Behaviour Change report by sophieq

Behaviour Change - Advertising

Behaviour Change - A dv ert i s i n g

Behaviour Change - Advertising

Contents

>> Intoduction - Where are We Now? >> P4 + >> The Influence of Advertising >> P10 + >> The Power of Advertising >> P16 + >> The Impact of Technology >> P20 + >> Steps to Change Behaviour >> P24 + >> The Future Direction >> P28 + >> Conclusion >> P34+ >>Appendix a >> Methodology b >> Questionnaires

>> P36 + >> P36 >> P36 +

>>Reference List >> P40 + >>List of Illustrations >> P40+ >>Bibliographuy >> P41+ Name >> Sophie Quain FCP2 >> N0418601 Module >> Comunication and Message Module Leader >> Sarah Lewington

Fig 1. Pansy

Behaviour Change - Advertising

Int roduct ion - W here Are We Now ?

Fig 2. Sophie Quain Illustration 4

Behaviour Change - Advertising

Fig. 3 Bones are Banned.

Behaviour Change - Advertising

In todays society advertising is everywhere – whether we are aware of it or not – advertising ‘tells us who we are and who we should be’ (Kilbourne, J 2009). Bearing this in mind it is not surprising how powerful advertising can be and the consequential imprint caused on society and individuals.

difficult to converse with the target market and stand out to be memorable to the consumer. Nevertheless, ‘there is no doubt that advertising can be effective at influencing people’ (Wells, W, Moriarty,S, Burnett,J 2005 p5), but the question arises, ‘at what point does advertising cross the line between reflecting social values and creating them?’(Wells,W, Moriarty, S, Burnett, J, 2005 p61).

Within society, individuals are bombarded with advertisements everyday. This results with crowded messages – making it

Behaviour Change - Advertising

Within advertising it is evident that there is a severe lack of diversity represented. The notions of beauty are presented in a one-dimensional fashion, supressing individuals, as ‘failure is inevitable, as the ideal is based on absolute flawlessness’ (Killbourne, J. 2009). The pressures of society and the portrayal of beauty have supressed individuals to ‘feel like I am not normal’ (Amber, 2012). John Berger’s theory that ‘behind every glance is a judgement’ (2012)

Behaviour Change - Advertising

is reflected in the advertising sector as the preconceived ideals of beauty are transferred into the public eye, in other words ‘advertising robs us of our love for ourselves’ Bergström, B 2008 p67).

Fig 7. Omar Ortiz painting Fig 4.

Fig 5.

Fig 6.

Behaviour Change - Advertising

T he Influence of Adver t i si ng

Fig 7.

Fig 8. Shelter IBM

Behaviour Change - Advertising

In terms of changing behaviour there have been several cases within advertising that go beyond traditional means - formulating a further interest and excitement making the advertisement memorable. For instance, IBM’s ‘Smart ideas’ campaign went beyond two-dimensional billboards and created an additional function – to serve a purpose and make people stop and interact with the advertisement. Whether in the form of a rain shelter, a ramp or a bench, a new dialogue was created, enabling the consumer to interact and bring ‘smart ideas, for smarter cities’ to life. This additional feature to the advertisement changes people’s behaviour as previously little interaction was incurred, as these facilities were not on offer. Furthermore, ‘the unexpectedness of the new idea creates stopping power’ (Wells, W, Moriarty,S, Burnett,J 2005 p336) which entices the consumer into the campaign and to get involved. Mark Earls’ behaviour change theory can also be applied to the advertising sector - it is striking to recall ‘about how others can exert influence over our behaviour and feelings’ (Earls, M 2003) - demonstrated here by IBM’s innovative campaign.

Fig 9. The Ramp IBM

Fig 11. Sit Down IBM Fig 10. IBM Curve

Behaviour Change - Advertising

Fig 13. Lynx ‘Get Dirty’

Fig 14. Twiggy Olay

Fig 12. All in One Advertising across all platforms presents unrealistic ideals of beauty. Not only does this fabricated portrayal of beauty set the bar for unrealistic aspirations and role models but it ‘affects each one of us so deeply whether we are conscious of it or not’ (Killbourne, J. 2009).

