prequel:
innovational division : balance to bliss
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journey to
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Recap.
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Market and Consumer.
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Introduction to Initial Research
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20x20: Influences.
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My Conceptual Narrative.
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PROCESS. Styling. Location.
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PRODUCT and PROMOTION. Communication of Visuals.
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Conclusion and PLACE. Exhibition Presentation. Symbolism. BIBLIOGRAPHY. 5
innovational division : balance to bliss
Recap.
This book is delivered as the follow up to ‘introduction to: ‘balance to bliss’, where I went into brief detail about the trend forecast for 2030, ‘Innovational Division’, that I am going to communicate, spoke about some of the more current efforts of communication within our industry, and touched upon ethical issues we face today in the fashion world, of which apply to the retrospective consumers mentioned. Here I will take you further through the journey of the creation of my outcome. So as mentioned in the introduction, I decided to move my trend forward in its entirety, instead of only moving forth with one aspect. It made more sense to me to communicate it this way because it would not feel right to only tell part of the story which is ‘Innovational Division’.
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Market Level and Consumer. The target market level and consumer of which the trend is predicted to reach, is in fact, everybody. There is something to take away for all, as it is based off consumer values, and regardless of what part of the market level hierarchy somebody may be able to afford, values are still key and at heart. This is something of which I touched upon in the introduction to a higher level. The shoot depicts Alpha, who part of my forecast does largely apply to, although the message serves as a warning to all who may lack awareness of balance importance.
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innovational division : balance to bliss
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journey to In the early stages of creating an idea and vision for my project, I started out collecting imagery through using the Instagram platform, specifically the ‘saved’ feature of which it offers. This allowed me to create an image collection database, that I could access and add to from anywhere and anytime because of how accessible the app is, “Instagram engagement has been up 40% since April…” (Reid, 2020). Through this, I have been able to further my knowledge of the fashion industry and specifically those who are communicating it right now. Photographers, stylists, creative studios, and even magazines that I was not already aware of have been brought to my attention, which I have found to be incredibly pivotal to not only this project, but to being able to further understand my own place as a creative communicator within the industry. As well as finding a new adoration for Instagram as a research tool, I also found it helpful to explore physical copies of magazines and books, for conceptual influence, as well as digital tools. With having such a large research image bank, I decided to whittle down my main influences to fit the 20x20 methodology of understanding identity to help in marketing your brand. This was the best way for me to organise and explain key influences.
Introduction to Initial Research.
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20 x 20 Influences.
The 20x20 method is a way of really getting to grips with what you are aiming to communicate. Choosing twenty appropriately applicable words that fit within the constraints of what you are narrating, and questioning yourself on the decision, and the answer is the reasoning for why a word/phrase/concept or person applies to how you are telling your story. These words, for me, shape out the most influential aspects of my research, which I feel helped to shape my narration of my trend forecast the most prominently. Some of these will be represented through visuals, others through words.
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Word Bank.
1. A Better Mistake 2. Heliot Emil 3. Saik Gonzalez 4. Fecal Matter 5. ‘Our God of Sorrows’ 6. Simone Rocha 7. Cecilie Bahnsen 8. The White Show 2021 9. @rememberyouweremadetobeused 10. Art School 11. Comme Des Garcons 12. Eva Al Desnudo 13. Yis Kid 14. Haunting 15. Romance 16. Travis Scott by Nick Knight for Alyx 17. Ansinth Magazine 18. Ellie Grace Cumming 19. Noir Kei Nonomiya 20. Robert Heinecken
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A Better Mistake.
A Better Mistake is a “Multifaceted Fashion Brand” (as quoted through their social media) that I discovered through researching into photographers, specifically what drew me to them was the work of Eva al Desnudo, whom I discovered from the styling works of Saik Gonzalez. For background on the brand, half of the creative duo behind it, Simone Ferraro tells Dazed, “A Better Mistake comes from a Chinese myth or proverb – it’s about creativity. It is about that moment in which there is no fear of being mistaken, you don’t even think about that. You reach a moment of creative freedom that brings you to another level.” (Davidson, 2021). The brand is all about the concept of disruption, “with the label intent on obliterating the lines between gender and disregarding the idea of seasonal collections, instead, it’s doing things its own way, and building a like-minded community of collaborators and fans as it goes” (Davidson, 2021). The vision expands to ideas of identity, holding emphasis on the notion of going against society’s grain and being the person that you want to be. Interestingly, in a previous module I explored consumers need for brands with values such as these.
