FCP Third Year Proposal by Samuel New

fig 1(Nelson, 2015)

This document considers my self-evaluation as a part of fashion communication and promotion throughout level 1 and 2 of my degree course. I will assess the areas of strengths where my skill set has been pushed to create creative content that I am most pleased with. I will also consider my areas of weakness where there is room for improvement in my studies during the final level, level 3 of this course. fig 2(Nelson, 2015)

I will then go on to discuss two potential topics for my final report that I will present at the end of my fashion communication studies and use in industry as an integral part of my portfolio and in interviews. My two ideas will be discussed in depth, looking at concept, the cartogram process which consider the history, current effects and future of my chosen topics. I will also consider the primary and secondary research completed to justify these ideas as being having valid grounds for exploration throughout my final year, before finally discussing possible ideas for the final outcome of these projects based on my areas of strength within the FCP process.

fig 3(See Appendix)

When considering the FCP process and my personal skill set in relation to this 4 –tier process, I have clear identifications of strengths and weaknesses. One of my key strengths is my ability to generate ideas. I find that using my phone and have numerous visually inspiring apps such as Pinterest, Instagram, and also more formal outlets of inspiration such as Business of Fashion’s app, and a direct link to I-D magazine’s news outlet online means that I have a good to experienced knowledge of fashion current affairs and news. The area of publicity really interests me, the creative language and visual signs as well as idea generation required in order to keep a client constantly relevant to their consumer through their public appearance is an area of the marketing industry that I would thoroughly enjoy exploring through my career. One of my weaknesses however is narrowing down on an idea far too quickly, without considering other options or possibly more exciting areas surrounding a topic to investigate further. Therefore the context stage of the process needs to be improved for level 3 in order to have enough basic/ a good variety of research surrounding wide and general topics.

creative concept stage within the process. This is the stage that means that even though some of my work may be completed to a very high standard in terms of technique, the branding or adaption of my idea into a creative proposal that relates to fashion communication can let me down. The creative concept of the process is something I am going to focus on spending lots of time on next year to make sure the work produced is not just high quality, but has the core content and concept behind it that pushes me to achieve my desired grade. Having said this, the execution stage of the process is a part that I enjoy, especially when the final result is something digital. Computer skills have always been a strong point for me and with the help and guidance of the tutors my visual signs and layout have improved drastically since level 1 until this point.

An area that I often get criticised for, whether it be by tutors in formal feedback or simply by my group members and friends that observe my work on the course is the creative concept stage of the process. My mind becomes so focused on an idea, and then how to execute it that I don’t let myself have the ‘mental pause’ to consider the

fig 4(Nelson, 2015)

fig 5 (Courtney Act, 2016)

whats the method to this madness... Gender has always been defined by a name, either male or female. The idea of separation via gender comes from Victorian times (Trautman, 2016), an idea centuries old that has spiralled into causing such a divide between two types of human species that really only differ in genital organs. This hyper sexualisation of men as an alpha male, the all American dream dad with bulging biceps and a buzz cut, with his perfect double-D-breasted wearing her daisy dukes and crop top cooking the dinner. This is the effect of media in the western world creating such a distorted view of what the world is really like.

These ideals of gender have relaxed significantly since the turn of the century, from anything such as the acceptance of “tom-boy” being used as a term of endearment for a young female child, to transgender men and women being able to expose themselves to world without the law saying they cannot do so. Events such as Stonewall, which occurred in New York City in 1969, one of the biggest gender related riots of our lifetime has caused the voice for gender variations to rise and rise, coming to a head in times of current. (Rudacille, 2005) According to the publication, this was described as the day that “Pride was born”. This word, pride. It is the driving force of the whole LGBT society and has caused such incredible movements during the late 1900’s, let alone its effect in the world today. It was just last year in 2015, on the 27th of June that gay marriage was

There is a sense of freedom in having a desire that has never been labelled. (Goldin, p7, 1993).

legalised throughout all the state of America, a massive proportion of the western world which had until that point only have 14 states that approved the marriage of homosexuals. (BBC News, 2015)

This massive movement in the LGB section of LGBT has been an incredible achievement, but one has to consider whether the T, standing for transgender, has been left behind? My concept for this option in my dissertation proposal is to look at the issue of gender and all the subissues surrounding it. As a member of the LGBT community I am frequently asked whether gender has any direct relation to sexuality, a question that even I could not answer without substantial research (Wilson and Rahman, p33, 2005). I want to investigate how gender is dealt with throughout all industries, especially fashion, at all levels. From Prada to Primark, how do we feel about gender when it comes to fashion?

fig 6 (gayoggi, 2013)

Creating a cartogram for each of my third year report ideas helped me to successfully identity the key points, people and events that affect the context, and eventually execution, of my ideas. Key innovators for my gender related report sees a look back at history with figures such as Christine Jorgensen, who although wasnâ&#x20AC;&#x2122;t the first transgender woman in the world, was one of the first on record due to her global platform and voice as an actress. Other icons include Caroline Cossey, and more recently the music icon David Bowie. Trend drivers are members of society that currently represent the gender non-conforming segment of population, such as Chaz Bono, ex -Olympian