Fig 15.Julia Roberts Advertisement banned.

Behaviour Change - Advertising

T he Power of Adver t isin g

Yes, ‘fashion is aspirational’ (Edwards, J. 2010) but from primary research it is evident that women feel they would be able to relate more to advertisements using healthy, ‘regular’ sized models - accurately reflecting the notions of beauty within society. This would help women envisage themselves as beautiful and in theory boost self-esteem and body image. Furthermore, the casting of ‘regular sized’ models would be far more relatable and present an accurate reflection of the garments displayed. Conversely, there is a study from 2008 - undergone by the professors at Villanova University and the College of New Jersey - which suggests that ‘despite the negative effect on their body image, women preferred advertisements showing thin models and said they were more likely to buy products featured in those advertisements’ (Kees, J. Neff, J 2008). Moreover, from the primary research conducted, it is evident that advertisements need to be relatable and the responses from the questionnaires highlight that in the future individuals ‘want real fashion trends for real people’ (see appendix 4b) as well as the transition towards ‘less really skinny models, I would rather see how it looks on all types’. (see appendix 4b) This is supported by Martin Lindstorm’s outlook that ‘real people are more effective than using celebrities when selling beauty’ (2013). Moreover, in the words of Bob Hurling - a behavioral psychologist from Unilever - ‘to be beautiful means to be yourself ’ (2013) which emphasises that in the future, advertising requires to promote self-acceptance, raise the profile of diversity and embrace individuality to support Bob Hurling’s theory.

Behaviour Change - Advertising

Fig 16. Plus size ?

Behaviour Change - Advertising

T he Impact of Tec hnolo g y

Behaviour Change - Advertising

It is apparent that technology, innovation and advertising are beginning to conjoin as one. This as it stands is a step towards changing behaviour, supported by there being a vast amount of ‘scope to cleverly combine technology and innovation’ (Sender, T. 2013) in the advertising sector. With such collaborations underway, the consumer expects more than just traditional advertising especially in this digital day and age. It is apparent that the ‘under 25s are significantly more interested in the use of new technology’ (Sender, T. 2013). Which suggests that the age category 18-28 would be the most suited to a digital advance in advertising. This is backed up with primary research, which reinforces that ‘technology is an integral part of the entire process’ (Barry, P. 2012. p192). Furthermore, there is a general consensus from the research conducted that ‘generally advertising is boring - it needs to be more challenging and thought provoking’(see appendix 3b). Which brings forward the point: which brands are innovatively changing behaviour? Intel Labs and Social Print Studio came from the view point that ‘some of the greatest innovations happen when ideas and ideologies collide’ (Kaganskiy, J. 2012). As a result, a collaboration was formulated to construct interactive boards directly linked to Instagram - displaying a live stream of images from the event to formulate ‘#Creators Live’. Creating an exciting, interactive interface enabled people to change the layout using simple gestures using their hands. Kinect was used to ‘track visitors’ movements in the space and shuffled the projected photos based on their gestures’ (Kaganskiy, J. 2012). What began as a plain wall developed into a truly spectacular work of art – engaging and innovative and constantly evolving. The key was to have a collaborative piece, which ‘people understand intuitively’ (Kaganskiy, J. 2012). This innovative piece is a symbolic representation of the power of collaboration and the injection of technology alongside art and social media. It also makes the viewer ‘rethink the way technology gets integrated into our lives and culture in general’ (Kaganskiy, J. 2012). The presence of technology in advertising is a growing domain, which is supported by ‘currently the world consumes almost 70% of its information digitally’ (Barry, P. p190 2012). In terms of the future, it is evident that ‘digital is not just another channel, but it’s how you live your life’ (Iezzi, T, Barry, P p190 2012). This suggests that the way forward will be heavily influenced by technology. Nevertheless a strong narrative is vital to carry through the invention of technology within society and maintain the conversation with the consumer. The lack of diversity in advertising is a growing concern. From the research conducted, respondents made it apparent that there is a desire for advertising ‘to be a real reflection of society’ (see appendix 8b). Furthermore, a greater breadth of body shape and sizes would reflect the notions of beauty present within society yet not currently transferred into the media. Within advertising ‘a critical factor in interest is relevance’ (Wells, W, Moriarty,S, Burnett,J 2005 p105). This emphasises that advertisements need to be presented to a specific target market during the hot state for the desired message and impact to have affect. It is also vital to ‘understand the herds in which people consume’ (Earls, M 2003) in order for effective advertising campaigns to be in affect and the means to change behaviour within society.

