PLAY

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THE S U STAI NAB LE FUTURE

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Can appreciation of music and culture challenge the concept of consumption?

SYDNEY TURNER EDWARDS N0631515

WHERE THE PROBLEM LIES

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SUSTAINABLE WHAT

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WHAT IS SUSTAINABILITY? WHY IS IT IMPORTANT? THE SLOW MOVEMENT WHO THE HELL CARES?

BLACK BOX TO CLEAR BOX

WHAT’S THE DEAL? WHAT DOES THIS MEAN FOR SUSTAINABILTY?

WHAT IS OUT THERE? THE MARKET ZARA JOIN LIFE FASHION FORWARD

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PART ONE

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Fig.1- PLAY Shoot One, (2018).

INTRODUCTION WHAT’S THE ISSUE? FAST FASHION VS SUSTAINABLE

INTRODUCING

WHATS THE ISSUE FINDING THE BIG IDEA THE RISE OF ATHLEISURE MUSIC FUSION ALEXANDER WANG X APPLE THE IDEA ADIDAS X COLORS THE HUES BRAND POSITIONING

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Fig.2- PLAY Shoot One, (2018).

PART TWO

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COME AND PLAY

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PUSHING STUFF FORWARD AIMS DAY IN THE LIFE MARKETING STRATEGY INFLUENCER STRATEGY CONVERSE ONE STAR HOTEL THE LAUNCH COMMUNICATION PLAN WHAT’S NEXT? LAST WORDS

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THE CREATIVE FUEL

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PLAY VISUAL INSPIRATION THE APP

Fig.3- PLAY Shoot Three, (2018).

PART ONE 8 9

Fig. 4 - Jablonczky Monika for KEPP SHOWROOM x Vans, (Unknown).

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INTRODUCTION “Fashion is our chosen skin. On an individual level it represents how we feel about ourselves and what we want to tell the world about who we are. On a community level, it tells a story about our history, culture and social customs.�

-Fashion Revolution, (2017).

Fashion is personal. It demonstrates to the outside who we are on the inside. It says something about us: our values, our ideas and creativity. Society has always been obsessed with the celebrity; even in eras gone by, kings and queens, noblemen and gentry, set up the style of the day, influencing where trends were followed. In the age of technology, we live in a society that is even more obsessed with having the next best thing. Thanks to all the online platforms out there, viewing celebrity culture has become a daily ritual. We are lost in the wonderful world of consumerism, and our materialistic tendencies are the driving force behind every purchase we make.

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Not a second thought is ever given to what this means for the future.

Fast fashion makes it easy for you to have the latest catwalk trends for a fraction of the price. Quality and longevity are no longer prime concerns.

Juxtaposed to this, is the desperate need for our modern world to slow down and take stock; to stop polluting and destroying; to stop adding to the mountain of waste. Fashion has a calamitous responsibility in this. It also has a position of huge power, that could effectively influence the consumer in a positive way, steering us towards a brighter, cleaner future.

Fig. 5 - Dream Land, (2018).

WHAT’S THE ISSUE? Today, the fashion industry is one of the most influential sectors, shaping wider social trends, attitudes, and culture. It goes without saying, that it is a huge contributor to the global economy, becoming more profitable than ever “[it has] outperformed the overall market and every other sector across geographies for more than a decade” (Ditty, S. 2015). However, with it’s success, envitably drawbacks come. We, as consumers buy far too much throw away fashion and are unaware of the long term consequences. It could be argued that this is due to the fact there is very little awareness about the environmental effect’s the textile industry has.

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Demand for the latest things has never been so high; not only has clothing production moved mass-market as compared to 40 years ago, as a society we purchase 400% more clothing today than we did, even just two decades ago. The way in which fashion is produced and consumed has been “dramatically scaled and sped up in the last 20-30 years” (Ditty, S. 2015). Brands are able to replicate catwalk styles, for a fraction of the price and have them on the rack, within weeks. There are no longer just four seasons – excessive amounts of new styles are constantly being brought out, in order to keep up with the rampant demand. As a result, craftsmanship and design is no longer celebrated like it used to be: collections that took months of passion, innovation and dedication are copied and churned out to the masses without a second thought.

Clothes To Die For (2014), sheds light on the devastating consequences this increased demand has: in April of 2013, the Rana Plaza clothing factory in Bangladesh collapsed on top of it’s workers. The final death toll stood at over 1,130, with more than 2,500 left injured. Although this is the deadliest factory accident in history, it is far from an isolated incident; in order to produce clothes quickly and at a low-cost, corners are drastically cut.

Wicker (2017) goes on to state, “Today, it’s become clear that the public holds two opposing viewpoints simultaneously: The old view that clothing is valuable and that someone will appreciate it even when we are done with it. And the new view that it’s cheap and disposable”. WRAP reported that 26 per cent of clothing UK consumers throw away was simply because they no longer liked it, indicating the strong influence the fast fashion industry has on its consumer’s behaviour and attitudes towards clothing.

Fig. 6 - Unknown, (Unknown).

That said, however, this was a significant turning point in which the industry saw a shift. Campaigns such as ‘Who made my clothes’ launched

by The Fashion Revolution saw brands evaluate their practices and take ethical responsibility. Brand transparency began to transition from a mere aspiration, to an actual working reality. According to Hiller Connell, K and Kozar, J. (2017), there is still huge room for this movement to grow beyond it’s current scope: the clothing and textiles industry accounts for approximately $2 trillion in global revenue - unfortunately, the industry’s tendency to consume natural resources and generate pollution poses such a huge threat, barely acknowledged, to environmental sustainability.

Despite this, Lily Cole suggests that once people understand the impact of consumerism, “It is very hard to apply that logic to one sphere, such as food, and not apply it gradually to all industries too” (Minney, S. 2016). On the one hand, it this could be seen as significant in relation to rise in Veganism. Being conscious about the way your life impacts the environment is more than just what foods you eat, it is a lifestyle.

In turn, this has led to consumerism taking a knock; people don’t just want to know what they are buying, but also where it has come from, as well as the process in which it took to get there. However, when conducting a survey in relation to this subject matter, over 65% of participants answered ‘no’ in response to the question, “Do you ever think about where your clothes have come from?” (4.i).

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The survey also highlighted other issues within this market sector that need to be addressed, the largest being the lack of consumer awareness about the environmental effects the textile industry has. We as consumer’s buy far too much throw away fashion and are unaware of the long term consequences. It could be argued that this is due to the fact that there is very little advertising or campaigning from the industry to highlight this. Nonetheless, due to the rise in global warming and the depletion of the planet around us, something needs to change.

Fig. 7 - Thank You, have a nice day , (2013).

SUSTAINABLE FASHION

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V S

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Fig. 8 - ZARA Join Life, (2018).

FAST FASHION

Fig. 9 -Sustainable VS Fast Fashion Moodboard, (2018).

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Fig. 10 - Stella McCartney Fall 2017, (2017).

Fig. 11- PLAY Shoot Three, (2018).

SUSTAINABLE WHAT

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Fig. 12 - Leaf It Indoors, (2017).

Fig. 15- Christina Nadin, (2017).

Fig. 16 - True Cost Meme, (2016).

WHAT IS SUSTAINABILITY?

SO

WHAT I S THE DEAL?

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Henniger, C, et al (2016) speak about the fact that the idea of sustainable fashion actually first emerged in the 1960’s, due to a raised awareness of the impact the clothing industry had on the environment. Emerging anti-fur campaigns in the 1980’s, sparked an interest in ethical clothing, despite being negatively perceived to begin with. This movement reemerged during the late 1990’s, however has remained fairly stagnant until now. Organizations have begun to ‘jump on the bandwagon’ and utilize the ever growing ‘go-green’ trend to boost sales. “Using buzzwords, such as eco, organic, environmentally friendly, or green in their marketing communications” (Chen and Chang, 2013). Within Safia Minney’s book ‘Slow Fashion: Aesthetics Meets Ethics, Lily Cole considers this to be due to the growing trend towards conscious consumerism, however this raises the question, do brands or their consumer’s actually understand the concept which they are sorting after?

According to Frank Baumgartner, sustainability should be understood as “meeting the needs of the present without compromising the ability of future generations to meet their needs”. Although broad, it is the most universally agreed upon definition. In 2016, Henninger, C et al, investigated this further through a study, seeking to define the term ‘sustainable fashion’. They found that, predominantly, most participants used the word ‘sustainable’ within their definition, e.g “sustainably sourced clothing that is fair trade”. Indicating, that people tend to define it in terms of production methods, whilst seemingly ignoring all social aspects.

However, one could surmise that asking participants to define sustainable fashion is a leading question, ‘fashion’ as a term is associated with an industry, where by clothing is manufactured. It seems logical that the way a garment is produced would spring to mind when asked about sustainability.

Fig. 14- Revision: Dress Shirts, (2014).

Fig. 13 - Fashion Manifesto. (2017).

The True Cost film (2015) highlights that sustainable fashion considers the economic, social and natural ‘price’ paid by fashion production. Yet there is still uncertainty surrounding what defines a sustainable garment.

It could be argued, that this is due to fact the fashion industry has no set rules or regulations surrounding what makes a piece of clothing ethical. Within her article ‘The Sustainable Future of the Modern Fashion Industry’ (2017), Kutsenkova further supports this notion by stating, “A single definition of sustainable fashion is difficult to pinpoint as there is no current industry standard. The concept of sustainable fashion encompasses a variety of terms such as organic, green, fairtrade, sustainable, slow and eco”.

In contrast to this, when conducting a simple Instagram poll, 273 out of 300 people stated they could define the term ‘sustainability’ if asked and of that 273, 70% did not use the word ‘sustainable’ within their definition (see appendix 4.l). Despite the sample of participants being a small section of society, the participants were all from different backgrounds, so, it is positive to see that such a large percentage of these people were confident in their ability to define such a term. This is significant in relation to the increasing trend of transparency, and the pressure consumers are placing on brands to become more conscious and ethical in their practices.

Today’s society just cannot help itself; we are constantly on the look for the ‘latest thing’ and the next ‘must have’ bargain. Much of what we buy, never even leaves the safety of our wardrobes, but in that moment of purchase, we simply cannot imagine our lives without it! According to Quartz, we only wear about 20% of our wardrobe 80% of the time, (Tyner, K. 2017). Everyone is guilty of re-wearing their newest purchase over and over, until it is no longer shiny and new - ultimately the novelty wears off - to which point, it then remains in our wardrobe forever more, causing the viscous cycle to repeat itself.

People are quick to see ways in which changing their diet might benefit themselves and their environment - everything else about their life style is often ignored. Notably though, this is beginning to change, with conscious consumerism rippling into all market sectors – in particular fashion.

Shopping is no longer a means to an end; it is no longer just to fulfil a ‘need’. Shopping has become a hobby, a pleasure and a pastime.

Consumers are completely detached from the people and the process behind the clothes they so happily buy. Thus, the issues behind the industry, and sustainable solutions just do not resonate with them. The high street offers cheap, easy and convenient options, to indulge this pass time. How can today’s society be expected to consume consciously, when the industry literally serves up clothing on a cheap and unethical plate? A consumer’s intent to do the right thing, is almost always forgotten when they are immersed into the fabulous world of shopping. “With regards to behaving more sustainably it was felt that due to human nature, we are conditioned to ask ‘what’s in it for us?’ and respond to monetary reward” (McCreesh, N.C, et al. 2017).

It has become apparent that there is huge scope for improvement. This is further supported by Lucy Siegle within her book ‘To Die For’: “It has never been more critical for us to consume with care and intelligence”, the planet simply cannot sustain our cycle of careless consumption.

