emerged primarily in response to the American popular culture centred on rock 'n' roll.’ (Katie Milestone, 1999). The impact of the US and British culture becoming one surprisingly inspired the beginning of recognisably British youth subcultures from the 50’s to the late 70’s such as the Teddy Boys, Mods, Skinheads then Punks. Each social group was an expression of individuality but in a sense, wearing the same clothes as each other isn’t being individual after all as you all look the same, it’s full of contradiction.
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This youth culture era began to change by the late 70’s where adolescents were becoming less gang-oriented so subcultures were harder to identify. By the 90’s, teenagers were finally acting like teenagers where subcultures were slowly fading away. ‘In search of latter-day youth subcultures, I'm pointed in various directions by various people, but I invariably can't work out whether what I'm looking at is meant to be serious or a joke.’ (Alexis Petridis, 2014).
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Primary research was conducted where results showed 75% of people have knowledge of youth subcultures, stating that they still existed but not as extremely as in previous generations. ‘I'm not so sure they do, customers are way too fluid to belong to one group, we buy from anywhere… I don't think you could ever group that like you could with the mods, skinheads etc. Although often you don't realise a trend until after so perhaps in a few years we would be able to look back and identify a youth group.’ (Anonymous, Appendix: p.2)
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TREND INNOVATORS//
TREND DRIVERS//
TREND IMPACT//
TREND CONSEQUENCE// 24
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ARTOGRAM//
Looking back, the original innovators of this trend would be the youth subcultures between the 60’s-80’s, such as Teddy Boys, Punks and Hippies. Whilst also including the fashion movements such as the Jean Paul Gaultier – Le Smoking suit (1966), David Bowie’s introduction to Glam Rock, and the feminism wave leading to the question of gender representation within fashion.
Driving this trend are designers and retailers who are encouraging the blur between genders, such as Jean Paul Gaultier who featured transgender model Andreja Pejic in a womenswear runway show, then Selfridges recently launching a genderless pop up shop named ‘Agenda’, designed by Faye Toogood. ‘In the 21st century we're increasingly aware that gender is not a binary, and the way we choose to present ourselves as individuals shouldn't be constrained by the artificial divisions of society or commerce’ (Faye Toogood, 2015) With further research this topic brought me towards the impact of the acceptance of transgender and same sex marriage which is encouraged by celebrities such as Laverne Cox and Bruce Jenner, creating ‘The Kardashian Effect’ through the transgender community. From this are the androgynous fashion campaigns (DKNY #weareNYC Spring 2015 campaign), a rise of femininity within menswear (Topman Spring/Summer 2015), gender-neutral retail experience (Selfridges ‘Agender’) and celebrities opening up their opinions on this subject matter (Miley Cyrus and Ruby Rose). So with the fading of strong youth subcultures, it seems as if the introduction of a gender neutral market will be able to succeed, as people are beginning to open up and become the individuals they believe in as well as being accepted by today’s society. ‘We live in a world where Facebook and Google+ have introduced "infinite" gender options for users, trans models like Andreja Pejic and Hari Nef are burning up the runway; and designers like Hood By Air and Telfar break new ground in fashion every day’ (Zing Tsjeng, 2015)
Through exploration of the history of youth subcultures, how style represents identity and the understanding of the rise of gender representation within fashion, comes a possibility for a Trend Future to continue to expand this positive ‘gender representation’ movement.
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In the process of creating my final idea, I conducted primary research to give me an insight on society’s outlook on this subject matter. The aim of the survey was to find whether or not this movement is a positive or negative change towards my target consumer, 1825 year olds. Respondents to primary research were asked questions to judge their opinion on fashion and identity, where they agreed style can impact identity. One respondent said ‘Yes I believe it is an extremely influential element to identity-building. We are known to see a group of individuals, instantly judge them. We all have a judgemental behaviour as humans it’s in our nature, so this is an inevitable outcome’. First impressions are important in the judgmental world in which we live, pushing the focus of the next questions on the transgender community and gender representation, which seek to find positivity in this topic area. Most respondents believed that everybody is entitled to be who they are and love whoever. ‘I feel that our society is definitely moving forwards in the acceptance of transgender people. I believe that in the year of 2015, with said celebrities publically addressing their gender and identity, we are, as a whole, moving closer towards acceptance and understanding of the transgender community.’ Said unexpectedly by a 21-25 year old male student. The findings of this survey showed 90% of people feel the rise of gender representation is a positive change, which leaves a minority to reach out to when developing my idea further.
