what’s your number?
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saskia rimbaut what’s your number? n0646378 fash30108 fashion communication & promotion
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FIGURE 1, COVER DESIGN (2018)
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PREFACE -This report will explore the he progressive casualisation of sexuality for both sexes and the impact social media and digital dating has had on this prevalent development within societal norms. Responding to this research I explain how I anticipate this to affect social media and technology usage and identity online over the next ten years.
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FIGURE 2, WYN SHOOT PURPLE RINSE (2018)
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the intro In a 2017 survey I conducted on online dating, 88.2% of 34 respondents said they had previously used online dating apps (see Appx 3.a). According to a 2015 report by Mintel, 63% of those between 18 and 24 are aware of the app Tinder. When those respondents were asked their primary motives for using apps, the top two answers were ‘boredom’ and ‘casual sex’ (see Appx 3.a).
It’s estimated that by 2040, 70% of all couples will have met online (Vice Mobile Love Industry documentary, 2015), and we’re still unsure of the effects this will have long term on behaviour and society. Is this affecting our ability to communicate effectively in real life and form meaningful relationships? Why are we relying on our devices to do all the work?
I would like to explore the way the online dating industry and social media has affected modern relationships, and behaviour and attitudes relating to sex.
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13-19 a history of dating
courting, going steady, free love and now
20-24 the dating apocalypse where did it all change?
25-29 over 50s do it better? is the issue user error?
31-37 No time wasters
a history of personal ads telegraph to tinder
38-39 evolution of sexuality is promiscuity dominating our contemporary culture
41-58 what do we have left that we don’t share? pic or it didn’t happen
59-68 where has it happened before?
the phenomenons: artists & innovators
FIGURE 3, WYN SHOOT orange jumper (2018)
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69-73 the big idea
74-82
now is the time
what’s your number? brand image, values, tone of voice and design recipe
83-87 the app
let’s start with your number
88-97 the consumer
the serial daters, serial monogamists & serial socialite
98-99 big idea testing
what do you say to that?
101-111 marketing WYN
route to consumer, consumer touchpoints
112-113 Measuring success & conclusion where can what’s your number? go from here
114-121 referencing
Illustrations, references and bibliography FIGURE 4, WYN SHOOT stairs (2018)
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date (NOUN) - A social or romantic appointment or engagement. dating (VERB) - Go out with (someone in whom one is romantically or sexually interested)
- Oxford English Dictionary
date (NOUN) - An audition for sex. dating (VERB) - The process by which you decide whether you hate the other person or not
- Urban Dictionary
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FIGURE 5, a history of dating (2018)
1920 Lower classes didn’t have the resources to entertain potential suitors in the home, so couples began leaving the house to spend time together, coining the term ‘going out on a date’. Young members of the upper classes then began to grow tired of ‘calling’ style dating and started rebelling by going out too.
pre-
1900
Introduction of an affordable car for the average person by Henry Ford in 1908 meant having your own method of transportation was not just for the most rich and young people had more freedom to go out without the accompaniment of their parents .
Who needs dating when your parents can set you up? Marriages were not just the joining of a man and a woman but a joining of families, businesses, jobs, and wealth. Focus was more on finding a spouse that could help maintain a home or bear children.
1940s
Mandatory draft during the second world war meant women became less concerned with a mans status and more with liklihood of survival.
1910s
Men ‘call upon’ women at their home to get to know each other, chaperoned by the girl’s parents.
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Introduction of the birth control pill sparks The Sexual Revolution and is said to mark the end of the dating era and the beginning of hookup culture.
1960s 1960
1950s Couples publicised their relationship when the man gave the woman an item of his clothing to wear, such as a jacket, sweater or ring. The idea of ‘going steady’ emerged.
The women’s movement - enforcing the idea that women are also sexual beings. Wilhelm Reich’s book ‘The Sexual Revolution’ became a bible for protesting students. This combined with the freeing nature of drugs and alcohol created an environment where people felt comfortable expressing their sexuality.
1970s
1962 Helen Gurley Brown published “Sex and the Single Girl,” drafting the manifesto for what would become Cosmopolitan magazine.
Into the 70s, free love was on the dating cards. Premarital sex became increasingly mainstream. FIGURE 6, dating timeline part 1 (2018)
1980s We got the term ‘hooking up’. With all the “hanging out” and “getting together” happening, there was confusion over what would constitute a date at all.
2000s Hard pressed to find someone who doesn’t have at least one dating app on their phone. Millennials are a generation more focussed on themselves. With the casual culture of hooking up, one night stands, and friends with benefits, actually finding someone to seriously date can be difficult. Millennials simply have so many options that "going steady" can be a hard pitch to sell. (Markarian, 2017)
1990s The invention of the World Wide Web in 1991 saw online dating agencies popping up everywhere, changing the dating game forever.
FIGURE 7, dating timeline part 2 (2018)
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“Fifty years ago if you asked someone in for coffee, it meant coffee; twenty years ago it meant sex. Today no-one has a clue what it means.” - Viewpoint Magazine, 2017
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with regards to my relationship
1920
1930
1940
photo
we show you our wedding album
we show you our holiday album
we show you our polaroid pictures
status
to be married is to be accepted
token
a corsage
1900
a ring
1910
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1950
‘going steady’ is to be accepted
a tattoo
a miniature of themself
letter sweaters
a history of dating
the status timeline 1960
1970
1990
we hang photos on the walls in our home
we put a photo in a locket
‘free love’ is accepted
1980
to be an independent woman is accepted
a locket
‘free love’ is accepted
2000
we post photos on our Facebook wall
to cohabit is accepted
a spare set of keys
a hoodie
2010
2018
we post photos on instagram
we post photos on our story
to marry later is accepted
gay marriage is accepted
a Pandora
a netflix password
FIGURE 8, status timeline (2018)
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hookup (NOUN) - A casual sexual encounter. - Oxford English Dictionary
hookup (NOUN) - purposely ambiguous, equivocal word to describe almost any sexual action. usually used to exaggerate or minimize what exactly happened. Can range from a makeout session to full out sex
- Urban Dictionary
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FIGURE 9, the dating apocalypse (2018)
THE DATING APOCALYPSE Has technology transformed romance? When Tinder launched in 2012, hookup culture collided with the mass consumption of dating apps (WGSN: New Millennial Dating Culture, 2017). This formed a question in many people’s minds – a 21st century update on ‘what came first, the chicken or the egg?’ Did Tinder cause this fast-love epidemic, or was the casualisation of something that once had to have a much deeper meaning inevitable for a generation so prolific for being impatient, time-poor workaholics, with so much in life already available to them ondemand?
out of life. This career oriented attitude means they could possibly see sex early on as a kind of sex-interview, to see if there is a connection worth pursuing, as millennials are 48% more likely to sleep with someone right away (WGSN, Fast Sex, Slow Love, 2017). Intimacy has been flipped on its head. Time and interest in one another has become a new currency in relationships. Sex is no longer the most meaningful part of the dating and relationship process, instead replaced with meeting family and friends, or even something as simple as getting to know each other and going on a date (WGSN, 2017).
