PREFACE
DISTORTED REALITY OVERVIEW INNOVATERS DRIVERS CONSEQUENCE FUTURE
LETS GET PERSONAL OVERVIEW INNOVATERS DRIVERS CONSEQUENCE FUTURE
FIGURE 3: SHAPES, 2015,
FIGURE 3: SHAPES, 2015
Within this report I have put together two proposals for my dissertation within third year. I will be outlining the idea itself and why I have been inspired to look further into it, along with innovators and drivers who are pushing these particular trends and the impact and consequence it has on today’s society. I have then come up with a question or area of research I will look deeper into, to enable me to come up with a foreseeable trend future.
FIGURE 5: SURREAL DOOR, 2014
=
FIGURE 6: LEGS, 2014
FIGURE 7: CLOUDS, 2012
My first idea focusses on virtual reality and technological advances within today’s society, and how it creates this “distorted reality” that we now live in. This idea centres around the fact that consumers within the 21st century are now looking for escapism into a new encapsulating worldquestioning the boundaries between the real and surreal.
FIGURE 8: WIND UP, 2013
Gaming and VR are no longer child’s play, they are enticing a whole new audience and are being used in all sorts of industries, such as fashion, food and medicine. Although these technical developments are innovative and exciting they are equally as frightening and come with some consequences. Humans are being cloned into robotic humanoids with risks of taking over many working class jobs. Is this ethical? Will these robotic creatures ever be elevated onto an equal platform as us? Is there a possibility we can get lost in this high-tech/fantasy world, with consumers demanding for more?
FIGURE 9: COTTWEILER, 2015
Saying that they are not the only generation who has experienced technological advancements, but the amount of computational power and access to information that they have had at their fingertips since grade-school i s u n p a r a l l e l e d [2].
FIGURE 11: BLUE LINES, 2012
FIGURE 10: COTTWEILER 2, 2014
A big innovator for this trend are the millennials, not only are they the key consumer but they are a generation who has been born and raised within the digital age- they are stimulated by technology. Millennials are more connected to technology than previous generations and a quarter of Millennials believe that their relationship to technology is what makes their generation unique [1].
FIGURE 12: MARINE PLASTIC
Due to this ease of access to technology, gaming and computing, Millennials need/greed for new innovative ideas and products grows stronger as they are constantly looking for something fresh and exciting. Not only are they testing, trialling and demanding pioneering products, but they are also sharing them on social networks, marketing them to their friends and family. Roughly three-quarters of Millennials have an account on a social networking site, compared with only half of Generation X and less than a t h i r d o f t h e B a b y B o o m e r s [3].
FIGURE 13: COTTWEILER 3
Figure 15 shows the future growth in revenue on electrical products from consumers/automotive/industries and other. Another factor driving this trend is the development within the Asian economy. As their wealth grows, so do their technological products that they are producing. Many of the recent advancements, such as humanoids have stemmed from japan along with other robotics. FIGURE 14: METALLIC GHOST
FIGURE 15: OWN IMAGE- GRAPH SHOWING GROWTH OF REVENUE FROM ELECTRONIC PRODUCTS
20000 15000 10000 5000 0 2013
2014
CONSUMER
2015
2016
AUTOMOTIVE
Another key drivers for this idea, is that the society we live in with influence from the millennials, is becoming addicted and reliant on technology. People are increasingly developing unhealthy relationships with technology, particularly mobile technology contained in our smartphones and tablet computers, to the extent that you can now seek professional psychological help for technology addiction, much as with other established addictions such as d r u g s o r a l c o h o l [4].
2017
2018
INDUSTRIAL
2019
2020
OTHER
FIGURE 18: INFORMATION AGE, 2015
Figure 2 shows Goldman Sachs predictions for the future of the world’s economy, with china at the very top in 2050. Not only is the economy a leading role within the trend but also the obvious fact that we are now living within the “Information age”. A period in human history characterized by the shift from traditional industry that the industrial revolution brought through industrialization, to an economy based on information computerization.
FIGURE 16: CRYSTALS, 2014
COUNTRY
GDP US$ MINS
COUNTRY
GPD US$ MINS
UNITED STATES
13,843,825
CHINA
78,000,000
JAPAN
4,282,762
UNITED STATES
38,500,000
GERMANY
3,222,147
INDIA
37,600,000
CHINA
3,250,827
BRAZIL
11,300,000
UK
2,772,570
RUSSIA
9,340,000
FRANCE
2,560,255
MEXICO
8,580,000
FIGURE 17: OWN IMAGE BASED ON- GOLDEN SACHS STATS
FIGURE 19: TABS, 2014,
This trend has already majorly impacted the world we live in, making its mark on many different industries. For starters we have the development of humanoid robots which has been a working progress since the 1980’s but it is only just coming to light after being trialled and tested for many years. One in particular works in a department store in Tokyo, Japan, where she meets and greets local customers and is able to give them a tour around the shops. So far, ChihiraAico- the name given to the humanoid has been programmed to communicate in Japanese, Korean, Chinese, English and Japanese sign language, and has been designed to help foster effective communication between h u m a n s a n d n o n - h u m a n s [5].