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YES 90% NO 10%
URVEY//
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Whether they feel part of a subculture or not, the target consumer would either agree or encourage the rise and change of gender representation within the fashion industry, the magazine will be catered aesthetically towards both genders. The focus is on gender representation, encouraging awareness of this trend from informative writing, to campaigns and stories which is aiming to strengthen awareness of this subject matter.
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The ideal consumer for this idea would be a 24 year old photography graduate, shops in both Topshop and Topman, enjoys writing music, attending exhibitions, and would describe herself as a tumblr addict and a Miley Cyrus fan.
ONSUMER// 27
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DEA// When looking into the gender neutral market, I feel as though designers and brands are unexpectedly opening up to this subject matter. Therefore the public are just expected to come to terms with what’s happening in the world. It has come to a realisation that there isn’t a platform where we can embrace this change as one topic, on one media, introducing an open minded way of informing the rise of gender representation and transgender within this day and age. Instead of bringing out a collection, or a brand where it’s creating a confusion of thoughts, the idea of a gender neutral fashion magazine where the 1st issue will be both informing and inspiring. The aim is to open minds to this generation of acceptance and the blur of genders within the fashion industry. Inside will include both real-life and celebrity stories, giving a chance for people to come to an understanding of people’s identities. Along with all fashion magazine features such as new fashion trends, campaigns, shopping and more, keeping in mind of the target consumer creating a normality of positive thoughts around this new trend/subject.
‘I don’t relate to what people would say defines a girl or a boy, and I think that’s what I had to understand: Being a girl isn’t what I hate, it’s the box that I get put into.’ (Miley Cyrus, 2015)
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To conclude, both ideas impact the consumer albeit in different ways. Beneath the changes happening within the fashion industry are the consumers, making an impact on these trends through the digital world.
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Technology is a big part of this world, which means social media will continue to grow and catch up with the world’s population. Within the 7.2 billion people, there are 3 billion internet users, 2 billion active social media accounts, then 1.6 billion active mobile social media accounts; so there’s obviously no question about brands and designers getting the memo and creating a name for themselves in the social media world. With careful thinking and clear understanding of the consumer, launching a brand based on social networking platforms can be possible, information travels as quick as light through the digital world; people are constantly posting and sharing, especially within the fashion industry. It’s about being in the know of the latest trends and ‘showing off’ your newest
wardrobe. The brand to consumer engagement on social networking platforms is bigger than ever, and the fashion industry isn’t one to shy away from this impact. Supporting the power of social media, is the growth of judgements within society however also the acceptance of communities which used to be frowned upon. However, it’s the viral articles and videos which impact change through society, letting people think twice about their judgements. The world are still in process of overcoming obstacles, which is where my magazine would be at an advantage because it’s about informing and create a larger understanding behind the rise of gender representation within the fashion industry, whilst exploring the transgender community helping people open their mind about this topic. Having aesthetically pleasing informative content, will appeal towards the consumer and the rest of the world, both acting as an inspiring and influential fashion magazine.
ONCLUSION// 29
THIS SUMMER.. In preparation for Level 3, it’s important to carry on the research process for both of my topics, keeping in mind where I need to make improvements. So I’ve got to make sure to conduct more primary research, and creative primary research too, then capture as much street style to recognise current subcultures and trends. Moving onto secondary research, it’s vital to keep up with upcoming trends of the fashion industry and social media world, by reading articles, journals and books; every time making sure to log all relevant references necessary for both topics.