Millennials have had it drummed into them from a young age that life is not what it used to be: money is tight and time is precious, so they’re going to have to work harder than ever to get what they want
FIGURE 10, swipe right (2018)
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With the tools created by the digital dating world, you are provided with such a vast amount of options at the touch of a finger that the ease of just moving (or swiping) onto the next one is made disturbingly straightforward. This ability to swipe through reels of people creates a “where do I stop and draw the line?” mentality where users can feel overwhelmed by the commitment of stepping off and placing their faith in one person. In an interview discussing dating apps one person described their realisation of the contrasts between real life and meeting online and the way this made them feel. Dating apps imposed a new pressure to keep up. “I’d just got out of a relationship & was trying out Tinder for the first time. It gets a bit overwhelming when you realise you can meet people you probably would have never met in your usual frequented places. Suddenly I felt like I had to make up for lost time and apps like Tinder and Bumble made that feel easy to do.” (Dating Apps Interview 2018, See Appx 3.f)
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IN THE 21st CENTURY WE CAN FORGET ABOUT NECKING. TODAY’S BOYS AND GIRLS HAVE NOT HEARD OF ANYTHING THAT DAINTY. TODAY’S FIRST BASE IS DEEP KISSING, PLUS GROPING, AND FONDLING THIS AND THAT. SECOND BASE IS ORAL SEX. THIRD BASE IS GOING ALL THE WAY. HOME PLATE IS LEARNING EACH OTHER’S NAMES. - (Bogle 2008)
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oday there is something fundamentally different about how young men and women become sexually intimate and form relationships with one another (Bogle, 2008). Dating is no longer a means to beginning an intimate relationship, but more rarely in fact a method of consummating one that has already began. ‘Unlike previous generations, students today are not forming relationships via dating’ (Bogle 2008). In her book ‘Hooking Up: Sex, Dating, and Relationships on Campus’, Kathleen Bogle cites two potential factors in the demise of traditional dating. The first is that this generation are postponing marriage, and average age at first marriage is at an all time high. The second is the increase in enrolment for further education, so increasing numbers of young adults are spending their early adulthood at university. And if they’re not dating, what are they doing?
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FIGURE 11, over 50s do it better (2018)
According to Mintel, the over 50s are Match. com’s fastest growing American user group (WGSN, Ready To Date, 2017), demonstrating that the digital dating population is not just constructed of those under 30. It’s now more convenient and less intimidating for everyone to find a relationship through their handheld devices. Why may it seem the older generation are having more success with making longer term connections? Digital dating offers up a huge opportunity for those whose relationship may have dissolved – particularly if they have children. Their lives are busy with overwhelming responsibility for family, and they may not be able to generate as much of a social life, especially if their friends are all still in long term relationships. Digital dating is a fast form of interaction that takes less time and effort and immediately puts them in front of potential partners. They are presumed to be more measured, mature and see the people they communicate via these services more seriously, because the opportunity is not as throwaway as it is for
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younger generations who are still going out regularly and meeting people face to face. The paradigm of family to these users’ means they are more sure footed in their decisions surrounding relationships. This generation do not want to put potential partners in front of their kids until they have taken steps to be sure of a long term connection. There is more people involved in their conversation of intimacy and commitment. Rosanna Dickinson, who road tested niche mature dating site DatingOver50s.co.uk says of the male site users “They are confident, strike up conversations more quickly, and ask more interesting questions than on the other sites.” (WGSN, Boomers: A New Dating and Sexual Revolution, 2017) So is millennial’s futility in making these apps work for them and what they want down to inexperience and usererror? Are we blaming the tool, when perhaps it’s a breakdown in the younger generation’s education around forming positive relationships to blame?
“We’re the original sex, drugs & rock & roll generation and there’s a reason why sex was the first word in that motto. While most of us have moved beyond casual sex we haven’t by any means given it up,” - (Solin, 2015)
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“With more [people] spending more of their young adulthood unmarried, they have more opportunities to engage in sex with more partners and less reason to disapprove of nonmarital sex,� (LA Times, 2015)
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FIGURE 12, kirra cheers the list 1 (2018)
FIGURE 13, kirra cheers the list 2 (2018)
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ivorce rates have been on the rise for many years, however the average age at which we divorce is also increasing. The number of single parents is predicted to rise to 1.9 million over the next decade (McVeigh, T, Guardian, 2011), as the ideology and likelihood of a monogamous life becomes increasingly uncertain. As a race we are living longer and fitter lives, and Tracy McVeigh says this is leaving a new demographic of confident and experienced people, at their sexual peak as far as science is concerned, back looking for a partner.
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In 2002, Wired Magazine predicted, “Twenty years from now, the idea that someone looking for love won’t look for it online will be silly.” - (Huffington Post 2017)
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FIGURE 14, Personal ad (1998)
timeline of meeting through personal ads from picking up papers to to swiping right
1600
1700
1800
personal ads for homosexual safety
1800s: aristocrats catch on
1727: woman receives backlash for expressing personal desire
late 1800s: the first catfish
1665: the first personal ads
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the general public follows
“no time wasters”
the first personal ads 1900
2000
2010
2012: Tinder, first swipe match system
early 1900s rennaisance of personal ads
1920s: WW1 soldiers seek penpals
craigslist & prodigy offer chatrooms
1974: Cherry Blossom’s mail order bride
1965: Operation Match launches
2007: smartphones introduced
1995: Match.com founded
1998: ‘You’ve Got Mail’ premieres & makes online dating a household term
2003: proxidating launches
2018
2014: Happn launches proxidating update
2014: Bumble launches
2006: Badoo app launches
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FIGURE 15, the first Personal ads timeline (2018)
from hookup to hitched
an encyclopedia of dating & hookup Hookup apps zoosk - Dating app for all sexual orientations - Detailed search filters such as height, weight & religion
hookups
both
pure
grindr
- Operates ‘pretend you’re strangers’ policy after meetup - ‘Problems are for therapists. Pure is for fun.’