So already this is a clear example of the general public gaining access to this advanced technology along with robotic job replacement.
FIGURE 20: HUMANOIDS, 2014,
FIGURE 21: HAND TIE, 2015
Also relating to this, within the medical world Avatars are being used for patient therapy sessions as a way of treating schizophrenia. Developed by teams at the University College and Kings College London, they have allowed patients to externalise the characters they believe are speaking to them and have given them dialogue. A therapist speaks through the avatar and the patient is able to perceive the voice as less threatening. Early trials involving 16 willing patients have had positive results and in late 2015 the therapy will be made available to a w i d e r g r o u p [6}. Th i s s h o w s t h a t surreal developments such as Avatars can be used for more serious matters and not just for commercial use, and the impact has been successful. FIGURE 22: AVATAR, 2015
Back to the more commercial side of things, but stirring away from robotics, sense marketing seems to be growing significantly. Distorting people’s reality by tackling their senses and perceptions and giving them a more memorable experience. Half a century ago a man called Morton Heilig created the Sensorama, a tacky old chair equipped with speakers and fans, which was created to enhance films with scent to build a more visceral experience. Due to the impracticality of Heilig’s invention, it never took off, however 50 years down the line immersive, multi-sensory experiences are offering new opportunities to the gaming, TV, film and theme park industries. To be fair we have seen a lot of “scent” marketing within the past couple of years, such as Heston Blomanthal’s “Like a Kid in a Sweetshop” and many other new upcoming restaurants using FIGURE 23: METALLIC PAINT, 2014 scent to entice their customers.
However new advances go beyond sight, smell and sound, as more and more products become “software wrapped in plastic”, blurring the lines between physical and digital- which is now offering new possibilities. One example of this is the alert shirt, created by australian broadcaster foxtel. Sports fans will be able to experience the games they are watching more viscerally by wearing the haptic vest. Which is set to reproduce the player’s heart rate and the sensation of being tackled via a s m a r t p h o n e a p p [7]. FIGURE 24: SENSORS, 2015
FIGURE 25: PROJECT NOURISHED, 2014
Virtual Reality once a geeky, niche field first created by the likes of Delaney and Zimmerman, is soon to become mainstream. With some analysts predicting the sector will be worth $5 billion by 2018 [8]. A newly founded Japanese company has clearly taken point of this and has created a VR brand around food. Project Nourished reexamines modern methods of dietary consumptions by allowing participants to experience fine dining without concern of calorific intake or any other health related issues. By merging the physicality of molecular gastronomy with virtual reality, we can finally enjoy the food we like in a new way [9].
FIGURE 26: GOLD TONGUE, 2015
This high tech dining experience may sound a bit daunting the thought of eating hydrocolloid polymers and gums but its function is set to tackle obesity, anorexia, high blood pressure and cholesterol. As the virtual food that you eat during the experience is made up of naturally derived sources such as algae, seaweed, fruit, vegetables, seeds and microbial. So again it might seem like it’s all about the commercial experience, yet it has deeper meaning and it could provide some positive medical advancements.
FIGURE 27: FAST FOOD, 2015
This trend comes with s ome positive and negative consequences due to the impact it has on our society. Firstly it is already changing the way we shop, VM displays are becoming more immersive and brands are catching onto the VR trend and are using it to their advantage. For example Gareth Pugh teamed up with Inition for Selfridges at the beginning of 2014 for the “Festival of Im agination”. This m ultisensory experience was called “Monolith”, in an interview for De Zeen magazine Pugh states “the inspiration for this piece really came from the desire to create a totally immersive experience. I've always believed in the importance of fashion film and new technology as a means of communication” [10]. FIGURE 30: PACK, 2015
FIGURE 28: GARETH PUGH X SELFRIDGES, 2014
FIGURE 29: IMERSIVE WORLD, 2014
Consumers were able to enter a soundproofed booth, and had to put on a pointy black helmet, which Pugh designed specifically for the installation, based on costumes he created for the Royal Ballet. Using an Oculus Rift virtual reality display embedded in the headpiece, the wearer is taken on a journey through monochromatic cityscapes, entering the world of Gareth Pugh.
Also Inition have worked with Westfield shopping centre in Stratford, London to create a similar experience, however it wasn’t souly brand based. It was more of a pop up instalment for the public to try out for the “Future Fas hion” week. The y used Oculus Rift DK2 head-mounted displays and Leap Motion gesture tracking technology, to develop an experience which enabled guests to enter one of three virtual, futuristic landscapes where, using specific gestures, they could explore the concepts of the 3 key trends- floral, denim and monochrome [11]. FIGURE 31: INITION, 2015
From this you can clearly see the trickle down of Virtual Reality within fashion, so far it hasn’t had a massive impact on high-street stores or brands, which I feel is where the gap is- as soon as it hits the streets I feel it could sway people away from online shopping and get more people physically involved within their trusted brands.
FIGURE 32: OCULUS RIFT, 2014
Moving away from in store shopping experiences and its positive consequences, the Distorted Reality trend has its negatives. Te c hnology research firm Gartner predicted in 2013 that by 2030 smart machines could replace as many as 90% of jobs as we know them today [12].