According to Mochni - an online platform dedicated to ethical fashion - the fashion industry has a vital role to play due to way it influences industries outside of its sector. “It contributes huge amounts to economies, creates jobs and holds a significant influence over society and global supply chains. It’s because of this that there is a huge opportunity for fashion to create change” (Schroeter,S. 2017).

This may be the case, but with the increasing issue of global warming and climate change, and the rate at which we are depleting the planets resources for our own gain, something drastically needs to change.

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Fig. 18- Vetements Harrods Window, (2018).

Fashion is always going to be a core aspect of modern human culture; it is a form of self-expression and one of the only ways in which we can control how others perceive us. Due to this, the future of fashion needs to capitalise on its innovative nature, and use this as a driving force for change. Despite this, the balance hangs with how the industry uses its position of power - sustainable fashion still holds many negative connotations, and it is the impact of these connotations that has lead us to this point; people just do not view eco fashion as desirable.

Fig. 19 - Okay, So I have nothing to wear, (2015).

On the other hand, a report conducted by Mintel (2017), found that “While only 10% of women aged 16-24 currently prioritise sustainable clothing when buying fashion, there is growing interest in this with 40% of this demographic wanting to see more eco-friendly fabrics used in clothes”. This indicates that opinions surrounding sustainable fashion are beginning to change.

It could be argued that this is due to the rise in conscious consumption, to which the overarching themes of health and wellbeing can be held accountable.

Fig. 20- Vivienne Westwood., (2011).

why so important

Fig. 17 - 201, (2018).

SLOWING DOWN

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Fig. 21 - The Slow Movement Timeline, (2018).

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Fig. 23 - Take Out Bag, (2015).

McNeill et al (2015) conducted a survey that explored fashion consumers’ attitudes toward sustainable fashion in order to identify the impact of ‘fast fashion’ on these attitudes. Where some participants felt that fashion was important ethically, others felt that fashion’s importance was centred around the concept of ‘fitting in’ and keeping up with trends.

“We can try to appeal to people’s better nature, but fundamentally we are status-driven; we use fashion to show we are on top of the pile” (Payton, J. 2017).

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This suggests that consumers are not engaging with sustainable fashion because it is not ‘trendy’. However, sustainable fashion will never be ‘on trend’ due to the fact that fast fashion contrasts with its core principles and values. The founder of sustainable clothing brand ‘Honest By’ has been quoted saying “ [Sustainability] for me it’s about a way of working, and a way of living, and that’s not a trend, that’s your life. The way you think and breathe. When I think of sustainable fashion, I think of a sustainable working method. A production system that will allow us to continue this whole society in the future. That we can sustain not only our industry, but our being here. It’s funny how they turned that into a trend” (Noell, A. 2017).

Nevertheless, experts continue to insist sustainable fashion can be affordable and engaging - this ideal, in reality, continues to be lost in translation. Oates (2016), further supports this notion by stating “If sustainable fashion is seen as an alternative to fast fashion, it need’s to be communicated as such. Rather than creating a celebrity hype in the magazines, which implies these garments are unaffordable”,.

This indictaes that price plays a large role within consumer’s purchasing decisions; the high-street offers cheaper and more affordable alternatives that are of the latest trend, and therefore the sustainable counterparts are the less desirable of the two.

Fig. 24 - The Purist, (Unknown).

Within a study conducted by Henninger, C et al. (2016), participants described sustainable fashion as a ‘high-end phenomenon’ that they did not view as accessible to them. The perception of eco-fashion is still very much, that it is a ‘non-mainstream’ concept, despite the rise in brand’s adopting this mega-trend. In contrast to this, primary research has indicated that this isn’t necessarily, always the case. When participants were asked “Would you buy something because it was sustainable” 69% answered ‘Yes’ (see appendix 4.j). It could be argued that this is not concrete evidence that consumers would in fact purchase sustainable items - participants can often give the answer they believe to be true, when in reality this isn’t the case. Even bearing this in mind, it is still a positive indication that people are engaging with the concept of ‘sustainability’.

Fig. 25 - MANGO Collection 2017, (2017).

who the hell cares ?

I LIKE MY MONEY RIGHT WHERE I CAN SEE IT HANGING IN MY CLOSET

ARE YOU AWARE OF THE ENVIRONMENTAL IMPACTS EACH ITEM OF CLOTHING HAS?

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Fig. 26- Sustainable Fashion Inforgraphic, (2018).

Fig. 25 - 283, (2018).

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NO 73.97%

YES 26.03%

Fig. 30 - Blue Planet II Tweets, (2018).

Fig 27 - David Attenborough Meme, (2015).

Fig. 28 - I am Disappointed In You, (2015).

Could it be that the rise in conscious consumer behaviour can be credited to the people’s love of David Attenborough? The highly celebrated presenter has worked within television for over 60 years, but his latest documentary series ‘Blue Planet II’ has had a substantial impact on the general public: the series highlighted the severe damage plastic pollution is having on the seas - within the finale, Attenborough stated “The oceans are under threat now, as never before in human history”.

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In response, Twitter users began to communicate their thoughts surrounding the topic, expressing “their dismay at letting down this most beloved national treasure” (Calderwood, I. 2017), with tweets such as, “There are around 13 million people who watch #BluePlanet2. Imagine if we all took a positive step tomorrow helping to save these creatures and our planet.” (see Fig. 30).

Attenborough himself, has recognised the increased awareness that Blue Planet II evoked: “[Viewers are] reconnecting with a planet whose beauty is blemished and whose health is failing, growing to understand that their futures and that of the planet are inextricably linked.” (Hooton, C. 2017). This indicates that the youth of today, really could hold the key towards a more sustainable future; after all, it is their future that current over-indulging consumers are jeopardising. Despite the current negative perceptions that surround conscious consumption, it is clear that attitudes are shifting and changing, opening the way for sustainable fashion to be more widely accepted in the near future.

Fig. 29 - Plastic Problem Facebook Status, (2018).

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Fig. 31 - It’s Nice That Banner, (2018).

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SUSTAINABLE BLACK BOXWHAT TO CLEAR BOX

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Fig. 32 - Milk and Thread, (2015).

CAN Y OU SEE

IT?

WHAT’S THE DEAL? Due to the rise of social media, nothing is a secret - people are demanding information and gaining answers nevermind the consequences. The thirst for transparency may well have started within the food industry; consumers have become increasingly aware of terms such as, ‘organic’ and ‘fairtrade’. In turn, this leaves them wanting to know the process the food that they consume, goes through before it reaches them. The mindset of conscious consumption has not just stopped there: people are now placing an importance on the ways in which their clothes are made and where they come from (Birkner, C. 2017).

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At the same time, it can be argued that the need for brand transparency has much deeper roots. Social distrust and un-certainty has been on the rise; we are living in an era of recoil and retaliation against authority. Richard Cope - Senior Trends Consultant for the EMEA region - has been quoted as saying, “In a world of post-truth politics and unsubstantiated media, consumers are looking for brands to court them with transparency, simplicity and evidence” (Reed, W. 2017). Consumers are no longer just purchasing products, they are buying into a brand’s identity and their core values.

According to a report by Label Insight (2016), consumers are becoming increasingly loyal to brands that provide them with transparency, suggesting that in order for brands to continue to be successful moving forward, they must engage in an open and honest conversation with their consumers. Transitioning from a top-down “for the people” approach, into a “with the people” brand (Harvard Business Review, 2017).

Fig. 34 - Collection No.4, (2015).

Fig. 35 - PLAY Shoot Three, (2018)

Fig. 33 - Spring Cleaning, (2015).

what does this mean for sustainability?

According to Business of Fashion (2018), sustainability will be the central innovation for 2018 onwards, with brands utilising the circular economy to practise more sustainable and transparent business models. Leading companies will go the extra mile, with efforts to close the loop completely, via recycling and regeneration of all waste used within the manufacturing process.

This is significant progress from a few years previous, where by all production methods and factories were considered ‘confidential’. Labour rights and ethical trade expert, Pins Brown, raised this point within a Fashion Revolution panel discussion “H&M’s supplier list used to be locked in a safe with only two people knowing the code... we now have over 150 big brands listing where they are manufacturing and their suppliers, this is a huge break through”.

A huge breakthrough indeed, however, is this apparent transparency, purely to keep the shareholders happy? No one wants another scandal, much like the one centred around child labour that Nike endured in the 90’s, where by all company shares plummeted; people crave safety and security in these times of much un-certainty (Noell, A. 2017).

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In contrast, when interviewing Kristina Dimitrovia – CEO of Interlaced – she expressed that conscious consumption was the driving force behind transparency, “As consumers become more conscious, they will demand for increased ethical practices”. She suggests that consumers have a larger impact on a brand than you would initially think - brands that are willing to engage in an open and honest conversation with their consumers are clearly going to come off on top of those that are set in their secretive ways (see appendix 5.d).

It is clear, regardless of the catalyst behind it, that transparency is very much here to stay; however, brands need to be clever about how they use this to engage their consumers - despite many brands aiming to become opaque in their production and manufacturing, that doesn’t then make them a sustainable brand: there is a huge difference between being open about your processes, and then actually conducting ethical practises no one can be entirely perfect, but the transparency movement is an indication that the industry is beginning to head in the right direction.

As focus shifts to a circular economy, sustainability will evolve from being a menu of fragmented initiatives to being an integral and defining part of the entire fashion value chain.

– BoF, 2018.

Fig. 36 - Pose as if someone is watching: Transforming the sexy into the mundane, (2016).

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Fig. 37 - But near things missed – ‘a’ striped socks, (2017).

We are really self-centred people and always want the things that we buy and wear to say something about ourselves, And now because of social media, and everyone has an online presence and an online voice. It poses the question whether everyone is a brand in their own right?

Brands, therefore, need to take notice and be much more transparent with their production and their pricing, their processes, because if they are not then they can be caught out very easily because people are not stupid.

-Dimitrovia, K. 2018

SUSTAINABLE BLACK BOXWHAT TO CLEAR BOX

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Fig. 38- 281, (2018).

THE MARKET

ASOS, H&M, Zara and Mango, are all high-street brands that have attempted to tap into the sustainable fashion market through sub-branded ranges such as H&M’s ‘Conscious Collection’.

Zara have recently launched their ‘Join Life’ collection, which is paired with the initiative ‘bring the clothes you no longer wear and put them into our stores. As a part of our social and environmental commitment we help to extend the life span of your clothes’.

But is this really enough to drive consumers to be sustainable?

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Kristrina Dimitrovia highlighted this point, during an interview between her and myself, “I feel like these initiatives should be a bit more refined in a way. Especially for a high-street brand - when you go into their store and dispose of one product that doesn’t mean you are more sustainable”.

It could be argued that initiatives such as these do very little to encourage the consumer to consume sustainably, and certainly do not do anything to make sustainable fashion something that is desirable; it could simply encourage the customer to do the opposite, and buy more.

According to WGSN (2017) “Sustainability is a complex subject for the average consumer – it’s often difficult for them to make ethical choices, despite their good intentions. Consumers also continue to have a strong appetite for fast fashion.” This suggests that a consumer’s inner desire takes over when shopping, sustainable fashion ranges do not seem to ‘tap’ into this desire. Many brands attempt to change this, but something appears to go wrong, despite us all appearing to take interest in environmental issues, many of us are ‘turned off’ by eco fashion (Farra, E. 2017).

Zara is the chosen focus of this report, as they are perceived to be highstreet giants that enable their consumers to be on trend, with ‘ready to buy’ at the easiest convenience, which completely contrasts with what is at the heart of sustainable fashion. To greater understand what the collection looks and feels like, the mood board opposite illustrates this effectively ( see Fig. 39).

