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Figure 1: FCP Process Triangle (2015)
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In preparation for level 3 I will be outlining my two dissertation proposals and will further these ideas over the summer break. From the FCP process triangle I started to try and place myself. I found this hard as I don’t know where I see myself. I’m visually aware but I would not say visuals were my strongest skill. I like to think I’m a creative thinker and my writing is especially strong. On the left are jobs from the industry I’m interested in and feel they fit my skill set. Looking back on my feedback over the last two years, my strengths seem to be my mock-ups, primary research, visuals, writing and clear research and development. As for weaknesses I need to include more consumer profiles, ensure my images are relevant to the main text and think about binding.
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Figure: 2 Ridgers, D, Skinhead (1976)
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Figure 3: Subculture Mood-board. (2015)
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I’ve always been interested in the different decades of fashion and the movements within them and I’m left feeling a little disappointed that I’m not aware of any major subcultures in my generation. Yes we do have the odd groups of youths, for example Chavs. But they are not driven by anything creative or influential, they are not a movement. So my first question was do subcultures still exist and do they have any impact? I feel this fits my strengths as I will be able to utilise my writing and clear research and development skills as well as my primary research. Originally I thought that subcultures no longer exist. So I started to look at what has changed since the 60s/70s/80s. What’s driving subcultures away? Charlotte Mallory singer-songwriter and owner of the independent music blog Elefant Juice suggested that subcultures were being destroyed by the internet. She suggested that the internet is making everything to readily available for people; subcultures are not given enough time to grow naturally. The new subgenre of music you just discovered will be on the radio next week and your mum will be singing along to it. Music subcultures must retain its credibility, originality and rawness for young people to be interested. I organised a focus group which included two males and two females aged 19-22. This revealed to me that they saw social media as a way to express themselves. By the things they ‘liked’ and the pictures they posted on sites such as Instagram or Facebook. They thought that this was the new way to express themselves but they still believed that there are while not many groups who do dress a certain way. I believe that there is no collective consciousness anymore, there are too many channels and websites for people to access that people aren’t watching the same stuff to generate the same ideas. Another point is that while not reflected in the media our generation is the most sensible the UK has seen in a long time. Alcohol consumption statistics have been steadily decreasing since 2002 according to the BBC. ‘The recession is adding to this mentality; young people are less carefree than past generations’ Mallory, C. (2015). From my cartogram I also discovered subcultures such as Punk were highly driven by politics and the need for change. This generations youth don’t’ care about politics with 42.4% of people aged 16-24 said they had no interests in politics. A large number of young people do not want to vote. Politics has moved to the middle ground, so what do we rebel against? ‘The Punk music was that of alienation, in which spirit was more than technical ability, and that spirit was anger: anger at the establishment, anger at the recession, anger at unemployment… anger at their elders.’ McDowell, C (2013). These are problems we still face today however the majority of our youth are angry but not angry enough to make a difference. Our youth are more likely to vote on The Voice than to vote for a political party. ‘The clothes that dressed Punk were a way for the young to show contempt for a social system that seemed to exclude them’ McDowell, C (2013).
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Companies such as Rockcorps are trying to include the youth and get them involved. They are rewarding them for good behaviour in Sydney Australia they are offered a concert hoping to entice more than 3000 people aged between 16 and 24 to undertake community work to score a ticket to see Guy Sebastian, The Script and Labrinth. Four hours of community work in exchange for a free concert. Hoping to get them involved in the community again and getting them to care about the world again. However, music is more accessible than ever and it’s in our hands rather than being controlled by media outlets such as NME. Although club nights are becoming once more, a lot more genre specific. New subgenres of house music are emerging and DJ’s and producers are becoming the rock stars of our generation. With new dance moves such as the shuffle and drugs like MDMA becoming a part of the scene it is hard not to see House music as a movement. Nevertheless house music is too broad, it is not defined. You can’t tell someone likes house music from their haircut. Mark Tungate, author of Fashion Brands suggested the 1980s were the time when fashion became less important than lifestyle. ‘In fact, with the rise of the supermodel, the media seemed more interested in how the models lived than in the clothes that they wore’ Tungate, M (2012). He reported that ‘Fashion clutched its chest and