FIGURE 33: BODY SCAN, 2015
An example of this is that there is a fear that holograms/avatars will take the place of models on the catwalk, researchers have combined 3D body scanning and motion capture technology to create lifelike virtual models, one of which has been dubbed 'Ava' by Science Daily. Yes this has been done before, but by basing the avatar on an already existing model such as Kate Moss in the Alexander McQueen AW06 show. Instead, the production method pioneered by the researchers has allowed them to birth what they describe as uber-realistic "hybrid avatars", which can be dressed up and altered however the designer p l e a s e s [13]. Th i s m a y t h e n t a c k l e ethical issues relating to models within the fashion industry, but will catwalk shows remain the same when nothing is physically real and is all on a digital platform?
FIGURE 34: MODEL, 2014
FIGURE 35: BOWIE, 2015
My area for research in relation to this domain would be Menswear VM and in store design. After recent research that I did with men between the ages of 16-25 I found that many of them preferred to shop online rather than in store, mainly due to the fact that they found shopping relatively “boring” and in some cases “unnecessary”. Some said that if they do shop instore they won’t go alone rather with girlfriends, friends and even parents.
FIGURE 36: PLIERS, 2012
From this I want to push men’s high-street retail experiences for millennials. I want to target a particular consumer, one whose life is mainly based online and heavily influenced by gaming and computing, still within education, but does want to develop their personal style. I think if their favourite hobby such as gaming/VR is driven into retail stores I feel they are more likely to want to step out the house and go shopping as they are gaining more than just clothes but an experience which may make them more loyal to the brand itself.
FIGURE 37: BRACES, 2015
FIGURE 38: PASTELS, 2015
=
This idea centres around the fact that the consumer is becoming more active within fashion and lifestyle brands. The re is m ore of a demand for high tech personalisation, creating something that it completely one off and unique to individual tastes. Pushing this trend is the Meconamy theory, that self-expression is liberated rather than limited and consumers are no longer an outsider but rather an over active participant.
Within today’s society vanity is key, whether it be showing off your life on Instagram or selling yourself via selfies on Snapchat, materialism is visible from all angles. So why wouldn’t anyone want to take more control by personalising their clothes or makeup, if it makes them look good and stand out from others around them. This will then impact on the barriers between designer and consumer, who stands where when its less about the originator and more about the buyer? FIGURE 40: WHITE WIG, 2015
FIGURE 39: BAND GUN, 2015
One key innovator that started this trend, similar to my Distorted Reality idea, is the Millennials. The y are s oon becoming a new Generation of makers, a young collective of DIY- doers placing premium on one-of-a-kind products. The y are c onstantly looking for something new and different, that’s offbeat but still on trend. I think we all took a shining to personalising our clothes when we were younger, whether it be adding patches to our jeans or purchasing those famous velvet headbands with our names on.
FIGURE 41: HOODIE, 2015
However this personalisation turns a corner, as we are living in the “Digital Age” where technology and computing is at its height, so why slack around snipping and stitching, when you can digitally edit your products and mark your stamp. FIGURE 43: NEON GLASS, 2014
FIGURE 42: PRINTED SHIRTS, 2015
FIGURE 44: FOIL, 2015
FIGURE 45: LI ELDELKOORT, 2015
Another innovator predicting this trend to have great impact on the fashion industry is South A frican Tre nd Forecaster Li Edelkoort who states that “it’s the end of fashion as w e k n o w i t ” [14], i n h e r interview for De Zeen magazine. Edelkoort highlights the fact that this change within the industry where designers are having less control will lead to a halt in what is traditional fashion. Whereas before fashion was art, it was creative and hands on but “designers are no longer doing fashion but are doing clothes, clothes, clothes. So everybody for several reasons is concentrating o n c l o t h e s ” [15], s o n o w there is less of a narrative behind designer collections.
FIGURE 46: KEYBOARD, 2014
This trend is driven by the growing need of control from consumers, by allowing this brands can gain a stronger and trustworthy relationship with its customers. Recent research undertaken by Te radata and Ce lebrus Te c hnologies revealed, well executed personalisation drives incremental sales and r e i n f o r c e s b r a n d v a l u e [16].
Consumers control is mainly stemmed from their creativity and how it is fully anchored in the need for personalised experiences, 56% percent of consumers reported that they are more likely to buy from companies who allow them to personalize their products or services. Brands who guide consumers can enable a sense of creativity and empowerment [17].
FIGURE 47: GOLDEN YEARS, 2015
This trend has already impacted upon the fashion industry and the variation of personalised clothes that are available to us from high e nd brands. The use of smart fabrics will revolutionise the fashion industry, allowing us to download new styles for our clothes rather than buying new g a r m e n t s [18], t h i s m a y s e e m ridiculous but fashion designer Francesca Rosella has created garments embedded with tiny LED lights, which enable her designs to change colour and pattern when desired. FIGURE 49: CUTE CIRCUIT CATWALK, 2014
“we are living in a digital future, so we do not need to sell 10,000 skirts, we could sell 500, but then could sell thousands of patterns that you download to your skirt� [19] that way consumers are buying less items of clothing and more pattern/colour designs instead.
