Book 7/7 Final year journey book by oliviaeggington07

My final major project encompasses four books:

Book 1: The Journey Book. This book reflects on the key aspects of my journey during my final year at university that have influenced my final major project. Book 2: Concept and Research Book. This book explains the analytical research supporting the concept behind my final major project. Book 3: Brand Collaboration Book. This book focuses on the development and research behind my brand collaboration proposal between Gymshark and Christopher Raeburn. Book 4: Styling book. This book follows the journey of creating my favourite imagery to support my final major project. Collectively, all four books focus on the research and journey supporting my final major project.

CONTENTS PAGES 6-7: INTRODUCTION PAGES 8-13: REFLECTING ON BRAND ME PAGES 14-17: REFLECTING ON 360 PAGES 18-21: INDUSTRY MENTORS PAGES 22-27: FINAL MAJOR PROJECT OVERVIEW PAGES 28-31: STYLING PAGES 32-29: CAMPAIGN INFLUENCES PAGES 40-47: SHOOT DEVELOPMENTS

PAGES 48-49: COLLABORATION PAGES 50-51: BEHIND THE SCENES PAGES 52-53: FILM INSPIRATIONS PAGES 54-55: FILM FINAL OUTCOME PAGES 56-59: FINAL EXHIBITION PAGES 60-63: CONCLUSION PAGES 64-65: QR CODES TO FINAL OUTCOME PAGES 66-68: REFERENCES

INTRODUCTION The aim of this book is to reflect on the key aspects of my journey during my final year at university. I will reflect on the pivotal factors that have influenced my final major project. This includes developing my reflecting on my culture, creating my 360 campaign and speaking to well-established individuals within the fashion industry. I will discuss key influences and inspirations for the concept behind my final major project. I will focus on the skills I have been able to develop throughout this journey, and how it has allowed me to gain a clearer understanding of the industry that I would like to gain a career in upon graduating. It has demonstrated my personal passion to work in the fashion industry of the future. This industry will continue to be creative, innovative and profitable but will also be aligned to the climate change agenda. It will stop filling landfills and using production techniques that are carbon producing intensive.

REFLECTING ON BRAND ME My final year journey commenced when I conducted initial research during the summer prior to starting the Brand Me module. The summer research involved conducting extensive self-examination and reflection which was something I had never done before. It allowed me to gain a clear understanding of who I am, my influences and interests that have been influential in creating my brand and my final major project. I reflected a lot on my childhood and realised my positive and supportive upbringing has been highly influential in developing my brand narrative. This made me realise I wanted to create a campaign that made a positive impact with a strong, influential message.

The Brand Me module also allowed me to develop my personal branding and understand the market level I sit within, which is the lifestyle market. This market best suits my brand as I am drawn to brands with strong values, particularly those that promote ways to improve lifestyle such as Nike and Gymshark. Finding my market level was a pivotal moment as it made me realised I value brands that seek to form a deep connection with their consumer considering their identity and interests. I have taken my interest in the lifestyle market in my final major project.

MARKETER OR CREATIVE? The Brand Me journey allowed me to understand that my strengths and interests lie both within marketing and creative fields. This has also been highly beneficial in developing my final major project. I therefore consider myself a marketer and creative in equal measure. I like to present my work in both controlled and creative ways. However, I realised that marketing was where I felt most comfortable due to my passion for creative writing and researching. It made me realise that I needed to take greater risks and be more confident in relation to my creative work and ability and I am pleased that I was able to achieve this change. This has been a pivotal moment in my journey. Throughout my final major project, I have pushed myself further and taken more risks. Without taking these risks, I know my final major project visuals would not be as strong or creative as they are. I have been able to push personal boundaries and develop confidence in my visual work and build upon my creative skills.

CULTURE The Brand Me module is where my interest in sustainability stemmed from, which is an integral part of my final project. An important part of developing my campaign was the consideration of how passionate I am about telling a story of and creating awareness for sustainable fashion. I realised a lot of my passion for this subject had come from my culture and growing up in the picturesque countryside of North Wales. This allowed me to really appreciate how beautiful nature is and therefore why it is important that it is protected. It demonstrated the important role a responsible and sustainable fashion industry can play in protecting the planet.