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LLUSTRATIONS/
FRONT COVER Fig. 1 – Art is Beauty Mel Wallis, (2015), What is Beauty? Art is Beauty [OWN PHOTOGRAPH] Fig. 2 – The Rad #6 Unisex Group Rad Hourani, (2015), The Rad #6 Unisex Group [ONLINE]. Available at:http://www.radhourani.com/blogs/news/7840731-the-rad-6-unisexgroups [Accessed 31 May 15]. Fig. 3 – Michael Kors Snapchat Michael Kors, (2015), Michael's Models Snapchat [ONLINE]. Available at:http://www.harpersbazaar.com/fashion/fashion-week/a10033/ snapchat-new-york-fashion-week/ [Accessed 31 May 15]. PREFACE Fig. 4 – Art is Beauty Mel Wallis, (2015), What is Beauty? Art is Beauty [OWN PHOTOGRAPH] Fig. 5 – Flawless Mood board Natasya Lund, (2015), Trend Forecasting Project [OWN MOOD BOARD] Fig. 6 – Air bnb mock-ups Natasya Lund, (2015), Air bnb Project [OWN EDITING] Fig. 7 – Nottingham Indie Fashion Week Marcus Holdsworth, (2015), ‘Filled in Block Party @ Rough Trade, NIFweek’ [ONLINE]. Available at: https://www.facebook.com/media/ set/?set=a.823777504356773.1073741839.393114800756381&type=3 [Accessed 31 May 2015] Fig. 8 – 2.5 Fragrance Project Natasya Lund, (2014), Fragrance Project [OWN REPORT] Fig. 9 – Nina Ricci Perfume Analysis Natasya Lund, (2013), Perfume Ad Analysis [OWN REPORT] Fig. 10 – White Project Photo-shoot Natasya Lund, (2014), White Project [OWN PHOTOGRAPH] INTRO Fig. 11 – Unveiling Fashion Book Cover Palgrave Macmillan, (2012), Unveiling Fashion Book Cover [ONLINE]. Available at:http://www.palgrave.com/page/detail/unveiling-fashionfr%E9d%E9ric-godart/?K=9780230358355[Accessed 31 May 15]. Fig. 12 – Highsnobiety Logo High Snobiety, (2015), High Snobiety Logo [ONLINE]. Available at: http://www.highsnobiety.com/ [Accessed 31 May 2015] SOCIAL MEDIA Fig. 13 – Social Media Tags The Drum, (2013), Social Platform before a Fashion Choice [ONLINE]. Available at:http://www.thedrum.com/news/2013/11/13/83-uswomen-will-consult-social-platform-making-fashion-purchase [Accessed 01 June 15]. Fig. 14 – Instagram Chris Smith, (2012), Instagram Takeover [ONLINE]. Available at: http://www.techradar.com/news/software/applications/facebookcompletes-instagram-takeover-1095357 [Accessed 01 June 15] Fig. 15 – Snapchat Anne Marie Suchanek, (2013), Snapchat Redesign [ONLINE]. Available at:http://infospace.ischool.syr.edu/2013/06/11/7-things-youll-noticeabout-snapchats-redesign/ [Accessed 01 June 15].
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CARTOGRAM Fig. 17 – Instagram Founder Kim-Mai Cutle, (2012), Instagram Founder [ONLINE]. Available at:http://www.techtv101.com/features_instagram-founder-says-android-version-is-betterthan-ios-version[Accessed 01 June 15]. Fig. 18 – Snapchat Founders Snapchat, (2013), Snapchat Founders [ONLINE]. Available at:http://articles.latimes.com/2013/dec/04/business/la-fi-tn-snapchat-emily-white-coo-20131203 [Accessed 01 June 15] Fig. 19 – Snapchat Logo Snapchat, (2014), Snapchat Logo [ONLINE]. Available at: http://www.rewindandcapture.com/why-is-it-called-snapchat/ [Accessed 01 June 15]. Fig. 20 – Instagram Image Antonio Pedrosa, (2014), Instagram Camera [ONLINE]. Available at:http://www.blessthisstuff.com/stuff/technology/digital-cameras/instagram-socialmaticcamera/ [Accessed 01 June 15] Fig. 21 – Snapchat Article Natasya Lund, (2015), Screenshot of Article [ONLINE]. http://www.luxurydaily.com/snapchat-enables-intimate-storytelling-during-fashion-month/ [Accessed 01 June 15] Fig. 22 – Estee Lauder hires Kendall Jenner Article Natasya Lund, (2015), Screenshot of Article [ONLINE]. Available at:http://fashionista.com/2014/11/kendall-jenner-estee-lauder [Accessed 01 June 15] Fig. 23 – Topshop Instagram Page Topshop, (2014), Topshop Instagram Account [ONLINE]. Available at:http://www.bloggersideas.com/best-engaged-brands-instagram-followed/ [Accessed 01 June 15] Fig. 24 – Michael Kors Snapchat Michael Kors, (2015), Michael's Models Snapchat [ONLINE]. Available at:http://www.harpersbazaar.com/fashion/fashion-week/a10033/snapchat-new-yorkfashion-week/ [Accessed 31 May 15]. Fig. 25 – Discover Snapchat Snapchat, (2014), Snapchat Discover [ONLINE]. Available at:http://www.thevideoink.com/category/features/alist-daily-features/ [Accessed 01 June 15]. Fig. 26 – Burberry Snapchat Burberry, (2015), Burberry Snapchat [ONLINE]. Available at: http://www.nylon.com/articles/burberry-london-in-los-angeles-event [Accessed 01 June 15]. Fig. 27 – #MKdirect Michael Kors, (2013), #MKdirect Instagram [ONLINE]. Available at:http://socialhospitality.com/2013/12/brands-using-instagram-direct-for-marketing/ [Accessed 01 June 15]. Fig. 28 – London in LA Snapchat Burberry, (2015), Burberry Snapchat [ONLINE]. Available at: http://www.nylon.com/articles/burberry-london-in-los-angeles-event [Accessed 01 June 15]. Fig. 29 – Fashion Show Prep Snapchat Snapchat, (2015), Fashion Show Prep Snapchat [ONLINE]. Available at:http://www.luxurydaily.com/snapchat-enables-intimate-storytelling-during-fashionmonth/ [Accessed 01 June 15] Fig. 30 – Zoolander 2 Guest Snapchat Snapchat, (2015), Zoolander at Paris Fashion Week [ONLINE]. Available at:http://www.omaravalos.com/invisible-advertising/ [Accessed 01 June 15]. Fig. 31 – Dior Instagram – Rihanna Natasya Lund, (2015), Dior Instagram Post – Rihanna Video, Screenshot [ONLINE]. SURVEY PAGE Fig. 32 – Facebook Logo https://ladolcemoda.wordpress.com/2012/04/13/starting-with-facebook-for-fashion/ Fig. 33 – Instagram Logo http://running.competitor.com/2013/11/junk-miles/runners-on-instagram_80625 Fig. 34 – Snapchat Account http://www.theverge.com/2015/1/27/7919809/snapchat-launches-discover-feature-ad-support Fig. 35 – Twitter Logo http://www.clohound.com/the-twitter-feud-between-amber-rose-and-khloe-kardashian/twitter-logo-4/ Fig. 36 – Tumblr Logo http://fontsinuse.com/uses/5323/tumblr-logo-2007-2013 YOUTH SUBCULTURES, IDENTITY, GENDER REPRESENTATION AND TRANSGENDER Fig. 37 – Teddy Boys N/A, (1950), Teddy Boys [ONLINE]. Available at: http://www.momondo.co.uk/inspiration/the-first-teenagers-in-the-world-teddy-boys/ [Accessed 02 June 15]. Fig. 38 – Mods N/A, (1964), Mods [ONLINE]. Available at: https://subculturevulture.wordpress.com/tag/mods/ [Accessed 02 June 15]. Fig. 39 – Skinheads Derek Ridgers, (1982), Skinheads in Chelsea [ONLINE]. Available at:http://www.theguardian.com/artanddesign/2014/aug/19/skinheads-derekridgers-portraits-street-photography-70s-80s-youth-culture [Accessed 02 June 15]. Fig. 40 – Punks Branco E Preto, (1988), Punks [ONLINE]. Available at: http://favim.com/image/545940/ [Accessed 02 June 15] Fig. 41-49 – Exactitudes Ari Versluis, (2008), Exactitudes [ONLINE]. Available at:http://www.theguardian.com/fashion/gallery/2015/mar/24/from-sapeurs-to-yummy-mummiesevery-fashion-subculture-in-pictures [Accessed 02 June 15] CARTOGRAM Fig. 50 – Punks N/A, (1988), Punks [ONLINE]. Available at: https://iainhunter.wordpress.com/2012/02/21/agile-punks-go-write-an-app/ [Accessed 02 June 15]. Fig. 51 – David Bowie Brian Ward, (1972), David Bowie - Ziggy Stardust [ONLINE]. Available at:http://classicalbumsundays.com/classic-albums-sundays-presents-davidbowies-the-rise/ [Accessed 02 June 15] Fig. 52 – Jean Paul Gaultier – Le Smoking Suit N/A, (1966), Yves Saint Laurent - Le Smoking Suit [ONLINE]. Available at:http://blog.fashionstrikes.com/2013/06/14/fashion-moment-yves-saintlaurent-le-smoking/ [Accessed 02 June 15]