In order to gain a greater understanding into the consumer’s perceptions of the collection, a simple Instagram opinion poll was conducted, showcasing key looks from within the range. Interestingly, 135 out of 251 people said they would not purchase anything from the collection, despite it being bright, bold and a different take on sustainability. To contrast this, 56% percent of participants decided to describe the collection as a ‘nice diversity’, as apposed to a ‘weird mess’ when asked “what do you think of the variety of styles?” (see appendix 4.m). However, the results can only be taken at face value due to the very limited and leading nature of a poll. Despite this, it does support the notion of there being a ‘stigma’ per say, around sustainable fashion collections. To investigate this further a Padlet style survey was conducted (see Fig. 40).

Fig. 39 - Zara Join Life Moodboard, (2018).

ZARA JOIN LIFE (i)

Please spare a few moments to take a look at Zara’s latest ‘Join Life’ Collection: What do you think of it? (i) What words would you use to describe it? (ii)

“ I love the idea behind it, but I don’t understand the flow of the whole collection” “Everyone should corrupt Zara” “More colourful than other ethical lines such as H&M (shit), however quite expenxive”

(see appendix 4.n)

Key Insights:

People like the concept behind the collection as it is modern and does not play into the sustainable fashion stereotypes. It uses a mix of bright and bold colours and this seems to resonate with consumers.

“I think there are so many loop holes in what they do and I don’t think Join Life reflects Zara as a brand”

Consumers feel it is positive that Zara are using their platform to make a difference and try to introduce sustainbility into the style of their clothing, instead of simply making a ‘conscious collection’, which is a separate entity. However, they are questioning why Zara cannot be sustainable in all of their practices and clothing production.

“I feel there are some strong pieces in the collection but I wouldn’t know it was sustainable”

It can be seen to be hypocritical that Zara are creating a sustainable fashion collection, as they are high-street giants and produce their clothes cheaply and as quickly as possible so that their consumers are always on trend, and for a good price in order to keep up with their competitors.

Takes:

The use of colour is important; this is something the consumers found interesting and exciting, possibly owing to the fact that most sustainable collections are perceived to be dull, boring and beige. This is something that must be considered when producing and introducing the big idea.

It is important that the brand is sustainable in all their practices and manufacturing, to avoid being percieved as ‘hypocritical’, or just trying to ‘jump on the bandwagon’. Investigation into this will be key, in order for my big idea to resonate with my target consumer.

The word ‘sustainable’ still seems to cause a confusion and confliction with consumers, and so, going forward, consideration must be taken to avoid or simply remove the word entirely.

Ensuring that the big idea’s message is clear and consistent will be essential, This is something the respondents felt Zara did not achieve and thus the collection became misunderstood and un-appealling to consumers.

Fig. 40 - Zara Padlet Results, (2018).

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“The messaging is confused”

(ii)

“Misleading” “Modern and fresh” “A nice change from normal ethical lines” “Very mismatch” “Is not visually consistent” “Boycott Join Life” “Refreshing changee”

CAUGHT YOU LOOKING Fig. 43 - Katiusha Feofanova, (2015).

Fig. 41 - Uknown, (2010).

Fig. 42 - SPORT, (2015).

fashion forward

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Given mankind’s childlike obsession with the future, we’re remarkably rigid when it comes to our attitudes towards clothing.

While the styles, processes, materials and techniques of generations past find themselves endlessly recycled in the name of “heritage,” cutting-edge technology is so often viewed with the same scepticism reserved for cute novelty and cheap gimmicks.

- Gwilliam, A. 2015.

Intel’s innovation engineer, Karli Cengija, believes that blurring the lines between fashion and science, by crossing the ‘traditional boundaries’, is “essential to future innovation” (Anderson, A. 2016). The industry cannot remain stagnant in it’s approach to materials and production: developments in 3D printing and computer-aided design, have resulted in the fact that designers are no longer limited by the materials they use. Fabrics such as leather and fur even, are on the verge of being replicable. But what does this mean for the future of fast fashion?

According to Francis Bitonti, “In five to ten years’ time…a large percentage of casual goods will be entirely printed” (The Guardian, 2014), meaning that the use of 3D printing is dramatically on the rise. This will have a significant impact on the industry and the way in which we see materials. If desirable materials can be replicated, this could lead to resources no longer being exhausted. If this could be applied in a positive way, the materials that are used to produce garments could lead us towards a far more sustainable future.

Dutch designer Iris Van Herpen was one of the first designers to tap into the world of technology within fashion, through the use of 3D printing, laser cutting and magnetised fibres. She has cultivated this technology and created some ‘out of this world’ pieces, that could only be described as futuristic. Throughout the last decade, Van Herpen has constantly pushed the boundaries of what fashion can be fusing haute couture fashion with technology and art, “I really hope to show fashion as a form of art. To move fashion forward rather than looking back at the history of it” (Allwood, E. 2017).

Designers such as Van Herpen are not the only ones using technology to their advantage: for the second time, Adidas has collaborated with the environmental initiative Parley for Oceans, and this time they have created a range of trainers made out of washed up ocean plastic. The kicks will reuse 11 plastic bottles per pair and feature laces, heel lining and sock liner covers made from other recycled materials (Young, S. 2017). One could say that this is only the beginning; recycling materials to create new textiles is a clever and sustainable way to produce new garments and begin to close the loop of a brand’s production cycle.

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Fig. 45 - Caprihole by Iris Van Herpen, (2011).

Fig. 44 - 3D Printed Fashion Moodboard, (2018).

The leading producers of Nylon 6, Aquafil, initiated this in 2011, with the introduction of Econyl, an innovation constructed from 100% regenerated Nylon. The fibre is said to be suitable for creating durable garments that are lightweight, of a very high-quality, and extremely environmentally friendly. “Econyl is said to offer the same quality and performance as traditionally manufactured Nylon and can be recycled an infinite number of times without any loss in quality� (Knitting Industry, 2017.), Econyl has been extremely well received by the industry, with a multitude of brand leaders introducing the fibre into their products, ranging from the likes of Stella McCartney, to car manufacturer Volvo (Aquafil, 2018.).

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TRANSFORMATION INTO ECONYL NYLON 6 THREAD

ECONYL DEPOLYMERIZATION PLANT

Fig. 46 - Bella Hadid For Vogue China, (2017).

At the same time, it can be argued that, despite a large range of brands using fibres such as Econyl, introduction of sustainable materials is still no where near mass-adoption. Price could be perceived as the biggest barrier: recycled and regenerated materials hold a higher price tag to their un-sustainable counter parts. This can be explained through simple economics: currently, as a society, we demand far more, cheap fast fashion, than the sustainable alternatives. Manufacturers supply to what is in demand and, therefore, make more profit selling cheap clothes in bulk.

The only solution to this is to change the supply and demand equation, which can only be altered through a change in perception. This, however, is a complex paradox, where by fast fashion gains favour, as it is desirable and cheap. In order for sustainable fashion to become more affordable, it must become desirable, consequently, overtaking the current throwaway culture. However, in order to do this, sustainable fashion must resonate with the consumer on a much more profound level, tapping into the desire, that the fast fashion industry is currently creating deep within us.

Fig. 47 - Econyl Fibe, (2017).

SUSTAINABILITY

JUST GOT 58

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SEXY Fig. 50 - Hailey Baldwin in Adidas, (2018).

Fig. 48 - Black and White Tracksuit, (2017).

Fig. 49 - Parley for The Oceans Collection, (2017).

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PART TWO

Fig. 51 - PLAY Shoot Three, (2018).

SUSTAINABLE BLACK BOXWHAT TO CLEAR BOX

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Fig. 52 - 4PLAY Shoot One, (2018).

Sustainable fashion does not resonate with consumers - it is, currently, neither desirable, nor visually appealing, and plays into clichĂŠs, leaving the consumer feeling lectured and un-inspired.

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Bingham, C. 2018 (see appendix 5.e for full interview)

Fig. 53 - Are you for real?, (2018).

ENOUGH IS ENOUGH

FINDING THE BIG IDEA It is vital that the idea, developed from research, includes the following themes: sustainability, value, consumer behaviour, and innovation.

So that the idea resolves these main issues, the idea must challengethe perceptions surrounding sustainability.

Exploration into the key themes has highlighted that three crucial elements are necessary to encourage the growth of sustainable fashion: The first, is realities of standardised clothing production to ‘shift consumers’ mind-sets from quantity to quality, by encouraging people to shop less and buy higher quality products.

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The second, is to encourage production that does not exploit natural resources.

The third, is to use consumption to “entail a longer product lifespan from manufacturing to discarding” (Kutsenkova, Z. 2017).

It is imperative that the idea resonates with the consumer; this will be achieved by encompassing things they find desirable, and more importantly familiar; it will tap into the need for comfort in times of insecurity. Considering key mega-trends, such as health and wellbeing will further enforce the relevance of the idea, and the ways in which it can be successfully marketed to the consumer group.

Fig. 54 - PLAY Shoot Two, (2018).

the rise of athleisure 68

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The lines between luxury and streetwear fashion have never been so blurred. Over the past few years we’ve seen flourishing streetwear scenes emerging all over the world. Through harnessing the power of social media, fresh and innovative designers are able to take their visions to the global stage, at the touch of a button. “Labels such as Gosha Rubchinskiy and Ader Error have become increasingly alluring to Western consumers because they translate familiar motifs in a way that’s new and unfamiliar” (Leach, A. 2017).

According to the creative director of OffWhite, “Trends are trickling from the streets up. Luxury no longer holds the same grip on consumers” (Hunt, K. 2017). Shapes, cuts and silhouettes are being recycled, repurposed and restyled in a way you would never expect. Wearing a pair of flared tracksuit bottoms now looks ‘trendy’ and ‘cool’, rather than someone who just shoved them on to ‘nip to the shop’. We are no longer turning our noses up at people who are choosing comfort over style because comfort has become style.

Retro inspired sports classics are elevated with boxy silhouettes and shapeless cuts - the more oversized, the better. The basis of the Athleisure trend is to integrate lounge styling into day-to-day dressing.

WGSN states that, within Athleisure, core styles are elegant in their simplicity, and are constructed from a wide range of materials. This in turn determines whether it is highstreet or high-end. Those with a larger price tag are usually investment pieces that are designed to last a life time, through the use of sustainable and performance materials.

Fig. 55- Athleisure Moodboard One, (2018).

Sally Dixon, founder of Every Second Counts, believes, “Wearing highend sports clothes becomes a new status symbol; it’s never been cooler to look like you are moments away from a workout” (Marlow, R. 2017), supporting the notion that the Athleisure trend is one that shows no sign of slowing down or stopping. It is becoming a ‘super-trend’ in its own right, with the likes of the Kardashians showcasing their latest spin on the trend regularly on their social media or being ‘caught’ by the press in the latest Yeezy collection - this is something that will be trickling down to the masses for years to come.

Oliver Royce, swimwear designer at Speedo, further reinforced this idea: within an interview, we discussed Speedo’s latest range ‘H20 Active’ and the shift in the brand’s approach to engage with their consumers. “It was clear that people were spending more money, more [than] often on a trend easily referred to as ‘Athleisure’. When you look closely at the Athleisure trend you could conclude that people are simply looking for more comfortable, more useful and better performing clothing. Essentially, style and comfort has become something that isn’t a trade-off”, confirming the notion that people want to be comfortable and yet, not compromise on style or performance; garments that can be worn, both, everyday or when working out, warrant a slightly higher price point (see appendix 5.a).

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Fig. 56 - Athleisure Moodboard Two, (2018).