I have also been inspired by key figures within the sustainable fashion industry such as Vivienne Westwood and Stella Mccartney. They are pioneers and pivotal voices in the sustainable fashion industry. Conscious consumerism is an aspect I have taken forward into my final major project. My interest in creating awareness around sustainable fashion and the athleisure market level were the two main things I took away from the brand me module into the development for my 360 campaign and final major project. It made me conscious that my own fashion choices could be more responsible and that there is also brand responsibility.

REFLECTING ON MY 360 CAMPAIGN Research and development were an important part of developing my 360 campaign. I discovered that I have a passion for researching and enjoy thinking critically, which is something I have focused on throughout my final project. Creating my 360-campaign concept allowed me to develop my interest and understanding of the athleisure market. I chose the athleisure market because of my personal interest in health and fitness as I enjoy living a healthy, active lifestyle. Creating a campaign gave me the opportunity to find a gap in the current athleisure market level that I have pursued into my final major project. It is currently a market level that focuses heavily on encouraging positive health awareness and welfare for people but neglects production processes that would support the protection and welfare of the planet. This is because it is a market level heavily based on overproduction and the use of non-ecofriendly materials. Finding this gap was an important part of my journey. It was the development of a new and important skill and it has given me the opportunity to propose evidence based and innovative ideas to brands within this market level. I have been able to use my 360 campaign proposal as a springboard into my final major project which allowed further development. I used the Christmas period as a time to consider how I could ameliorate my project and utilise further skills. I adopted the 20x20x20 research method to identify the key aspects that will utilised in my final major project. Creating a 360 campaign has allowed me to improve and have a greater understanding of my strategic thinking and planning skills. 14

STYLING DEVELOPMENTS A personal turning point for me within the development of my 360 campaign was when I started to create primary styling imagery. I took risks and deliberately pushed myself out of my comfort zone. I was incredibly pleased with the outcome. It taught me that sometimes the best outcomes arise from being intuitive and using your natural instincts rather than always preplanning every outcome you can work creatively within a framework. I created styling concepts that focused on the layering of upcycled athleisure clothing and decided they looked stronger than my initial plan of making slogan t-shirts inspired by Katherine Hamnett.

I continued to progress and develop the styling started in my 360 campaign through to my final major project. Reflecting on the main aspects of my Brand Me and 360 Campaign was highly influential in the development of the foundations for my final major project. Both modules allowed me to develop my personal confidence and public speaking skills through regular presentations and independent working.

EMM E L I N E CHILD Upon returning after the Christmas period, I was extremely grateful to be able to speak to Emmeline Child. Emmeline is a highly credible designer within the circular fashion industry. ‘With almost 20 years of experience in the sustainable fashion and textiles industry’, Emmeline has become a pioneer in the industry (Emmeline, 2022). After speaking to Emmeline, I discovered she was one of the first designers to develop an upcycled label, Emmeline 4 Re, which demonstrates her experience and knowledge within this sector. Speaking to Emmeline and hearing her journey was highly inspirational. It was inspiring to listen to someone with such strong values and views on this topic and it made me realise and evaluate why communicating a story on more responsible fashion is so important to me. She inspired me to be a change maker and use my project as a platform to voice my values. Speaking to Emmeline made me more analytical with my project and made me further understand both sides of the sustainable fashion industry and why people may have doubts about buying sustainable fashion. I learnt how important transparency and authentic marketing are for this subject and how important trustworthy research is in gaining consumer confidence. It allowed me to progress my project further and consider how I could bring a fresh perspective to the sustainable fashion industry and create solutions to overcome any barriers.