Fig 17. #Creators Live by Social Print Studio + Intel Labs

Fig 18 Social Print Studi 23

Fig 19. Intel Lab

Behaviour Change - Advertising

S t eps t o Change Behavio u r

Behaviour Change - Advertising

Fig 20. Layar App Fig 21. Layar Collective In terms of changing behaviour, the brand ‘Layar’ has been brought to the forefront and achieved global recognition for ‘augmented reality and interactive print technology’ (2012). Blurring the line between print and digital, Layar - originated in Amsterdam - has formulated a new, exciting, innovative platform, which literally brings print to life. The use of an app downloaded onto smartphones and tablets enables the viewer to scan printed documents, magazines and advertisements to reveal a further dimension. Whether in the form of additional information, graphics, vouchers, animations or 3D works – a new, dynamic platform has been created. This technology has the potential to change the way print media is absorbed and is transferable to multiple sectors. The interactive means of this technology would benefit advertising in the future – bringing a further dimension of interaction between the consumer and the advertisement.

offer directly to their smartphone or tablet with no hassle incurred. It has become increasingly evident that ‘smartphones are still the most desired consumer technology product, with four times as many people now in the market for a smartphone in comparison to a basic handset’ (Davies, P 2013). This reinforces that there is a growing market for innovation connected to smartphones – enabling advanced technology to be attainable. Behaviour would be adapted as advertisements would be more relevant to individuals. The narrative and technology entwined would draw the consumer in to the concept rather than ignore it and be available instantaneously to fit in with each consumer lifestyle.

Fig 22. Logo

Furthermore, if the Layar technology could be transferred in to the world of advertising it would make the advertisements memorable and extend the narrative of the print. Rather than presenting a two-dimensional advertisement which struggles to capture the target audience - this app would enable the consumer to interact and channel the content to be relevant, interesting and provide the extra step of information which is currently left ambiguous. For example, in the retail market, the advertisement would be scanned using the app in order to preview different angles of garments, colour range, check size stock list, suggested outfits and even reserve or purchase the garments online. This would benefit the consumer because additional features are on 26

Fig 23. Augmented reality

Fig 24. Buy it Now - Layar

Behaviour Change - Advertising

T he Fut ure Direct ion

Fig 25.Sophie Quain Illustration

Layar technology formulates a strong source of inspiration for how the future in fashion advertising has the scope to change behaviour and communicate the notions of beauty in line with society.

Behaviour Change - Advertising

A further development for the Layar app would be to create a private profile - indicating your style preferences, size measurements and what colours you like to wear - in order to embrace individuality and communicate on a personal level. This would enable the software to scan the current advertisement and evolve to present the user with a realistic reflection of the garment to match the user’s body shape. With this information logged, finding garments to suit any body shape would be a step closer and far more simplistic. Scanning the advertisements would also enable the consumer to visualise what the garment looks like on different sized figures and body shapes – this could be tailored to your exact measurements which would give the user an idea of whether the garment is suitable or not without the immediate hassle of the fitting rooms. A further sub line to the app would be an online facility to attain fashion styling advice and garment suggestions. This tailored surface would embrace body shape and individuality whilst making the advertisement feel relatable on a personal level. This technology could also aid the in store experience, helping to locate the product by slowly surveying the store with a smartphone camera app to pin point the location of the item selected. Also the app would aid the selection of the correct garment size by indicating which garment to pick out from the rail. This would be presented to the consumer by the illumination of an electronic tag. The app would have the ability to evolve advertisements to reflect a similar body figure whilst withholding personal size information, as well as speeding up the retail experience for locating desired items in a straight forward manner.