keeled over sometime in the 1990s’. I realised that subcultures do exist in our generation however it’s about the lifestyle you live rather than clothes or music. For example the lad culture surrounding all universities, it’s not a movement. It’s just about gym, beer and girls. Also the common Hipster ‘imported straight from Portland and Brooklyn, America’ Cumming, E (2014) who feel the streets of Shoreditch who in their quest to be different, have wound up virtually identical. ‘The people dress the same, they eat the same and the conversations sound the same’ Proud, A (2014). Collin McDowell author of The anatomy of fashion said ‘in dress, conformity is as powerful an instinct as individuality’ and in our generation ‘the vast majority of people… dress not to bring attention to themselves… to neither be ahead of fashion or too far behind’ McDowell, C (2010). Designers such as Vivienne Westwood took great inspiration from Punk and John Paul Gaultier even dedicated a section of his exhibition to Punk fashion. Mary Quant was also inspired by subculture, for example the Mods. Creating items such as the mini skirt from their influences. So my question is without inspiration from youth and subcultures, what will happen to fashion? Will we continue to recycle? It has been suggested that technology is becoming the push and inspiration that fashion needs. A documentary by i-D named The Future of Fashion said that technology is such a massive thing in the fashion industry that they suggested 3D printing clothes to perfectly fit your body shape could be something of the future. As for the consumer profile subcultures target both male and female aged 14 to 25+. They should be sitting with the innovators on Rogers’s curve of innovation however they are now with the early to late majority as they lack creativity and follow the crowd. This being said, there are subcultures trying to emerge but they just can’t seem to break through due to the fast pace of the internet and new trends emerging every day.
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I feel this area of research will benefit companies who wish to target youth; find their current interests and to easily target brands and products towards them. This is timeless, valuable information for any brand so I believe this information will still be valuable in the year commencing 2015. I haven’t finalised where I want to go with this topic, my findings are of great interest to me and I want to look at what the fashion is going to be like in decades to come. So over the summer period I wish to brush up on my fashion history and read No logo by Naomi Klein. No Logo is about the impact super brands has on broader society. Klein explores the ideal that a brand is not created in the factory anymore; it’s created in the office. The brand is not a reflection of quality but a reflection of what the marketing department wants it to stand for. I will also continue my primary research by more focused surveys, bigger focus groups and to talk to people who were part of a subculture to help me to understand them better. I also want to try and speak De Facto design agency in Nottingham and speak to them about the work they do with Fred Perry.
Figure 4: Roger’s curve of innovation (2015)
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Figure 5: Stein, L Aiden Shaw (2014)
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Figure 6: Style & age mood-board. (2015)
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My next proposal stems from a conversation I heard whilst out shopping. I overheard two men walking past Hollister complaining that most stores you find on the high street only cater for the young and laughing at the image of themselves in Hollister clothing. So I started to research this idea and produced a cartogram. From my cartogram and research it has come obvious that men over 50 are struggling to be stylish and age appropriate. Various articles suggest that casual clothing for the over 50 is only accessible to the rich and when men get to 40 they start to lose their confidence and feel they can’t dress the way they did in their 30s. After doing some primary research it became apparent that there is little for the fashion aware middle class man. Especially on the high-street, I saw Burton, Topman, and Zara. Although catering for men, I didn’t feel the clothes were age suitable for the over 50. In response to my survey men thought all that was offered to them were elasticated trousers and oversized jumpers. They also thought that a shirt was the only stylish casual option for them. I also found that men had to go out of their way to access their departments; they were usually on the second floor whilst the women’s were on the ground. Men’s ready to wear industry gained a foothold in the first half of the twentieth century. ‘As early as 1931, Arnold Gingrich published an influential magazine called Apparel Arts, which was the first male fashion magazine… It promoted ways to match shirts, suits and ties according to fabric, patterns and colours’ English, B (2007). As for the shirt in terms of marketing, ‘the shirt became a goldmine for the American industry’. Looking back to my survey most men felt the shirt was the only stylish casual option for them but they wanted to be more comfortable in their casual wear and to not be so restricted in their clothing choice. ‘The humble shirt, first worn as an undergarment, normally covered by a waist coast and over coat, was to become one of the largest mass-production markets in the fashion industry’ English, B (2007). Although shirts now are worn alone or under a blazer the simple shirt is still a staple part of men’s fashion.