Caitlyn Jenner, author Janet Mock, and dancer/ performer Candis Cayne. The impact of these people from history and present making waves into modern culture with the rights for transgender or A-gender people include covers of such magazines as TIME, and the recent movement of gender neutral toilets in public places such as stores and bars. The future of this trend is something that is uncertain and that I wish to investigate more, but could see the rise of gender neutrality within fashion, editorial and print publications, and television. (See Appendix )

fig 7 (Dailymail, 2016)

fig 8 (See Appendix)

consumer profile

fig 9 (See Appendix)

The research going into this idea has been vast. The internet sources focused on the cosmetics market under the umbrella of fashion and lifestyle, the fascination surrounding the elephant in the room that men to wear cosmetics. We all know that stars of TV and film wear huge amounts of base, contour and eye makeup, yet this doesn’t affect thousands of female fans opinions on them as a sex symbol of a symbol of masculinity and attraction. YouTuber Jake-Jamie launched a very popular viral campaign called “#MakeupIsGenderless”. His idea behind the campaign is that makeup is there to fix personal imperfections and enhance features, a desire that in reality both men and women have (Clarke, 2016).

"of the 35 people asked, 34 said that they feel it is much easier for women to wear clothes of the opposite sex's in public society than it is for men."

fig 10 (Pinterest, 2015)

Primary research for this topic included taking a survey of 35, 18-30 year old, male and female consumers. I asked them a number of questions about their retail habits in relation to gender. (See Appendix) Some of the more obvious questions to begin with gave the most likely responses, such as 69% of respondents admitted they had bought clothes from the opposite sex’s area of a shop. Also, of the 35 people asked, 34 said that they feel it is much easier for women to wear clothes of the opposite sex’s in public society than it is for men. I also completed a simple word association task with respondents asking them for some words that they would associate with women in men’s clothes. Key words came up such as “Boyfriend”, “Comfort”, “Baggy” and “Normal”. Whereas when asking the same question but about men wearing women’s clothes, the responses contained a lot more negative connotations, with key words such as “Unusual”, “Drag Queen”, “Odd” and “Different”. This double standard concerning the expectations about sticking to gender norms for men vs women will definitely impact my final outcome ideas.

There are several outcome ideas related to this task, I was initially inspired by the Selfridges pop up store, a genderless retail experience where consumers have the guess or use their own taste and style to pick clothes that they want, an experience where gender is not a factor in the shopping experience (Tsjeng, 2015). This area of retail as a concept is something I am going to consider, but retail as a segment of the fashion industry isn’t something I’m especially interested in for example visual merchandising.

I also know that I want my outcome to address the issue of this double standard that I have noticed through my research that make it harder for men to redefine gender norms than it is for women. My final outcome for this could be to create a press release or branding for the launch of a gender neutral or new age “menswear” store, possibly even for transgender women, that allows the subject of male femininity to be explored.

"The double standard that I have noticed through my research that make it harder for men to redefine gender norms than it is for women. "

fig 11 (Selfridges, 2016)

fig 12 (Creative Club, 2012)

fig 13 (Pfeiffer, 2015)

fig 14 (Fashionweekdaily, 2014)

whats the method to this madness...

“I live in a world of Instagram fans who ‘like’ things and don’t understand, when they’re ‘liking’ it, why it’s basically not coming out of that phone right there for them” (Jeremy Scott, 2015). Fashion has been taken through a huge overall due to the rise of social media. An IPhone screen has more power than any magazine or television ever has with the young and influential generation of today’s society. Fashion industry houses have responded to this with the influx of e-commerce, and vast growth of inline branding through social media channels. However, an area of the fashion landscape that has the potential to be left behind is fashion shows. “Having a runway show has become so much about the creation of imagery for online and social media” (Amed,2015) The purpose of a fashion show has changed significantly since its birth, when it was primarily a private trade event for buyers to come and assess whether they would like to buy the collection to stock for the following season. However this privacy has become a spectacle for the whole world to see. A key part of this is technology, anyone can watch live streams of certain shows and gain access to the backstage action with just a scroll through their social media feeds (Cohen, 2014). This means that the tickets for fashion shows that can cost several tens of thousands pounds have become significantly less valuable as one can sit at home and watch it at exactly the same for little to no cost.

fig 15 (Neal, 2015)

"Having a runway show has become so much about the creation of imagery for online and social media" The concept of fashion shows in terms of timing has also become considerably less relevant and is redundant as a theory. Will anyone really care about these clothes once they finally arrive in stores? Or will they have already moved on to the next season? (Amed, 2015) We live in a world where consumers are so obsessed with “instant purchase” that there is considerable reason to believe that by the time these clothes come to the stores, we all will have moved on. This is assuming that consumers would even buy the products. Runway fashion has become so extravagant that it’s hard to see the wearable side of these designs in society, which is what the whole original point of a fashion show was.