Fig 26. Iphone Layar inspired App

Furthermore, ‘advertising is increasingly ignoring the traditional model of communication and becoming consumer rather than brand focused’ (Ng, L. 2008). Bearing this in mind, advances in technology will enable advertising to evolve in line with society changing - which in theory will change consumer behaviour and broaden the perspective of beauty (Wells, W, Moriarty,S, Burnett,J 2005 p5).

Fig 27. Sophie Quain Life Drawing

Behaviour Change - Advertising

Fig 29. Body Image

Fig 30. Body Shape From the research gathered about the current advertising market, it is evident that the target consumer for the app would be a woman aged 23 years old who is up to date with the latest technology and media. Furthermore, she is a strong individual but withholds hidden insecurities of self-image. She is in a need of a boost of body confidence and looks out for styling tips to compliment her figure of a size 14. This individual finds it difficult to relate to current fashion advertisements using skinny models and thinks they are ‘merely aesthetically pleasing and do not represent society or real women’. This consumer would be receptive to changing behaviour - presenting the notions of beauty in a realistic manner - stepping away from the fantasy and embracing reality. The level of interaction and the accurate portrayal of beauty which advertising will present -with the message entwined for society to converse away from the current

‘media eye, in its many different forms, which objectifies all of us’ (D,K. Gapinski, D,K. Brownell, LaFrance, M 2003). This would lead to a rise in self-acceptance – changing the outlook of beauty. The app would embrace individuality in diversity - scanning the advertisements to reveal a further dimension with a portrayal of what the garment looks like on different body shapes in order to compliment what the user’s figure is and see immediately whether the garment would be flattering. After all, ‘the consumer is much like a hummingbird – a picky, tricky creature who has the ability to except or reject things that do or do not interest it (Barry, P. 2012 p191). This emphasises that a level of interest and excitement is key for the future of advertising in relation to changing behaviour.

Fig 28. Killing Us Softly 32

Behaviour Change - Advertising

Overall, it is evident that there is a desire for advertising to embrace individuality and present the notions of beauty in a realistic manner. Behaviour would be changed in order to accept the breadth of beauty in society and raise selfacceptance levels. Consequently, leaving behind the image of ‘perfection’, which has saturated the industry and supressed individuals. The combination of technology and innovation will rejuvenate the fashion advertising industry. Blurring the line between print and digital extends the narrative between the consumer and the advertisement whilst providing a further platform for interaction – embracing multi-visual communication. The gaze projected from the advertisements will reflect a sense of confidence and the casting of the ‘realistic’ sized models will enable the consumer to relate to the advertisement where previously was only relatable to a narrow market. In the future, the presence of smartphone apps will continue to develop and change individual’s outlook on society. The app - inspired by Layar – would be used in conjunction with print advertisements and would embrace multivisual interplay taking the consumer reaction into consideration to prevent a bombardment of information. Thus working ‘in harmony, where the text says the same thing as the image’ (Bergström, B 2008 p233). This app in a retail environment, would give the consumer the facility to visualise the garments using different figures and body shapes – presenting relatable advertising. It is evident that ‘many of us begin to objectify ourselves’ (D,K. Gapinski, D,K. Brownell, LaFrance, M 2003) as a consequence of one-dimensional advertising. In the future, the advertising sector should step away from traditional means of communication and towards incorporating technology to push boundaries – formulating innovative campaigns. This would captivate the consumer in a positive manner and continue the narrative engaging with the consumer. This is supported with the case studies researched, which highlight the desire for interaction and additional features within advertising in which society can relate to. Furthermore, breaking away from having to ‘measure up to a certain social and cultural ideal of beauty’ (Berg, F, 2009) and embrace individuality and diversity within the notions of beauty.

Fig 31 - Diversity Walk

Appendix - Methodology

Behaviour Change - Advertising

Appendix 3a

Appendix 2a

Appendix 1a

Appendix 3b

Appendix - Questionnaires

Appendix 4a

Appendix 4b

Appendix 1b

Appendix 2b

Behaviour Change - Advertising

Appendix 5a

Appendix 6b

Appendix 7a

Appendix 7b.