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SPORTS REVIVAL

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Fig. 57 - Athleisure Timeline, (2018).

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With the lines between Street Wear and High Fashion being all the more blurred, brands need something more, to stand out and be easily differentiated from their competitors: cue the music!

The fusion of music and fashion is reaching new heights. Designers are no longer simply selecting pieces of music to support their catwalk shows, they are collaborating with each other, some even using the musicians themselves to walk in their shows. Elizabeth Currid (The Warhol Economy 2007) looked at the way in which creative industries are drawn together, even so far as to say that they were “interdependently linked”. This is so much more evident a decade later, with online music and fashion channels being ever more prolific.

Musicians themselves, are becoming clothing brand designers: take Kanye West, Hip-hop moguls have rapidly become great persuaders of fashion, especially now that we have platforms such as Instagram: their fans are heavily influenced by the snap shot images that they are fed, and in turn, the styles find themselves coveted, and replicated.

According to Sinnreich and Gluck (2005), these consumers of music and fashion are masters at blending styles. Calefato (2001) also referred to the music mashups of the day, so, here we are, a decade or more later, witnessing the strength of the fusion between fashion and music.

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In their report, Sinnreich and Gluck (2005) stated that, “Music as a technically visible construct, has a more direct effect on other sensorial organs than visible information.”. They further mentioned that the absence of music, for example on a movie soundtrack, can be viewed as disturbing. In other words, music has the power to emote. Stick this power together with a clothing brand, and you have a product more powerful than the equal sum of it’s parts. Designers such as Alexander Wang appreciate this power: the recent collaboration between himself and Apple Music, demonstrates this clearly. The online fashion channel was launched in 2016, with Wang being given the responsibility of coming up with 3 personalised playlists: Chill, Hype, and Vibe. Quoted as saying, “Year-round, I’m always trying to find music that defines who the character that season is….”, (Yotka 2016), indicates how the fusion is almost personified (see case study).

Fig. 59 - Billie Ellish, (2018).

Fig. 58 - Jerome Thomas, (2018).

alexander wang x apple music

ABOUT

The launch of new Apple Music’s fashion channel.

It features 3 playlists compiled by Alexander Wang available to Apple Music’s members.

USP

The idea is to promote a more personalised approach to the playlist; subscribers to Apple Music get to listen to, and download the personal choices of such a popular and exclusive designer and therefore the link between fashion and music is furthermore fused.

STRENGTHS

It’s beneficial from both angles: music enhances fashion, and vice-versa. He worked with a huge array of people on the launch: models of different race, size, shape – that feeling of inclusivity.

His wanting to give something back to the community, that enhances his ethos of ‘get out there and go for your dreams.’

It’s no secret that Alexander Wang is a huge music fan – through this collaboration, fans get to peek inside his personal archive and download especially chosen songs for a specific mood: Chill, Hype, and Vibe. The playlists allow you to have a small piece of his creative process, whilst at the same time, feeding into the idea of a new product: even if you are listening to an old classic hip-hop track, it’s reinvented because of the association with Wang himself.

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The songs become attached to his styles, and his clothes attach themselves to the tunes. A relationship is born, enhanced, nurtured. His personal picks become synonymous with his designs, effectively feeding the need for new and different, a little piece of designer, without the price tag. It almost doesn’t matter if the consumer doesn’t own something physical, because this is somehow more personal.

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TAKES

Playlists are no longer personal: hundreds get produced daily and you rarely know the creative genius that has slaved away for hours composing the very thing thousands of people choose to listen to. Personalisation is key - giving consumers a glimpse into the personality of someone they love or admire, making them feel ‘in the know’. In order for the big idea to gain favour with consumers, they must feel ‘special’ and part of an intimate few.

The idea of re-invention or changing the consumers’ view on something is an interesting one.

Making music seem new and exicting to an individual could be a way to challenge consumption of new tangible things, with that of music. This taps into the concept of second-hand shopping, what may be ‘old’ to one person, can be ‘new’ to another. It is all about the perception that person holds. Applying this logic to the big idea, could be key to finding a creative and interesting ‘solution’ to over-consumption.

Adding to this further, Wangs collaboration enabled consumers who could not buy his designs, a chance to ‘own’ something of his. Wang designed it, created it and shared it much like he does with his collections, yet a playlist isn’t a physical object or posession, and therefore does not use up resources like manufacturing clothes does. But, the same feeling of sentiment and excitment is there.

The playlists gave the consumers a chance to listen to music that they may have never listened to, or been exposed to before. Discovery of the ‘new’ is always a thrill - taking this feeling and applying it in a new way could result in a change of perception and lead to something exicting.

Fig. 60 - Alexander Wang x Apple Music (2016).

Creative Millennials aged 17-35, who are innovative and have an interest in art and culture.

Introducing PLAY, a collaboration between Adidas and COLORS Studio, creating a retro inspired athleisure range, constructed from recycled ocean waste and regenerated Nylon. The collection with be supported by an app that celebrates music and culture, showcasing new sounds that correlate with colour.

78 To market sustainable clothing in a way in which it is desirable, timeless and beyond trends.

To encourage the ethos ‘less is more’, challenging the way in which consumers view consumption and selfexpression.

Through an integrated marketing plan and launch of said athleisure range and app, creating an innovative online presence and correlating look book.

Fig. 61 - PLAY Campagin, (2018).

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Can appreciation of music and culture challenge the concept of consumption?

To alter the perceptions surrounding sustainability, encouraging consumers to engage with the concept ‘less is more’ through the influence of technology, celebration of music, and the consumption of creativity.

Today people are more aware than ever of the extended impact of how they spend their money. Probably because of the internet and access to information, people are realizing that how or why they choose to spend their money contributes to broader structure in the world.

People like to feel good about the system they are complicit in.

introducing...

PLAY an adidas x COLORS collaboration

INTRODUCING

Frances Edgerly, Co-Founder, Assemble

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Fig. 62 - PLAY Campagin, (2018).

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Fig. 63- PLAY Shoot Three, (2018).

COLORS x adidas “We have been working towards sustainability for many years and recognise that the task ahead of us is a marathon, not a sprint.”

– Adidas

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To make sure that this idea resonates with creative Millennials, it would be put forward as a collaboration between Adidas and COLOR Studios, presenting itself as an innovative clothing collection that celebrates style, culture and art. The collection would be 100% sustainable, being constructed out of recycled ocean waste and regenerated Nylon, and would be available in a wide variety bold colours, taking inspiration from Adidas’ existing retro style designs, featuring the iconic ‘three stripe’.

The sustainable clothing collection would also be supported by the PLAY app, which would act as a playlist service, offering consumers the opportunity to be exposed to brand new artists and sounds, effortlessly and on the go, thus feeding the consumer’s desire to acquire new ‘stuff’.

COLORS Studios is a music platform from Berlin, Germany. It’s a simple concept. COLORS bring some of the most discerning artists around, to their studios in Berlin. The artists then perform live in a room, that is decorated in the colour they most associate themselves with, and they use their presence on YouTube to share this with the world. Using the tag line ‘All colors, No genres’, they decipher themselves as a modern, all inclusive brand, who want to share their passion for music with their followers.

Adidas have regularly collaborated with other brands and designers; they understand the potential of tapping into a larger consumer group and creating exciting designs, therefore it is completely realistic to expect an out of sector collaboration like this to go ahead. It is also viable that Adidas would enter the sustainable apparel market, given their current relationship with Parley for Oceans. That, coupled with the efforts they make to ensure that their corporation is leading the way in ethical practise: Adidas is ranked within the top 5 most sustainable companies worldwide, and are still the only company within the active sector which publishes an annual sustainability report.

Fig. 64 - PLAY Shoot One, (2018).

On top of this, Adidas’ core values support the things at the centre of this report, innovation, being the most integral. Through the use of innovation Adidas influences the environmental footprint that their products leave. The Adidas website itself states that, “Approaching the innovation challenge from an environmental perspective helps us make products that are better for consumers and better for the planet, too” (Adidas, 2018). Creating a completely sustainable collection would be entirely plausible.

Adidas is a multinational corporation, founded and headquartered in Herzogenaurach, Germany, that designs and manufactures shoes, clothing and accessories.

Age: 69 Homeland: Germany Reach: 33 Million Big Ideas: 65/100 Technology: 45/100 Adventrous: 35/100 Creativity: 56/100 Collaboration: 40/100

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Yeah, I definitely wouldn’t go for an artist, just because they are commercial, I think it would put me off, more than anything, when they sound commercial.

When an artist really wants you to hear their music, it definitely feels different. A more commercial sound lacks substance.

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- The Pink Pathfinder , (2018). (see appendix 4.r for interview)

Fig. 65 - Adidas Brand Card, (2018).

All COLORS, no genres.

COLORS is a unique aesthetic music platform showcasing diverse and exceptional talent from all around the globe.

Fig. 66 - COLORS Brand Card, (2018).

Age: 2 Homeland: Germany Reach: 1 Million Big Ideas: 50/100 Technology: 80/100 Adventrous: 40/100 Creativity: 85/100 Collaboration: 100/100

Fig. 67 - Gazelle Collage for Adidas, (2016).

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Fig. 68 - Adidas on Sustainability Moodboard, (2018).

To greater understand Adidas as a brand, it was important to explore how Adidas have already tackled the notion of sustainability. Their focus has been very much on the oceans, which was unsurprising considering their partnership with Parley for The Oceans.

This sole focus would be something to avoi, in order to make my idea individual and unique. The visual language used has been very much ‘save the Earth’, playing on connotations of nature. According to research, this would not resonate with my consumer group and so I would have to adapt Adidas’ visual language surrounding the subject.

Fig. 69 - Adidas x Parley for The Oceans, (2017).

Fig. 70 - Adidas x Stella McCartney FW17, (2017).

Fig. 71 & 72 - Adidas x Urban Outfitters (2016).

IS IT ACHIEVIABLE?

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TODAY, BIG COMPANIES ARE COMMITTED TO IMPROVING THEIR SOCIAL IMPACT PERFORMANCE. THIS WILL NOT CHANGE BECAUSE IT IS NOW INGRAINED IN COMPANY REPUTATION AND BRAND -Tim Mohin, CEO, Global Reporting Initiative

Fig. 73 - PLAY Shoot One, (2018).

It is entirely likely that the COLORS x Adidas collaboration would be achievable. Based on their previous partnerships, together with the fact that Adidas is a hugely renowned and respected company, with a widely established consumer base, a collaboration between themselves and COLORS would create interest within their existing consumer group and those that have an interest in both brands.

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Additionally, as pointed out by Euromonitor, partnerships between brands are gaining a large interest among Millennials who pursue ‘newness’ to differentiate themselves, and express their identity (The Straits Times, 2017). Although COLORS may not be as widely known as Adidas, they still have a large reach, with over 1 million subscribers on YouTube. The channel’s focus is to serve as a creative outlet, where music artists can come and showcase their work, connecting themselves with a colour or mood instead of a genre.

Utilising COLORS’ reputation as a ‘music refresher’, creates an interesting opportunity to engage consumers in a new form of ‘consumption’, through the discovery of new sounds. Using the appreciation of art and culture to drive a new stance on sustainability, harnessing the two brands’ values to re-define a concept (i.e. sustainability), often perceived as dull and uninspiring, as well as offering playlists to the consumers at the touch of a button, removes the often annoying and time consuming, quest to find new music to listen to.

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Fig. 74 - PLAY Moodboard, (2018).

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Fig. 39- COLORS x Adidas: The Hues, (2018).

Fig. 75 - The HUES, (2018).