- Dating app for gay, bi, trans and queer people - Not marketed as a hookup app but is often called one
wild
seeking arrangement
- Dating hookup app - Function for fascilitating ‘private photos’
- Sugar daddy dating app not marketed for hookups - Sex is often a presumed requirement
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down dating
chappy
- ‘Get dates, or get down’ two different settings - Says the app is ‘the secret way to get with people nearby’
- Dating app for gay, bi, trans and queer people - Markets USP as being solely for serious relationships
happn
the league
- Find the people you’ve crossed paths with & match - Their profile &number of times crossed paths will appear
- ‘Date those who shares your education level & ambition’ - Focus on intelligence and being more selective
tinder
hinge
- Known for it’s swipe left and right function - Facilitates casual sex, dating & successful relationships
- ‘The Relationship App’ - no swipe function - Profiles have prompts and info to find common interests
both serious reationships
bumble
match
- Like Tinder only the female can initiate conversation - Facilitates casual sex, dating & successful relationships
- The original online dating service in app form - Middle of the road old fashioned online dating
badoo
coffee meets bagel
- Markets heavily on dating - Function to see celebrity lookalikes
- Every day at noon the guy receives up to 21 matches - CMB curate best potential matches for women
okcupid
plenty of fish
- Markets heavily on dating - ‘dating deserves better’ - ‘You’re more than a photo’ find common interests
- ‘A conversation is where it all starts’ - More conversations on POF than any other dating app
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FIGURE 16, from hookup to hitched - dating apps encyclopedia (2018)
Niche apps made an appearance after the novelty of seeking a partner via an easily accessible app began to wear off. Dating app Hinge hosted a complete redesign and campaign based around the hashtag ‘#thedatingapocalypse’, accompanied by promotional video (see fig 9). It was a gesture aimed at remedying the lack of clearly defined etiquette on dating apps, allowing its users to be aware of and establish their position in advance of opening a conversation (WGSN, Dating Redesigned, 2017). However having surveyed the app (see Appx), the redesign doesn’t seem to have kicked off, or at least user interaction seems to be in its early phases. Does this mean the app simply isn’t engaging successfully with its target user, or are genuine connections and meaningful relationships just subconsciously not what the audience wants? Of 66 people surveyed, 86% said they felt as though digital dating was more about numbers than making quality connections (Recording Sexual History survey, 2017, see Appx 3.aii), however we don’t know if those respondants actually consider this is a negative thing. If so many users are experiencing this sentiment, is it because they knowingly use these apps already aware of the kind of disconnected and casual experiences it may well lead them into? With 43.3% of respondents citing casual sex as their main goal when using these apps, and a further 66.7% admitting their biggest reason was boredom (see Appx 3.ai), it would seem that for a large proportion of those online, seeking a serious relationship is not at the forefront of their intentions.
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37 FIGURE 17, tinder survey shag (2017)
FIGURE 18, daily dose of hate mail (2018)
FIGURE 19, evolution of sexuality (2016)
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“Reputations are no longer being tarnished by sexual promiscuity, because young people are blatant and matter of fact about their social interactions” - (Freitas, 2013)
and may be indiscriminate in selecting partners (heterosexual and homosexual relationships) and even maintain several relationships at the same time. There is often a history of attempting to coerce many people into sexual relationships and they may take great pride in discussing their sexual conquests”.
Hooking up has been linked to a host of social issues. Feminists voice concerns about the link between casual sex and sexual assault, whilst others try to link it to being raised by divorced parents. (Bogle, 2008). Whilst some of these concerns may be genuine, do they validate reproving the culture altogether? The media takes a moralistic tone claiming principally that young people are engaging in immoral and obscene behaviour, that will inevitably end in their decline in respect from society. This is in all probability because of the long-running societal demonisation of increased freedom of sexuality, in particular for women. Promiscuity and sex outside of committed relationships has previously been lifestyle choice to be shunned in society (see history of dating timeline). In the criminology theorist Robert Hare’s Psychopath checklist (Hare, 1999), checkpoint 11 is titled ‘Promiscuous sexual behaviour’ – “they may have many brief encounters, many affairs while married,
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In the year 2017 it seems almost outrageous that something such as sexual promiscuity and fluidity in selection of partners is still being identified as a relevant way of identifying violent and psychopathic tendencies. Mintel recently released a report titled “Millennials ‘experimenting more in bed’”, speculating that this reflects a society that has become more accepting and less judgemental about sexual experimentation (Mintel, 2017). Perceptions and behaviours are changing. Bogle published her book on hook-up culture in 2008, long before the arrival of Tinder in 2012, so this was a cultural shift that was rearing its head far earlier, only to be shunted into the vanguard of social discussions by technology, when digital dating began its boom in popularity growth after the arrival of apps - so whilst dating apps may get a lot of stick for encouraging hookups and casual sex, this was a cultural shift that was set in play by many social and cultural factors (see history of dating timeline - arrival of the pill, and the sexual revolution) long before the internet even existed.
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FIGURE 20, Share collage (2018)
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not any more
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FIGURE 21, gracefituk (2018)
the gym is my
sanctuary 44
253 million images hashtagged ‘fitness’ since 2010 - instagram 2018
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not any more
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FIGURE 22, Phone food (2016)
food is
personal 48
272 million images hashtagged ‘food’ since 2010 - instagram 2018
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not any more
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FIGURE 23, Insta kids (2018)
my children are private
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253 million images hashtagged ‘family’ since 2010 - instagram 2018
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not any more
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FIGURE 24, Holiday selfie stick (2017)
my holiday is an escape 56
280 million images hashtagged ‘travel’ since 2010 - instagram 2018
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FIGURE 25, Where has it happened before (2017)
kirra cheers: the list
THE PHENOMENONS Your sex life as a form of expression. I was inspired by Kirra Cheers and her photographic series titled ‘The List’ to think about how we can be viewed if we were seen only through the lens of the individuals we have previously slept with. What if we were to display those notches on the headboard? ‘The List’ is a compilation of images chronicling an acquaintance of Cheers’ sexual history, taking the form of an audiobook. Cheers’ spent a year tracking down, interviewing and photographing those identified on The List, in the hope of creating a picture of who she refers to as ‘K’ (the keeper) as he is seen through the eyes of his former lovers. If we have more control over the aesthetic and personality distinctions of those we have relations with, does this change the degree to which they reflect ourselves, as opposed to the people that just ‘happen’ to us, outside of technology? I like how Cheers uses truths and social stigmas within her and other’s personal lives and experiences to illustrate her ideas and photographic executions. She unashamedly presents ideas that a lot of society would find
taboo for every day topics of conversation in a very graceful and confident way so they no longer feel a stigma any more. In an age where sexual double standards and sex in general are still controversial topics I think this is a really great thing for an artist to be creating conversation around. Where has this historically happened and been acceptable and gone unquestioned before? I began to think where previously have the people setting the extremes of documenting their sex life as a piece of art? Their sex life as a form of expression. If renowned artists such as Rembrandt and Picasso can allow their work to be so heavily inspired by their lovers, someone such as Archibald Motley can paint such a stripped back and honest portrait of his nude wife, then why can we in a twenty first century modern society not take a step back and be a little more open about our own endeavours? Pablo Picasso is described as “almost as famous a lover as an artist”. If you’re a photographer it’s a way of producing beautiful honest and natural imagery. But why must we all be conceptual artists and magic with a camera to appreciate the beauty and fascination with something so normal in life?
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61 FIGURE 26, kirra cheers the list 3 (2018)
FIGURE 27, kirra cheers the list 4 (2018)
FIGURE 28, kirra cheers the list 5 (2018)
FIGURE 29, tracey emin tent 1 (1995)
Tracey emin
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FIGURE 30, tracey emin tent 2 (1995)
In 1995 Tracey Emin exhibited an artwork titled ‘Everyone I Have Ever Slept With 1963-1995’, a tent appliqued with the names of literally everyone she had ever slept with, but not necessarily in only a sexual sense. It featured the names of family, friends, drinking partners, lovers and even two numbered foetuses – 102 names in total up to the date of it’s creation in 1995.
‘Some I’d had a shag with in bed or against a wall, some I had just slept with, like my grandma. I used to lay in her bed and hold her hand. We used to listen to the radio together and nod off to sleep. You don’t do that with someone you don’t love and don’t care about.’ – (Emin)
FIGURE 31, tracey emin tent 3 (1995)
To put the name of her grandmother, a blood relative and someone she has proclaimed to love, potentially adjacent the name of someone she slept with up against a wall is a bold act of anarchism but also a grounding reminder that essentially in this life we are all not that different, and we place taboo on things that are all in all inconsequential.
