Old Fogies- Teaching Gen Z To Repair and Care For Their Clothing. by Sophiehickscreative

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cover

Sophie Hicks N0839407 Sub-element 3 Visual Report

OLD FOGIES

1. Introd tion uc

Pg 3- Problem, Need, Gap Pg 5- Key Insights Pg 7- Big Idea Pg 9- Media They Consume/Would Consider Pg 13- Medium Vs Message Pg 15- Initial Concepts Pg 17- Final Concept

2 . Ou

B r an d Pg 21- The Empathetic Taste-Maker Pg 23- We Are/We Are Not Pg 25- Old Fogies Brand Map Pg 27- Brand Recipe Pg 29- Consumer Design Feedback

3. Outc es om

Pg 33- Why Will It Work? Pg 35- Outcomes Over-view Pg 37- TikTok Campaign Pg 39- Old Fogies Mission Pg 41- Outcome 1 In Detail Pg 43- Old Fogies TikTok Pg 45- Why Our Campaign Will Be Successful Pg 47- TikTok Engagement Pg 49- Outcome 2- Old Fogies Home Pg 51- Outcome 2 In Detail Pg 53- Old Fogies Home Hits The High street Pg 55- Jaded London X Old Fogies

INDEX

4. R

5. t h

Pg 59- Aim, Method, Evidence Pg 61- Day In Their Life Pg 65- Old Fogies Marketing Plan Pg 67- How Old Fogies Will Create Behaviour Change Pg 69- How Old Fogies Will Market Ourselves Pg 71- Communications Plan Pg 73- Old Fogies Website

tu r fu e Pg 77- Old Fogies Enters Web 3 Pg 81- Conclusion

6. suppo

r tin

Pg 91- Methodology Pg 101- Consent Forms

o rk

Pg 87- Figures & References

Pg 85- Personal Reflection

Fig 1. Experimental Collage. (2022) 1

WELCOME TO OLD FOGIES. Over the past twenty years, as a society we have seen the slow disappearance of textiles education and a growing consumption of fast fashion. Those most affected being Generation Z (those born between 1997-2012), a generation who is arguably the most sustainably minded, whilst also being the largest participants in fast fashion. Through primary and secondary research over the past six months, I have found that a key reason for this behavioural paradox is an apparent disconnect we as a generation have with our clothes. As we lack a basic understanding of how to care for our clothes, our instinct is to replace rather than repair our garments. Which is where Old Fogies comes in, a phygital platform with the aim to help Gen Z fall in love with their clothing through the helping hand of local grandmas. This report explores the consumer, her paradoxical obsession with fashion and how we can change that by closing the education gap.

OLD FOGIES

The Problem

The Need

The gap

A lack of textiles education has led to a disconnect with the clothes we wear and the development of a mindset prone to disposability. ‘The less we know about the clothes we buy, the less we make an emotional connection and the easier it is to get rid of them- discarded items that we once desired, but did not cherish.’ (De Castro, 2021 Pg 5)

The consumers immediate need is to save money and feel guilt-free with their purchases, which can be aided through increasing the life-span of their garments. ‘continuing to actively wear a garment for just nine months longer diminishes its environmental impacts by 20–30%.’ (Ro, 2020)

To encourage Gen Z’s growing interest in their closets and introduce them to bitesize and interactive textiles education. ‘85% of 18-24-year olds and 83% of 25–34-year olds have repaired items including clothing, furniture or bicycles in the last year, compared to just 47% of Londoners aged over 55.’ (Moore, 2020)

INTRODUCTION

Fig. 2 Experimental Collage. (2022)

OLD FOGIES

Key In

A key reason for the rise

After

Consumers need simp

There aided

Fig. 3 Moto Guo Fall/ Winter 2016 Campaign (2015)

INTRODUCTION

nsights:

e in fast fashion is decreasing textiles education.

r-care/End of Life is a worthwhile venture due to the existing education gap.

ple practical advice as they begin their repair journey.

is a growing desire to change purchasing behaviour, which can be d through bridging the knowledge gap via interactive content.

OLD FOGIES

Fig. 4 Big Idea (2022)

BIG IDEA/CONCEPT

To encourage Gen Z to repair and care for their garments through inter-generational collaboration, in order to decrease clothing consumption.

Fig. 5 Media They Consume (2022)

OLD FOGIES

mEDIA THEY CONSUME

BIG IDEA/CONCEPT

Our consumer currently immerses herself in feminine, aesthetic imagery and interacts with brands that hold this profile. She dips her toe into nostalgia, by celebrating the style and pop-culture of the 2000’s, whilst enjoying a mix of Scandinavian and New York brands. Currently the media she consumes is very palatable and aesthetically pleasing, with a dominance of rosy tones 10 and minimalistic patterns.

Fig. 6 Media They Would Consider (2022)

Feeding from their initial interest in nostalgia, Old Fogies would introduce them to the world of the 70’s and 80’s, through stylised photography and branding. Harking from Alessandro Michele’s Gucci, we would begin to inject elements of surrealism and maximalism to push our consumer out of their comfort zone into a stylised world of creativity and experimentation. We would also develop the colour palettes, replacing the rosy tones with more mature, deeper shades of reds, oranges and greens. Taking further inspiration from publications and imagery from European designers, as well as 70’s Americana.

BIG IDEA/CONCEPT

mEDIA THEY WOULD CONSIDER.