* This is an Insert

The Hues live in big cities or regularly travel into large cities in order to feel cultured and in touch with contemporary movements. They are explorers and gain satisfaction from discovering new places, brands or artists. Following trends isn’t of interest to them; finding a new underground narrative or style is of the upmost importance.

THE HUES The COLORS x Adidas consumer consists of many a variety archetypes. LSN Global highlighted that demographics can often be too broad to market, therefore, in order to understand these nuances in consumer segmentation, they have been personified into ‘The Hues’.. These three consumers are nuanced by their mind set :

The Pink Pathfinder The Cobalt Contemporist The Moss Maker

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After considering ‘Who do you Want Your Customers to Become’ a theory by Michael Schrage (2012), The Hues would surely become inspired by new and authentic artists, colours and sounds, having explored what the world can offer them, adopting it ahead of the rest. They are innovators and early adopters in their own right, actively engaging with new avenues of selfexpression and interesting projects.

The COLORS x Adidas consumer would be largely Milllennials. According to BoF (2018), Millennials are particularly interested in more sustainable solutions “[Globally] 66 percent are willing to spend more on brands that are sustainable”.

In the future this would bleed into Gen Z due to the fact they are moving towards a more visual culture, indicating that they would be interested in exploring different avenues of consumption and self-expression through different mediums.

Fig. 76 - PLAY Shoot One, (2018).

THE PINK PATHFINDER explorer

Phoebe is a graphic design postgraduate from The University of Leeds. She is currently living in London and working on the creative team for ‘It’s Nice That’ magazine, with aspirations to become the creative director. Phoebe is an innovator in her own right, not caring for her peers opinions, or keeping up with the latest ‘trends’. She is very passionate about the environment, openly declaring her alliance with The Green Party and believes that everyone should do their part, no matter how small. Her greatest passion is for the arts; her friends constantly rely on her to inform them of the latest giggs, art exhibtions and cool sounds.

Fig. 77 - The Pink Pathfinder Facts, (2018).

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Fig. 78 - The Pink Pathfinder, (2018).

archetype:

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EXPLORER ARTIST ECO FIGHTER PHOTOGRAPHER

Fig. 79 - The Pink Pathfinder Moodboard, (2018).

INNOVATOR

The Pink Pathfinder Age: 21 Homeland: Loughbrough Reach: 800 Big Ideas: 75/100 Technology: 30/100 Adventurous: 88/100 Creativity: 65/100 Collaboration: 30/100

Fig. 80- The Pink Pathfinder Brand Card, (2018).

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THE COBLAT CONTEMPORIST archetype:

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Sophia is currently in her third and final year, studying Marketing and Branding at London College of Fashion, with dreams of coming a fashion buyer for ASOS. In her spare time she visits exhibtions, keeping an eye out for new, contemporary art movements. Sophia prides herself on her style, using it as an outlet for self-expression and creativity. She often borrows items from her boyfriend and pairs them with classic statement colours, looking effortless, always. Colour is something of importance to her: she uses it to portray her mood or attitude that day. Despite feeling nervous about the current political climate, she trys to remain optimistic, spreading her positivity wherever she can.

Fig. 82 - The Cobalt Contemporist, Facts, (2018).

Fig. 81 The Cobalt Contemporist, (2018).

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visionary

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VISIONARY STYLIST DREAMER POSTIVE

EARLY ADOPTOR

Fig. 83 - The Cobalt Contemporist Moodboard, (2018).

The Colbalt Contemporist Age: 20 Homeland: Buckinghamshire Reach: 1 Thousand Big Ideas: 68/100 Technology: 50/100 Adventurous: 38/100 Creativity: 70/100 Collaboration: 56/100

Fig. 84 - The Cobalt Contemporist,Brand Card, (2018).

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THE MOSS MAKER creative

Jordan has not long gradudated from university in Nottingham, where he studied Accounting and Finance. Despite being talented with numbers, his passion lies with music. He uses music to express his personality and channel his energy into something positive. Jordan strives to touch people with his music and believes that being creative is fundamental, drawing his inspiration from meeting new people, whilst surrounding himself with expressive individuals. Jordan’s core values centre around his hard working attitude; he believes that you get back what you put in. He is hoping that through his determination, he will, one day, become a music producer for Sony.

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Fig. 85 - The Moss Makert Facts, (2018).

Fig. 86- The Moss Maker (2018).

archetype:

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CREATIVE MUSICIAN DRIVEN COMPASSIONATE

EARLY MAJORITY

Fig. 87 - The Moss Maker Moodboard, (2018).

The Moss Maker Age: 23 Homeland: Hertfordshire Reach: 2 Thousand Big Ideas: 55/100 Technology: 88/100 Adventurous: 60/100 Creativity: 48/100 Collaboration: 40/100

Fig. 88 - The Moss Maker Brand Card(2018).

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Fig. 89 - The HUES, (2018).

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BRAND POSTIONING

S O WHAT? What could this mean for the consumer and their perceptions of sustainability?

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Fig. 90- Brand Perceptual Map, (2018).

How does this collaboration differentiate from other sustainable brands?

The marketing approach would have it’s focus on encouragement towards smarter and more meaningful purchases, rather than lecturing and forcing the idea of sustainability onto the consumer.

This would encourage the celebration of self-expression through art, instead of consumerism with sustainable consequences, as is the case like People Tree and Community Clothing. It wouldn’t attempt to ‘ jump on the bandwagon’ like H&M and Zara.

The concept relies solely on consumer participation and involvement, with the hopes of making them feel inspired and wanting to make smarter choices for themselves, surrounding their consumption.

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A collaboration that celebrated music, art and culture, as forms of self-expression, has the potential to challenge the notion that fashion serves as an outlet to showcase who you are to the outside world, and that consumption of the new and exciting can be more than spending money on physical things.

According to Marxism, consumerism “is widely seen as the cultural expression of developed capitalism” (Varul, M. 2018), suggesting that consumers believe in false wants and needs, influenced by celebrity culture, the rise in technology and social media. This notion can also be supported by Maslow’s Hierarchy of needs: within western culture, we are lucky enough to have our basic needs met and so, false needs feed into our desire for esteem, status and self-actualisation (Posner, H. 2011). Subtly marketing creative discovery as a new way to reach the higher level’s of Maslow’s pyramid, could resonate with consumers on a more intellectual level, and put the notion of sustainability in a new and fun light. Cleverly combining an artistic platform with a desirable brand like Adidas, will also tap into the consumer’s want for the ‘latest thing’ and avoid lecturing them about environmental issues and the impact their consumption has on the planet.

SUSTAINABLE BLACK BOXWHAT TO CLEAR BOX

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Fig. 91 - PLAY Shoot One. Own Image.

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“At a time when social networks are a dominant form of communication and a good picture is worth more than a long text, logos are an excellent way to make a product, feeling or tribe recognizable. In this regard, logos are somewhat like emojis. Moreover, big logos also ensure that selfies can be as effective marketing platforms as billboards on Times Square. After all, as every fashion house knows, image is everything.�

- Choufan, L. 2018

Fig. 92- Creative Concept Visual Moodboard, (2018).

DESIGN RECIPE

L0GO

COLOUR PALETTE

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CUT AND STICK STYLE

LO-FI

POLAROID AND FILM GRAIN

ILLUSTRATIVE STICKERS Fig. 93 - PLAY Design Recipe, (2018).

BRAND VALUES : CREATIVITY IS KEY NEWER THAN NOW FIND YOUR PASSION CONTENT THAT STARTS CONVERSATION CREATING EXPOSURE FOR TALENT CHANGING PERCEPTIONS

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CHALLENGING THE WAY WE CONSUME

Fig. 95 - PLAY Shoot One, (2018).

Fig. 94 - PLAY Brand Values, (2018).

TONE OF VOICE : CELEBRATORY PASSIONATE POSITIVE BUT FUN COLOURFUL AND BOLD EFFORTLESSLY COOL 120

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CREATIVE AND EXPRESSIVE CONVERSATIONAL BUT INFORMATIVE

WE ARE NOT: AN ECO-WARRIOR Fig. 96 - PLAY Shoot One, (2018).

DULL OR BORING LECTURING OR PREDICTABLE

Fig. 97 - PLAY Tone of Voice (2018).

THE ANATOMY OF PLAY VISION COLOUR PALETTE

The palette features a wide range of colours, that are contrasting and c omplimentary, creating bold and eye-catching visuals.

To encourage young creatives to explore new ways of ‘consuming’ and self-expression, through the discovery of new sounds and artists.

Purple tones are thought to encourage creativity, reds stimulate energy and heart rate, whilst pinks encourage action and confidence.

LOGOS

PROMISE

The PLAY logo is a hand drawn font, taking inspiration from bold prints and Bauhaus, the graphic design movement. The full colour logo encompasses the entire colour palette, with navy blue and red as the dominating colours.

Due to the nature of PLAY’s visual content, and cut & stick style, a white version of the logo is used within most of the visuals, in order for the branding to stand out.

SUPPORTING LOGO

The logo is a combination of the text aspect of the Adidas logo and the COLORS logo. The

‘COLORS’ aspect of the logo is a dull red, as not to draw attention away from the PLAY logo. The ‘X’ is a complimentary blue, which again is dulled.

To challenge the notion of consumption, through the appreciation of music and culture. To take the consumer on a journey of discovery.

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VALUES TYPE: Kelson Sans

abcdefghijklnmopqrstuvwxyz

TYPE: Din Alturnate

abcdefghijklnmopqrstuvwxyz

Changing the way we percieve sustainability, to create a positive future, where the arts are more important than materalism. Creating exposure for talented artists and encouraging creativity.

PERSONALITY PHOTOGRAPHY

Low-fi, grainy, raw, real, with the use of 35mm film and polaroid.

Giving the feeling of nostalgia, whilst still maintaining a new and exciting vibe.

Mostly art directed content, with some user generated content, also featured.

Fig. 98 - The Anatomy of PLAY, (2018).

Bold and colourful.

Cultured and Inclusive.

Open and Encouraging.

Creative and Passionate.

Fig. 99 - GOLF WANG: Golf le Fleur, (2018).

Fig. 100 - The Impossible Project, (2018).

WHAT INSPIRED PLAY

Fig. 101 - Jamie Reid: The Sex Pistols ‘Fuck Forever’, (1997).

PLAY takes its visual inspiration from a variety of sources, ranging from Golf Wang, the clothing label founded by music group Odd Future, to artist’s such as Linder Sterling and Jamie Reid.

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Fig. 102 - Bauhaus, (1919).

Fig. 103 - Linder Sterling, (Unknown).

Fig. 104 - Adidas: Original is never finsihed, (2018).

Fig. 105 - Elizabeth Wirijia, (2018).

Fig. 106 - Diesel, (2018).

Fig. 107 - Tyler Spangler, (2018).

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The diverse sources of influence reflect PLAY’s bold and creative nature.

Acknoledging that music, culture and the arts know no bounds, PLAY aims to appeal to it’s wide consumer base, their differing views and tastes. Combining the old with the new is something of upmost importance; the PLAY consumer seeks comfort in the familiar, yet is inspired by the new and innovative; PLAY’s branding seeks to marry the two.

PLAY seeks to do this by tapping into elements of the Bauhaus movement - which has been coined as a revolution in modern design - the current, visual nostalgia trend, which is feeding into Millennials’ comfort of the past, in times of political uncertainity.

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Fig. 65 - COLORS x Adidas Booklet, (2018).

Fig. 109 - PLAY Campaign, (2018).

* This is an insert

Fig. 108 - THANK YOU, (2018).

THANKYOU for making the conscious decision to purchase from our COLORS X Adidas collection.