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FIGURE 32, tracey emin tapestry (1997)
FIGURE 33, lena chen portrait (2016)
FIGURE 34, elle peril (2017)
FIGURE 35, lena chen photography (2017)
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the harvard harlot
LENA CHEN: SEX AND THE IVY
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Every leader of a notable shift in cultural reality initially faced some persecution for speaking out or initiating cultural change.
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ena Chen was once a student at Harvard, where she describes her feeling of inaptitude and discontentment led her to start SexAndTheIvy.com, a blog about her ‘undergraduate misadventures and the lessons that I learned from screwing and screwing up.’ She wrote about navigating hook-ups, alcohol, and “feeling like a misfit at an elite school where everyone else seemed much more self-assured.” (Chen, 2011) She never imagined that the website would take off the way it did, but she describes how for the following two years she confessed insecurities and graphic accounts of ‘sexscapades’ to her audience of thousands, many of them her peers. For every supportive reader there was another critical, and soon the few trolls turned into a media and social mob, with The New York Times dismissing her as a “small, Asian woman”, and her ex boyfriend posting nude photos of her online as a final nail in the coffin. And this was just the beginning. Chen describes her college years as “something of a crash course in the worst parts of human nature”. (Chen, 2011)
“I started writing about sex because I didn’t really think it would be that big a deal, and once I realized that it was actually a topic most people did not view with much honesty or maturity, I felt all the more compelled to continue writing as an act of defiance.” Despite the adversities and anxiety that would hound Chen for the remainder of her time at college, she graduated from Harvard in 2010. Having met her boyfriend and stopped updating Sex And The Ivy, she thought her campus reputation and the end of her blog may have meant the end for her writing ambition, but her career blossomed. “I began writing about gender and sexuality in more political and less personal terms”. Her career as an activist and writer was taking off, but privately she was still unhappy. In 2013 she moved to Berlin, where she adopted an alternative persona modelling nude, in an expedition of discovery to embody the contradictions of womanhood. It was an act to attempt to reclaim agency over her personal narrative, and “question whether women’s emancipation is possible through embracing our sexual power”. Perhaps this was a move to try and take back the power from her college ex-boyfriend. Every revolution and phenomenon, at the start, was never an easy path taken, demonstrated by Chen being deeply criticised for her honesty and ostentation.
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It makes people feel uncomfortable that someone would speak so unequivocally about something we have been conditioned to think is not a confab topic for so long that it is an expected cumulative societal reaction for them to be shunned or made a social pariah. Establishing cultural change requires bravery, not only for those that pioneer but for those that follow. Every leader of a notable shift in cultural reality initially faced some persecution for speaking out or initiating cultural change. Examples of this include the movement of Anti Racism and rights activist Martin Luther King. King is often remembered for his “I Have a Dream” speech and won the Nobel Peace Prize for combating racial inequality through nonviolent resistance in 1964, however for every triumph in cases like this there are always detractors and King was assassinated in 1968. Similarly, Gloria Steinem despite a lifetime of work advocating for women’s rights and gender equality is still discussed in articles with titles such as “Gloria Steinem Represents the Worst of Modern Feminism” (Young, 2013).
“The gay underworld of sex/dating apps” “To be gay is not just a sexuality but a rejection of the nuclear family and Christian marriage. So there historically was always a promiscuous culture.” - Interview 2018 (Appx 3.h)
T
he gay dating app, Grindr, was launched in 2009, versus Tinder in 2012 (Ewart, 2017). Paul Ewart in an article for news. com.au speaks of his 3-4 years of dating app experience on “you straights”. He warns as he describes his return to the app after the end of a three year relationship that if the evolution of Grindr he’s seen is anything to go by, then we should brace ourselves for ‘extremely bad behaviour, a lack of humanity and blatant objectification.’ It seems the gay community is always one step ahead and if this is anything to go by when predicting cultural shifts to do with sex online then we are not far behind. To sense check this theory I spoke to a gay friend of mine who pointed me towards the website ‘FabGuys.com’, which he described as a site where users “share their sexual partners who give them reviews”. The site works like a hybrid between Grindr and TripAdvisor: use the site to contact interests and find a connection, meet up with that person for whatever has been negotiated and then leave a review for future punters. I went to see the site for myself and what greeted me was a dated looking seedy site with largely text content, that could be mistaken for a viral site or a ropey kink forum. My friend who will remain anonymous describes how the app’s demographic changed as apps came in and attracted the sites younger users towards a more handheld accessible format. Most people’s reaction would be that of concern for how a site like this could easily be used for revenge
and bullying, however I’m told that he’s never seen a bad review and that “it’s a very positive website”, so either the site’s users operate on a ‘if you have nothing nice to say, say nothing at all’ policy, or the site has rigorous invigilators ensuring the platform is kept safe from trolls. I expected my friend to say he was glad to see the back of a site like this, however he says he thinks “they should make an app for it so it can appeal to the younger generation. It was a fairly mixed [user group] with everyone before - young and old.” (Fab Guys Interview, Appendix 3.g) To counter this in another interview with my friend who has a rather different outlook on gay dating extremes, describing them as ‘dehumanising’, reasons “to be gay is not just a sexuality but a rejection of the nuclear family and Christian marriage. So there historically was always a promiscuous culture. Gay people have always had to be more inventive to find spouses, because the group is a minority that used to be/ still faces persecution.” (Appendix 3.h) This suggests why dating culture for the gay community has progressed somewhat more quickly than for straight singles, as it’s arguably easier for straight people to meet conventionally in bars and the workplace. FIGURE 36, kirra cheers the list 6 (2018)
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FIGURE 37, Fab guys (2018)
“I think it’s interesting because this change is affecting everyone’s behaviour. Back in the 70s it was a certain kind of person and you were labelled a hippie, but now this shift holds no stereotype. It’s complete cultural and social change in the way we view sex.” - Interview 2018 (Appx 3.f)
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the insight What do we have left that we don’t record online? Society becoming increasingly open with their presence on social media is coinciding with the increasing liberalisation of sexual attitudes, and promiscuity is dominating contemporary culture.
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the big idea
the time is right to formalise people’s sex lives into a shareable outcome
Now is the time to formalise people’s sexual history into some kind of digital outcome
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FIGURE 38, wyn shoot light leak street (2018)
the big idea unpacked Now is the time to provide a platform for documenting and sharing partner history Secondary research into modern dating, dating and hookup apps and how the dating landscape has changed in the past century
Consumer research led to an insight that the main motive for using apps was for boredom and casual sex (Appx 3ai)
Secondary research into apps and social media led to insights into how much we already share online
Ideas testing focus group (Appx 3.j) confirmed that the consumer already keeps a list of their previous sexual partners in some form
(Freitas 2013) highlights that young people are more blatant & matter of fact about their interactions, reputations no longer tarnished by promiscuity
More people are spending young adulthood unmarried, more opportunities to engage in sex with more partners & less reason to disapprove of nonmarital sex
Primary Online research Recording Sexual History Survey (Appx 3ii) highlighted that those who did keeo a record did so mainly on their phone
Case studies of innovators and artists (Tracey Emin, Lena Chen, Kirra Cheers’ K) already disclosing their sexual history online
What’s Your Number: An app to record and share previous sexual partners
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Resulting in...
where Where are are we we going? going?