OLD FOGIES

Medium VS Message

In order to decide upon many of my decisions throughout this process I have refularly referred to the theory of medium vs message, to ensure that I choose the right visual and liguistic codes. McLuhan’s 1964 visual theory ‘The Medium Is The Message’ is one ever more appropriate in the digital age than its first creation. Theorising that “Societies have always been shaped more by the nature of the media with which people communicate than by the content of the communication.” (McLuhan, 1964). Suggesting that the platform marketers use is more important than the actual messages. Although I feel that the message is equally as important as the platform, McLuhan’s theory does highlight the importance of choosing the correct visuals/mediums for the consumer. In the case of ‘Old Fogies’ I feel that it is important for the media we produce to be instantly accessible, instantly educational and instantly stylised, feeding from the consumers interest in nostalgia. 13

Fig. 7 The Medium is the Message(1965)

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OLD FOGIES

concepts

Initial Concepts. 15

BIG IDEA/CONCEPTS

Fig 8-10 Concept Boards. (2022)

OLD FOGIES Fig. 11 ‘Fix It Like Grandma’ Final Concept. (2022)

concept

Final Concept

BIG IDEA/CONCEPT

The final concept, ‘Fix It Like Grandma’ is a mix between its original imagery paired with the nostalgia and tones of a 70’s concept. Marrying together to create a warm, surrealist re-calling of the swinging seventies to stylise a traditionally, visually dull visual landscape of sewing. Utilising Gen Z’s adoration of baby boomers to create an engaging, humorous and educational outcome. 18

OLD FOGIES

2. OUR BRAND 19

OLD FOGIES

consumer profile?

21 Fig. 12

Consumer Interpretation. (2022)

BRAND

The EMpathetic Taste-maker She looks to live a fulfilled, meaningful life whilst battling a mind and society of political, climate and emotional anxiety. She craves connection in a disconnected world, tangible creativity in the digital age and above all a sense of purpose when it all feels just a bit too much. They crave belonging and gain validation through their tightly woven group of friends. She is timid and quiet but holds loud opinions and sees herself as an ‘instagram activist’ with a penchant for infographics. They are a member of the early majority, hopping onto TikTok trends quickly, yet feeling an immediate sense of guilt the second she presses ‘buy’ on Amazon. Guilt is our consumer’s strongest and most prevailing emotion, running through her financial dependence on her parents as a student and attempt at balancing university work and her ever-growing social life. She can be characterised as both a K.I.P.P.E.R (Kids In Parents’ Pockets Eroding Retirement Savings) and a H.E.I.D.I (Highly Educated Independent Individual) (Jay, 2018). The transitional state of her life is reflected in her purchasing behaviour, coined as ‘single-but-not-sad disco babes (whom) are brand fanatics and wear stylish fashions’. (Chegg, 2019) She bounces between fast fashion convenience, luxury indulgences and second-hand savings. This is where Old Fogies can come in, to hold our consumers hand, moving her towards a slow fashion lifestyle, whilst also teaching her to care for her existing multi-faceted clothing collection. 22

OLD FOGIES

Nostalgic

Warming

WE ARE Engaging

familial

Fig. 13 We Are. (2022)

BRAND

minimal

WE ARE not immature

Graphic

flirty

CHEUGY

Fig. 14 We Are Not. (2022)

OLD FOGIES

Fig. 15 Fix It Like Grandma Collage (2021)

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To teach Gen Z how to repair and care for their clothes to decrease clothing consumption, through inter-generational collaboration. r epening ou e d , s e v li r u ys in o clothing pla n. r u o le ro e gh educatio u ro th ts n We value th e with our garm connection

Heads n’ Hearts

We believe through inter-generational collaboration we can strengthen our relationship with the environment and each other.

ucational.

d viting and e onnecting, in

Entr y-level, c

Shareability developed through TikTok/Instagram, supported by word-of-mouth buzz via our pop-ups.

We as a brand look and feel nostalgic, yet of the moment, with warm and timeless tones.

Old Fogies is an informal an d homely brand that holds an educational duty tow ards its audience. h l attitude wit fu d in m a ld We ho . e personality collaborativ

a dynamic

and 26

OLD FOGIES

brand recipe & visual inspiration

Fig. 16 Mock-up Poster (2022)

BRAND

Brand rECIPE. Stayin’ Alive

Le Freak

Three Times A Lady

I will survive

Lean On Me

Don’t Stop Til You Get Enough Fig. 17 Brand Recipe (2022)

OLD FOGIES

Sophie

Erin

Ellie

Sophie

Ellie

Erin

Fig. 18 Consumer Feedback on Branding Texts (2022)

BRAND Fig. 19 PLAY Collage (2021)

OLD FOGIES

3. outcomes 31

OLD FOGIES

WHY WILL IT WORK? Now is the perfect time for Old Fogies to be launched. As we begin to emerge from the pandemic, there is a strong emotional need for Gen Z to re-connect with the older generation who we’ve been isolated from for so long (as many have lost grandparents themselves). There are several cases of elderly people going ‘viral’ on TikTok (the platform that went mainstream during the pandemic) with some users such as @grandadjoe1993 reaching 5m followers, sharing stories of his life and collaborations with brands. This emotional need that Old Fogies caters for, can perfectly assist in the information gap that currently exists, with Gen Z and how to repair their clothes. On this platform, #sewingtiktok has amassed over 1.6 billion views showing the increasing interest in textiles and DIY. This education gap has emerged through the slow removal of textiles in the British curriculum, with its official ousting in 2017 (Textiles Skills Centre, 2018). Old Fogies marries together an emotional and educational need, assisting in the climate crisis through inter-generational connection. 33

ELEMENT TITLE TO CHANGE Fig. 20 Facebook Post (2022)

Fig. 21 #sewingtiktok (2022)

Fig. 22 Grandad Joe. (2022)

OLD FOGIES

Fig. 23 PLAY Collage (2021) 35

OUTCOME

Outcomes Outcome 1- TikTok Campaign Immersive digital campaign, seeing elderly women teach 30 second tutorials to our Gen Z audience.