Appendix 8a

Appendix 8b

Appendix - Questionnaires

Appendix 5b

Appendix 6a

Behaviour Change - Advertising

Reference List Barry, P (2012) The Advertising Concept Book. Thames and

2014] Ng, L. (2008) Put the Consumer in the Spotlight. Mintel. [Online] Available from: http://academic.mintel.com/ display/415456/?highlight [Accessed 5th January 2014] Sender, T (2013) Department Store Retailing - UK - May 2013. Mintel [Online] Available from: http://academic.mintel. com/display/666790/ [Accessed 5th January 2014] Sender, T (2013) Why the store environment is more important than ever for fashion retailers - 31st October 2013. Mintel [Online] Available from: http://academic.mintel.com/ display/684654/?highlight [Accessed 20th December 2013]

List of Illustrations Fig 1. Pansy http://www.pinterest.com/

pin/298082069058566377/ Fig 2. Sophie Quain Illustration 20/1/14 Fig 3. Bones are Banned. http://www.maggiesemple.com/ blog/2013/01/14/israel-bans-underweight-models-fashionindustry-ready-turn-leaf/ Fig 4 Photo of a skinny white girl http://media-cache-ak0.pinimg. com/1200x/18/8e/74/188e74d2b184db8e588124a209be03dc. jpg Fig 5 Dutch Design Week http://indulgy.com/post/ c1ZDu5adq1/my-sense-of-posters-and-advertising Fig 6 Chloe Perfume http://lacedinleather.files.wordpress. com/2012/11/bts-8.jpg Fig 7 Omar Ortiz painting http://indulgy.com/post/ TyupE1ySR1/hyperrealistic-painting-by-omar-ortiz Fig 8 Shelter IBM http://www.wired.com/images_blogs/ design/2013/06/ibm-smarter-cities-rain-hood-wired-design. jpg Fig 9 The Ramp IBM http://www.fubiz.net/wp-content/uploads/2013/06/IBMSmart-Ideas-fo-Smarter-Cities2.jpg Fig 10 IBM Curve http://editorial.designtaxi.com/newsibm050613/5.jpg Fig 11 Sit down IBM http://www.wired.com/images_blogs/ design/2013/06/ibm-smarter-cities-bench-wired-design.jpg Fig 12 All in One http://i.huffpost.com/gen/1510271/thumbs/ o-PHOTOSHOP-ADS-facebook.jpg Fig 13 Lynx shower gel – Get Dirty http://www. dailydesigninspiration.com/advertisements/axe-shower-gelwash-me/ Fig 14 Twiggy Olay http://i1-news.softpedia-static.com/ images/news2/Twiggy-Olay-Ad-Banned-for-MassiveRetouching-2.jpg Fig 15 Julia Roberts Advertisement banned. http://www. cbsnews.com/news/airbrushed-julia-roberts-ad-banned-in-uk/ Fig 16 What is classed a plus size? http://indulgy.net/1A/Y5/ E8/173740498095525160KT5pDkpCc.jpg Fig 17 #Creators Live by Social Print Studio + Intel Labs http://media1.onsugar.com/ files/2012/03/12/1/192/1922507/3ec83edab838d45b__ Creators_Live_Social_Print_Studio_Intel_Labs_Jason_Henry. xxxlarge/i/Creators-Live-Social-Print-Studio-Intel-Labs.jpg Fig 18 Social Print Logo. http://spyline.de/links/2370.gif Fig 19 Intel Lab Logo. http://www.tcd.ie/futurecities/assets/ img/research/logos/intel%20labs%20logo.jpg Fig 20 Layar App http://static.layar.com/media/content_ media/260/Layar-scanning-hand-iphone2.jpg Fig 21 Layar collective http://static.layar.com/website/app_