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he aim of my project is to predict and provide a platform for a social trend of the future regarding relationships and sexual partners and the way we share this information. My insights show we already share large amounts of information previously considered private online.
1998, 57% of non-internet users said they didn’t worry at all about missing out on something by not going online (Pew Internet, 2007). The ultimate aim for the WYN long term marketing plan would be to make the consumer feel it’s something that they could not live without, much like how the consumer already views the internet today.
Through my study of behaviour in regard to hook ups, dating and relationships, I can also acknowledge that there is a cultural shift here. My big idea recognises that these two insights will come together and combine to form some kind of more open and shared outcome.
The internet has become a phenomenon our lives now centre around. The web is no longer an interaction between computers, but between people. (Smith, V, WGSN, (Future Internet)), and interaction between people is a human’s natural desire, hence why social media can be so addictive but also crushing simultaneously.
Sir Tim Berners-Lee (inventor of the World Wide Web) said in a speech at the NESTA Innovation Edge 2008 conference that the internet is still in its teenage years, figuring out what it can do (Smith, V, WGSN (Future Internet)). Twenty years ago the internet was so fledgling in its existence no one could fully comprehend its potential.
If this degree of perspective change can happen over the course of 20 years then what can happen in another 20? This is what my idea aims to forecast.
By 1999 there were around 50 blogs in total. By 2008 this had increased to 184 million (Maloney, 2016). In
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FIGURE 39, the new normal (2018)
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FIGURE 40, ancestry mockup (2018)
+
FIGURE 41, facebook timeline mockup (2018)
ancestry
facebook timeline
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your sexual past
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what’s your number? 75
Introducing: What’s your number? “Reputations are no longer tarnished by sexual promiscuity, because young people are blatant and matter of fact about their social interactions� (Freitas, 2013)
what A recognised and localised app where the consumer can upload and store all information be it data, images and information surrounding their sexual history in an encrypted visual format.
when Now, and developing within the next 20 years to be something progressively normalised and habitual, the brand and app will extend as social culture provides opportunity
who Millennials and in particular Gen Z, the digital natives (Posner, 2015) and beyond, male and female, who are sexually active to an extent whereby they would require a vessel to record their history. 76
why We already have a predisposition to document and share almost anything in our lives digitally (see ‘What have we got left that we don’t share?’ visualisation), and as this generation becomes braver with its discussion surrounding sex and relationships, and more accepting of freedom of sexuality, the time is right to provide a digital platform for this.
how Through downloading a free app similar to Ancestry, myfitnesspal or Clue, the user can create a digital profile and map of their sexual history. You can input as much or as little data as you have or want to include in order to identify each person on your profile. New partners can be added with dates so you can view your digital timeline of recent partners.
where Worldwide available to download however the marketing will be focussed in the UK initially.
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Brand brand identity identity The brand name “What’s your number?” derived from the notion of asking somebody you are romantically interested in for their phone number in order to contact them in the future. The name and how this relates to my creative concept eludes to the way this question may be growing to have a double meaning, and in an alternative context the question could be interpreted to ask the number of sexual partners someone has had. colour palette The colour palette is a combination of four bold brights offset with a solid black and pale pink, to connote confidence and fun whilst not intimidating either gender.
logo The main logo is a circle with the silhoette of a hashtag symbol cut out of it. The hashtag connotes the ‘number’ aspect of the brand name. The logo is simple to be easily recognisable and transferable in multiple colourways.
lemon/milk lemon/milk light Sinhala Sangham MN
sub logo app icon The app logo catches the user’s eye and utilises a colour group unlike other’s in it’s sector.
The WYN sub-logo shortens the 3 word name and and utilises the bold black in the colour palette to offset the title font. It is visually cohesive with the main logo which used the same font for the hashtag cutout to maintain the brand image.
typefaces The colour palette is a combination of four bold brights offset with a solid black and pale pink, to connote confidence and fun whilst not intimidating either gender.
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FIGURE 42, design recipe moodboard (2018)
Brand brand v values alues a pioneering liberated generation Create an open conversation for everyone we don’t take life too seriously no judgement, no taboo your content is private unless you make it otherwise
FIGURE 43, Collage (2018)
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Brand brand image image photography and video The shoot for the mockups of What’s Your Number for promotional and marketing content was in a lo-fi, raw, film style. It was important the photography in the app and zine content felt accessible and
candid in nature, like the photographs you would take of friends and partners whilst in their company. “We are becoming increasingly nostalgic for a time when experiences felt slower — when we didn’t travel for Instagram, but for the way travel made us feel” (WGSN The Vision 2019)
Korean design studio Screw Bar developed app ‘Gudak’ inspired by old school Kodak film camera, which adds a small viewfinder to your phone’s screen, and doesn’t show the photos until they have ‘developed’ after three days. Old school film style like this removes the temptation to use of front camera function on a smart phone, meaning longer shot individual portraits suitable for uploading onto the WYN app. App Huji has blown up in popularity at the beginning of 2018 for this same reason. In April 2018 The Tab published an article called “Huji Cam: the vintage filter that everyone is using”, and babe.net described the app as ‘the coolest fake disposable camera app around’ in March 18. It’s a free way the everyday consumer can feel like a photographer without the need for expensive film cameras or developing disposables, all accessible on their smartphone.
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FIGURE 44, disposable scans 1 (2018)
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FIGURE 45, disposable scans 2 (2018)
Brand brand tone tone of of voice voice positive and fun we don’t take ourselves too seriously occasionally suggestive but not crudely so conversational but informative like your friend not your mum you fill in the gaps it’s your list not ours
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FIGURE 46, collage 2 (2018)
what’s your number: the app
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the list
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FIGURE 47, wyn app mock-up your list (2018)
The app will have a connecting website and an additional service similar to Moonpig where if you choose to do so you can press ‘print’ on your history and receive a form of printed visual outcome such as a book, magnet or calendar. The primary platform will be the app, with the website to back it, as 80% of social media time is spent on a mobile device (Neilson Social Media Report, 2017). The overarching brand objective is to normalise a conversation and prejudiced ideology surrounding sexual history.