Outcome 2- Old Fogies Home Travelling community based pop-up, developing our digital community into reality through seminars and creative events.

Outcome 3- Old Fogies x Jaded London Developing a strong income channel through partnering with brands to provide product specific care tutorials for e-commerce.

OLD FOGIES Fig. 25 Portrait of Jean (2022)

OUTCOME 1

Fig. 26 Old Fogies TikTok (2022)

TikTok Campaign

Old Fogies TikTok community is one of comfort and connection, enabling Gen Z consumers to join with each other, as well as our own ‘Old Fogies’ such as our break out star Gma Jean. We chose TikTok to bring our idea alive, due to its instant connectivity and ability to share your content with those who will truly engage organically. Old Fogies will produce and share an ongoing range of 30 second informative videos, led by the demand and requests of our community of the type of content they would like to see. We feel that the profile will be able to develop over time to involve more ‘Old Fogies’/grandmas and focus on a wider range of skills such as knitting and fashion construction, as our audience become more educated and engaged. So far, we are really pleased with the initial reaction to our content with global users commenting and interacting with our videos, evidencing the future success and longevity of Old Fogies as both a digital and physical campaign.

OLD FOGIES

AIMS

AC 39

S N IT O Old Fogies will use the medium of TikTok to celebrate the relationship between consumers and their garments. This platform/ campaign will also lead to a multi-dimensional community, we will create a place where Gen Z can go to get easily digestible information from warming and approachable ‘grandmas’.

N PO ES

that ign a p hing am ia c heir clot by d e l m th t ed socia love wi videos l ctive e v i lle al act o fall in inter ation for a co othing t c y Z l u p d n e e e cl ll aim rease in A de rages G snappy a r e v u c enco , through In the o g to a de ste. . n n i a n i aga y wome ge, lead n and w n o rl elde iour cha nsumpti v o c beha

The primary outcome will lead to a dedicated viewership online, with a wealth of comments and engagement. As this community builds, we will take this relationship further and continue to ‘nudge’ our consumers, through community pop-ups with the opportunity to meet local elderly people. Through previous evidence (click here), we can see how well Gen Z react to elder generations, and tangible inter-generational interactions will lead to a rise in talk-ability about Old Fogies, physically and digitally.

OUTCOME

S NSE

Old FOGIES Mission.

OLD FOGIES

The main focus will be on the elderly model at the centre of the shot, with no background noise to allow complete focus on the Grandma’s advice.

Low-fi set and lighting, use of ring light to even out uneven lighting and stabiliser to ensure consistent videography.

Go-To TikTok shots will set-like headshots, inspired by 70’s sitcoms and game-shows, reimagined in the 21st century by creatives such as Emma Winder and ‘Cogie’.

Outcome 1- In Detail

OUTCOME 1

Set will be focus on mid-century modern furniture, with a strong presence of deep woods and homely accessories such as family photos and decorative lamps.

The set will be based around and complimented by abstract seventies patterns with warm, sun-like colour palettes.

Fig. 27 Concept 1- In Detail (2022)

Colour palette and composition inspiration initialised from Wes Anderson’s, Moon Rise Kingdom. With its celebration of a constant feeling of sunset.

OLD FOGIES

Fig 28-30 TikTok Mock-ups (2022)

OUTCOME

QR Code

^Scan this to visit the Old Fogies TikTok Community.

OLD FOGIES

colla b

y or Created by Claire Burdett, the ‘5 C’s Of Social Media’ theory breaks down five key ways to make sure digital engagement is ‘adopted, repeated, altered and adapted’ (Burdett, 2008). Ensuring that the creator can develop a loyal and growing community through encouraging enjoyable and sustained interaction. Although this theory was created in 2008, a time where the web was lot more juvenile, there is still strong merit in this theory, with its focus on the audience and its relationships which are arguably timeless factors.

com

The

Why our campaign will be successful. ation or

The duet feature and the very nature of Old Fogies transactional nature leads to immediate collaboration as the audience follow our tutorials. Brand collaboration is also a key tool to grow ‘Old Fogies’ in the future.

nity mu

We can already see a community initialising as content begins to be released. Which will only be strengthened through our secondary and tertiary outcomes, centred around space and events.

Conve

Com

con t

(Burdett, C. (2008) 5 C’s Of Social Media.) ute rib

Old Fogies will release content every 2-4 days to maintain a regular stream of content. We will also provide our audience with the opportunity to suggest video ideas for us to create.

nt me

One of TikTok’s strongest and most used features is ‘comments’. We are already seeing around 5% of those who engage in the content leaving comments. As we proceed to produce content we foresee a growth in this area.

ation rs

We are already very happy with the organic conversation that is being produced through ‘Gma’ continuing to interact and respond to comments.