OUR MISSION STATEMENT:

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Here at Adidas we have been working towards sustainability for many years and recognise that the task ahead of us is a marathon, not a sprint. Through our partnership with COLORS we aim to prove that sustainability can be cool and something that feels familiar. We want to rewind the clocks and take you back to a time when clothing was a celebrated as an art form.

Now that you have taken a step towards a more postive future, it is our turn to take you on a journey of discovery. Opening your eyes to a new world of music, whereby artists are not boxed in by genre, but praised by colour. We believe that feeding the desire for ‘the latest thing’ can be fueled by the appreciation of art and culture. The sea of sounds is so vast, by which your journey of self-expression never has to end.

AIMING TO:

ENGAGE INSPIRE DISCOVER CHALLENGE CHANGE PERCEPTIONS Fig. 110 - PLAY Shoot One, (2018).

come and Fig. 111 - Come and PLAY, (2018).

130 Fig. 112 - Come and Get to Know, (2018).

SCAN AND ACTIVATE

COME AND GET TO KNOW

131 Fig. 114 - Label Scanning, (2018).

Step Two: Download the PLAY app onto your Iphone or Anroid device for FREE!

Step Five: The label within your garment will have registered your name and colour of your garment at the point of purchase, and will give you access to the correlating COLOR artists and playlists.

Step Three: Once downloaded, open the

Step Six: Enjoy your journey of discovery!

Step One: Search for the PLAY app within the app store.

app and press enter.

Step Four: To activate your account, find the label within your COLORS x adidas garment and scan your single-use code.

Fig. 113 - PLAY App in App Store, (2018).

To gain full access to the app, all artists and COLORS playlists, you can subcribe to the app for ÂŁ4.99 a month, which can be stopped or cancelled at any time.

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COME AND PLAY

The Discover channel introduces you to a selection of playlists, curated by colour, or by a particular artist, giving the consumer a snippet of the artists tastes and personality. Each playlist contains around 30 songs and is produced with the aim to expose you to new sounds and discover artists before they hit mainstream.

Fig. 116 - DISCOVER, (2018).

The app is segmented into three channels: Discover Up & Coming The Gigg Guide

133

Fig. 117 - EXPLORE, (2018).

Fig. 115 - Come and PLAY, (2018).

COME AND PLAY

UP AND COMING

The Up & Coming channel is artist based, rather than music like the Discover channel. COLORS associated artists each have a profile within the channel, giving the user infomation and udates.

It will also list which playlists the artist is fetured on, prompting the user to discover more playlists, and in turn more songs. This channel has been built with the purpose of exploration and will make the element of choice easier for users who associate more with an artist, as aposed to a colour.

Fig. 118- Up & Coming, (2018).

Fig. 119 - PLAY Campaign, (2018).

THE GIG GUIDE

Fig. 121 The Gig Guide 2, (2018).

The Gig Guide creates localised content for the user by asking them which city they call home or live closest to. Once a city has been selected, all music events and concerts within that area will be listed, with correlating links. This will allow the user to easily find out about gigs or where and when their favourite artist is performing next.

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135

Fig. 123 PLAY Shoot One, (2018).

Fig. 124 - PLAY Campaign, (2018).

Fig. 120 The Gig Guide, (2018).

Fig. 117- PLAY Campaign, (2018).

A GENTLE NUDGE

Push notifications will be sent out to users at targeted times to encourage them to engage with the app. Notifications will be sent to inform users of new playlists, the discovery of new artists within the Up & Coming section and will send reminders to users who have brought tickets through The Gig Guide a few days before the event.

The push notifications will always feature a call to action, prompting users to explore more aspects of the app.

136

Fig. 125 - PLAY Campaign, (2018).

137

SUSTAINABLE BLACK BOXWHAT TO CLEAR BOX

139 138

Fig. 126- Lets Move Things Forward, (2018).

AIMS ROUTE TO WHAT?

Aim: to promote the ethos ‘less is more’ through the celebration of music and culture.

140

Fig. 127 - PLAY Shoot One (2018).

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ROUTE TO WHO?

The range is aimed at creative Millennials, however due to the nature of the campaign, there may be a rippling effect on members of the wider community. Existing Adidas consumers that are brand loyal, may also buy into the collaboration.

A DAY IN THE LIFE:

THE PINK PATHFINDER

EXPLORER ARTIST ECO FIGHTER PHOTOGRAPHER

INNOVATOR

1pm: Over lunch phoebe will usually look at clothes on depop or ASOS. She listens to music whilst doing so, more than likely something from her ‘chill’ mix, which features artists like Loyle Carner and King Krule.

8 AM

4 PM

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143

1 PM

9 AM

8am: Phoebe wakes up and checks her phone – looking at everything possible, and catching up from the night before.

8.15-9am: Phoebe gets ready and eats breakfast, listening to her ‘wake up’ playlist through her phone.

The playlist features some really nice funk and soul on it that puts you in a good mood for the day.

11 am: She will post something on Snapchat or Instagram story – probably some sort of selfie with featuring her outfit.

Fig. 128 - A day in the life: The Pink Pathfinder, (2018).

7 PM

7pm:

Phoebe will watch a few episodes of Friends on Netflix and scroll through the Instagram newsfeed while doing so.

8pm: She will blare out her music whilst taking a shower, singing her heart out and reflecting on the day she has had.

9pm: By nine she climbs into bed and puts a film on Netflix.

11pm: Phoebe will check all social media platforms before finally going to sleep.

The Pink Pathfinder Age: 21 Homeland: Loughbrough Reach: 800 Big Ideas: 75/100 Technology: 30/100 Adventurous: 88/100 Creativity: 65/100 Collaboration: 30/100

A DAY IN THE LIFE:

THE COBOLT CONTEMPORIST

VISIONARY STYLIST DREAMER POSTIVE

EARLY ADOPTOR

1pm : When walking home

from Uni, she checks her social media again to catch up on anything she may have missed, mainly Instagram and Twitter.

2pm: Sophia puts on a Spotify playlist whilst completing some Uni work.

She finds playlists less distracting as she does not need to choose which songs to listen to.

9 AM

4 PM

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145

1 PM

11 AM

7 PM

9.30am :

Sophia wakes up and checks social media, scrolling through Instagram to check for any news i.e.

Kardashians; she then swaps over to Twitter, then finally looking at her Facebook notifcations.

10am : She has gets out of bed, watching Gossip Girl on Netflix, whilst getting ready for the day.

11am: Sophia attends a seminar at Uni, and discusses the antics from the night before with friends, comparing their funny snapchats and deciding what picture to post on Instagram later this evening.

Fig. 129 - A day in the life: The Cobalt Contemporist (2018).

5pm : She decides to take a break from work, and watches some more episodes of Gossip Girl.

6.30pm : Sophia then continues to watch Gossip Girl whilst cooking dinner in the kitchen.

7.30pm : As the day begins to end, she begins to wind down and looks through her Instagram and twitter again to check for any news or upates that she may have skipped through this morning.

11.30pm : Before going to sleep, she checks her social media one last time.

The Colbalt Contemporist Age: 20 Homeland: Buckinghamshire Reach: 1 Thousand Big Ideas: 68/100 Technology: 50/100 Adventurous: 38/100 Creativity: 70/100 Collaboration: 56/100

A DAY IN THE LIFE:

THE MOSS MAKER

The Moss Maker

CREATIVE MUSICIAN DRIVEN COMPASSIONATE

EARLY MAJORITY

3pm : By mid afternoon

Jordan is hard at work, listening to his new music playlist to power him through.

4pm : Jordan takes a break from work and decides to catch up with social media, particularly Snapchat.

5pm : Whilst cooking and

eating dinner, he will listen to another podcast on YouTube.

8 AM

4 PM

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147

1 PM

9 AM

7 PM

7.30am : Jordan wakes up and checks his Twitter to

see what’s going on around the world. He then checks Instagram to catch up on people’s lives.

9am : Whilst eating breakfast, he watches YouTube podcasts and makes a plan for the day ahead. Structure and planning is important to Jordan and allows him to plan his time.

1pm : In order to gain some inspiration for his new playlists, he listens to alternative R&B and researches into retro sounds he could replicate.

Fig. 130 - A day in the life: The Moss Maker, (2018).

6pm : To get himself back into the flow of work, he decides to listen to drill music on Spotify.

8pm : As the evening draws to a close,

Jordan decides to stop work for the day and watch tv shows on Netflix.

11pm : Jordan is in bed, looking over Instagram for one last time, whilst listening to the ‘sleep’ playlist on Spotify to help him doze off.

The Moss Maker Age: 23 Homeland: Hertfordshire Reach: 2 Thousand Big Ideas: 55/100 Technology: 88/100 Adventurous: 60/100 Creativity: 48/100 Collaboration: 40/100

HOW TO REACH THE CONSUMER

Social Media

EXPLORER ARTIST ECO FIGHTER PHOTOGRAPHER

INNOVATOR

The Pink Pathfinder Age: 21 Homeland: Loughbrough Reach: 800 Big Ideas: 75/100 Technology: 30/100 Adventrous: 88/100 Creativity: 65/100 Collaboration: 30/100

Word of Mouth

Social Media

Researching & Exploring

Word of Mouth

148

VISIONARY STYLIST DREAMER POSTIVE

EARLY ADOPTOR

Outdoor Advertising

Fig. 131 - How to reach the consumer, (2018).

The Moss Maker

CREATIVE MUSICIAN DRIVEN COMPASSIONATE

EARLY MAJORITY

Outdoor Advertising

Influencers

149

The Colbalt Contemporist Age: 20 Homeland: Buckinghamshire Reach: 1 Thousand Big Ideas: 68/100 Technology: 50/100 Adventrous: 38/100 Creativity: 70/100 Collaboration: 56/100

Social Media

The Moss Maker Age: 23 Homeland: Hertfordshire Reach: 2 Thousand Big Ideas: 55/100 Technology: 88/100 Adventrous: 60/100 Creativity: 48/100 Collaboration: 40/100

Influencers

Word of Mouth

Fig. 132 - AIDA, (2018).

YOU JUST HAVE TO DO THINGS YOU’RE EXCITED ABOUT, AND THEN OTHER PEOPLE WILL BE. IT MIGHT NOT BE A MILLION PEOPLE, BUT IT MIGHT BE A HUNDRED PEOPLE. I’D RATHER SPEAK TO THOSE PEOPLE. IT’S EVERYBODY’S RESPONSIBILITY TO DO WHAT THEY REALLY FEEL IS GOOD.

DIFFERENTIATE PLAY aims to challenge consumption through appreciation of art and music, encouraging creativity and passion.

REINFORCE To strengthen PLAY’s position, ensuring the brand offers something competitors do not, making sure the differentiation is clear and understood by all consumers.

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151

INFORM To make sure Millennials are aware of PLAY through several different forms of marketing, appealling to all types of consumers, putting PLAY within their reach.

PERSUADE Making it clear to Millennials that PLAY is for young creatives, to discover their passion for music. Users will be persuaded by the nature of the collaboration and the excitement of discovery.

Fig. 133 - PLAY Shoot Three, (2018).

WHAT IS THE MARKETING BIG IDEA AND AIM ?

MARKETING STRATEGY: To reinstall discovery and appreciation for music and culture, creating a new way to ‘consume’ and express your identity.

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153

OBJECTIVES: INFORM AND INSPIRE

RAISE AWARENESS

ALWAYS BE RELEVANT TO EACH PLATFORM

TELL STORIES AND MAKE THE CONSUMER FEEL LIKE AN INSIDER

CULTIVATE ADIDAS’ AND COLORS’ EXISTING CONSUMER BASE

Fig. 134 - PLAY Shoot Two, (2018).