FIGURE 48: K-DRESS, 2014
Her brand also produces ready-to-wear pieces. CuteCircuit's 2014/2015 collection features a range of garments that users can control with a smart phone app. Rosella also states that even though her designs are very high tech, they can also be environmental in the long run, FIGURE 50: PEARLESCENT, 2015
FIGURE 52: 3D PRINTING, 2014
Linked to this 3D printing and scanning are becoming massive participants within the textile/fashion industry, bespoke clothing is being made fit to measure for upper class consumers in a new way. An example of this is the 3D printed dress made for Dita Von Te ese designed and made by Michael Schmidt and Francis Bitonti, her measurements were taken through a body scanner, which enabled them to design a personally fitted garment which they then programmed a 3D printer to print. “Possibilities are now limited by the designer’s imagination rather than material constraints, Bitonti says. “What I’m finding every day is that I can make anything I can draw. And I can make something behave any way I c an imagine it behaving. The g a p c l o s e s e v e r y d a y ” [21].
FIGURE 51: DITA VON TEESE, 2014
This then s upports Edelkoorts statement that fashion is no longer what it was, technological advancements are dimming the values of craftsmanship, further highlighting the role of the designer.
Another example of personalisation is within the travel industry, Virgin Atlantic have created a new search engine for customers, which allows them to choose from selected destinations built from their own personal preferences.
FIGURE 53: POOL, 2015
Through playful e ngagement, they invite consumers to either pack their ideal suitcase or take an online personality test so that the ideal holiday experience can b e s u g g e s t e d [22]. Th i s i s a clear example that not only fashion brands but travel are tapping into the millennial mind-set and are picking up on their Meconamist behaviour to entice more consumers.
FIGURE 54: GET PACKING, 2015
Negative consequences seem to out way the positive within this trend, however the negatives only really stem from the fashion industry point of view. Industry experts are becoming more and more wary of the fact that consumers may take more control then they should have, meaning that the designers are soon to be at risk of their jobs. What with brands becoming consumer-driven will fashion become season-less, what will happen to trends? [21].
FIGURE 55: CUBISM, 2014
FIGURE 56: SPHERE, 2015
FIGURE 57: DISCO INFERNO, 2015
From this fashion brands will have to change their values and outlook on their designs to appeal to this new consumer driven trend, they have to be flexible for consumers to remain or regain trust in them. Pia Sanchina Industry Manager of Fashion at Google states that brands must adapt the “Always Ready” approach – shifting from the sometimes on, sometimes off, activity of flighted campaigns, to being ready to interact with consumers at any point that is most relevant for them. Tailoring those interactions then becomes t h e c r i t i c a l p a r t [2 3].
On the positive side consumers are getting what they have always wanted, a personal product or experience which has been based around their wants or needs, something that they will probably hold onto for longer rather than an ordinary commercial item that 3/10 have also purchased.
FIGURE 58: TEE, 2015
The area of research that I will look into to enable me to develop a final idea is the publishing, online and offline magazine industry. A brief idea that I have based on secondary and primary research is to create a personalized magazine that will be available to the consumer via a monthly subscription that they may be able to access online. The magazine will be built upon the consumers algorithms when it comes to their browsing behaviour and personal interests. General developments are not very clear at this early stage but they may have to fill in a survey before they subscribe or fill in a privacy contract. Based on my consumer profile I will be aiming this product at 18-25 year old women, those who are interested in the celebrity lifestyle, fitness, high street trends and obviously reading magazines, a consumer who knows exactly what they want which will be displayed to them in one magazine.
FIGURE 59: ZINES, 2015
However at the end of each month they will receive a magazine souly based on their interests across fashion, lifestyle, food etc, it will include the latest trends/products/recipes/ workouts that are suited for them.