OUTCOMES Fig. 31 NYLON October (2020)

OLD FOGIES

TikTok Engagement. Our initial engagement has been really strong and particularly rewarding for myself and my grandmother. We have seen our audience grow, with viewers from all around the world who have been liking and commenting with our videos, which have been gaining over a thousand views on them. When reviewing our fledgling content with our consumers we have received really positive feedback, with regular mentions of how helpful the videos are and continual questions for further advice. In our focus group, one viewer mentioned how at times the background music over-rode the presenters voice, which is a crucial point to take forward. Overall, the initial engagement and feedback has been overwhelmingly positive and a great sign that we have found and helped our target audience. To see more engagement check out the comments section. 47

OUTCOME 1

Fig 32 Hicks, S. Engagement. (2022)

Fig 33 Old Fogies Home Mock-up. (2022)

OLD FOGIES

Old Fogies Home AIMS An extension of the Old Fogies online brand, bringing the celebration of clothing repair to our audience and their local communities. Creating a buzz-worthy pop-up visiting numerous cities across the country, connecting elderly citizens with a strong textiles skill set with local Gen Z’s, to create a close knit, skill-enriched society.

Actions Old Fogies will enrich our existing brand with the medium of space, creating a 360 brand experience for our consumers. We will use these environments to hold educational workshops and community events, the ‘Old Fogies Home’ will also act as a social hub with its range of hang-out spaces and cafe facilities.

Responses Our secondary outcome will lead to an increase in ‘talkability’ surrounding the brand, here we will focus heavily on our local and national PR coverage to reach the communities as we visit them. The pop-ups will also lead to great consumer engagement and an opportunity for us to improve our CRM, as well as an increase in consumer generated content leading to further brand awareness.

OLD FOGIES

Fig 34 Outcome 2- In Detail. (2022) Heavy inspiration to be taken from vintage architectural digest and interior magazines of the time, with a heavy presence of panelling, patterns and beige tones.

‘Old Fogies Home’ will be a place for local youth and Gen X’s to congregate together, and with peers. Hence, there will be a plethora of sofas and seating areas for all levels of mobility.

Outcome 2- In Detail.

OUTCOME 2 There will be a tasteful balance between bold abstract patterns, stonework and muted tones. All in line with our branded colour palette of warm browns and oranges, with contrasting blues.

Second-hand mid-century modern furniture will be heavily used throughout, complimented with modern basics. Hardwoods will be partnered with soft furnishings and decoration to make the space entirely immersive and authentic to the era.

Around the popups, there will be mid-century modern storage for all our sewing supplies which can be used by our elderly instructors and by our target audience. 52

OLD FOGIES

‘Old Fogies Home’ hits the high street. Old Fogies Home will aim to be located in popular highstreets to put us right at the heart of communities, visiting locations such as ‘graduate central’ Clapham, London to student hubs such as Leeds and Manchester. Our locations will be entirely multi-functional spaces that act as an environment for seminars and workshops, as well as for events and as coffee spots. Making our pop-ups as homely as possible with interesting seating areas from repurposed desks to rocking chairs, paired with abstract interiors and plenty of greenery.

<Click any of the images to explore our Old Fogies Home on a desktop, or scan this QR code if on a mobile device.

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Fig 35-38 Old Fogies Home Mock-ups (2022)

OUTCOME 3

Fig 39-42 Jaded London Volare 55 Collection (2022).

OUTCOME 3

Jaded LonDoN X Old Fogies. A key method to increasing brand exposure and audience is through collaborations, with memorable examples being; Stella McCartney X Adidas, Topshop X Stranger Things and Fenty X Puma. All lead to a sharing of knowledge, audience and ‘talk-ability’. Collaborations are also a strong tool to ‘re-invigorate’ a brand and enable it to grow with its consumer. This method will be a key revenue form for Old Fogies by brands paying for our services. Enabling us to maintain our popups and our social media content. We feel that the next step for Old Fogies would be to be hired by brands and provide their audience with specific tutorials for the items that they order. Entirely personalised for each brand, product and consumer, which could come in a multitude of forms: videos on the product webpage, social media content and printed information with each order. This cross-brand service would enable Old Fogies to become an established brand-name, launching into the mainstream as the go-to repair information source.

An initial collaboration that we feel would enable Old Fogies to directly target our fashion-forward, eco-anxious consumer would be to teamup with Jaded London. A British, avant-garde fashion brand with a mid-level price point. We feel that this would be a perfect initial collaboration, due to their decades inspired collections, with the potential to create a swinging seventies collection together paired with our stylised informational content. Other brands and creatives which would be well suited for Old Fogies, include Nadia Lee Cohen, House of Sunny, Reclaimed Vintage, Emma Winder and Susamusa.

OLD FOGIES

Fig 43-45 Sponsored Jaded London X Old Fogies Mock-ups (2022)

OUTCOME 3

OLD FOGIES

route to consumer with campaign aim

4. Route To Consumer 59

EVID

our m

IM RA

To engage Gen Z consumers in garment repair and care, through intergenerational connection.

hod et

We will achieve this through an educational, social media campaign via platforms TikTok/Instagram. This will then be elevated by a national community pop-up. We aim to reach our consumer, through community and creativity.

CE EN ‘The youngest generations have a strong instinct for change and for adapting to disruption, accepting hybrids as natural and vital, embracing a radical new way of thinking that intimately adopts complexity and unpredictability.’ (Edelkoort, Van Gelder and Antonelli, 2012)

OLD FOGIES Fig. 46 Erins Day In The Life

Fig. 47 My day In The Life

Day In Their Life. 61

To build her time TikTok (a location studying placem through

MARKETING CAMPAIGN Fig. 48 Ellies Day In The Life

d the marketing plan and have a stronger understanding of how the Old Fogies consumer spends e and how best to reach her, three consumers were tasked with creating their own ‘Day In The Life’ a very popular trend on the app). Although the three consumers were all based in three different ns, and had different routines, trends ran throughout. Including several cups of tea, time spent g/with loved ones in cosy environments. A feeling of warmth was felt in all, through aesthetic ments but also the slow, comforting activities that were carried out. Key places to reach them being h social media platforms, university locations such as the SU and town centre advertisements.