What really inspired me, was the labels way of communicating themselves. The black and red colour scheme screams danger and attention, and best represents these ideas of disruption semiotically. The meaning of owning clothing is looked at by them in a deeper perspective, acknowledging that consumers all have their own stories to tell, and that their clothing is merely an extension of that. Not selling to people how they should look, or how to style their pieces, but taking pride in being a part of every individual’s unique story of themselves. This approach is seemingly becoming more and more popular, as society moves away from the model of all being uniformed. Collaborating with Dazed on ‘METAMORPHOSIS’, a fashion film that I believe communicates identity transformation, and the ability to disrupt within yourself – expanding on the idea of the clothing aligning itself to how you wish to present them. Their store and app are super immersive for the user also.
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The work of Saik Gonzalez is something which has stuck with me from the beginning of my research. Early on, one of the first sources that I found of which imagery was haunting, and much of the imagery and styling played with the ideas of hiding oneself/identity and contrast within the colour schemes (such as the black and white imagery, contrasting with certain poses.) Different, to the usual fashion photography that we would normally see, it goes against the grain of what is essentially “safe” within fashion and offers new ideas of conceptual storytelling.
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The direction of my visual research was pushed into direction by Tush magazine’s shoot, ‘Genealogy’, starring duo Fecal Matter, comprised of Hannah Rose Dalton and Steven Raj Bhaskaran, “The idea of Fecal Matter, which acts as a platform for Dalton and Bhaskaran’s affordable clothing line that they sell on DePop, their music that follows the tune of knifesharpening and track-splicing, and their general visual agenda, is to make viewers feel a combination of queasiness and fascination. It’s also intended to make people think about and question their surroundings.” (Satenstein, 2018). Rustic, old fashioned and incredibly conceptual, the storytelling shown through Genealogy really rocked me in the best way possible. I really took on board how the story was conveyed through the styling and backdrop, mimicking of old, 1700s-era portraiture and references which appear similar in essence to Marie Antoinette, yet contrasted with this new sense of identity expression. Contrast is something which ended up huge to my final concept and reflecting onto this shoot it is evident just how influential it was over me.
Fecal Matter. 30
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Travis Scott by Nick Knight for Alyx
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Another brand heavily of influence on me I discovered to be Heliot Emil. Having debuted their first collection at SS17, the brand image takes inspiration from Scandinavian heritage, following key identifiers such as unisex clothing and monochrome palettes. “They use high-quality materials and luxurious detailing without being too heavy on your wallet.” (Tesema, 2019), which is a value I admired which lined up with an aspect of what Tradtection sets out to protect. In their own words, the Emil brand is “Exploring the lines between form and function driven by experimental approaches, HELIOT EMIL™ pushes the semantic dialogue within the creative industry.” (HELIOT EMIL, 2021) Although, it is not essentially their clothing which caught my attention, despite its appeal, it is the way of which they communicate this visually. There is a certain, futuristic edge which is communicated through their visual presentation, most notably spotted through their Instagram account.
Heliot Emil 47
Yis Kid Photographer
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‘Our God of Sorrows’ Editorial, Hero
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Furthering on from the shoot visuals captured of Fecal Matter, which communicated a hauntingly romantic theme, I began shaping my visual interests further. Hero magazine’s ‘Our God of Sorrows’ captured & communicated by Szilvester Mako, was also of large influence on me. The prosthetic work created by Simone Gammino (@ noah.faun) furthered my interest within the concept of altering identity. Within my trend forecast, I had already noted that identity would become easily malleable for the Alpha Generation, left in a state of limbo because of the higher appeal of treating your online avatar as who you are.
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Robert Heinecken. 52
“Robert Heinecken (1931 – May 19, 2006) was an American artist who referred to himself as a "paraphotographer" because he so often made photographic images without a camera.” (Wikiart, n.d.). This style of working really inspired me in my image rework, especially since my personal background is heavily set in Art and Design, I had the ability to reach to my roots and it helped obtain an elevated sense of personified emotion in my storytelling.
My Images Reworked in his Style.
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My Conceptual Narrative.
2030. OLDEST MEMBERS OF GEN ALPHA WILL BE 19/20 YEARS OF AGE. THIS SHOOT DEPICTS THE GENERATION EXISTING WITH A HIDDEN IDENTITY. DIGITAL OBSESSION GROWS THROUGHOUT THE 20s WHICH LEAVES ALPHA IN THE MIDST OF ABSENT PRESENCE. AN ANSWER FROM A BLUE BUZZING SCREEN, LOST SOULS OF DYSTOPIA. HAUNTING, GOTHIC, ELECTRONIC FEELING vs CONTRASTED WITH TRADTECTION, SANCTURAL, PRARIE-ESQUE all conveyed through an overall romantic lens.