1. Inspire, inform and engage.

2. Be innovative and mysterious.

3. Communicate brand values of ‘less is

more’, individuality, and celebrate creativity.

CHALLENGE THE CONSUMER TO BE ABOVE TRENDS

Fig. 135 - PLAY Marketing Objectives, (2018).

4. Encourage discovery, exploration and passion as new notions of ‘consumption’.

STARTING A CONVERSATION “A brand has the most valuable piece of real estate in the world: a corner of someones mind” -Hegarty, 2011.

As a visual generation who are constantly overloaded with information, PLAY must battle for the consumers attention, whilst still remaining true to their core values. Guerilla advertising is a clever way in which PLAY can enter the minds of the consumer, in a creative and unsual way.

Fig. 136 - PLAY Tube Map Plan, (2018).

Fig. 137 - PLAY Poster (2018).

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155

Following on from PLAYs marketing objective ‘To be innovative and mysterious’ it is vital that the initial brand marketing be bold yet subtle.

Mystery is essential, consumers seek to be the first to discover, in a world where by the internet allows everyone to be in the know, it is paramount to be the first. With this is mind, removing the associations with Adidas and COLORS within the initial marketing is key to creating intrigue.

With music being central to the PLAY app, it makes sense for this to be the main focus of any teaser marketing. The idea is simple, a hoax busking stunt. Placing underground COLOR associated artist’s such as James Bambu, Anna Leone and Denzel Himself performing on the corners of iconic london tube stations. The artists will be kitted out in the full PLAY clothing range and will offer passers by PLAY postcards and stickers (see Fig. 137 & 138 for examples).

The power of this lies within the logic ‘If you know, then you know’.

Fans and followers of COLORS will recognise the artists as they have recently performed within the COLORS studio. Due to the nature of the stunt, those none the wiser will also notice the performance and register the event on a subconscious level, with the hopes of them beginning to put two and two together once further advertisting is realised.

There is also an opportunity for media coverage and social media posts about the stunt, feeding into a consumer frenzy, and adding to the air of mystery, leaving those that truly want to ‘be in the know,’ the right tools to discover the true message behind the stunt. Although a stunt like this could be costly, the benefits will be huge, not only to PLAY but to the artists performing themselves, giving them raw exposure.

An example of an effective guerilla marketing campaign, to which mystery was a key driver, was the build up to the airing of Channel 4’s sci-fi drama ‘Humans’ (see appendix 2d). The campaign itsef gained over 7000 storefront interactions, which lead to several thousand viewers to take to Twitter, to voice their opinion and experience. The result of which was huge, the campaigns hashtag ‘PersonaSynthetics’ began to trend online and over 423,000 people visited the website in the first few days of the campaign. All of which were questioning what was going on, and what is Persona Synthetics?

Fig. 138 - PLAY Post Card, (2018).

TYPE

WHAT WHERE

PRESS

Create content post launch.

Get reviews in magazines.

Print Ads before launch event.

Contribute to brand awareness, and creates hype.

Positive reviews encourages consumers to discuss launch and

Getting influencers to post about the collaboration and event will create interest:

People who have a large following discussing the collaboration is a very effective form of communication.

Nat Winter Pia Kristine Cruz Charlotte Martin Mika Francis Courtney Paul Koen Prince-Fraser Brian Whittaker Erika Bowes Lucy Shenton

Bloggers have the fastest growing area of consumer generated media, people aspire to be them and respect their views, opinions and recommendations.

WORD OF MOUTH

PRINT

Getting into printed media is essential: Dazed and confused ID Brick Girl Something About Push Hype Beast

WHY

collaboration.

It is important to target my consumer group through publications that they engage with, but also not to ignore Adidas’ existing consumer base.

156

157

COME

&

After obtaining insights from consumer research, these magazines are ones they interact with. Placing adverts in them will raise brand and collaboration awareness and gain interest.

Complex

OUT DOOR

Advertising outdoors on billboards is key to raise brand awareness on a larger scale:

SOCIAL MEDIA

An essential element advertising in an advancing digital age: Facebook Instagram Twitter

Bus stops Telephone boxes

A more traditional approach to marketing and promotion.

Advert is simple, fun and engaging and will get people talking.

Actively engaging consumers through social media is vital. My consumer group is very active online and so it is vital to put the collaboration within their reach.

Fig. 139- Come and PLAY: Magazine Mock Ups, (2018).

L Y P A

THE FOUR P’S

PROMOTION : Through guerilla marketing stunts, social media campaigns, an influencer strategy, outdoor marketing, print, a lookbook and word of mouth.

PRICE : Price is dependant on the various items within the collection, ranaging from £35 - £70.

The app is free with purchase and account is activated through a single-use code f ound on the label of each garment.

I f the consumer wants access to all of the ‘COLOR’ playlists, they will subscribe to the A pp and pay £4.99 a month.

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159

Fig. 142 - PLAY Shoot Two, (2018).

Fig. 140- PLAY Shoot Three (2018).

PRODUCT : An athleisure range that is constructed entirely out of 100% ocean plastic and r egenerated Nylon.

An App that offers a music playlist service, introducing you to new artitsts and sounds, expanding your exposure to arts and culture.

PLACE : Adidas flagship stores and through the Adidas website, selling the limited editon collection. Appstore and downloadable through the Adidas website.

Fig. 141- PLAY Shoot Two, (2018).

Fig. 143 - PLAY Shoot Three, (2018).

the campaign

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161

For PLAY to successfully engage the consumer group, it is vital that a variety of communication channels are used, containing a strong and cohesive message throughout. To successfully achieve this, a visual identity and tone of voice must be established so that all forms of communication are consistent. Using bold and colourful posters across all aspects of the collaborations marketing should achieve this. The clothing would be featured in the campaign but it wouldn’t be dominant; no text, apart from the PLAY logo, would be featured in order to keep it simple and impactful. It is also important that despite knowing who the target consumer group is, not to segregate or exclude any one else who may find PLAY interesting or desirable. With this in mind, the colour used would be key. The colours would have to be to be eye-catching, but relatable and familiar. If the campaign became too ‘in your face’ this would put potential consumers off.

The aim of the campaign would be to create a hype surrounding the collaboration, getting people talking about why the two brands are collaborating. It would subtly put the message across to the consumers that a fresh and innovative partnership would be happening. It would be essential that the campaign be suggestive, as the consumer would be put off by advertisement that forces a message onto them; the consumer would be led to find the answer for themselves, feeding into the idea that they were part of an exclusive few who were ‘in the know’, privy to the true message behind the campaign and collaboration.

Despite outdoor advertising being one of the most expensive forms of brand promotion, it is a highly effective way to communicate value and identity to the consumer (H, Posner. 2011). Plastering large outdoor advertisement across large cities, a few months before the launch event should place PLAY within the consumers reach and create a conversation.

This, combined with strategic social media posts would create a clever ‘underground’ vibe surrounding the event, which has proven to be very effective with the target consumer group (see pages 76-77 & 174-175).

It would be vital to strike a healthy balance between availability and exclusivity: too ‘elitist’ could alienate potential consumers and limit the expanse of the campaign.

Fig. 144 - PLAY Campaign, (2018).

162

Fig. 145 - PLAY Campaign Wall, (2018).

163

INSTAGRAM AIMS: 1. Create PR stories 2. Create consumer intrigue 3. Encourage target consumers to buy

COMMUNICATIONS

the collection

4. Encourgae target consumers to download the app

In order for the collaboration to be successful, all elements of the communication strategy must be coherent and convey a tone of voice that the consumer can connect and relate to. Considering the huge following Adidas already has across their social media (see Fig. 145), it is important to capitalise on this and utilise their existing brand community in order to gain as much brand awareness as possible.

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165

Todor (2014) supports this, explaining the relationship between an established brand and it’s ability to launch brand extensions, “A brand’s success can be used to launch additional brands related to it. Benefits are related to the extension of the concept of ‘brand awareness’ and the new product, which is launched with reduced advertising costs”.

The fact that Adidas already has a large and valued reputation can be successfully used to market the collaboration, appealing to existing and new consumers alike.

The use of social media is extremely prominent in the consumers’ daily life, through the ‘Day in the Life’ (see Fig. 128 - 130), it has become clear that to target the consumer within their routine, seems the most logical and effective way connect with them and place PLAY within their reach.

Fig. 146 - Instagram Posts Mockup, (2018).

Fig. 145 - PLAY Campaign, (2018).

33 million

likes on Facebook *can be used for social media marketing.

ADIDAS’ EXISTING PRESENCE

25.2 million 166

167

followers on Instagram *can be used for social media marketing.

3.39 million followers on Twitter *can be used for social media marketing.

Fig. 148 - Adidas’ Existing Presence, (2018).

1.03 million

subscribers on YouTube *can be used for social media marketing.

136 thousand

168

likes on Facebook

*can be used for social media marketing.

104 thousand followers on Instagram *can be used for social media marketing.

Fig. 149 - COLORS’ Existing Presence, (2018).

169

COLORS’ EXISTING PRESENCE

INFLUENCER STRATEGY

Fig. 150 PLAY Shoot Two, (2018).

when working with influencers, brands have to let go and allow influencers control of the narrative to preserve the authenticity of what is being communicated.

ERIKA BOWES

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171

PLAY would utilise a range of influencers throughout it’s integrated marketing, in order to generate awareness and curiosity about the Adidas x COLORS collaboration.

The benefits and drawbacks of an influencer strategy have been considered through a SWOT analysis (see appendix 9.f). Research has highlighted the impact influencers have on Millennials, in an increasingly digital age, social media now has an influence on lives, styles and inspirations.

PLAY would aim to reach a variety of young creatives, recognising that innovators and early adopters would be the first to engage with the collaboration, and as a result the masses would begin to follow.

145k Followers

However, an influencer strategy would aid this, encouraging consumers falling within the majority categories of Roger’s diffusion of innovation.

PLAY would firstly utilise the mass influencer, in order to target their large following. However, sometimes they can feel unauthentic in the eyes of the consumer, and so PLAY would also make effective use of the micro-influencer with the hopes of maintaining the brands authenticity.

It is important that influencers selected embody PLAY’s core values, sharing the brand’s passion for the arts, culture and creativity.

Adidas Arkyn Artist Sukeban Magazine Co-Founder Fashion Stylist High Influence

- Priyanka Dayal, content marketing manager at Centaur Media PLC

Fig. 151- Influencer Strategy: Erika Bowes, (2018).

KOEN PRINCE-FRAZER

NATALIE WINTER

172

Fig. 152- Influencer Strategy: Koen Prince Frazer, (2018).

173

16.6k Followers

19.9K Followers

Model YouTuber Fitness Enthuaist

Photographer Street Wear Enthusiast Creative Visionary

Fig. 153- Influencer Strategy: Natalie Winter, (2018).

converse “one star” hotel

ABOUT

Converse opened it’s “One Star Hotel” for two days in Shoreditch London. The purpose of the event was to create hype about Converse’s new One Star collection of trainers, through immersive spaces designed by artists and rappers, live music performances and workshops.

USP

An exclusive two day only event, aiming to bring together “sneaker, skate, fashion and music”.

STRENGTHS

The event took place in Shoreditch, a popular and ‘edgy’ part of London. The location automatically gave the consumers a feel for the event and this fed into the hype and exicitement.

The event strongly relied on word of mouth, which added to the exclusivity of the event, making the consumer feel ‘in the know’ about a cool event that not everyone knew about.

The rooms had a strong ‘Instagramable’ aesthetic which caused the event to have a huge online traction during and afterwards, which led to vast consumer engagement and further talk about the event and the lauch of Converses new collection.

The use of live music offered entertainment and contributed to the ‘cool’ atmosphere.