CHRI S T O P H ER SHAN N O N The opportunity to be mentored by Christopher Shannon, such a wellestablished individual within the fashion industry, was an amazing experience. Listening to Christopher Shannon made me realise how important it is to take risks and push myself as a creative. I learnt that it is important to push boundaries and not always take the obvious route with things. He brought a fresh outlook to my project and made me think about my project in a new perspective. One thing that stuck with me was that he said, ‘not everything needs to be pretty, there needs to be some ugly to shock people.’ On hearing this I considered how to bring a different aspect to my project for example monotone editing and writing slogans out of waste.

FIGURE 1

It was also highly valuable to speak to someone within a similar industry (as a sportswear designer) to ensure that my project was relevant. Speaking to Emmeline and Christopher reinforced the necessity and value of speaking to other members within the industry who have experience. This practice allows me to learn and review my own perspectives and understanding of issues via people who have first-hand experience. It demonstrates the importance of collaboration. This is invaluable and became a key component of my final project.

FINAL MAJOR PROJECT OVERVIEW My final major project focuses on shining a new light and focus on the athleisure market, which is currently reliant on overproduction and the use of non-ecofriendly materials. This practice is having a detrimental impact on the environment. Sustaining current practice would not only be damaging to the planet but also highly incompatible with the new consumers of Generation Z onwards. My message is portrayed and accentuated by focusing on authentic and responsible marketing methods. This is to move away from the current issues associated with defining sustainable fashion.

I have focused on responsible fashion instead of sustainable fashion as the word ‘sustainable’ is not one that connects with my target consumer. As stated by Weinstein, ‘The word sustainability has slowly become a marketing scheme. There is nothing that is actually sustainable. It is just something that companies love to put on labels to entice consumers’ (Weinstein, 2021). My campaign has been heavily influenced by my personal values and the problems I have identified within the sustainable fashion market as I endeavour to be a conscious consumer. It is a highly oversaturated market with a lot of greenwashing. I find the word ‘sustainable’ highly misleading and ambiguous due to many brands abusing the word. Please see my Research book for more in-depth information. 22

BRAND COLLABORATION My final major project focuses on addressing these issues. It proposes a new and more responsible approach for Gymshark to remain relevant, competitive and sector leading in the athleisure market. It identifies a marketing strategy for this concept and proposes a brand collaboration with Christopher Raeburn who is challenging the industry by creating upcycled designs. Collaboration is the key to addressing global challenges. Brands need to collaborate, to learn from and teach each other. This sharing is in line with a responsible approach. ‘If we have learnt one thing over the past year, it is that when companies, investors and government put their heads together, change can happen very quickly’ (Stokes, 2021). There are many benefits of brand collaborations including the opportunity to engage a new audience, increase current consumer awareness and increase market share.

Therefore, I decided to create an exclusive capsule collection, made from deadstock Gymshark clothing. The collaboration between Gymshark and Chris Raeburn is called ‘raesponsible.’ I decided to use the word ‘responsible’ as from conducting a primary survey it was a word that Generation Z connected with. Conducting primary survey’s was highly beneficial to my project as they allowed me to gain a firsthand insight into the wants and preferences of my target consumer. This practice of attempting to discover the voice and values of the consumer is vital. The wider the focus group that can be connected with the better. Please see my Brand Collaboration book for more in-depth information. 26

STYLING My campaign concept is portrayed through upcycling secondhand athleisure garments as upcycling is one the best way to move to a more responsible, circular model. To collect these garments, I created a poster and advertised this at local leisure centres requesting donations of any athleisure clothing that was no longer needed. I also looked in charity shops and on online secondhand clothing platforms such as Depop and Vinted. This was an important part of my journey as I knew I wanted everything around my campaign to be authentic and collecting secondhand clothing helped demonstrate the true message behind the project. It is also an effective way to create more of a community aspect to my campaign, demonstrating to the people who have donated the clothing how creative you can be with clothing that is no longer wanted. I collected clothing that is bright and bold to ensure my styling is engaging and demonstrates the innovative and creative aspects of upcycling. Upon researching I also found a key quote that stuck with me, “In these challenging times of uncertainty and fear, choosing to wear bright colours can instantly boost our moods and help us to feel happier and more optimistic,” says psychologist Jules Standish (Twigg, 2021). As my project focuses on a complex and serious message, I considered how I could offer a hope of optimism for the future. I also focused on the use of slogans and protest boards to ensure that the key message of my campaign is further clarified and contextulalised as need for change.