FIGURE 48, wyn app mock-up open screen (2018)
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FIGURE 49, wyn app mock-up how it works (2018)
how it works Consumer finds WYN in app store via one of the WYN marketing strategies (zine, scratch card) and downloads the app
Reaches a welcome screen that briefly explains the app concept and tells the consumer that first they have to tell the app something
Consumer is asked to disclose a short anonymous story to gain access to the app. This could appear in the next WYN zine
The consumer can review these at any time in a timeline style feed, or in the ‘My List’ section
The consumer can then start inputting names, dates and images of previous and current partners
The consumer is then led to the sign up screen, where they’re asked their name, email and number. Not their phone number, silly
In the ‘My List’ section there is a ‘send to print’ button that they can select to order tongue-in-cheek printed products populated by the inputs on their list
The app can curate these into a format for you or you can personalise these outcomes, sent in the post much like the service Moonpig offers
Share your list digitally with close friends temporarily or permanently, similar to the Clue share cycle function
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FIGURE 50, the wyn consumer (2018)
The consumer “Conversations around sex need a modern refresh, in order to appeal to Gen Z’s openness and desire for authenticity and inclusivity.” - (Wgsn ‘Sex Education 2.0’, 2018)
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he What’s Your Number consumer fits into Generation Z but also makes up the younger half of Millennials. Their phone is an extension of themselves and is never far from reach. Generation Z is the that of the digital age, with it being the first generation of consumers who may not remember life pre-internet. They’re curious and independent and more likely to pursue learning and information online (Neilson Social Media Report, 2017). Everything they have is recorded digitally as their life manifests itself on the cloud. They prefer apps such as Snapchat and Instagram for its stories feature through use of ephemeral content, as it feels more temporary, customisable and less likely to resurface years later or be seen by
their parents (Social Media Week, 2017). They pay a subscription to Spotify and Netflix and are used to having everything on demand. It should not be not be assumed that the What’s Your Number consumer has to be a particularly promiscuous individual. The What’s Your Number consumer can be anybody that is open minded, familiar with using apps to aid everyday life and are sexually active. The What’s Your Number consumer now would appear on the early adopter stage of Rogers’ Diffusion of Innovation, and may be described as a pioneer of modern social development. They are laidback and openminded and don’t shy away from discussing any topic. They discuss sex matter of factly with their friends and don’t believe it should be a topic of taboo.
FIGURE 51, ROGERS’ DIFFUSION OF INNOVATION (2018)
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what’s thier number?
The Die Hard Dater is a believer that commitment comes later in life. They enjoy going on dates because who doesn’t love a go at mini golf or cocktails and a game of table tennis? They play the field better than most football players and they’re not apologising for it. They have a select few dating apps on their phone and they always have a few options waiting at the touch of a finger. They’re an Instagram fiend and if they don’t get a picture before a night out or a snap to show off their brunch on a Sunday then what’s the point in doing it? They’re a frequent user of the Notes app on their phone and record anything from their shopping list here to a typed conversation in the club when the music is too loud.
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FIGURE 53, wyn shoot map (2018)
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what’s their number?
The Serial Monogamist has been in a relationship of some form since they were 16, with almost no gaps inbetween. Their friends would describe them as a ‘relationship person’ but they’d laugh, deny this and say that’s just how things have worked out. They go out every Monday for dinner and take a picture for their Snapchat story of their other half across the table when their meals arrive. They’re a naturally organised person and use MyFitnessPal and Aflete to ensure they’re acheiving their goals in the gym, and a personal training app that curates their shopping list for them to fit their meal plan. They go on two holidays a year, once with their partner and once with their friends, and upload albums of the holiday photos to Facebook.
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FIGURE 54, wyn shoot digital clock (2018)
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what’s their number?
The Serial Socialite is closer to their phone than they are to their own mother. They can’t get out of bed in the morning until they’re caught up on Twitter, Instagram, Snapchat and Facebook, and their phone is constantly in their hand like a lifeline. Their presence does not only manifest itself online, they’re a social butterfly in real life too. They regularly organise events and get togethers and when they do they use phone notes to write invitation lists.
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FIGURE 55, wyn shoot pub (2018)
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FIGURE 56, disposable scans web edit (2018)
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Big Big idea Idea testing “Everyone has a list. Well I have a list, most people have a list. If you don’t have a list then you can lose track, and you can forget about people, so you need a list, so you need something that can put all that together. A list on your phone feels a bit sleazy or make shift but if you’ve got this creative and visual device for it, it feels a lot more justified.” (Idea Testing Focus Group, 2018 - see Appx 3.j) The concept of open conversation surrounding sexuality and promiscuity has for a long time seemed a very implausible idea. But with an obsolete sex education curriculum (WGSN, Sex Education 2.0, 2018) and huge advances being made in the field of freedom in the gay community, a safer conversation environment surrounding these issues has arisen to fill this need and knowledge gap. A liberated view particularly in sight of female sexuality means that people are having more discussion around their colourful sex lives. Social media is significantly behind, leaving a clear gap between the curated Instagram environment and dating apps. What’s Your Number steps in to provide a playful platform for this information to store and share as the consumer likes. I conducted a second stage focus group with my consumer to test the success of my idea. I received an overwhelmingly positive response, with 100% of those asked saying they’d use the app, and several volunteers willing to share their information for a mockup of the prototype. Describing the concept as “the next logical step” (Idea Testing Focus Group: Appendix 3.j), the participants reasoned that we’re so preoccupied with what our friends are doing already – with apps like Find my Friends, Snapchat recently introducing it’s new Snapmaps function, and the Clue app allowing users to share their cycles.
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FIGURE 57, route to consumer (2018)
marketing mix “Marketing is about understanding, defining and influencing where your customers are going and who they want to be when they get there” - (Schrage, 2012)
W
hat’s Your Number responds to this theory and provides a platform that allows it’s consumers to be confident, open and daring when discussing sexual relationships. The consumer wants to know they’re going in the right direction (Schrage, 2012), and What’s Your Number eases them into this cultural shift and allows the users in the pre part of the marketing plan to become early adopters and innovators in a social media culture inevitability, in a safe curated place. It would make sense for an app of this nature to center its launch in the UK’s top 10 most promiscuous cities. The survey conducted by UKMedix I mention previously in this report labels landmark cities such as Liverpool, Manchester, Newcastle and Nottingham as coming out on top.
The Zine Emily Coxhead sparks my idea whereby simple content and experiential marketing through leaving samples and teasers of work in places such as public libraries and transport can create an incredibly successful response. Coxhead is a designer and illustrator who produces a quarterly newspaper called ‘The Happy Newspaper’. Funding for the initial start up was done through Kickstarter and marketing has been entirely through social media and small guerilla stunts. Since leaving the odd copy on the tube or motivational notes in her signature writing style in cafes, her reach and response has included an Instagram shout out from the likes of Richard Branson.
Implementing a guerilla marketing approach similar to Coxhead’s means I form a direct route to my consumer whilst avoiding falling into traditional and often soulless marketing techniques for apps that rely on word of mouth and small face to face city by city movements. Creating ‘What’s Your Number’ zine, a tongue in cheek extension of the app and key marketing tool, consisting of a compilation of stories, images and plugs for the App, will provide the audience with a taster of the idea and tone of voice of the app and aim to prompt discussion and arouse attention from social media outlets. The zine will need direct consumer call to action in order to ensure download and interacting with the app. In a world of digital noise, print captures our attention (Guardian, 2017). Quality print is so rarely appreciated that is has a novelty factor. Magazines and zines have already become a relatively expensive and niche market, which The Guardian cites as proof that in future news will similarly serve an educated, affluent elite (Greenslade, 2017). This zine will have a hand-made, cheaply produced feel, as this will communicate the brand message in a intimate and personal way. In our screen saturated world hand-made things can communicate messages at a highly visceral level (Ingledew, 2011). The zine will have a lost ‘stories left behind’ feel. Print continues to have a place in the marketing mix because it’s presence commands an immediate action. 79% of consumers will act on direct mail immediately compared to only 45% who say they deal with email straight away (Saeterhaug, 2016), which is why I want to take this route to open the eyes of my consumer.