Hurling, B. (2013) Self-Esteem. FASH20031. Communication and Message. Nottingham Trent University. Lady Djanogly Lecture Theatre. 5th Novemeber 2013. Lindstorm, M (2013) The Human Condition. Ref. FASH20031. Communication and Message. Nottingham Trent Lecture, Bonnington Building. 22nd November 2013. Lecturer: Michelle Hughes. Berg, F. (2009) Body Image. Women’s Health/Healthy Weight Network. [Online] Available from: http://womenshealth. gov/body-image/about-body-image/index.html http://www. healthyweightnetwork.com/size1.htm [Accessed 7th January 2014] Davies, P (2013) Digital Trends Autumn - UK - September 2013. Mintel. [Online] Available from: http://academic.mintel. com/display/677989/?highlight [Accessed 7th January 2014] Earls, M (2003) Advertising to the Herd. EDU [Online] Available from: http://www.uvm.edu/~pdodds/teaching/ courses/2009-08UVM-300/docs/others/2003/earls2003.pdf [Accessed 18th December 2013] Edwards, J (2010) Why Fashion Advertisers Should Ignore Women Who Complain About Skinny Models. CBS NEWS. [Online] Available from: http://www.cbsnews.com/news/whyfashion-advertisers-should-ignore-women-who-complainabout-skinny-models/ [Accessed 18th December] Kaganskiy, J. (2012) Artists and Engineers create The Future of Art and Technology. The Creators Project. [Online] Available from: http://thecreatorsproject.vice.com/blog/artists-andengineers-create-the-future-of-art-and-technology [Accessed 4th January 2014] Kathrine D. Gapinski, Kelly D. Brownell, Marianne LaFrance, Body Objectification and “Fat Talk”: Effects on Emotion, Motivation, and Cognitive Performance, Sex Roles 48, nos. 9/10 (May 2003): 377-78. [Online] Available from http://www. ourbodiesourselves.org/book/excerpt.asp?id=2 [Accessed 6th January 2014] Kees, J. Neff, J (2008) Skinny Women Better for Bottom Line. [Online] Available from: http://adage.com/article/news/studyskinny-women-bottom-line/130021/ [Accessed 6th January 40

Behaviour Change - Advertising

ip.jpg Fig 22 Logo https://www.layar.com Fig 23 Augmented reality http://static.layar.com/headings/ layar-app.jpg Fig 24 Buy it now - Layar http://cdn2.sbnation.com/entry_ photo_images/4258221/Layar_Whitepaper_May23-1_large_ verge_medium_landscape.jpg Fig 25 Sophie Quain Illustration 21/1/14 Fig 26. Iphone http://static.o2.co.uk/www/img/iphone-device/ iphone5_sidebar.png Fig 27 Sophie Quain Life Drawing. 25/10/13 Fig 28 Killing Us Softly http://orbis.uottawa.ca/ record=b2884788~S0 Fig 29Body Image http://imbbpullzone.laedukreationpvt. netdna-cdn.com/wp-content/uploads/2010/09/body-type.png Fig 30 Body Shape http://bellydancebyjennifer.com/jen_ media/images/body-shapes.jpg Fig 31 Diversity Walk http://indulgy.net/03/d5/ f9/266486502921093657VO9JOFnvc.jpg