The trend innovators for fashion shows look far back into history, from the 1800’s when designers in Paris held private 1 to 1 shows for high profile clients, most likely members of the Haute Couture club. I also looked at the Ehrich Brothers, who put on America’s first fashion show in 1903. They took inspiration from the private shows of Paris and began what has become mass commercialisation into the western world.

Trend drivers for this cartogram are people like Marc Jacobs who takes prime position in New York fashion week and has for several years, as one

of the most creative designers when it comes to art direction in his shows. He was one of the first designers to realise that shows had become about imagery creation and used this to make his shows more exciting as branding campaign.

This observation by numerous designers, plus the rise of street style photographers such as Bill Cunningham, has caused the “spectacle” of a fashion show to explode. The main impact is that the majority of consumers now only care more about the people that attend fashion shows, and what THEY are wearing, rather than the content

fig 16 (Getty Images, 2015)

of the shows themselves. Stars such as Kim Kardashian can be paid upwards of $100,000 to sit front row at a designer’s show, with less famous names still raking in between $40,000 - $60,000 per show (Blalock, 2015.

The future of fashion shows? Various answers come up again and again including user generated shows or season-less shows that address the issue of timing and the irrelevance of the actual products created at shows that are only available 6 months later. (See Appendix)

fig 17 (See Appednix)

consumer profile

fig 18 (See Appendix)

The research for this topic included asking industry expert, Claire Christian, former Burberry women’s wear designer about her thought on fashion shows. She remarked that when she worked at Burberry, “fashion shows were still a key part of each season, providing a deadline for designers and promotional teams to create a look and collection ready for the next season.”

"Seasons are no longer relevant. It does not change from snow to sun in a matter of a week, and we need to stop kidding ourselves that seasons just flick on and off like a light switch." However, as the creative of her own collection, Claire Christian Couture, she feels that “Seasons are no longer relevant. It does not change from snow to sun in a matter of a week, and we need to stop kidding ourselves that seasons just flick on and off like a light switch.” She also noted that “although the fashion shows do create a great deal of imagery for my own brand as they did for

fig 19 (Christian, 2014)

Burberry, there are far more cost effective ways to create imagery for your brand, without having to stick to the very unexciting runway layout. Editorial offers so many opportunities.”

"Editorial offers so many opportunities." Claire works her own collection releases as deliveries, launching a capsule every few months in order to combat all times of year and she launches her collection the day after each “mini-show” to keep interest in purchasing high.

My outcome for this project may result in a live project. Having worked for Claire Christian for over 2 years my role has always related to public relations and event management. A possibility for the final outcome will be to organise her spring summer 2017 show, giving me the opportunity to defy the issues I have raised with the traditional format of fashion shows and their lack of use versus the massive cost of presenting a collection.

"giving me the opportunity to defy the issues I have raised with the traditional format of fashion shows and their lack of use versus the massive cost of presenting a collection." I will investigate shows that have challenged the current and outdated rules to create something more exciting, forward thinking, and effective for S/S 17. This would give me the opportunity

fig 20 (Christian 2014)

to hit key areas of the execution section of the FCP process in terms of creating and running an event, and creating press kits and managing communications, all areas of a business I have a strong interest in working for in the future of my career.

Alternatives outcomes could be looking into how social media and fashions shows are so closely linked, and how the gap between the two could be breached in order to create a more successful integrated marketing campaign for businesses in the fashion industry.

fig 21 (RUNWAY, 2015)

After considering both topics, the issue of gender within the retail environment, and the need for a fashion shows to have a reinvention to keep up with social media, I feel that further research is required on both topics before I can truly decide which topic I would like to take further in my studies for level 3. In terms of secondary research, I want to look at more opinion pieces on the fashion show topic from sites such as Business of Fashion, to see whether other industry experts apart from Claire Christian who I interviewed for this report feel the same way about fashion shows as she does.

fig 22 (Nelson, 2015)

I would like to get access to some younger more modern designers and ask their opinion as they will have more awareness of the pace of social media and the instant world we live in. For the gender issue, I want to speak to some people that actually suffer with gender issues themselves, as my current research for this topic was no specifically targeted towards that group, but rather general societyâ&#x20AC;&#x2122;s opinion on that issue. This will help me further understand the topic and be able to create something that feels inclusive rather than me looking at the issue from an outside perspective. At this stage I could not decide whether I want to take the gender of the fashion show report idea further, more than the other, as they have both been really fascinating to investigate. During my summer internship with Claire Christian Couture where I will be helping to promote and select a new capsule collection, as well as organising a fashion show, I will get more primary research and insight into both of my areas of interest, that will help my decide in which direction I wish to go.

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