PRESENT IN THE WORLD. ABSENT IN THE WORLD AROUND THEM.
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process.
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Headpiece. 58
A key concept within ‘An Answer from a Blue Buzzing Screen” was the significance on the identity of the Alpha Generation, or more-so, lack of understanding within themselves of this. This, essentially, pushes the narrative that the state of youth culture in 2030 will be a state of questioning. This is something I wanted to be able communicate, and I chose to communicate this through styling.
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This idea of communicating a concept through styling came from my research into the industry creatives already paving a way. I looked at stylists such as Saik Gonzalez, who’s styling work on the ‘REBIRTH’ editorial of Michael Moon for LOVE magazine by Eva Al Desnudo and work for Schon magazine alongside photographer Yis Kid has really helped to shape my own ideas of storytelling through a lens with an edge, as well as Ellie Grace Cumming and Robbie Spencer. I made the decision to create a headpiece which would represent alpha in this state of an uncertain self, dysphoric attitudes of themselves. Using expanding foam, I worked to create a texturized piece through using a helmet and different methods of application. As mentioned earlier, the influence from SFX work by talented creatives such as Sarah Sitkin and Simone Gammino on photoshoots within the fashion industry really held weight at this point, building an artificial sense of self.
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Comme des Garcons was a big inspiration behind the shape of the headpiece also. From the dinosaur head pieces which adorned the Homme Plus AW18 show (which, ironically, I discovered after capturing images to influence myself of my youngest brother in a Jurassic Park headpiece toy!), to the use of shape and form of to communicate and narrate a story from SS19.
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Styling influences throughout my work has tended to follow the path of what Tradtection works towards presenting. As a refresher, this meant buying less, buying better, and investing in garments which have a more opulent way of storytelling within their textures, fabrics, and use of crafts. For me, this originally took me down a path of looking at the work of designers such as Simone Rocha and Cecilie Bahnsen, where attention to detail is rife and takes on quite a prairie feel. I felt like the styling should contrast to the headpiece alluding to the sense of a loss of self-identity, thanks to the online world, oblivious to the delights offered up by the world around us, oblivious to the beauty and appeal of the physical clothes they engage with. Using fabric purchased online, I set about to create visions of what I wanted my outcome to look like. The fabric was all white colour, set about this way to not distract an audience with bright colours, to keep the message straight forward. The white also represents purity, peace, all traits of Tradtection.
Garment.
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After the initial styling was complete, I opted to sew pieces together, including sewing in wire to some parts to channel the avant-garde and create form away from the body, emphasising on this idea of opulent dressing and adding a sense of surrealism. This, then altered from being a skirt type gown, was placed around the neck instead. This development was pivotal to my final visuals, as it really did help to further the concept I am communicating. Whilst working on the styling, I developed a styling file where I gathered imagery from magazines which helped to further my understanding of what I was creating. During this, I was also influenced by looking at The White Show, conducted by Central Saint Martins. Looking to how they as students were creating and communicating was highly of influence – as at the end of the day, when in industry, we as communicators will be working to help further narrate the story they are telling, so it is hugely important to take note of what they themselves are doing.
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I chose to have my location as a natural setting. This was to help further communicate the storytelling of contrast within my trend. Contrast between Alpha and the outside world. This contrast is shown through the protagonist wearing the headpiece which serves as metaphorical for the state of mind of Alpha, portraying ignorance to the natural world around them. Ignorant also to the garment they are wearing, representing the inability to appreciate the opulence of Tradtection in front of them. I was able to create mock-up imagery using polaroid captures and digital croquis, as bridging this gap – divide, presented by my forecast is incredibly vital to emotional survival surpassing 2030.