technology meets fashion’ [Online] Available from: http:// www.theguardian.com/fashion/costume-and-culture/2013/ oct/14/impossible-clothes-technology-fashion [Accessed 19th Decemeber 2013] Chahal, M (2013) Marketing Week. Pushing the boundaries for outdoor entertainment. [Online] Available from: http:// www.marketingweek.co.uk/analysis/marketing-tactics/ outdoor/pushing-the-boundaries-of-outdoor-andentertainment/4007493.article[Accessed 12th December 2013] Davies, P (2013) Digital Trends Autumn - UK - September 2013. Mintel. [Online] Available from: http://academic.mintel. com/display/677989/?highlight [Accessed 7th January 2014] Earls, M (2003) Advertising to the Herd. EDU [Online] Available from: http://www.uvm.edu/~pdodds/teaching/ courses/2009-08UVM-300/docs/others/2003/earls2003.pdf [Accessed 18th December 2013] Edwards, J (2010) Why Fashion Advertisers Should Ignore Women Who Complain About Skinny Models. CBS NEWS. [Online] Available from: http://www.cbsnews.com/news/whyfashion-advertisers-should-ignore-women-who-complainabout-skinny-models/ [Accessed 18th December] Holmes, K. (2012) The Creators Project, Vice. Fashion In A Flash: Light Painted Dresses [Online] Available from: http://thecreatorsproject.vice.com/blog/nicole-scherzingersled-twitter-dress-displays-real-time-tweets [Accessed 10th December 2013] Holmes, K. (2013) The Creators Project, Vice. Fashion In A Flash: Light Painted Dresses [Online] Available from: http:// thecreatorsproject.vice.com/blog/fashion-in-a-flash-lightpainted-dresses [Accessed 10th December 2013] Jones, C (2013) The Creators Project, Vice. What You Staring At? Ying Gao’s Gaze-Activated Dresses. [Online] http:// thecreatorsproject.vice.com/blog/ying-gaos-gaze-activateddresses [Accessed 10th December 2013] Kaganskiy, J. (2012) Artists and Engineers create The Future of Art and Technology. The Creators Project. [Online] Available from: http://thecreatorsproject.vice.com/blog/artists-andengineers-create-the-future-of-art-and-technology [Accessed 4th January 2014] Kathrine D. Gapinski, Kelly D. Brownell, Marianne LaFrance, Body Objectification and “Fat Talk”: Effects on Emotion, Motivation, and Cognitive Performance, Sex Roles 48, nos. 9/10 (May 2003): 377-78. [Online] Available from http://www. ourbodiesourselves.org/book/excerpt.asp?id=2 [Accessed 6th January 2014] Kees, J. Neff, J (2008) Skinny Women Better for Bottom Line. [Online] Available from: http://adage.com/article/news/studyskinny-women-bottom-line/130021/ [Accessed 6th January 2014] Neff, J (2008) http://adage.com/article/news/study-skinnywomen-bottom-line/130021/ Ng, L. (2008) Put the Consumer in the Spotlight. Mintel. [Online] Available from: http://academic.mintel.com/ display/415456/?highlight [Accessed 5th January 2014] Sender, T (2013) Department Store Retailing - UK - May 2013. Mintel [Online] Available from: http://academic.mintel. com/display/666790/ [Accessed 5th January 2014] Sender, T (2013) Why the store environment is more important than ever for fashion retailers - 31st October 2013. Mintel [Online] Available from: http://academic.mintel.com/ display/684654/?highlight [Accessed 20th December 2013]

Bibliography Barry, P (2012) The Advertising Concept Book. Thames and

Hudson Ltd. 2 Edition. May 2012 Bergström, B (2008) The Essentials of Visual Communication. Laurence King. 11 Aug 2008 Wells, W, Moriarty,S, Burnett,J (2005) Advertising Principles and Practice. Moriarty Burnett Pearson International Edition. Prentice Hall; 7 edition Sullivan, M and Adcock, D. Thomson. (2002) Retail Marketing Cengage Learning EMEA (28th Mar 2002) Amber (2012) I want to change my body. BBC Three. [Online] Available from Berger, J. (2012) Ways Of Seeing. YouTube [Online] Available from: http://www.youtube.com/watch?v=bZR06JJWaJM [Accessed 17th December 2013] http://www.bbc.co.uk/programmes/p00tt4fr/features/more-info [Accessed [Accessed 16th December 2013] Kilbourne, J. (2009). Killing Us Softly 3: Advertising’s Image of Women (1999) Films for Action. [Online Video]. 12/9/2009. Available from: http://www.filmsforaction.org/watch/killing_ us_softly_3_advertisings_image_of_women/. [Accessed: 16 December 2013]. Hurling, B. (2013) Self-Esteem. FASH20031. Communication and Message. Nottingham Trent University. Lady Djanogly Lecture Theatre. 5th Novemeber 2013. Lindstorm, M (2013) The Human Condition. Ref. FASH20031. Communication and Message. Nottingham Trent Lecture, Bonnington Building. 22nd November 2013. Lecturer: Michelle Hughes Anon (2012) The Malaysian Insider –Adidas Point Click Buy [Online] Available from: http://www.themalaysianinsider. com/tech/article/adidas-debuts-point-click-and-buy-windowdisplay/ [Accessed 12th December 2013] Berg, F. (2009) Body Image. Women’s Health/Healthy Weight Network. [Online] Available from: http://womenshealth. gov/body-image/about-body-image/index.html http://www. healthyweightnetwork.com/size1.htm [Accessed 7th January 2014] Brownie, B (2013) The Guardian. ‘Impossible Clothes – when