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I pondered why older men were finding it so hard to find clothes and fashion that were suitable to them. Writer for the Guardian David Evans pondered whether anything on the catwalk was suitable for the older man. He pointed out that the models on the catwalk are young and muscular therefore finding it hard to find clothes that fit appropriately. However some designers such as Hackett London have started to use older models to demonstrate their clothes are suitable for all ages. In fact older models are on the increase due to their commercial value ‘After decades of being ignored by the fashion and advertising industries, increasing numbers of mature models are gracing the catwalks and pages of glossy magazines as marketing companies have woken up to their vast commercial potential’ Dunbar, P. (2014). However, this is still for commercial value only and is not widely seen on the runway. It would be nice to see a variety of people all ages modelling for high fashion. My cartogram pointed out to me that the increase in men’s beauty products has gone up significantly in the past five years or so. A survey revealed that ‘a third of men would now describe themselves as vain. One in three men also admitted that they indulge in a beauty treatment and least once a month’ McGuire, C (2014). The new generation of 30-somethig men have grown up with the likes of David Beckham and Brad Pitt as style icons leaving men to have to live up to these expectations. There are also shows such as TOWIE and Geordie Shore where male grooming isn’t seen as a big deal. A survey run by lastminute.com showed 16 percent of men had paid for a facial and 13 percent of men had experienced a pedicure. All of this has made an effect on men. Men are now more self-conscious of their appearance than ever and even the older generations still want to look their best; there are male hair dyes and anti-ageing crèmes. This suggests to me that there is a need for age appropriate stores for the over 50 which are accessible and reasonably priced. Another huge factor that would help the opening of such a store is changes to pension liberation tax. Changes to pension liberation tax came into effect in April 2015 meaning that from the age of 55 onwards you can get access to as much of your pension money as you like. Perhaps suggesting that there soon be more money in that sector of the market making it a perfect time to target that age group. My consumer profile targets middle class males aged 50 to 70 who are struggling how to dress stylish while being age appropriate. I want to target a wide range of males over the age of 50so I wouldn’t want to narrow them down to certain jobs or interests. I want to produce a menswear brand that’s accessible and suited to men’s needs. The price points would be reasonable but still with good quality items. From my primary research it became clear to me that tailoring for men was of big importance and they’d rather spend more money on an item that will last them a while. I want to incorporate this within my brand. It also became that certain in this age group even if given the items to dress stylishly they wouldn’t know how to wear them. So within my store I would like to offer a free personal shopping experience. Although I feel men wouldn’t comply to this so rather than making it over the top I would just have the trained sales assistants ask them if they required any help and suggest possible outfit choices. I have also thought of possibly creating a zine or look book for the store offering tips and the latest men’s fashion. I feel I have discovered a gap in the market and could extend this idea into a brand for my dissertation. I feel this proposal fits my skill set as I can use my skills of mock-ups and clear research and development to produce my dissertation.
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Over the summer I plan to continue my primary with consumer profiles, focus groups and to make contact with menswear departments such as universal works. I plan to speak to David Keyte’s, founder of Universal Works and Martin Gill their sales agent. I feel talking to them will help me to understand the menswear market and assist me to refine my ideas. As for secondary research I hope to read Michael Londrigan’s Menswear: Business to Style. Menswear: Business to Style explores the historical beginnings of menswear, setting the stage for today’s diverse and exciting industry. The author discusses design and manufacturing in four main areas: tailored clothing, furnishings, formal wear, and sportswear. The text also covers the principles, procedures, and techniques merchandisers employ to attract their target customers, giving the reader an appreciation of menswear from both a fashion and economic standpoint. This text should also help me to understand then menswear market on a deeper level and help me to advance my ideas.
Figure 7: Roger’s curve of innovation (2015)
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R E F ER E NC E S Cumming, A. (2014). Angry about ‘lad culture’? Blame America.Available: http://www.telegraph.co.uk/ men/thinking-man/10719337/Angry-about-lad-culture-Blame-America.html. Last accessed 26 May 2015. Daily Mail Reporter. (2010). Rise of the metrosexual: Men now spend longer getting ready to go out than women. Available: http://www.dailymail.co.uk/femail/article-1249709/Rise-metrosexual-Men-spend-longer-getting-ready-women.html. Last accessed 26 May 2015. Dunbar, P. (2014). Why Britain’s next top models are over SIXTY: As retailers chase the grey pound as never before, older women are topping up their pensions with £2,000 modelling jobs. Available: http:// www.dailymail.co.uk/femail/article-2690780/Why-Britains-models-SIXTY-As-retailers-chase-grey-poundnever-older-women-topping-pensions-2-000-modelling-jobs.html. Last accessed 29th May 2015. English, B (2007). A Cultural History of Fashion in the Twentieth Century. London: Berg Publishers. p91, 81, 65. Mallory, C. (2014). Is Subculture Dead?. Available: http://www.huffingtonpost.co.uk/charlotte-mallory/ is-subculture-dead_b_5359046.html. Last accessed 26 May 2015. McDowell, C (2013). Anatomy of Fashion: Why We Dress the Way We Do. London: Phaidon Press. p196, 219. McGuire, C. (2014). Who’s high-maintenance now?! New generation of vain men are more likely to get beauty treatments than women. Available: http://www.dailymail.co.uk/femail/article-2847648/Whos-high-maintenance-New-generation-vain-men-likely-beauty-treatments-women.html. Last accessed 26 May 2015. Proud, A. (2014). Why this ‘Shoreditchification’ of London must stop. Available: http://www.telegraph. co.uk/men/thinking-man/10561607/Why-this-Shoreditchification-of-London-must-stop.html. Last accessed 26 May 2015. Tungate, M (2012). Fashion Brands. 3rd ed. London: Kogan Page. p15.