OLD FOGIES

RTC Digital communication: Target instagram ad’s whilst she wakes up, and organic TikTok reach.

RTC Audio Communication: Enjoys listening to conversational podcasts, emotionally her mum is key to her support system.

Wakes up after 3 alarms to watch a lecture whilst having breakfast, checking instagram and Tiktok’s she’s been sent.

Walks to campus either ringing her mum or listening to a podcast.

8:30 aM

10:15 aM

DAY IN T

Fig (2 . 4 02 9 2) Pin t

er es

9:45 aM She showers and picks out her outfit by getting inspiration from Pinterest, whilst listening to Spotify.

RTC Visual Communication: Pinterest is her favourite visual platform, great method to lead to increased traction to websites/Tiktok. 63

Fig. 50 NY Times (2022)

11 aM

Meets a friend to study at th SU. Whilst she’s there she grab a tea and a pastry, chatting to friends who pass by.

RTC Sales PromotionContinuously gets distracted by emails and instagram notifications. There are also lots of flyers around her advertising upcoming events

MARKETING CAMPAIGN

Fig. 52 Booktok. (2021)

RTC Public RelationsShe discovered this book through its hype in a range of articles and #booktok.

RTC Digital MarketingTutorials are a growing market in the TikTok world to take advantage of.

Makes dinner with her flatmate, making a recipe they saw on TikTok.

She finally goes to bed with green tea and her book ‘Song of Achillies’

6:30 PM

1 aM

THE LIFE.

he bs g

9 PM 2 PM

They go to the pub with their friendship group for a few pints.

Heads home to make herself lunch whilst watching youtube, then continues on RTC Visual CommunicationThey walk through the town with work. centre seeing new pop-up stores.

Fig . irl 51 s.( Po 20 p 22 Up )

RTC Direct MarketingWatches slow fashion creators who are regularly sponsored, good opportunity to have Old Fogies placements.

OLD FOGIES

TEY RA

A holistic communications strategy using digital and physical methods to reach and educate our Gen Z consumer. Leading with an organic social media campaign, then strengthening our consumer relationship with physical experiences.

nels an

To reach our audience our main media channel is TikTok, supported by Instagram for me refined content. The digital components will be complimented by tangible community pop-ups across the 65 country.

ssages me

con

Old Fogies is a nostalgic, communityled campaign celebrating the repair revolution. Created due to the role garment over-consumption and production plays in the climate crisis. Old Fogies aims to teach Gen Z how to repair and care for their clothing, in order to bridge the current knowledge gap. We aim to achieve this by utilising the wealth of textiles knowledge held by ‘grandmas’, creating an immersive and interactive phygital campaign through a 1970’s rose-tinted lens. The communication must be informal and humorous with clear educational directions.

key

ound gr

Back

Old Fogies Marketing Plan Our vision is to teach Gen Z how easy it is to repair and care for their clothes, in order to decrease clothing consumption, through intergenerational collaboration. Old Fogies is a humorous and educational brand that believe, through crossgenerational collaboration we can strengthen our relationship with the environment and each other.

mer su

The Old Fogies target audience is the 18-24 year old female Gen Z, she is both a HEIDI (Highly educated Individual) and financially dependent on their parents. She finds enjoyment through expressing herself via her clothing, however is increasingly experiencing climate anxiety and has a desire to change her lifestyle due to this. Our consumer is drawn to creativity and humour, particularly brands with a focus on interactivity and community.

ELEMENT TITLE TO CHANGE

OBJECTIVES To provide Gen Z with interactive, bitesize textiles education - the effectiveness of this can be measured through engagement statistics and qualitative feedback. To translate the brand identity seamlessly through both digital and physical outcomes - this can be achieved through using a thorough brand recipe, and measured through consumer produced content and feedback. To lead to a decrease in discarding of garments - measurable through garments repaired at the community pop-ups, as well as community engagement via digital platforms Instagram/TikTok.

OLD FOGIES

How Old Fogies Will Create Behaviour Change.

Pr e

con te

plation tem n co The consumer is currently un-aware of the impact fast-fashion has on the climate crisis and the role she plays within this.

Old Fogies will produce educational, short TikToks exploring important of the moment case studies like PLT, to reach the consumer organically.

on ati pl m She is now aware of the impact of fast fashion and her role within this, she has a growing desire to change, however doesn’t have the education to do so. Feeding off of the initial brand interaction, we will then begin to create basic content that provides alternatives to fast fashion such as ‘How to Shop SecondHand Online.’

(Thaler, R. and Sunstein, C., Nudge.)

n tio ra

She begins to educate herself and prepare to implement behaviour change, through watching video essays on youtube and following slow fashion influencers. Old Fogies will utilise paid content creation, sponsoring and partnering with slow fashion orientated creators such Laini Ozark to create a brand buzz and lead to traction to our platforms.

ce nan a nt

ma i

This will be achieved through a seamless mix of organic marketing theory social media content and paid influencer collaboration with targeted talent. Furthermore, it is crucial to Old Fogies that we have a 360 community, so the final step ‘maintain’ will focus on translating our digital content into the real world through our exciting community based, intergenerational pop-up.