List of Illustrations Fig 1. Pansy http://www.pinterest.com/ 41

Behaviour Change - Advertising

media/images/body-shapes.jpg Fig 31 Diversity Walk http://indulgy.net/03/d5/ f9/266486502921093657VO9JOFnvc.jpg

pin/298082069058566377/ Fig 2. Sophie Quain Illustration 20/1/14 Fig 3. Bones are Banned. http://www.maggiesemple.com/ blog/2013/01/14/israel-bans-underweight-models-fashionindustry-ready-turn-leaf/ Fig 4 Photo of a skinny white girl http://media-cache-ak0.pinimg. com/1200x/18/8e/74/188e74d2b184db8e588124a209be03dc. jpg Fig 5 Dutch Design Week http://indulgy.com/post/ c1ZDu5adq1/my-sense-of-posters-and-advertising Fig 6 Chloe Perfume http://lacedinleather.files.wordpress. com/2012/11/bts-8.jpg Fig 7 Omar Ortiz painting http://indulgy.com/post/ TyupE1ySR1/hyperrealistic-painting-by-omar-ortiz Fig 8 Shelter IBM http://www.wired.com/images_blogs/ design/2013/06/ibm-smarter-cities-rain-hood-wired-design. jpg Fig 9 The Ramp IBM http://www.fubiz.net/wp-content/uploads/2013/06/IBMSmart-Ideas-fo-Smarter-Cities2.jpg Fig 10 IBM Curve http://editorial.designtaxi.com/newsibm050613/5.jpg Fig 11 Sit down IBM http://www.wired.com/images_blogs/ design/2013/06/ibm-smarter-cities-bench-wired-design.jpg Fig 12 All in One http://i.huffpost.com/gen/1510271/thumbs/ o-PHOTOSHOP-ADS-facebook.jpg Fig 13 Lynx shower gel â&#x20AC;&#x201C; Get Dirty http://www. dailydesigninspiration.com/advertisements/axe-shower-gelwash-me/ Fig 14 Twiggy Olay http://i1-news.softpedia-static.com/ images/news2/Twiggy-Olay-Ad-Banned-for-MassiveRetouching-2.jpg Fig 15 Julia Roberts Advertisement banned. http://www. cbsnews.com/news/airbrushed-julia-roberts-ad-banned-in-uk/ Fig 16 What is classed a plus size? http://indulgy.net/1A/Y5/ E8/173740498095525160KT5pDkpCc.jpg Fig 17 #Creators Live by Social Print Studio + Intel Labs http://media1.onsugar.com/ files/2012/03/12/1/192/1922507/3ec83edab838d45b__ Creators_Live_Social_Print_Studio_Intel_Labs_Jason_Henry. xxxlarge/i/Creators-Live-Social-Print-Studio-Intel-Labs.jpg Fig 18 Social Print Logo. http://spyline.de/links/2370.gif Fig 19 Intel Lab Logo. http://www.tcd.ie/futurecities/assets/ img/research/logos/intel%20labs%20logo.jpg Fig 20 Layar App http://static.layar.com/media/content_ media/260/Layar-scanning-hand-iphone2.jpg Fig 21 Layar collective http://static.layar.com/website/app_ ip.jpg Fig 22 Logo https://www.layar.com Fig 23 Augmented reality http://static.layar.com/headings/ layar-app.jpg Fig 24 Buy it now - Layar http://cdn2.sbnation.com/entry_ photo_images/4258221/Layar_Whitepaper_May23-1_large_ verge_medium_landscape.jpg Fig 25 Sophie Quain Illustration 21/1/14 Fig 26. Iphone http://static.o2.co.uk/www/img/iphone-device/ iphone5_sidebar.png Fig 27 Sophie Quain Life Drawing. 25/10/13 Fig 28 Killing Us Softly http://orbis.uottawa.ca/ record=b2884788~S0 Fig 29Body Image http://imbbpullzone.laedukreationpvt. netdna-cdn.com/wp-content/uploads/2010/09/body-type.png Fig 30 Body Shape http://bellydancebyjennifer.com/jen_

Behaviour Change - Advertising