Bib li ogr a ph y Academia.edu, (2015). The Demise of the Subcultural Identity: Towards a Postmodern Theory of The Hipster and Hipster Style. [online] Available at: http://www.academia.edu/472161/The_Demise_of_the_ Subcultural_Identity_Towards_a_Postmodern_Theory_of_The_Hipster_and_Hipster_Style [Accessed 30 May 2015]. Boomerina, T. (2015). Casual Clothing for Men Over 40, 50, 60: 5 Rules for Clueless Guys | Boomerinas. com. [online] Boomerinas.com. Available at: http://www.boomerinas.com/2014/06/14/casual-clothingfor-men-over-40-50-60-5-rules-for-clueless-guys/ [Accessed 30 May 2015]. Fashionbeans.com, (2015). Men’s Fashion 2012. Men’s Fashion Articles and Men’s Fashion Tips For 2012. [online] Available at: http://www.fashionbeans.com/2012/dressing-your-age-fifties-50s/) [Accessed 30 May 2015]. Klein, N. (2000). No logo. London: Flamingo. 20
Rawstorne, T. (2012). Why men over 40 are fashion disasters: TOM RAWSTORNE’S outfits make his wife cringe and his children snigger. Remind you of anyone you know?. [online] Mail Online. Available at: http://www.dailymail.co.uk/femail/article-2145491/Why-men-40-fashion-disasters-Once-pickingclothes-easy-Now-Tom-RAWSTORNE-makes-wife-cringe-children-snigger-Remind-you-know.html [Accessed 30 May 2015]. Wilson, E. (2004). Adorned in dreams. Berkeley: University of California Press.
A p pe n d i x L e ve l 3 Pr es e n ta t i o n
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A p pe n d i x C on t i n u e d...
L I S T OF I L L US TR AT I O N S Figure 1: FCP Process Triangle [own image] (2015) Figure 2:Ridgers, D. (1975). 17 Incredible Vintage Photos From London’s ’70s Punk Scene. [PHOTOGRAPH]Available: http://www.buzzfeed.com/juliegerstein/17-incredible-vintage-photos-from-londons-70s-punk-scene?sub=3288628_3032318#.lwmVq4eYr. Figure 3: from left to right: Ridgers, D. (1975). 17 Incredible Vintage Photos From London’s ’70s Punk Scene. [PHOTOGRAPH]Available: http://www.buzzfeed.com/juliegerstein/17-incredible-vintage-photos-from-londons-70s-punk-scene?sub=3288628_3032318#.lwmVq4eYr. Jones, R (1977) Sid Viscious [PHOTOGRAPH] Available: http://www.last.fm/music/Sid+Vicious/+images/59015899 22
Figure 4: Roger’s curve of innovation [own image] (2015) Figure 5: Stein, L Aiden Shaw (2014) [PHOTOGRAPH] Available: http://blog.sight-management.com/ wp-content/uploads/2012/08/Sin-t%C3%ADtulo-42.jpg Figure 6 from left to right: These, T (2014) Man on bike [PHOTOGRAPH] Available: http://thesetingstaketime.com/ Eriksson, E (2015) Stylish man [PHOTOGRAPH] Available: https://www.pinterest.com/ pin/246079567116048347/ Jumah, K (2015) Man in suit [PHOTOGRAPH] Available: http://www.gentlemansdivision.com/pitti-uomo-photographed-thousandyardstyle-4/ Figure 7: FCP Process Triangle [own image] (2015)
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