Pre pa

Conceptualised by American theorist Richard Thaler, The Nudge Theory argues that positive re-enforcement and indirect suggestion can lead to behaviour change and decision making. This is a behavioural theory that can be reflected strongly within western cultures growing awareness of the climate crisis and subsequent purchasing decisions. Using Thaler’s theory in a marketing lens, Old Fogies will implement a five part breakdown; going from complete un-awareness of the impact of fast fashion to a consumer who finds enjoyment in regularly repairing their clothes.

n tio

The consumer begins to decrease her consumption of FF, preferring to use platforms such as depop. As well as becoming educated on the role of caring and repairing her existing clothing. Then we will ‘nudge’ them with more detailed instagram content highlighting the beneficial impact of their slow fashion lifestyle. As well as taking them a step further and introducing them to clothing repair tutorials.

In order to sustain her lowconsumption approach to clothing, she begins to become an avid repairer and becomes well educated on how to care for her clothing. Finally to cement the behaviour change we will encourage the consumer to interact with Old Fogies through duets and organic content. As well as creating loyal consumers through our community pop-ups which will transfer our community from being purely digital to the physical realm.

MARKETING CAMPAIGN

Collage scan

Fig 53 Collage.

OLD FOGIES

Fig. 54 Back in the USA 69 (2018)

MARKETING CAMPAIGN

How Old Fogies will Market ourselves. Plan- Our main object is to provide Gen Z with bitesize textiles education through social media strategy, both organic and paid content. Reach - Define and grow our audience through paid, digital and organic media. Focusing on paid social ads and PR. Act- Prompting interactions to engage leads and followers. We will hone in on organic TikTok duets and our physical community pop-up. Convert- To achieve sales online and offline with an emphasis on the finite aspect of our pop-up. In this stage we will really push our before+after garment repairs to show the impact of consumer behaviour change. Engage- To encourage repeat interactions and advocacy we will publish how many repairs have been made as well continuous content with new grannies. PR is also important in this stage, both local and national. 70 (Chaffey, D. R.A.C.E Theory, 2022)

Communications Plan Week 1

Week 2

Message- Key focus on introducing the consumer to the impact that FF has on the environment, particularly manufacturers like PLT.

Message- Start to introduce alternatives to FF, now their interest has been peaked.

Channel- TikTok

Creative- Introduce basic but engaging content such as alternatives to ff. Easy videos e.g how to thread a needle

Creative- Short educational tiktoks exploring things like PLT. Initial really easy granny videos. E.g how to wash a coat Supported with paid social ads with relevant small creatives like Moyoma Whiney.

Week 5

Channel- TikTok

Message- Pushing the focus to the grandmas themselves, really making them the face of the campaign.

Message- Focus is really now moving to the pop-up to translate our growing digital community to the real world.

ChannelTikTok traditional PR.

and

Channel- TikTok and organic Pop-Up content.

Creative- Videos becoming more in-depth as well as community deepening with profiles of grannies being introduced. Medium VideosHow to iron on a design to a t-shirt. Focus on converting with before and after videos from community. Initial PR reach out as we move into ‘Engage’.

Creative- Focus now moves to beginning buzz around in person pop up with in-store videos and consumer content. Harder videos- How to darn. Begin counting and publishing repairs the community have made.

Fig 55. Marketing Plan. (2022)

MessageBeginning to introduce the role of repairing in sustainable fashion. Mix of reach and act in the race model. Starting to elevate the educational material we put out. Channel- TikTok and Creator Sponsorship CreativeBeginning to expand our audience reach through sponsorship with small to medium creators e.g Laini Ozark. Whilst taking our TikTok content to intermediate e.g how to patch.

Week 6

Week 3

Week 7 Message- Celebration of the repairs that have been created so far, nudging the community to maintain their behaviours. Channel- TikTok and Local PR. Creative- Continual celebration of the communities repairs. Harder videos: how to no sew hem. Have meetings with local press the week before local ups to gain and build buzz for engagement.

Innovative Examples Week 4 Message- Cementing the role that repair plays in slow fashion, as well as introducing the popup shop to the audience.

Fig 57. The PopUp Girls. (2022)

Channel- TikTok (Introducing physical element) CreativeContinued paid content, more detailed instagram content. Medium videos- How to close up a hole in your clothing. Strongly in the convert stage, really pushing out the grannie ads and introducing the popup shop.

^Fig 56. 29Rooms (2019)

Week 8 Message- Focus on the popup to translate our growing digital community to the real world.

Fig 58. Patagonia, Repair Tutorials. (2022)

Channel- TikTok, Instagram and National PR. CreativeOrganic social media collaborations and duets with audience. Some further paid collaborations with former talent to re-inforce relationships. Big push with PR gaining coverage in Gen Z publications like Dazed and Refinery.

OLD FOGIES

lONGform Digital. It is important for us that our audience have a place to visit to get more in-depth information on our brand but also for Longford content. Our website will be a place with 5 minute tutorials with written text to provide more detailed advice, if the 30 second tiktoks aren’t long enough for some consumers. The website will also be a place for our audience to log their repairs and see the achievements of the audience as a whole.

MARKETING CAMPAIGN

Fig 59-64 Website Mock-ups. (2022)

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5. the Future 75

ELEMENT TITLE TO CHANGE

Fig 65. Meta-verse Mock-up (2022)

OLD FOGIES

THE FUTURE

Old Fogies Joins Web3 In order for Old Fogies to keep up with our audience and educate them in a way that is constantly exciting and engaging, it will be crucial for us to extend our teaching and community into the meta-verse. The meta-verse is predicted to become an integral part of society by 2031, when Zuckerburg plans to have 1 billion users actively using it. (XR Today, 2021) The Old Fogies Meta-Home will be found on Decentraland, where users can buy digital clothing (with Decentralands crypto-currency MANA) which over time will become worn and in-need of repair just life physical clothing. Old Fogies home will be a place where they can go to do games and activities to repair their clothing, learning skills that can be translated into real life. It will also be a place for likeminded players to meet regardless of age, particularly with elderly generations becoming more tech-savvy over the pandemic as their desire to interact with loved ones and grandchildren grows. (Rogers, S. 2020.)