FIGURE 60: COMPUTER, 2014
MALE
16-25
FIGURE 62: COMPUTING, 2014
TECH APPEAL
NON-FASHIONISTA
FIGURE 63: PING PONG, 2015 FIGURE 61: ESQUIRE, 2015
ONLINE SPENDER
E-SPORTS
GAMER
FIGURE 66: JURASSIC PARK, 2014
FIGURE 64: DESK, 2014
FIGURE 65: TECH TOP, 2015
EXPLORER/MAGICIAM ARCHITYPE
FIGURE 71: LOLLY, 2015
URE 67: MODEL, 2015
FEMALE
20-25
FULL-TIME JOB
INTEREST IN BEAUTY FIGURE 70: NAILS, 2015
LIFESTYLE CITY BASED
FITNESS
FASHION
FIGURE 68: #BALANCE
SHOPS ON THE HIGHSTREET
FIGURE 69: BEAUTY PRODUCTS, 2012
FIGURE 1: FRONT COVER, 2013, AVAILABLE AT charlotteaudreyowenmeehan.tumblr.com FIGURE 2: CONTENTS PAGE, 2014, AVAILABLE AT http://andreaswww.com/ FIGURE 3: SHAPES, 2015, AVAILABLE AT http://andreaswww.com/ FIGURE 4: SHAPES 2, 2015, AVAILABLE AT http://andreaswww.com/ FIGURE 5: SURREAL DOOR, 2014, AVAILABLE AT http://nickthomm.com/ FIGURE 6: LEGS, 2014, AVAILABLE AT http://domsebastian.tumblr.com/?og=1 FIGURE 7: CLOUDS, 2012, AVAILABLE AT http://tomrrw.tumblr.com/ FIGURE 8: WIND UP, 2013 AVAILABLE AT http://unitedstatesofpsychedelica.tumblr.com/ FIGURE 9: COTTWEILER, 2015, AVAILABLE AT http://www.cottweiler.com/ FIGURE 10: COTTWEILER 2, 2014, AVAILABLE AT http://www.cottweiler.com/ FIGURE 11: BLUE LINES, 2012, AVAILABLE AT http://andreaswww.com/ FIGURE 12: MARINE PLASTIC, 2014, AVAILABLE AT http://dominicmetcalfe.tumblr.com/ FIGURE 13: COTTWEILER 3, 2013, AVAILABLE AT http://www.cottweiler.com/ FIGURE 14: METALLIC GHOST, 2015, AVAILABLE AT http://www.quotethefuture.com/daily/mathieu-missiaen/ FIGURE 15: OWN IMAGE- GRAPH SHOWING GROWTH OF REVENUE FROM ELECTRONIC PRODUCTS FIGURE 16: CRYSTALS, 2014, AVAILABLE AT http://iamanais.tumblr.com/post/88363131236 FIGURE 17: OWN IMAGE BASED ON- GOLDEN SACHS STATS FIGURE 18: INFORMATION AGE, 2015, GOOGLE SEARCH, https://www.google.co.uk/search?q=infomation+age&oq=INFOMA&aqs=chrome.0.69i59j69i57j0l4.2384j0j4&sourceid=chrome &es_sm=0&ie=UTF-8 FIGURE 19: TABS, 2014, AVAILABLE AT charlotteaudreyowenmeehan.tumblr.com FIGURE 20: HUMANOIDS, 2014, AVAILABLE AT http://www.japantimes.co.jp/news/2014/06/24/national/sciencehealth/humanoid-robot-exhibit-opens-tokyo/ FIGURE 21: HAND TIE, 2015, AVAILABLE AT http://dominicmetcalfe.tumblr.com/ FIGURE 22: AVATAR, 2015, http://mosaicscience.com/extra/avatar-therapy FIGURE 23: METALLIC PAINT, 2014, AVAILABLE AT http://andreaswww.com/ FIGURE 24: SENSORS, 2015, AVAILABLE AT http://domsebastian.tumblr.com/?og=1 FIGURE 25: PROJECT NOURISHED, 2014, AVAILABLE http://www.projectnourished.com/ FIGURE 26: GOLD TONGUE, 2015, AVAILABLE AT http://andreaswww.com/ FIGURE 27: FAST FOOD, 2015, AVAILABLE AT http://andreaswww.com/ FIGURE 28: GARETH PUGH X SELFRIDGES, 2014, AVAILABLE AT http://www.dezeen.com/2014/01/11/immersive-virtual-world-bygareth-pugh-and-inition-installed-at-selfridges/ FIGURE 29: IMERSIVE WORLD, 2014, http://www.dezeen.com/2014/01/11/immersive-virtual-world-by-gareth-pugh-and-initioninstalled-at-selfridges/ FIGURE 30: PACK, 2015, AVAILABLE AT http://andreaswww.com/ FIGURE 31: INITION, 2015, AVAILABLE AT http://www.inition.co.uk/case_study/interactive-vr-and-motion-tracking-experiencefor-westfields-future-fashion/ FIGURE 32: OCULUS RIFT, 2014, AVAILABLE AT http://www.theverge.com/a/virtual-reality FIGURE 33: BODY SCAN, 2015, AVAILABLE AT http://motherboard.vice.com/read/sorry-supermodels-but-runway-avatarsnever-have-to-eat FIGURE 34: MODEL, 2014, AVAILABLE AT http://andreaswww.com/ FIGURE 35: BOWIE, 2015, AVAILABLE AT http://www.wgsn.com.ezproxy.ntu.ac.uk/content/board_viewer/#/142398/page/1 FIGURE 36: PLIERS, 2012, AVAILABLE AT http://candyglass.net/ FIGURE 37: BRACES, 2015, AVAILABLE AT http://www.wgsn.com.ezproxy.ntu.ac.uk/content/board_viewer/#/142398/page/1