STORY TELLING I have used slogans as they are a strong way to engage the short attention span of my target audience. They evoke an emotion off the consumer and are a memorable way to highlight the campaign message (Examples of Slogans, 2022). I have used protest boards as this is a way that Generation Z are choosing to voice their concerns. It also addresses that this campaign is a call to action and a protest against current, nonresponsible production methods. It raises awareness and demonstrates both Gymshark and Raeburn's support and unity on this subject. All the carboard used to make the protest boards were collected from recycling boxes and will be recycled after use.

PROTEST

OVER CONSUMPTION

U P C Y CLING D E S I GNERS The concept for my campaign has been inspired by many talented and inspirational designers who are using upcycled fashion to combat waste and re-design the fashion industry. This includes designers such as Connor Ives, Priya Ahluwalia and Bethany Williams. These are designers within the industry who are paving the way for responsible fashion and using their platforms to be a voice for change. Bethany Williams is a designer who has particularly influenced my project because of her colourful and playful approach to upcycling. She has created a plausible solution to both environmental and social issues. She believes that social and environmental issues go hand in hand and is committed to supporting charities and communities to support the exchange cycle (Bethany Williams, 2019). It is highly inspiring to see that there are designers thinking of creative solutions to tackle these issues.

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INFL U E N T IAL BRANDS When looking into athleisure brands who were upcycling second hand or deadstock garments, it was difficult to find big brands who were doing this. There are many more less well established brands who are upcycling garments and thinking of new and creative ways to reduce waste and become more responsible with their sustainability initiatives. ‘Smaller brands are leading fashion towards “a true systems-change approach,” the only viable way to a sustainable future, according a new report (Cernansky, 2022). They are placing more focus on new ways to produce clothing in a more responsible way and prevent clothing from ending up in landfill. This includes brands such as Scarlett Orange, Almost On Time and Paolina Russo. Therefore, bigger brands such as Gymshark should be using the bubble up method and take inspiration from what smaller, less well-established businesses like these are doing. ‘The bubble up pattern focuses on specific fashion trends and looks that start from lower-income groups and then work their way up through the hierarchy of society’ (Trickle Down, 2021). FIGURE 3

S U C CESSFUL C O L L A B ORATIONS I have also looked at similar collaborations to ensure my campaign proposal would be successful. This included the recent collaboration between Priya Ahluwalia and Ganni. This collection featured upcycled designs made from Ganni’s deadstock fabric that would have been otherwise sent to landfill. It was a highly valuable and educational experience for them both. Ahluwalia stated, ‘It has been such a successful and enjoyable experience and to be trusted to design the collection using Ganni’s liability materials was important to the design process. The project has been great in showing how leftover materials can be totally transformed and are worth cherishing’ (Wightman-Stone, 2021). This gives me confidence that a collaboration between Christopher Raeburn and Gymshark would be highly beneficial and valuable to helping Gymshark on their journey to creating responsible fashion.

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S HOOT D E V E L OPMENTS Another part of my journey was to consider what I wanted the final outcomes of my project to be. I wanted my final outcomes to allow me to develop new skills and push me as a marketer and creative. I created multiple final outcomes including a brand collaboration book, research book and a social media campaign. I wanted all my books to demonstrate and continue to develop both my visual and creative writing skills. I conducted seven primary test shoots which considered areas such as styling, poses and models. I ensured that each shoot was slightly. I differentiated by using different styling, a different model or using the faces of the models as a physical storyboard by writing slogans on them. I chose to use the face as a story board as it is a plain canvas that can help enhance storytelling. The primary shoots allowed me to develop my creative direction, photography and videography skills. After each shoot, I wrote a shoot reflection to consider the aspects I could develop in the future. I also ensured I conducted conceptual and commercial shoots to allow me to understand where I best sat within the visual market. I was pleasantly surprised to realise I enjoyed conducting more conceptual styling as this best reflected the message of my campaign. Please see my concept and development book for the full journey on my photoshoots and inspirations.