Location
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product and promotion
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“…independent magazines have always been something we continue to cherish and support…” (Gorton, 2021). When it came to looking to ways of communicating my concept, I wanted to not only look at what we are doing now to see where things may move forward, but to also investigate as to what has successfully stood the test of time. To me, it was evident that magazine publications are of relevance to this. For example, take Dazed – hugely popular and well-known name and brand, has done this, and has survived successfully for thirty years, “in 1991 Dazed launched as a zine…” (Gorton, 2021). The concept of the zine is, and always has been a fab way for communication, whether it is its paid advertisements on offer, or the extensive space and audience it gives to creatives. More recently, it has been explored more by labels such as Gucci, “Gucci presents a v special version of his [Brad Elterman] lo-fi, rock’n’roll, publication Fanzine – snappily titled Love, Love & Love” (Davidson, 2021). With this approach of a zine, both physical and digital, in its proposal I decided to take more of an approach like that of Visionaire. “Visionaire was established in 1991 with its roots in limited edition publishing” (Visionaire, 2021), this limited-edition aspect is something which triggers lust amongst consumers. Take the Frank Ocean ‘Boys Don’t Cry’ zine, for example, brand new copies being resold at prices around the £400/£450 mark on sites such as eBay. I admire Visionaire’s approach, of building something of which people will want to keep, and treasure. Whilst the idea of physical publications is more traditional, they take an innovative approach, “Visionaire 56 Solar is the first publication to use patented, formulated inks that have the ability to transform black and white images into brilliant colour. What seemingly looks like a series of black and white images will become more complex or suddenly appear as a four colour image when exposed to sunlight or UV rays.” (Dazed Digital, 2009).
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Think ‘Visionaire meets Dazed’ when you hear ‘Balance to Bliss’. The name represents exactly what is required to suit our industry needs in 2030, a healthy balance between what we embrace physically and through a screen. The comparison to these publications also puts forth this idea of balance, our zine presenting both innovative aspects on a balanced form of media. Available digitally and physically, with anecdotes to celebrate its release, such as an interactive site, film, and prints, it has grounding elements for civilisation whilst also being fluid enough to adapt to an industry where transformation is rife. Physical and mental wellness is vital. The services for the Innovational Division based project in 2030, would be optimised for this idea of complete consumer inclusion. This will include the ability to adapt to newer technologies as well as more traditional ways. A way of keeping it current alongside its traditional form of print, would be optimising for display on 3D hologram fan projectors, deemed as “one of the most cost-effective display solution to create a holographic illusion.” (VirtualOn, n.d). In a world where social media has essentially lost its focus on being a social platform and fallen short to the monopolised ways of capitalism (on average every third post you scroll past on Instagram is promoted content!), marketers are needing ways of which to reach through the saturated market, and hologram communication could be it, “the majority of consumers wouldn’t walk past a holographic ad without noticing it. They’d fully stop to study it longer or at least do a double take.”. Even more so, as “holographic display market is expected to grow by 27.3% from 2020-2025 and see high growth rates in North America and Asia”. (Tohana, 2020)
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This concept too, of delivering zine to print, online and to hologram display allows the perfect mix and balance of communication systems. Hologram displays can be the middle ground between real existence, and survival within a screen. The emphasis on balance comes with the consumers best interest in mind. In 2030, aiming to re-build the physical sense of identity for the Alpha Generation will move to achieve self-actualisation for the young consumers, something which will have been lost in the grappling fight between harsh reality and the appealing nature of MMOG’s (massively multiplayer online games). Selfactualisation, according to Maslow’s hierarchy of needs, is at the top level and is “what we are all striving for”, (Academy, n.d.) and tapping into this will help ensure success within Innovational Division’s Balance to Bliss visual packages – not just success in getting consumers on-board, but in the message, we are advocating.
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innovational division : balance to bliss
Exhibition and Conclusion. For current day exhibiting of work, we have the zine, and its accompanying visuals. For mock-up purposes, I was able to get my hands on a small, basic ‘device’ which when placed over a phone screen, presented the effect of a hologram. This worked well and helped to give a physical visual to my concept. Throughout the project, I have consistently been reminding myself the importance of constantly regrouping with myself, to focus more effectively on ensuring that the communication would apply to the 2030 consumer. In a world, which will no doubt be flipped around again, things that will remain certain, is the need for balance, emotional connections, and a healthy relationship with technology. These are the ingredients that create my narrative, highlighting the opposite ideas, and contrasting them next to the more attractive counterparts. It serves as a warning, reminding those in 2030 to stay engaged offline. On a personal level, this module has allowed me to really find a style of storytelling that fits my personal brand identity, photographers such as Yis Kid, Eva Al Desnudo and studio Remember You Were Made to be Used and emphasised the importance of building up a strong and coherent narrative. This was Innovational Division. See you in 2030.