FIGURE 38: PASTELS, 2015, AVAILABLE AT http://www.wgsn.com.ezproxy.ntu.ac.uk/content/board_viewer/#/142398/page/1 FIGURE 39: BAND GUN, 2015, AVAILABLE AT charlotteaudreyowenmeehan.tumblr.com FIGURE 40: WHITE WIG, 2015, AVAILABLE AT http://andreaswww.com/ FIGURE 41: HOODIE, 2015, AVAILABLE AT http://www.dazeddigital.com/ FIGURE 42: PRINTED SHIRTS, 2015, AVAILABLE AT http://www.wgsn.com.ezproxy.ntu.ac.uk/content/board_viewer/#/142398/page/1 FIGURE 43: NEON GLASS, 2014, AVAILABLE AT http://oyori.tk/post/73090208116/outfaded-http-outfaded-tumblr-com FIGURE 44: FOIL, 2015, AVAILABLE AT http://andreaswww.com/ FIGURE 45: LI ELDELKOORT, 2015, AVAILABLE AT http://www.dezeen.com/2015/03/01/li-edelkoort-end-of-fashion-as-we-knowit-design-indaba-2015/ FIGURE 46: KEYBOARD, 2014, AVAILABLE AT http://domsebastian.tumblr.com/?og=1 FIGURE 47: GOLDEN YEARS, 2015, AVAILABLE AT http://keinmag.com/blog/dean-bradshaw-golden-years FIGURE 48: K-DRESS, 2014, AVAILABLE AT http://www.dezeen.com/2014/08/29/movie-francesca-rosella-cutecircuit-digitalfashion-smart-textiles/ FIGURE 49: CUTE CIRCUIT CATWALK, 2014, AVAILABLE AT http://www.dezeen.com/2014/08/29/movie-francesca-rosellacutecircuit-digital-fashion-smart-textiles/ FIGURE 50: PEARLESCENT, 2015, AVAILABLE AT http://tomrrw.tumblr.com/ FIGURE 51: DITA VON TEESE, 2014, AVAILABLE AT http://www.dezeen.com/2013/03/07/3d-printed-dress-dita-von-teese-michaelschmidt-francis-bitonti/ FIGURE 52: 3D PRINTING, 2014, AVAILABLE AT http://www.dezeen.com/2015/02/28/movie-3d-scanning-fashion-unique-fittedclothes-leonie-tenthof-van-noorden/ FIGURE 53: POOL, 2015, AVAILABLE AT http://andreaswww.com/ FIGURE 54: GET PACKING, 2015, AVAILABLE AT http://andreaswww.com/ FIGURE 55: CUBISM, 2014, AVAILABLE AT http://society6.com/product/pacifica-glitch_print#1=45 FIGURE 56: SPHERE, 2015, AVAILABLE AT https://www.behance.net/ FIGURE 57: DISCO INFERNO, 2015, AVAILABLE AT http://andreaswww.com/ FIGURE 58: TEE, 2015, AVAILABLE AT http://www.wgsn.com.ezproxy.ntu.ac.uk/content/board_viewer/#/142398/page/1 FIGURE 59: ZINES, 2015, AVAILABLE AT http://www.wgsn.com.ezproxy.ntu.ac.uk/content/board_viewer/#/142398/page/1 FIGURE 60: COMPUTER, 2014, AVAILABLE AT http://www.theverge.com/a/virtual-reality FIGURE 61: ESQUIRE, 2015, AVAILABLE AT https://models.com/work/esquire-spain-suburbia FIGURE 62: COMPUTING, 2014, AVAILABLE AT http://www.wgsn.com.ezproxy.ntu.ac.uk/content/board_viewer/#/142398/page/1 FIGURE 63: PING PONG, 2015, AVAILABLE AT http://andreaswww.com/ FIGURE 64: DESK, 2014, AVAILABLE AT http://www.gq-magazine.co.uk/style FIGURE 65: TECH TOP, 2015, AVAILABLE AT http://andreaswww.com/ FIGURE 66: JURASSIC PARK, 2014, AVAILABLE AT http://www.polyesterzine.com/category/news FIGURE 67: MODEL, 2015, AVAILABLE AT http://www.wgsn.com.ezproxy.ntu.ac.uk/content/board_viewer/#/142398/page/1 FIGURE 68: #BALANCE, 2015, AVAILABLE AT http://keinmag.com/blog/fashion-editorial-balance FIGURE 69: BEAUTY PRODUCTS, 2012, AVAILABLE AT https://www.behance.net/ FIGURE 70: NAILS, 2015, AVAILABLE AT http://andreaswww.com/ FIGURE 71: LOLLY, 2015, AVAILABLE AT http://keinmag.com/blog/herms-mtamorphose
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18. 19. 20. 21. 22.
23.