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Fig. 53 – Feminism Wave N/A http://studentsforliberty.org/blog/2014/09/17/individualist-feminism-a-lost-tradition/ [Accessed 02 June 15] Fig. 54 – Hippies N/A https://sixties-social-movements-3.wikispaces.com/Hippie [Accessed 02 June 15] Fig. 55 – Andrej P Jean Paul Gaultier, (2011), Andrej Pejic, The Wonderkid of Fashion [ONLINE]. Available at:http://www.denimblog.com/c/t/193094/andrej-pejic-thewonderkid-of-fashion [Accessed 02 June 15] Fig. 56 – Agender @ Selfridges Matt Cannon, (2015), Gender-neutral clothing: We try out Selfridges new Agender range [ONLINE]. Available at: http://www.birminghammail.co.uk/ whats-on/shopping/gender-neutral-clothing-try-out-selfridges-8829333 [Accessed 02 June 15]. Fig. 57 – Gender Neutral Shopping Article Natasya Lund, (2015), Screenshot of Article [OWN IMAGE] http://fashion.telegraph.co.uk/article/TMG11470279/Is-gender-neutral-the-future-ofclothes-shopping.html [Accessed 02 June 15] Fig. 58 – Jean Paul Gaultier androgyny Inez and Vinoodh, (2009), Gender Bending Ad Campaigns [ONLINE]. Available at:http://www.trendhunter.com/trends/jean-paul-gaultier-fall-09 [Accessed 02 June 15] Fig. 59 – Ellen Degeneres N/A, (2015), Ellen DeGeneres and Girlfriend [ONLINE]. Available at:http://www.dailymail.co.uk/tvshowbiz/article-2901413/Ellen-DeGeneres-kneelsred-carpet-check-stunning-wife-Portia-Rossi-dons-plunging-jumpsuit-People-s-Choice-Awards.html [Accessed 02 June 15] Fig. 60 – Bruce Jenner Transformation to Caitlyn Amethyst Tate, (2015), A Look At Caitlyn Jenner's Transformation Over The Years In Photos [ONLINE]. Available at: http://okmagazine.com/photos/ caitlyn-jenner-transformation-over-years/photo/1001262516/[Accessed 02 June 15]. Fig. 61 – Gay Marriage Justin Sullivan, (2014), High court denies gay marriage appeals, paving way for unions [ONLINE]. Available at: http://pix11.com/2014/10/06/highcourt-denies-gay-marriage-appeals-paving-way-for-unions/[Accessed 02 June 15]. Fig. 62 – Laverne Cox Gillian Laub, (2014), OITNB's Laverne Cox Becomes First Transgender Person to Cover Time, Ellen DeGeneres Tweets Congrats [ONLINE]. Available at: http://uk.eonline.com/news/546573/oitnb-s-laverne-cox-becomes-first-transgender-person-to-cover-time-ellen-degeneres-tweets-congrats [Accessed 02 June 15]. Fig. 63 – DKNY #weareNYC Gregory Harris, (2015), DKNY #weareNYC [ONLINE]. Available at:http://www.glamourmagazine.co.uk/news/celebrity/2015/01/16/cara-delevingnein-menswear-campaign-for-dkny [Accessed 02 June 15]. Fig. 64 – Topman S/S 2015 Thomas Cooksey, (2015), Topman S/S 2015 [ONLINE]. Available at:http://www.highsnobiety.com/2014/11/19/topman-spring-summer-2015lookbook/ [Accessed 02 June 15]. Fig. 65 – Ruby Rose ‘Break Free’ Ruby Rose, (2014), Ruby Rose 'Break Free' [ONLINE]. Available at:http://www.huffingtonpost.com/2014/07/21/ruby-rose-break-free_n_5606137.html [Accessed 02 June 15]. IDEA Fig. 66 – Adrogyny N/A, (2014), Fashion// Selfridges fight for gender rights with plans to stock only gender neutral clothing[ONLINE]. Available at: http://www. lippymag.co.uk/fashion-selfridges-fight-for-gender-rights-with-plans-to-stock-only-gender-neutral-clothing [Accessed 02 June 15] Fig. 67 – Feminine Men’s clothing N/A, (2013), Men’s Fashion Week, London, 2013 [ONLINE]. Available at:http://freethoughtblogs.com/taslima/2013/01/13/why-not-gender-neutralclothes/ [Accessed 02 June 15]. Fig. 68 – Gender Neutral Fashion N/A, (2015), Gender neutral: Selfridges Agender [ONLINE]. Available at: http://www.irishtimes.com/life-and-style/fashion/gender-neutral-fashionfor-everyone-1.2177032 [Accessed 02 June 15]. CONCLUSION Fig. 69 – Technology at Catwalk Show N/A, (2013), Attend The Shows Vicariously With The Best NYFW Instagrams So Far Read more: http://www.thegloss.com/2013/09/08/fashion/ fashion-week-instagrams/#ixzz3byI5xiFs [ONLINE]. Available at: http://www.thegloss.com/2013/09/08/fashion/fashion-week-instagrams/ [Accessed 02 June 15]. Fig. 70 – iPhone and iPad Andrew Nusca, (2012), Can social networks help e-commerce take off? [ONLINE]. Available at:http://www.zdnet.com/article/can-social-networkshelp-e-commerce-take-off/ [Accessed 02 June 15] Fig. 71 – Rad Hourani Rad Hourani, (2015), The Rad #6 Unisex Group [ONLINE]. Available at:http://www.radhourani.com/blogs/news/7840731-the-rad-6-unisex-groups [Accessed 02 June 15]. SUMMER PLAN Fig. 72 – Street Style N/A, (2015), Street Style [ONLINE]. Available at: http://imgbuddy.com/street-fashion-photography.asp[Accessed 02 June 15] Fig. 73 - Reading Vinz, (2005), Woman reading book [ONLINE]. Available at: http://www.photocase.com/photo/39519-stock-photo-woman-sun-park-reading-parisfrance [Accessed 02 June 15]. Fig. 74 – Notes N/A, (2014), Black and White notes [ONLINE]. Available at: http://imgarcade.com/1/black-and-white-writing-images/ [Accessed 02 June 15]. Fig. 75 – Agender Selfridges BDA London, (2015), Selfridges Agender Window [ONLINE]. Available at:http://www.bdalondon.com/selfridges-respond-to-the-shift-towardsunisex-dressing-and-genderless-fashion/ [Accessed 02 June 15].
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EFERENCES//
Alexis Petridis. (2014). Youth subcultures: what are they now?. Available: http://www.theguardian.com/culture/2014/mar/20/ youth-subcultures-where-have-they-gone. Last accessed 25th May 2014. Anne Perkins. (2014). Free us from the tyranny of clothes, so we can enjoy them. Available: http://www.theguardian.com/ commentisfree/2014/oct/27/free-women-tyranny-clothes-germaine-greer-walking-manifestos. Last accessed 25th May 2015. Camille Bautista. (2013). How Social Media Is Making Over the Fashion Industry. Available: http://mashable.com/2013/02/15/ fashion-social-media/. Last accessed 23rd May 2015. Chris Danforth. (2015). Has Social Media had a Positive Impact on the Fashion Industry?. Available: http:// www.highsnobiety.com/2015/04/08/has-social-media-had-a-positive-impact-on-the-fashion-industry/. Last accessed 23rd May 2015 Deborah Mitchell. (2015). What Matters More, the Quality or Size of Your Social Media Audience?. Available: http://www. entrepreneur.com/article/246445. Last accessed 24th May 2015 Dezeen. (2015). Faye Toogood designs gender-neutral retail spaces for London's Selfridges. Available: http://www.dezeen. com/2015/03/14/faye-toogood-agender-gender-neutral-retail-space-pop-up-selfridges-london/. Last accessed 23rd May 2014. Frederic Godart (2012). Unveiling Fashion Business, Culture, and Identity in the Most Glamorous Industry. London : Palgrave Macmillan . p15-34. Katie Milestone. (1999). Youth culture: Concluding Weekend's review of the modern age. Available: http://www.theguardian. com/theguardian/1999/dec/18/weekend7.weekend5. Last accessed 25th May 2015. Kimberly Gillan. (2015). Miley Cyrus and Ruby Rose both identify as gender fluid, but what’s it really like?. Available: http:// www.news.com.au/lifestyle/relationships/miley-cyrus-and-ruby-rose-both-identify-as-gender-fluid-but-whats-it-really-like/ story-fnet0gt3-1227361637099. Last accessed 25th May 2015. Luke Brynley-Jones. (2014). 