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Bibliography. References Academy, P. Marketing Theories Explained - Maslow’s Hierarchy of Needs. https://www.professionalacademy.com/blogs-and-advice/marketing-theories-maslows-hierarchy-of-needs Davidson, E. (2021). A Better Mistake is the rising label on a disruptive fashion mission. from https://www.dazeddigital.com/fashion/article/51810/1/a-better-mistake-italy-fashion-vtss-polish-techno-dj-collaboration-film Davidson, E. (2021). Gucci reminds us love still exists with its cute new zinefrom https://www.dazeddigital.com/fashion/article/51792/1/gucci-love-fanzine-valentines-day-brad-elterman-los-angelesalessandro-michele Dazed Digital. (2009). Calvin Klein Presents Visionaire 56 Solar., from https://www.dazeddigital. com/fashion/article/3163/1/calvin-klein-presents-visionaire-56-solar GATA. (2021). EVA AL DESNUDO - GATA meets the Photographer behind the lenses — GATA., from https://gatamagazine.com/articles/photography/eva-al-desnudo Gorton, T. (2021). Four independent magazines from across Europe you need to pick up. from https://www.dazeddigital.com/art-photography/article/51752/1/dazed-and-calvin-klein-present-selfpublished-zines HELIOT EMIL. (2021). HISTORY - HELIOT EMIL™., from https://heliotemil.com/pages/history Reid, M. (2020). FASHIONING A BRIGHTER FUTURE. BRICKS, (8), 39, 40, 41. Satenstein, L. (2018). Yes, “Fecal Matter” Is the Name of an Instagram You Should Be Following., from https://www.vogue.com/vogueworld/article/fecal-matter-instagram-duo-to-follow Tesema, F. (2019). Heliot Emil: Everything You Need To Know About The Brand from https://www. highsnobiety.com/p/heliot-emil-fashion-brand/#:~:text=Copenhagen-based%20Heliot%20Emil%20 was%20created%20by%20brothers%20Julius,one%20of%20the%20most%20provocative%20in%20the%20game Tohana, L. (2020). Advantages of Holograms and What It Means for the Future of Marketing - Future of Marketing Institute., from https://futureofmarketinginstitute.com/advantages-of-hologramsand-what-it-means-for-the-future-of-marketing/#:~:text=A%20hologram%20is%20a%20light%20 diffraction%20that%20creates,point-of-sales%20terminals%2C%20kiosks%2C%20at%20places%2C%20and%20in%20events%E2%80%9D VirtualOn. Hologram Projector LED Fan., from https://virtualongroup.com/3d-holographic-led-fan-display-projection-air/ Visionaire. (2021). ABOUT. Retrieved 7 March 2021, from https://visionaireworld.com/pages/about Wikiart. Robert Heinecken - 10 artworks - painting., from https://www.wikiart.org/en/robert-heinecken
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Image References
Fig 1 - 1300300.jpg (1240×1834) (netdna-ssl.com) Fig 2 - 1300295.jpg (1240×1834) (netdna-ssl.com) Fig 3 - 1300305.jpg (1240×1834) (netdna-ssl.com) Fig 4 - 1300306.jpg (1240×1834) (netdna-ssl.com) Fig 5 - 1300307.jpg (1240×1834) (netdna-ssl.com) Fig 6 - 1302445.jpg (1600×1200) (netdna-ssl.com) Fig 8 + 10 - https://www.instagram.com/p/CJmUpoHgZ9b/?utm_source=ig_web_copy_link Fig 7 + 9 - https://www.instagram.com/p/CJmTe0uAT3W/?utm_source=ig_web_copy_link Fig 11 - https://www.instagram.com/p/B-ZAUMupyoZ/?utm_source=ig_web_copy_link Fig 12 - https://www.instagram.com/p/B-TvR8fgfX4/?utm_source=ig_web_copy_link Fig 13 - https://www.instagram.com/p/B-SpXztJGH7/?utm_source=ig_web_copy_link Fig 14 - ebfcff7e98e731d31502904e38ddc7eb.jpg (540×810) (pinimg.com) Fig 15 - 79294b9039fccd2fadf24e053549d8c1.jpg (564×846) (pinimg.com) Fig 16 – https://www.instagram.com/p/CLW83ILMhvM/?utm_source=ig_web_copy_link Fig 17 - https://www.instagram.com/p/CKenKasMwdy/?utm_source=ig_web_copy_link Fig 18 - https://www.instagram.com/p/CIRDXyoAVOi/?utm_source=ig_web_copy_link Fig 19 – 24 - https://www.instagram.com/p/CJmUpoHgZ9b/?utm_source=ig_web_copy_link Fig 25 - https://www.instagram.com/p/CHfu0E4pjvK/?utm_source=ig_web_copy_link Fig 26 - https://www.instagram.com/p/CHi0D0Rgf4T/?utm_source=ig_web_copy_link Fig 27 - OIP.vfioMoHKtwTlz9jgyb5tiAHaJ7 (474×635) (bing.com)
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