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Arthur, 2015, Luxury Brands- Google Report, Available at http://fashionandmash.com/2014/07/08/luxury-brands-mustshift-from-interruption-to-relevance-says-google/ Brodhurst-Hooper, 2013, Future of Design, Available at http://www.bigpicture.co.uk/the-future-of-design-can-3d-printingallow-the-consumer-to-become-the-designer/ Ensor, 2015, Palmer Luckey, Available at http://www.telegraph.co.uk/technology/11309013/Oculus-Rifts-Palmer-Luckey-Ibrought-virtual-reality-back-from-the-dead.html Fairs, 2014, Augmented Reality, Available at http://www.dezeen.com/2014/01/17/augmented-reality-demonstration-atdezeens-imagine-shop-for-selfridges-movie/ Fairs, 2015, Li Edelkoort, Available at http://www.dezeen.com/2015/03/01/li-edelkoort-end-of-fashion-as-we-know-itdesign-indaba-2015/ Gordon, 2015, Consumers Want Control, Available at http://digitalmarketingmagazine.co.uk/digital-marketingdata/consumers-want-control-of-personalisation-in-order-to-build-trust/1848 Harbaugh, 2015, What Consumers Want, Available at http://425business.com/consumers-want-control-creativityauthenticity-digital/ Howarth, 2014, Francis Bitonti, Available at http://www.dezeen.com/2014/09/26/francis-bitonti-interview-fashiontechnology-3d-printing/ Howarth, 2014, Immersive Virtual World, Available at http://www.dezeen.com/2014/01/11/immersive-virtual-world-bygareth-pugh-and-inition-installed-at-selfridges/ Howarth, 2015, Is 3D Printing Ethical? Available at http://www.dezeen.com/2015/03/06/will-i-am-interview-future-3dprinting-people/ Inition Case Study, 2015, Available at http://www.inition.co.uk/case_study/interactive-vr-and-motion-tracking-experiencefor-westfields-future-fashion/ Inition Case Study, 2015, Available at http://www.inition.co.uk/inition-experience-mr-porter-kingsman-film/ Jordan, 2015, Algorithm Tourism, Available at https://www.lsnglobal.com/seed/article/17581/robotic-ruse Leach + Smith, 2015, Algorithm Tourism, Available at https://www.lsnglobal.com/seed/article/17525/preview-algorithmtourism Microsoft Report, 2015, Consumers Want Personal Experiences, Available at http://advertising.microsoft.com/en/blog/29634/new-research-reveals-consumers-want-personal-experiences-andcontrol-over-their-online-personas-and-information-sharing
Millin, 2015, Creative Futures, Available at https://www.creativefutures.co.uk/news/fashion-becoming-seasonless-and-consumer-driven-how-do-we-adapt-our-businesses-thrive-new Mini Frontiers, 2014, Cute Circuit, Available at http://www.dezeen.com/2014/08/29/movie-francesca-rosellacutecircuit-digital-fashion-smart-textiles/ Mini Frontiers, 2015, 3D Scanning, Available at http://www.dezeen.com/2015/02/28/movie-3d-scanningfashion-unique-fitted-clothes-leonie-tenthof-van-noorden/ Mini Frontiers, 2015, Knytton, Available at http://www.dezeen.com/2015/02/18/movie-mass-customisationfuture-fashion-knyttan-bespoke-knitwear-ben-alun-jones/ Project Nourished, 2015, Available at http://www.projectnourished.com/ Rundle, 2015, Google Cars, Available at http://www.wired.co.uk/news/archive/2015-05/12/google-self-drivingcars-accidents Shing, 2015, Todayâ&#x20AC;&#x2122;s Society Addicted to Technology, Available at http://www.ibtimes.co.uk/todays-societyaddicted-technology-1474076 Temperton, 2015, Humanoid Han, Available at http://www.wired.co.uk/news/archive/2015-04/21/han-realistichumanoid-robot-video The Conversation, 2015, Available at http://www.science20.com/the_conversation/dont_blame_robots_for_the_rise_in_inequality-155408 Tsjeng, 2014, 3D Avatars, Available at http://www.dazeddigital.com/fashion/article/21157/1/could-3d-avatarsreplace-supermodels WGSN, 2015, Built by the Internet, Available at http://www.wgsn.com.ezproxy.ntu.ac.uk/content/board_viewer/#/142398/page/1 White, 2011, The Smell of Commerce, Available at http://www.independent.co.uk/news/media/advertising/thesmell-of-commerce-how-companies-use-scents-to-sell-their-products-2338142.html
RESEARCH METHODOLOGY QUESTIONNAIRES CONSENT FORMS [SEPARATE]
PRESENTATION SLIDES
RESEARCH METHOD
SAMPLE
PURPOSE
QUESTIONNAIRE [DISTORTED REALITY]
Males- 16-25
To find out what shopping habits males between these ages have. Also to find the gap- where are retailers going wrong, why cant men love fashion as much as us females?
Questionnaire [lets get personal]
Female- 20-25
To discover if the idea of a personalised magazine is the right route to take my further research- to find out if there is a market for this product. Price range and how many issues to supply to the consumer annually.
Visit the Unseen Emporium @ Somerset House
-
To see what new technology trends are around and being developed at the moment in relation to fashion- to stem further ideas for my Distorted Reality idea.
Detailed interview/day in the life of my consumer [distorted reality]
Males 16-25 1
To get to know my consumer better, their daily routine, habits etc. To find out how involved they are within the gaming world- to see what new technologies and immersive VM display ideas that may appeal to their tastes.
Interview with a professional within the magazine industry
-
This way I can get an in-depth insight into the magazine industry- to see whether they feel as though this is an idea to proceed with. See how successful their magazine is online, what kind of consumers they have etc.