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FIGURE 58, zine cover (2018)
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Print contrasts my overarching insight that our entire lives manifest themselves online and this is why I want it to be the anchor of my marketing plan.
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The attitude of zines is that of a magazine’s naughty brother, fitting my brand tone of voice for being a bit kitch & cheeky, pushing boundaries into the mainstream
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They’re cheap to produce and have a more creative aesthetic. They appear more independent, kickass, curious and less polished.
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The initial aim of the zine will be to create confusion and encourage the consume to scan the QR code to find out more Print captures attention in a world of digital noise (Guardian 2017), making holding a piece of print feel like a novelty in 2018
FIGURE 60, zine content (2018)
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FIGURE 59, zine X’s (2018)
why a zine?
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FIGURE 61, zine back cover (2018)
>
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the what’s your number website with exclusive video for those that submit their number
>
consumer is then directed to app store to download WHat’s Your Number
Promotional scratch cards given with tickets and handouts for key student events around the country. The scratch cards will work by having 5 predefined numbers that the consumer will scratch to reveal and one ‘fill in the blank’. On the back of these cards will be a QR code which when scanned will lead the consumer to a page on the website. To enter the promotion the consumer will enter their five revealed numbers on this page and fill in the blank one with their own ‘number’. The correct fit will win a small cash prize like on a conventional scratch card, access to the exclusive video mentioned in the zine QR code section, and the opportunity to forward a story appearing in the next issue of WYN zine.
at the end of 2017 forbes and wired cited 2018 as the year the qr code makes a comeback (Forbes, 2017)
FIGURE 62, scratchcards (2018)
scratchcards
social media Millennials value honesty and factual content and consume the majority of their content online. Oversaturation of sponsored posts from their favourite influencers has left users in a trust epidemic and feeling conflicted about how they are being marketed to, so WYN will reach this consumer through micro influencers. WGSN states microinfluencers are emerging as a critical marketing channel for brands large and small, enabling them to grow awareness, and cites Instagram as the channel most favorable for doing this (WGSN, 2017). Micro influencers have higher engagement rates in context with their following and this is believed to be down to the consumer’s perception of their authenticity and creativity.
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what are you waiting for?
FIGURE 63, bus advert (2018)
To coincide with the distribution of the zine, adverts will appear on the poster screens at bus stops with the copy ‘what’s your number?’, to play on asking what number bus someone is waiting for. It fits with WYN’s laidback and upbeat tone of voice sounding like ‘what are you waiting for’, suggesting you should take life as it comes and take risks. The consumer may not necessarily take public transport but the adverts will still be seen by a wide audience.
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the youtube effect A huge 95% of Gen Z watch Youtube (Neilson Social Media Report, 2017), and according to Google, “73% of Gen Z feel a close relationship with at least one YouTuber, and about 40% would even say that they feel they relate more to those YouTubers than their own friends” (Social Media Week, 2017). 54% visit Youtube at least once a day (Neilson, 2017) so the site is making up a hefty extension of this consumer’s media consumption. Brands such as Makeup Revolution, Vice and Gymshark are harnessing this trend for their marketing gains, either through their own channel or through heavy sponsorship and product placement on brand ambassadors who already have a cult following, such as the partnership between Gymshark and GraceFitUK and Whitney Simmons.
FIGURE 64, Hannah Witton Screenshot (2018)
For this reason I think it is imperative that What’s Your Number has it’s own Youtube channel. The channel will have guest videos from key lifestyle Youtubers with varying following which will aid the flow of traffic to the channel in its early days. One of these people could include Hannah Witton, a 26 year old who creates content around the topics relationships, sex and sexual health, liberation and welfare issues, literature and travel. She has a very realist and relatable outlook on life and conveys this in a very down to earth manner.
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f.o.m.o & ephemeral marketing The F.O.M.O effect – blink and you miss it. Brands, influencers and celebrities alike use ephemeral content to encourage consistent social engagement (Social Media Week, 2017). Instagram Stories has 250 million daily users as opposed to Snapchat’s 166 million (Neilson, 2017), but Snapchat still dominates the youth market, which ties in and connects with my target consumer group of Gen Z. Ephemeral content is an ideal way to create frequent, low budget and fun content that will ensure the brand appears more authentic to the consumer. An example of this could be ASOS and their dressing a dummy in 100 garments in 30 minutes, and Cheerios personalised compliments. Cheerios also held a competition at the end of 2015 to win a personalised family calendar. Their post was on Facebook as their target consumer group is an older generation of parents, however What’s Your Number could harness something like this on a more current platform in relevance to the WYN consumer.
FIGURE 65, cheerios Screenshot (2018)
The competition worked by getting consumers onto the site and uploading images to create their perfect personal 2016 calendar, so just getting the consumer to click would increase traffic and engagement with the app. It’s an area of the app the consumer may be least comfortable yet with using but something that’s been won can be seen as a bit of fun and a novelty as the nature of a calendar, particularly a personalised one tends to be not inherently serious and a bit kitsch and tongue in cheek. The competition could be promoted through Instagram and Snapchat stories as these are already based on handheld devices and therefore sets up the consumer to engage immediately.
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gu ca erill mp a z aig ine n
pro scr mot atc ion hc al ar ds
‘Wh yo at n u u bu wa mbe s a itin r a dv ert g fo re isin r?’ g
before
during
The the timeline timeline FIGURE 66, marketing timeline (2018)
eph ma emer rke al tin g
sha iss gma ue g 2 c zin om e p
after
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measuring success The app will initially launch in the format of an invite-only beta. This means my pre-existing potential users will be first to interact with the app. The brand will have the opportunity to conduct additional testing and have some reviews before the release. A private beta creates a shade of coolness and exclusivity to the brand (Tagiev, 2017). It will also enable the brand to gain exposure through the influencer marketing on Youtube and Stories before the app is out. Success for the primary outcome of the brand can be measured by number of app downloads and number of active app users monthly. The app benefits from not having a structure that requires a heavily populated user demographic immediately in order for it to run to it’s full potential. The app will be the priority platform as this is what the consumer is found to use most frequently, but success can also be measured from traffic to the site monthly, and particularly whether it increases in the waves of media coverage. The YouTube channel will also be a key factor in measuring consistent consumer engagement. How many views on the channel, how many subscribers and an increase in subscribers per month are all key factors in considering the level of commitment from the user.
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FIGURE 67, leg clock (2018)
the future
The ultimate success for WYN would be for the social and cultural trend of liberalisation in terms of sexuality and the removal of the taboo on the topic of sex to continue to progress and diminish. Currently WYN’s consumer would be in the Early Adopter’s stage of Rogers’ Diffusion of Innovation, however to become mainstream, be adopted by majority and therefore acheive ultimate cultural and profitary success, this is what needs to happen in the next 20 years. The app and the conversations and topics surrounding it’s content need to be completely normalised, and I believe we are on our way to getting there.