S TUDIO S HOOT My final shoot was held at Pathways studio in Chester. I wanted to conduct a professional studio shoot to ensure my imagery was of the highest standard and ensured that I had access to a range of specialist equipment. As my styling was an integral part of my story telling I decided that a studio background would ensure that the focus was on the clothing and emphasising the message of my campaign. After experimenting with potential backgrounds, with Tracey, we decided that conducting a location shoot would achieve a chaotic result that would detract from the core focus and value. My model was Charlotte Mitton. I chose Charlotte as my model as she encompassed the main characteristics I was looking for.

She has an athletic physique, striking face and is a member of Generation Z. As it is a campaign based around the athleisure market, I kept her hair and makeup natural. This aligns with Gymshark’s styling due to shoots commonly being in a gym location. I also experimented with powerful and sporty poses to align with Gymshark. Within some of my final shoot images, I have a ladder to connotate that the campaign focuses on taking the next steps in the responsible fashion journey. The main messages to be communicated from my final shoot relate to: overconsumption, a call to action and that upcycling is innovative and responsible.

CO L L A B ORATION I wanted to use this project as an opportunity to creatively collaborate with people from the industry. This was because of the skills it would allow me to develop such as collaboration and leadership. It would also allow me to focus on and have a greater understanding of the Creative Director role and allow people to capture my campaign from a unique perspective. I took the role of creative director as my skills and strengths best suited this role and I wanted to develop them. I used the February half term to start contacting individuals within the industry to collaborate. The journey of finding people to collaborate with was one that proved to be difficult at the start. It highlighted that there are many obstacles to consider such as the potential of being let down at the last minute, but I was lucky enough to have success in the end and learn during the process. After sharing on social media that I was looking for a photographer and videographer, I was fortunate enough to have contact from individuals from both professions. I did consider collaborating with a fashion designer who could upcycle and design the garments for me after my initial test shoots, I decided against this. Creating my own garments allowed me to develop my styling skills and allowed me to be more conceptual with my final outcomes. It also allowed me to gain an insight into the role of a stylist to consider as another career path.

BEHIND THE SCENES To ensure everyone understood their roles and responsibilities, I prepared a booklet that outlined the vision and overview of my project that was both written and visual. Explaining my project to other people also allowed me to develop a clearer narrative for my project. The booklet allowed professionals to view in advance and reduced misunderstanding on the shoot. Collaborating with people was a highly beneficial experience as it was enjoyable allowing people to get involved with executing my vision. I have learnt that it is vital to have a wide range of contacts within the industry and be a clear, empathic but concise communicator. As I was able to collaborate with a videographer, I wanted to create a behind the scenes video. This video would focus on demonstrating the journey of my final shoot and capture it in an authentic way. Behind the scenes videos are an effective way to allow the audience to have a greater understanding of the length and depth of work involved in creating the project (Why behind the scenes, 2021). ‘85% of people say videos help them to connect with brands more effectively’ (Why behind the scenes, 2021). As my project focuses on authentic marketing, I wanted to create an authentic video and demonstrate transparency which develops consumer trust and confidence.

FILM I N S P IRATIONS To gain inspiration for the editing of the behind the scenes film, I looked at ShowStudio. ShowStudio is a credible place to look for inspiration as it is an ‘awardwinning fashion website, founded and directed by Nick Knight, that is consistently pushing the boundaries of communicating fashion online,’ particularly through videos (ShowStudio, 2022). I reviewed videos such as Behind the Scenes of Eilish's New Fashion Shoot with Nick Knight and White Dunk. This allowed me to consider aspects such as the pace of my film, layering and music. I wanted the video to have multiple aspects to keep the viewer engaged. I also used music with a happy beat to convey positivity and hope to the core value and message.