OLD FOGIES

Fig 66-68 Meta-verse Mock-ups (2022)

ELEMENT TITLE TO CHANGE

OLD FOGIES Fig 69. Gma and Grandad. (2022)

CONCLUSION

Conclusion.

When beginning this final project last year, through many rounds of research, I found that the big problem was a ‘lack of textiles education has led to a disconnect with the clothes we wear, and the development of a mindset prone to disposability’. When talking directly with the target consumer I found that I shared their guilt with consuming fast fashion whilst also having a desire to participate in trends and the cultural zeitgeist, and felt that if we could develop a stronger relationship with our clothes by repairing them, then we would be able to decrease the amount of clothing that ends up in our landfills. The gap in the market being to teach our youth how to care for their clothing, the way thousands of generations before them have. I feel that through the creation of ‘Old Fogies’ I have been able to show the potential of textiles education and how interactive and exciting it can be. This has been proven through great initial engagement with our content, evidencing Gen Z’s desire to care for their clothing. ‘Old Fogies’ not only acts as a great tool for sustainable behaviour but also a great inter-generational connector, through encouraging young and old women to share their knowledge and stories. This project is a prime example of how to use social media to implement life-long behaviour change, through simple and bitesize content from a welcoming and reliable source. I hope that this project has not just been rewarding to myself and my grandmother, but also for the young women we reached through our content at ‘Old Fogies’.

OLD FOGIES

6. APPENDIX 83

ELEMENT TITLE TO CHANGE

OLD FOGIES

Overall, I have found this the most intense and challenging stage of the FCP process so far. I think this is a common experience as it is the stage that culminates all the learnings and insights from its three predecessors. Concepts was an enjoyable and relaxing stage as it saw us focus on imagery and experimentation, taking part in PLAY workshops to build up a wealth of inspiration to take through to outcomes. This final stage has been an at times stressful one, but also the most rewarding, leaving it with some strong work to take into industry and put in my portfolio. In general I feel like I have responded well to the concepts and outcomes stage, producing work that strongly responds to the big idea of teaching Gen Z how to repair their clothes, in an interactive and unexpected way. My time management this term has definitely improved as I have prioritised my final project on top of everything else, taking a slight step back from my duties as a committee member in order to get a better work/life balance. My attendance however has taken a slight dip as I’ve been ill several times this term, however my working hours have doubled in order to produce several outcomes. My ethical position has remained the same, continuing my passion and dedication for sustainability and slow fashion which I feel is reflected in the report. Normally I prefer to work individually, however this term I have spent most of my time working with peers (both on the course and not) in the students union during the daytime, and have enjoyed the communal approach to working and bouncing ideas off each other. Building up a routine has also been crucial to ensuring I produce my work in a timely manner to decrease stress, but also balance interning, socials and university work.

REVIEW.

I feel like I have responded well to feedback this term, and have really enjoyed the opportunity to get feedback and advice from industry experts, with execs from SEEN Connects and Kate Sellars. Both of these sessions had massive impacts on my primary and secondary outcomes and was also a good dose of motivation. In evaluation of my outcomes, I am particularly proud of the secondary outcome of the ‘Old Fogies Home’, I have always enjoyed exploring visual merchandising so loved getting to have a play around with this area again. My primary outcome of a TikTok campaign was really rewarding as it meant I got to spend time with my grandmother, but also got to put my creative process into action. The videos came out well and got some great audience reactions, however I wish I had less of a low-fi set, if I would do this again I would film in a studio with stronger lighting, sound and backdrop. Exploring the metaverse was a big risk for me, as it is something completely out of my comfort zone. But I’m really glad I did it as I feel that it is a really innovative and un-expected way to take Old Fogies into the future, if I would do this again I would take my mock-ups further and actualise them in the meta-verse. I chose this outcome area of sustainability due to my passion for it, which has been developed through several internships where I have seen it be prioritised (and horrendously ignored). I feel that my ‘Old Fogies’ project is a brand that has real world strength to it and I am proud of its outcome.

APPENDIX

Figures

OLD FOGIES Fig. 14 Hicks, S (2022) We Are Not (Accessed 1st February 2022)

Fig. 15 Hicks, S (2021) Fix It Like Grandma Cover Image. Hicks, S (2022) Portrait of Jean PLAY Collage (Accesssed 8th December Clough (Accessed 20th February 2022) 2021) Fig. 1 Hicks, S. (2022) Experimental Collage. Fig. 16 Hicks, S (2022) Old Fogies Poster (Accessed 11th March 2022) Mock-up (Accessed 2nd March 2022) Fig. 2 Hicks, S. (2022) Experimental Collage. Fig. 17 Hicks, S (2022) Brand Recipe (Accessed 24th January 2022) (Accessed 2nd March 2022) Fig. 3 Fucking Young! (2015) Moto Guo Fall/ Winter 2016 Campaign - Fucking Young! Available at: https://fuckingyoung.es/ moto - guo -fa llwinter-2016- campaign/ (Accessed 10th February 2022)