8 useful social media statistics for 2015.Available: http://oursocialtimes.com/8-useful-socialmedia-statistics-for-2015/. Last accessed 23rd May 2015. Sarah Jones. (2015). Snapchat enables intimate storytelling during fashion month. Available: http://www.luxurydaily.com/ snapchat-enables-intimate-storytelling-during-fashion-month/. Last accessed 23rd May 2015 Ted Polhemus (1997). Street style: From sidewalk to catwalk . London: Thames and Hudson. 7-17. Zing Tsjeng. (2015). Inside Selfridges' radical, gender-neutral department store. Available: http://www.dazeddigital.com/ fashion/article/24088/1/inside-selfridges-radical-gender-neutral-department-store. Last accessed 25th May 2015
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Ada K채llgren. (2015). Agender, Selfridges. Available: http://makeitlast.se/2015/03/21/on-our-mindsgenderless-is-more/. Last accessed 25th May 2015. Ari Versluis and Ellie Uyttenbroek (2011). Exactitudes: a contraction of exact and attitude. 5th ed. The Netherlands: Nai010 Publishers. 1-200. Bibby Sowry. (2015). Is 'gender-neutral' the future of clothes shopping?. Available: http://fashion.telegraph. co.uk/columns/bibby-sowray/TMG11470279/Is-gender-neutral-the-future-of-clothes-shopping.html. Last accessed 24th May 2015. Brigitt Hauck. (2011). Andrej Pejic: The man modelling womenswear. Available: http://www.bbc.co.uk/ news/magazine-12567337. Last accessed 25th May 2015. Harry Wallop. (2015). What are the new status symbols for the ultra rich?. Available: http://www.telegraph. co.uk/culture/art/artsales/11551843/What-are-the-new-status-symbols-for-the-ultra-rich.html. Last accessed 23rd May 2015. Kim Garst. (2015). 5 Reasons Social Media Is Not Working for You. Available: http://www.entrepreneur. com/article/246444. Last accessed 23rd May 2015 Paul Gorman (2006). The Look: Adventures In Rock & Pop Fashion. Japan: Adelita. 8-29. Rachel Arthur. (2015). Quality Versus Speed in the Age of Snapchat. Available: http://www.wgsn.com/ content/board_viewer/#/58413/page/1. Last accessed 14th May 2015. WGSN. (2015). Snapchat: Can it deliver for brands?. Available: http://www.wgsn.com/content/board_ viewer/#/57224/page/1. Last accessed 14th May 2015.
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PPENDIX//
PRIMARY RESEARCH METHODS
ONLINE SURVEY (IDEA 1)
ONLINE SURVEY (IDEA 2)
36
SAMPLE (18-25)
16
17
PURPOSE
STRENGTHS
WEAKNESSES
OUTCOMES
To collect own statistics of consumer group on social networking sites, also to gather views and opinions on ‘Social media’s impact on branding and the society’.
Valid primary statistics, as well as the advantage of quick, informative answers therfore results can be collated and summarised easily. Respondents are anonymous therfore answers will be honest.
Respondents may stop halfway through a survey, hard to force answers. The number of respondents may be limited.
The survey succeeded in collecting opinions about social media’s impact on branding with the overall consensus being it acts as a tool for closer
To get an insight on the consumer groups insight on the topic ‘youth subcultures, identity, gender representation and transgender community within fashion’
Valid primary statistics, as well as the advantage of quick, informative answers therfore results can be collated and summarised easily. Respondents are anonymous therfore
Due to the time needed to fill in the survey, respondents didn’t finish. Also without explanation of some questions, respondents misunderstood and couldnt answer.
The findings of this survey showed 90% of people feel the rise of gender representation is a positive change, which leaves a minority to reach out to when developing my idea further.
METHODOLOGY//
PRESENTATION//
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