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QR CODE TO FULL VIDEO

FILM FINAL OUTCOME

I collaborated with my videographer on the editing which was a valuable experience having to give clear direction on how I wanted the final edit to look through creating multiple drafts. One of my main focuses was ensuring that the video was not too long but included everything it needed. I ensured that my video was no longer than 45 seconds so that it was still engaging to the audience. I also created some shorter form videos to engage the short attention span of Generation Z, ‘typically 8 seconds long’ (Boger, 2020). From conducting social media marketing research, video content is predicted to be the future for marketers because of multiple reasons including its versatility and the success of current video marketing platforms (Stanimirovic, 2021). Creating short formed videos has been a wonderful way to create engaging content that has been posted on my social media. This allowed me to develop my video editing skills through using platforms such as Premier Pro and Tik Tok which is a highly beneficial skill to take into the industry.

F I N A L E XHIBITION

The final aspect of my project included planning the imagery that I wanted to include in our exhibitions. We are holding two exhibitions at the Storyhouse and the CASC gallery in Chester. I had to decided which images I wanted to exhibit that best reflected my project. Originally, I was going to print two A0 images. However, I struggled to only pick two images as I had collated such a wide range of imagery with each one telling a different aspect of my campaign. I decided to create a mockup of a social media campaign where I would use 9 A3 images. I decided to brand my images with my brand collaboration logo ‘raesponsible’ to further demonstrate that my project is a marketing campaign. I am happy with my outcome and have focused on using a variety of images that best reflect the key messages of my campaign. I also used imagery that looks cohesive and considered aspects such as ensuring that all colours used were complementary and united. 56

C O N C L USION Upon reflection, I am extremely happy with the final outcome of my project and the journey I have taken. I have built upon the exploration of fashion marketing and promotion tools utilised in the first two years of study. I have been able to showcase the key strengths and skills I have developed through the course and into my final year. This project has allowed me to demonstrate my skills and interests in creating a marketing strategy, researching and social media marketing. It has clarified that my key strengths and interests are best suited to starting a career within the fashion marketing and social media industry. I have developed a campaign that demonstrates creative and strategic skills. I have also had to use my problem-solving and critical thinking skills. I am extremely happy with the development of my final outcomes. My journey through my third year at university has allowed me to grow as an individual. I have pushed myself as a creative and increased my confidence in my own ability and intuition. I have learnt and developed a lot of new and existing skills that I can take with me as I venture into the industry. I am extremely excited about what the future holds, and I am ready to provide a fresh perspective to the industry. A big thank you to my lecturers and family who have supported me throughout this journey.