Fig. 18 Hicks, S (2022) Consumer Feedback Texts (Accessed 3rd March 2022) Fig. 19 Hicks, S (2021) PLAY (Accesssed 9th December 2021)

Collage

Fig. 4 Hicks, S. (2022) Big Idea Cover Page Fig. 20 JJ. Slick (2022) Facebook Status. (Accessed 1st March 2022) Available at: https://www.instagram. com/p/CalF5wLARF8/ (Accessed 2nd Fig. 5 Hicks, S. (2022) Media They Consume March 2022) (Accessed 1st February 2022) Fig. 21 Hick, S (2022) #sewingtiktok. Fig. 6 Hicks, S. (2022) Media They Would Available at: https://www.tiktok.com/ Consider (Accessed 1st February 2022) tag/sewingtiktok?lang=en (Accessed 2nd March 2022) Fig. 7 Mcluhan, M. (1965) New Media Wizard: The Fascinating Ideas Of Marshall McLuhan. Fig. 22 Grandpa, Joe (2022) @ Available at: https://www.diygenius.com/ grandpajoe1933. Available at: https://www. marshall-mcluhan/ (Accessed 1st February tiktok.com/@grandadjoe1933?lang=en 2022) Fig. 23 Hicks, S(2021) PLAY collage (Accessed Fig. 8 Hicks, S (2022) Fix It Like Grandma 28th December 2021) Concept Board (Accessed 12th January 2022) Fig. 25 Hicks, S (2022) Portrait of Jean (Accessed 20th February 2022) Fig. 9 Hicks, S (2022) That 70’s Show Concept Board (Accessed 15th January 2022) Fig. 26 Hicks, S (2022) Old Fogies Mock-up (Accessed 2nd March 2022) Fig. 10 Hicks, S (2022) Risograph Concept Board (Accessed 20th January 2022) Fig. 27 Hicks, S (2022) Concept 1- In Detail (Accessed 2nd March 2022) Fig. 11 Hicks, S. (2022) ‘Fix It Like Grandma’ Final Concept. (Accessed 26th January Fig. 28 -30 Hicks, S (2022) Old Fogies Mock2022) up (Accessed 3rd March 2022) Fig. 12 Hicks, S. (2022) Consumer Fig. 31 Nylon Korea (2020) Nylon Interpretation. (Accessed 22nd February Korea Fashion Editorial (Accessed 3rd 2022) March 2022) Available at: https://i. pinimg.com/or iginals/d4/e4/39/ Fig. 13 Hicks, S (2022) We Are (Accessed 1st d4e43957de1168dfccdf64d2c90b9313.jpg February 2022)

APPENDIX Fig. 32 Hicks, S (2022) Engagement (Accessed Fig. 54 Paola Franqui (2018) Back in the 11th March 2022) USA. Available at:https://www.adorama. com/alc/through-the-lens-back-in-the-usaFig. 33 Hicks, S (2022) Old Fogies Home photographer-paola-franqui-monaris_/ Mock-up (Accessed 10th March 2022) (Accessed 18th February 2022) Fig. 34 Hicks, S (2022) Outcome 2- In Detail (Accessed 9th March 2022)

Fig. 55 Hicks, S (2022) 8 Week Marketing Plan (Accessed 20th February 2022)

Fig. 35-38 Hicks, S (2022) Old Fogies Home Hits The High Street. (Accessed 11th March 2022)

Fig. 56 Refinery29 (2019) 29Rooms. Available at: https://www.refinery29.com/enus/29rooms (Accessed 21st February 2022)

Fig. 39-42 Jaded London (2022) Velar Collection (Accessed 12th March 2022) Available at: https://jadedldn.com/ collections/volare

Fig. 57 The Pop Up Girls (2022) Market Poster (Accessed 26th February 2022) Available at: https://www.instagram.com/p/ CanUUtRtOkc/

Fig. 43-45 Hicks, S (2022) Sponsored Jaded London X Old Fogies Mock-ups, (Accessed 12th March 2022)

Fig. 58 Patagonia (2020) Patagonia Clothing Repairs. Available at: https://www. patagonia.com/repairs/#video-guides (Accessed 2nd December 2021)

Fig. 46 Hadley, E (2021) Day In Life (Accessed 24th November 2021) Fig. 47 Hicks, S (2021) Day In Life (Accessed 24th November 2021)

Fig. 59-64 Hicks, S (2022) Website Mock-Ups. (Accessed 7th March) Fig. 65 Hicks, S (2022) Meta-verse Mock-ups (Accessed 12th March 2022)

Fig. 48 Lewis, E (2021) Day In Life (Accessed 24th November 2021)

Fig. 66-68 Hicks, S (2022) Meta-verse Mockups (Accessed 12th March 2022)

Fig. 49 Hicks, S (2022) Pinterest Board. Available at: https://www.pinterest.co.uk/ SophieeCaroline/(Accessed 15th February 2022)

Fig. 69 Hicks, S (2022) Gma and Grandad Portrait (Accessed 20th February 2022)

Fig. 50 O’connell, T (2021) TikTok, the Fastest Way on Earth to Become a Food Star Available at: https://www.nytimes. com/2021/05/24/dining/tiktok-food.html (Accessed 15th February 2022) Fig. 51 Hicks, S (2021) Friend outside the Popup Girls Store. (Accessed 16th July 2021) Fig. 52 @the.ones.about.books (2021) Need a New Spring Read? TikTok’s Bookfluencers Are Here to Help (Accessed 15th February 2022) Fig. 53 Hicks, S (2022) Collage. (Accessed 5th January 2022) 88

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APPENDIX

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