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illustrations FIG 1, Own Image (2018) Cover Image
FIG 18, WGSN (2017) Daily Dose of Hate Mail [image] Available at: https:// www.wgsn.com/content/board_viewer/#/117715/page/1 [Accessed 23 Apr 2018]
FIG 2, Own Image (2018) WYN Shoot Purple Rain FIG 3, Own Image (2018) WYN Shoot Orange Jumper
FIG 19, George Downing (2016) Evolution of Sexuality [image] Available at: https://georgewdowning.com [Accessed 28 Feb 2018]
FIG 4, Own Image (2018) WYN Shoot Stairs
FIG 20, Own Image (2018) Share Collage
FIG 5, HuffPost (2013) A History of Dating [image] Available at: https:// www.huffingtonpost.co.uk/entry/retro-video-dating-for-moderns-1950s-advice_n_3052281?guccounter=1 [Accessed 02 May 2018]
FIG 21, @gracefituk (2018) GraceFitUK [image] Available at: https://www. instagram.com/gracefituk/?hl=en [Accessed 29 April 2018]
FIG 6, Own Image (2018) Dating Timeline Part 1
FIG 22, Grief, A (2016) Phone Food [image] Available at: https://www. blogto.com/eat_drink/2016/07/looks_great_on_instagram_but_does_ the_food_taste_good/ [Accessed 03 May 2018]
FIG 7, Own Image (2018) Dating Timeline Part 2 FIG 8, Own Image (2018) Status Timeline
FIG 23, @tammyhembrow (2018) Insta Kids [image] Available at: https:// www.instagram.com/tammyhembrow/?hl=en [Accessed 29 April 2018]
FIG 9, Hinge (2017) The Dating Apocalypse [video still] Available at: https:// thedatingapocalypse.com [Accessed 20 Mar 2018]
FIG 24, PxHere (2017) Holiday Selfie Stick [image] Available at: https://pxhere.com/en/photo/700703 [Accessed 29 April 2018]
FIG 10, Hinge (2017) Swipe Right [video still] Available at: https://thedatingapocalypse.com [Accessed 20 Mar 2018]
FIG 25, Lena Chen (2017) Where Has It Happened Before? [image] Available at: https://www.lenachen.com/the-life-and-death-of-elle-peril/ [Accessed 29 Apr 2018]
FIG 11, Life Hacker (2018) Over 50s Do It Better [image] Available at: https://lifehacker.com/why-i-love-this-mobile-carrier-for-old-people-1823732082 [Accessed 29 Apr 2018]
FIG 26, Kirra Cheers (2018) Kirra Cheers The List 3 [image] Available at: http://kirracheers.com/the-list/ [Accessed 25 Apr 2018]
FIG 12, Kirra Cheers (2018) Kirra Cheers The List 1 [image] Available at: http://kirracheers.com/the-list/ [Accessed 26 Dec 2017]
FIG 27, Kirra Cheers (2018) Kirra Cheers The List 4 [image] Available at: http://kirracheers.com/the-list/ [Accessed 25 Apr 2018]
FIG 13, Kirra Cheers (2018) Kirra Cheers The List 2 [image] Available at: http://kirracheers.com/the-list/ [Accessed 26 Dec 2017]
FIG 28, Kirra Cheers (2018) Kirra Cheers The List 5 [image] Available at: http://kirracheers.com/the-list/ [Accessed 25 Apr 2018]
FIG 14, Digital NC (1998) Personal Ad [image] Available at: http://newspapers.digitalnc.org/lccn/2006225405/1998-02-21/ed-1/seq-22/ [Accessed 29 Apr 2018]
FIG 29, Tracey Emin (1995) Tracey Emin Tent 1 [image] Available at: http:// www.theartstory.org/artist-emin-tracey-artworks.htm [Accessed 30 Apr 2018]
FIG 15, Own Image (2018) The First Personal Ad Timeline FIG 16, Own Image (2018) From Hookup to Hitched – Dating Apps Encyclopaedia
FIG 30, Tracey Emin (1995) Tracey Emin Tent 2 [image] Available at: http:// www.theartstory.org/artist-emin-tracey-artworks.htm [Accessed 30 Apr 2018]
FIG 17, Own Image (2017) Tinder Survey Shag
FIG 31, Tracey Emin (1995) Tracey Emin Tent 3 [image] Available at: http://
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www.theartstory.org/artist-emin-tracey-artworks.htm [Accessed 30 Apr 2018]
FIG 49, Own Image (2018) WYN App Mock-up How It Works FIG 50, Kirra Cheers (2018) The WYN Consumer [image] Available at: http://kirracheers.com/the-list/ [Accessed 28 Apr 2018]
FIG 32, Tracey Emin (1997) Tracey Emin Tapestry [image] Available at: https://www.sammlung-goetz.de/en/Exhibitions/past/1997-1998/Art_ from_the_UK.htm [Accessed 01 May 2018]
FIG 51, Own Image (2018) Rogers’ Diffusion of Innovation [image edit]
FIG 33, Gordon, C (2016) Lena Chen Portrait [image] Available at: http:// america.aljazeera.com/watch/shows/america-tonight/america-tonight-blog/2013/12/9/lena-chen-onlineharassment.html [Accessed 11 May 2018]
FIG 52, Own Image (2018) Consumer Moodboard FIG 53, Own Image (2018) WYN Shoot Map FIG 54, Own Image (2018) WYN Shoot Digital Clock
FIG 34, Lena Chen (2017) Elle Peril [image] Available at: https://www. lenachen.com/the-life-and-death-of-elle-peril/ [Accessed 24 Mar 2018]
FIG 55, Own Image (2018) WYN Shoot Pub
FIG 35, Lena Chen (2017) Lena Chen Photography [image] Available at: https://www.lenachen.com/about/ [Accessed 24 Mar 2018]
FIG 56, Own Image (2018) Disposable Scans Web Edit FIG 57, Own Image (2018) Route to Consumer
FIG 36, Kirra Cheers (2018) Kirra Cheers The List 6 [image] Available at: http://kirracheers.com/the-list/ [Accessed 10 Apr 2018]
FIG 58, Own Image (2018) Zine Cover
FIG 37, Own Image (2018) Fab Guys
FIG 59, Own Image (2018) Zine X’s
FIG 38, Own Image (2018) WYN Shoot Light Leak
FIG 60, Own Image (2018) Zine Content
FIG 39, Own Image (2018) The New Normal
FIG 61, Own Image (2018) Zine Back Cover
FIG 40, Own Image (2018) Ancestry Mockup
FIG 62, Own Image (2018) Scratchcards
FIG 41, Own Image (2018) Facebook Timeline Mockup
FIG 63, Own Image (2018) Bus Advert
FIG 42, Own Image (2018) Design Recipe Moodboard
FIG 64, Own Image (2018) Hannah Witton Screenshot
FIG 43, Own Image (2018) Collage
FIG 65, Own Image (2018) Cheerios Screenshot
FIG 44, Own Image (2018) Disposable Scans 1
FIG 66, Own Image (2018) Marketing Timeline
FIG 45, Own Image (2018) Disposable Scans 2
FIG 67, Own Image (2018) Leg Clock
FIG 46, Own Image (2018) Collage 2 FIG 47, Own Image (2018) WYN App Mock-up Your List FIG 48, Own Image (2018) WYN App Mock-up Open Screen
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