QR CODES TO

RESEARCH BOOK

BRAND COLLABORATION BOOK

F INA L B O O KS

LOOK BOOK

R A E S P O N S I B LE INSTAGRAM ACCOUNT

REFERENCES Weinstein, R., & Zafar, S. (2021, November 30). Gen Z doesn’t care about your #Sustainable Marketing. JUV Consulting. https://www.juvconsulting.com/gen-z-doesnt-care-about-your-sustainable-marketing/ Emmeline Child. (n.d.). Emmeline Child. https://www.emmelinechild.co.uk/ Stokes, R. (2021, April 5). How companies are collaborating on sustainability to serve their communities. Raconteur. https://www.raconteur.net/corporate-social-responsibility/collaborating-communities-climate/#:~:text=Rose%20Stokes Bethany Williams. (2019). Notjustalabel.com; Bethany Williams | NOT JUST A LABEL. https://www.notjustalabel.com/bethany-williams Cernansky, R. (2022, January 20). Small brands are setting goalposts for sustainable fashion. Vogue Business. https://www.voguebusiness.com/sustainability/small-brands-are-setting-goalposts-for-sustainable-fashion Trickle-Down Effect. (2021, July 01). Investopedia. Retrieved May 8, 2022, from https://www.investopedia.com/terms/t/trickle-down-effect.asp#:~:text=Trickle%2Dup. Wightman-Stone, D. (2021, April 20). Ganni collaborates with Priya Ahluwalia. FashionUnited. https:// fashionunited.uk/news/fashion/ganni-collaborates-with-priya-ahluwalia/202104205506 Stanimirovic, U. (2021). Why Video Is Content of the Future for Marketers. BRID TV. https://www.brid.tv/ why-video-is-content-of-the-future-for-marketers/ Boger, K. (2020). The Rise of Short-Form Video & the Gen Z Social Revolution | IAB UK. Www.iabuk. com. https://www.iabuk.com/opinions/rise-short-form-video-gen-z-social-revolution About SHOWstudio | The Home of Fashion Film & Live Fashion. (2021). Www.showstudio.com. https:// www.showstudio.com/about Why Behind the Scenes videos are powerful | FORTAYmedia. (2021, January 11). FORTAY MEDIA. https://www.fortaymedia.co.uk/why-behind-the-scenes-videos-are-powerful/#:~:text=Why%20you%20 should%20utilise%20behind Twigg, M. (2021, January 5). Why wearing vibrant colours could be the key to staying upbeat during lockdown. The Telegraph; The Telegraph. https://www.telegraph.co.uk/fashion/brands/wearing-vibrantcolours-could-key-staying-upbeat-lockdown/ Examples of Company Slogans (Plus How To Write One). (2022, March 28). Indeed Career Guide. https://www.indeed.com/career-advice/career-development/slogans-for-a-company#:~:text=Company%20 slogans%20are%20phrases%20or

IMAGE REFERENCES FIGURE 1: Mccarthy, E. (2017). Chris Shannon at LFW. Evening Standard. https://www.standard.co.uk/insider/fashion/christopher-shannon-unveils-collection-dedicated-to-sportswear-straight-out-of-the-nineties-at-londonfashion-week-men-s-a3435071.html Piczo. (2016). Christopher Shannon returns to denim for spring/summer 17. ID https://i-d.vice.com/en_uk/article/mbezda/christopher-shannon-returns-to-denim-for-springsummer-17 (2017). Look 01. Christopher Shannon SS18 Menswear. ShowStudio. https://www.showstudio.com/contributors/christopher_shannon (2019). Christopher Shannon Interview photo. YM Liverpool. https://ymliverpool.com/christopher-shannon-interview-liverpool-fashion-designer-rihanna/38890 FIGURE 2: Bywater, S. (n.d). Bethany Williams fashion as a sustainable solution. Metal. https://metalmagazine.eu/ en/post/interview/bethany-williams-fashion-as-a-sustainable-solution Williams, B. (2021). Upcycling. Provokr. https://www.provokr.com/fashion/upcycling-cool-fashion/ (2020). Connor Ives SS19. Vogue. https://www.vogue.co.uk/fashion/article/connor-ives-rihanna Moskovtchenko, J. (2021). Connor Ives. Dazed. https://www.dazeddigital.com/fashion/article/53980/1/ conner-ives-new-website-fenty-rihanna-designer-lvmh-prize-met-gala FIGURE 3: Russo, P. (2019). Adidas Young Designers show. Instagram. https://www.instagram.com/p/Bs_ AG69AN8b/ Russo, P. (2021). Sneaker Archive. https://www.instagram.com/p/CQn3R4BgLi0/ (n.d). Nike Upcycling. https://i.pinimg.com/originals/c8/d8/9d/c8d89d7d9de119fa99eae75db1715ef7.jpg Russo, P. (2020). Upcyling. Instagram. https://www.instagram.com/p/B8BmcwzA0gz/

FIGURE 4: Ahluwalia, P. (2022). Wave Polo Shirt. [IMAGE]. LNCC. https://www.ln-cc.com/en/extra-10-sale-eu/ahluwalia-wave-polo-shirt-in-white-ahl0144007wht.html?cgid=extra10-sale-eu Scheibinger, D. (2020). Ahluwalia Autumn Winter 2020. CNN. https://edition.cnn.com/style/article/priya-ahluwalia-sept/index.html

FIGURE 5: ShowStudio. (2022). The Home of Fashion Film. INSTAGRAM. https://www.instagram.com/showstudio/?hl=en