LIV PHILLIPS
EXE C U T I O N Web Designer P R M a rke ti n g Di re c to r M a rke ti n g Di re c to r Ad ve r ti s i n g Ac c o u n t E xe c u ti ve
CREA TIV E CONCEP T Cre a ti ve As s i s ta n t P h o to g ra p h e r
S tyl i s t
BIG IDEA Cre a ti ve Di re c to r Fa s h i o n E d i to r
Vi s u a l Me rc h a n d i s e r
Brand Manager
CONTEXT Co n te n t M a n a g e r Product Specialist E-Commerce Manager
Vi s u a l Re s e a rc h e r
Tre n d Fo re c a s te r Ma rke t Re s e a rc h Ana l ys t In te rn a ti o n a l M a rke ti n g Di re c to r
+ * VISUA LS * RESEARCH * LA YOUT
×
PRESENTA TION SKILLS
×
TIME MA NEGEMENT
×
GRA PHICS
×
PHOTOS HOP + ILLUSTRA TOR SKILLS
= -
In s p i re d b y p e o p l e s d e s i re to ma n i p u l a te th e a ppe a ra nc e of re a l i ty. Ho w n e w te c h n o l o g y a d va n c e s a re n a rro wi n g th e b o u n d a ri e s b e twe e n th e re a l a n d s u rre a l . E l e va te d c o n s u me r e xp e ri e n c e s .
â&#x20AC;&#x153;M i l l e n n i a l s a r e m o r e c o n n e c t e d t o te c h n o l o g y th a n p re vi o u s g e n e ra ti o n s a n d a q u a rte r o f M i l l e n n i a l s b e l i e ve th a t th e i r re l a ti o n s h i p to te c h n o l o g y i s wh a t ma ke s th e i r g e n e ra ti o n u n i q u e â&#x20AC;? - P e w 2 01 4 Cottweiler 2014
- S TI M U L A TE D M Y TE C H N O L O G Y -
Fisher Zimmerman De la n e y Lanier
Ben Delaney 1982
G R O W TH I N A S I A N E C O N O M I E S
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Project Nourished 2014
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Wired Avatar Therapy 2015
<< PROJECT NOURISHED
â&#x20AC;&#x153;2 030 smart machines could replace as many a s 90% o f j o b s â&#x20AC;? - Ga rtn e r 2 01 3
Oculus Rift 2014
Gareth Pugh x Selfridges 2015
P OINT OF RESEA RCH
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LOOK INTO MENS VM A ND INSTORE DESIGNS TO HIG H T E N THE I R S HOP P I N G EXP E R I E N C E.
M ALE 16-2 5 WGSN 2015
GAM ER NON FAS HIONISTA GRAP HIC DESIGN TE C H ONLINE SPENDER
= -
C o n s u m e r b e c o m e s th e c r e a tive C lo th e s a r e le s s a b o u t th e d e s ig n e r a n d m o r e a b o u t th e in d ivid u a l Barriers are broken D ig ita l p e r s o n a liz a tio n
Li Edelkoort 2015
â&#x20AC;&#x153; D e s ig n e r s a r e n o lo n g e r d o in g fa s h io n b u t a r e d o in g c lo th e s , c lo th e s , c lo th e s . S o e ve r yb o d y fo r s e ve r a l r e a s o n s is c o n c e n tr a tin g o n c lo th e s . â&#x20AC;?
- Ne w Ge n e ra ti o n o f ma ke rs - Yo u n g c o l l e c ti ve s o f DIY doers placing premium on o n e - o f- a - ki n d p ro d u c ts
ME-CONA MY -
Self expression is l i b e ra te d ra th e r th a n l i mi te d . Tec hnolog y is e n l i g h ti n g ra th e r th a n ove r whe l m i ng. P e o p l e a re n o w a c ti ve ma rke t p a rti c i p a n ts ra th e r th a n s i mp l y consumers.
Th e tra ve l i n d u s tr y i s fo c u s i n g o n th e i n d i vi d u a l ra th e r th a n th e d e s ti n a ti o n - LSN
Virgin Atlantic 2014
K-Dress 2014
Knyttan Online Shop 2015
Global
" s ma rt" fa b ri c s wi l l re vo l u ti o n i s e th e fa s h i o n i n d u s tr y, a l l o wi n g u s to d o wn l o a d n e w s tyl e s fo r o u r c l o th e s ra th e r th a n b u yi n g n e w g a rme n ts . Franc esca Rosella
Dita Von Teese 3D Printed dress 2013
!
“ Th e fa s h io n in d u s tr y n e e d s to fo c u s in
o n r e le va n c y a n d p e r s o n a lis a tio n in o r d e r to b e tte r r e a c h to d a y’ s lu xu r y c ons umer” Pia Sta n c h in a , In d u s tr y Ma n ager
of
fas hion at Google UK
Pia Stanchina 2015
- A REA S OF RESEA RCHPublishing Online magazines Zi n e s
-P OTE N TI A L IDEA Cre a te a p e rs o n a l o n l i n e b a s e d ma g a z i n e b a s e d a ro u n d th e c o n s u me rs i n d i vi d u a l ta s te s a n d p re fe re n c e s
Zines 2014
WGSN 2015
-FEMA LE - OFFBEA T -DIGI-DIVA
- 1 7- 2 4
-HA SH TA G GEN -BLOGGER Kate Moss 1990
-TEC H