Underground rappers and musicians contributing to the space also evoked an elitist ambience, as well as exposing them to a wider audience.

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The use of an ‘Insta-famous’ and basement approved concierge was a clever marketing ploy, also creating an ‘if you know, you know’ vibe amongst consumers and those big within the skate and street wear community.

TAKES

The interior of the event played into the consumers’ love of beautiful things and lead them to post the space all over their social media, which in turn promoted the event and collection further through word of mouth. This is something that may seem obvious but would be essential to the success of the launch of PLAY. The interior sets the tone of a brand and begins to give the consumer a feel for who the brand is and what they stand for. For PLAY to be well recieved and leave a positive impact on potential consumers, considering how the launch space will look and feel is vital.

Consumers love to feel ‘in the know’ and that they are special; creating an ‘exclusive’ event feeds into this desire and makes a brand or event gain popularity. Therefore the marketing behind PLAY must be subtle and clever: mystery drives interest and curiosity. Not spoon feeding information about the brand to the consumer will attract PLAY’s target consumer due to the hush hush nature and hunt for the answers not everyone will know.

The use of underground musicians and live music also contributes to the consumer’s need for the ‘new’ and exciting and making them feel as if they are the first to know. Due to the nature of the PLAY app, giving the consumers a little taste of what is in store for them is key, and of course makes for an enjoyable event.

Fig. 154 - Converse One Star Hotel (2018).

Fig. 156 - PLAY Clothing Tags, (2018).

the launch How the collaboration presents itself to start with is crucial, and the launch event would be the first place for consumers to get a true feel for the collaboration, following on from the simple, yet elusive campaign imagery. The event would be a chance for like-minded individuals with similar interests and passions to network and connect with each other, and to begin to connect with the values of the COLORS x Adidas collaboration.

Fig. 155 - Launch Event Red Room Stage, (2018).

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177

The event would be held in Brixton, London, due to its up and coming creative nature, and urban surroundings. The event would be held in an open warehouse, divided into five separate rooms: each room painted and furnished in a different colour, correlating to some of the main colours featured within the clothing collection (see Fig. 158). The five colours would be Red, Blue ,Yellow, Purple and Green, Using the primary colours for the launch would create a sense of familiarity, as well as evoke emotions consumers would be able to relate to, for example, yellow evokes a sense of joy. However, other colours, as well as these, would be used in the actual clothing collection and would be available to buy online.

Each room would serve as an immersive environment, using lights, sounds and modern art installations. The nature of the rooms would also attract visitors to take pictures and post them onto their social media, acting as a form of online word of mouth, attracting more consumers to investigate the collaboration. To further encourage consumers to post about the event on their social media, a photographer would go around the event taking their picture, allowing them to have a physical memory of the event and something to take away with them (see Fig, 157 for an example).

Underground music artists would perform at the event, in the corresponding coloured room to which they associate their music to.

This would create entertainment for the consumers and expose them to new artists, also giving them a taste of what the app has to offer.

Fig. 157 - Launch Event Polaroids, (2018).

Fig. 158 - Launch Event Room Plan, (2018).

Fig. 159 - PLAY Launch Party Box, (2018).

A variety of influencers and industry would also be invited to the launch event. This would gain a huge online traction and consumer engagement amongst their followers. This, in turn, should spread the message of the collaboration to a wider consumer demographic: even though they may not be the target consumer group, increased brand awareness is always important.

There would also be talks explaining how the electronic labels within the collection work, i.e. that upon purchase the consumer’s data would be registered and stored within the label; when the label is scanned in order to activate the PLAY app, the consumer’s data would be loaded to create a profile. Through the use of algorithms, the stored data would be able to offer a more personalised service within the app, logging favourite artists and creating playlists accordingly.

Upon exit of the event, all guests would be presented with a PLAY Box (see Fig. 159). The box serves as a ‘party bag’ and a thank you gesture from PLAY, The box would contain stickers, postcards, a PLAY app leaflet (see Fig. 108-127), and a copy of the PLAY lookbook, as well as some complimentary sweets. The party bag would serve as a physical reminder of the event, with the potential consumers using, displaying or sharing their stickers and postcards. These, together with the look book and app information, would stay in their possession, long after the event. As such, they would continue to be a talking point amoungst themselves, friend and family. Thus adding weight to the campaign.

Attendees at the launch would be left with a feel good factor, that they were there at the start of something new, fresh and exiciting. The buzz would be infectious, creating positive hype around the brand and PLAY would, finally be around to stay.

COMMUNICATION PLAN

178

Fig. 160 - The Communication Timeline, (2018).

179

what is next?

Before:

To create buzz, hype and create content. Get people talking – word of mouth is one of the most effective forms, marketing and spreading brand awareness via social media, print, look books and outdoor marketing.

According to Todor (2014), a brand creates strong positive consumer attitudes towards their products through the experience the consumer has with that said product. This suggests that “samples are more effective than advertising. ‘Brand awareness’ leads to the perception of quality defining attributes and finally to brand loyalty”. With this notion in mind, the relationship the consumer builds with the COLORS x Adidas app is vital. Giving a free membership through a single-use activation code within the collection itself is a great way to expose the consumer to the service through the incentive that it is ‘free’ and offers to expose them to new music, on the go and at the click of a button.

The hope is, that the consumer will have a positive experience with the app and feel limited by the free offerings; e.g if you buy a red tracksuit, you gain access to all artists and playlists that associate with the colour red.

In order for the consumer to then gain full access to the app, including artists and playlists of any and every ‘colour’, they can subscribe to the app, on a monthly basis of £4.99, which can be cancelled at any time.

Either this, or they would feel drawn to buy into another colour and it’s benefits.

In order for consumers to be enticed further by the app, social media advertisements could be posted after the launch event to remind them of it’s perks. Consumers who actively use the app, would receive personalised marketing, informing them of exciting new artists and playlists that the app has in the works. The combination of prompts, reminders, the use of personalisation, and the consumer’s individual experience with the app, should ideally drive the consumer to subscribe per month.

During:

The launch event would be full of vibrant creatives and influencers who would share their takeaways with their friends and followers. Live music at the event from underground artists would get people talking and excited about the prospect of the app.

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181

The Instagramable interior and immersive experience would gain traction online and get people discussing the collaboration.

After:

Keeping consumers informed after the launch is vital: upon any purchase they would be presented with a visual booklet guiding them through the app and its activation. They would also receive a look book featuring the entire collection. Through the use of social media, the app would be promoted further, explaining to consumers that they could subscribe to access all playlists and artists within the COLORS x adidas collaboration.

How to measure success:

With word of mouth being one of the main sources of promotion, it can be hard to measure and capture data on. However, social media is a clever way to measure consumer engagement - algorithms can also be applied to help track the levels of engagement. This, combined with app downloads and activity, could be used to calculate the success of the collaboration.

LAST WORDS

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Fig. 161 - PLAY Shoot Three, (2018).

183

To conclude, we cannot continue to consume at the rate we are, and to top this we are living in an era of uncertainty. PLAY, brought to you via an COLORS x Adidas collaboration, aims to challenge the perceptions surrounding sustainablity, making it something desirable and exciting. Through the celebration of creativity and music, PLAY hopes to influence a new wave of ‘consumption’ through appreciation, passion and self-expression.

SUSTAINABLE BLACK BOXWHAT TO CLEAR BOX

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185

Fig. 162 - PLAY Shoot Two, (2018).

ILLUSTRATIONS Front Cover - Turner, S. (2018). PLAY Campaign. Own Image.

Fig.1 - Turner, S. (2018). PLAY Shoot One. Own Image.

Fig. 2 - Turner, S. (2018). PLAY Shoot One. Own Image.

Fig. 3 - Taylor, A. & Turner, S. (2018). PLAY Shoot Three. Own Image.

Fig. 4 - Peter, H. (Unknown). Jablonczky Monika for KEPP SHOWROOM x Vans. Available at: https://www.pinterest.co.uk/ pin/505810601894084279/ [Accessed 26 March 2018].

Fig. 5 - Turner, S. (2018). Dream Land. Own Image.

Fig. 6 - Unknown. (Unknown). Givenchy Bag. Available at: https://www. pinterest.co.uk/pin/505810601894060808/ [Accessed 26 March 2018].

Fig. 7 - Gerber, N. (2013). Thank You, have a nice day. Available at: http://www.arcademi.com/nadine-gerber/ [Accessed 26 March 2018].

Fig. 8 - Zara, (2018). ZARA Join Life. Available at: https://www.zara. com/uk/en/sustainability-l1449.html?v1=967743 [Accessed 20 March 2018].

Fig. 9 - Turner, S. (2018). Sustainable VS Fast Fashion Moodboard. Own Image.

Fig. 10 - Weir, H. (2017). Stella McCartney Fall 2017. Available at: http://wwd.com/fashion-news/fashion-scoops/stella-mccartneyshoots-her-fall-2017-campaign-in-a-landfill-10948333/ [Accessed 26 March 2018].

Fig. 11 - Taylor, A. & Turner, S. (2018). PLAY Shoot Three. Own Image.

Fig. 12 - Turner, S. (2017). Leaf It Indoors. Own Image.

Fig. 13 - Edelkoort, L. (2015). Fashion Manifesto. Available at: http:// www.edelkoort.com/2015/09/anti_fashion-manifesto/ [Accessed 26 May 2017].

Fig. 14- Fig. 9 - Rogov, S. (2014). Revision: Dress Shirts. Available at: http://www.wonderzine.com/wonderzine/style/shoots/198601reviziya-platya-rubashki [Accessed 26 March 2018].

Fig. 15 - ANON. (2017). Christina Nadin. Available at: http://www. nevsmodels.co.uk/models/christina-nadin [Accessed 26 May 2017].

Fig. 16 - Leotie Lovely. (2016). True Cost Meme. Available at: http://www.leotielovely.com/2016/05/gonegreen2016-day-119sustainable-meme.html [Accessed 22 March 2018].

Fig. 17 – Spangler, T. (2018). 201. Available at: http://tylerspangler. com/post/171034050645/art-copyright-tyler [01 April 2018].

Fig. 18 - Vetements, (2018). Vetements Harrods Window Display. Own Image.

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Fig. 37 - Ader Error, (2017). But near things missed – ‘a’ striped socks. Available at: https://i.pinimg.com/originals/a6/ee/bd/ a6eebd46b734fec5eeef77e249cdfbfb.jpg [Accessed 26 March 2018].

Fig. 19 - Unknown. (2015). Okay, So I have nothing to wear. Available at: https://www.shughal.com/11-secret-things-women-wanthusbands/ [10 April 2018].

Fig. 38 - Spangler, T. (2018). 281. Available at: http://tylerspangler. com/post/171770210004/art-copyright-tyler-spangler-shop [Accessed 20 April 2018].

Fig. 20 - Sprinks, R. (2011). Vivienne Westwood. Available at: http:// www.theecologist.org/green_green_living/clothing/1008515/ not_charity_but_work_vivienne_westwoods_ethical_fashion_africa_ collection_goes_on_sale.html [Accessed 26 May 2017]

Fig. 39 - Turner, S. (2018). Zara Join Life Moodboard. Own Image.

Fig. 40 - Turner, S. (2018). Zara Padlet Results. Own Image.

Fig. 21 - Turner, S. (2018). The Slow Movement Timeline. Own Image.

Fig. 22 - Ader Error, (2015). Take Out Bag. Available at: http://adererror. com/product/shop_list.html?cate_no=65 [Accessed 26 March 2018].

Fig. 41 - Unknown. (2010). Unknown. Available at: https://www. pinterest.co.uk/pin/505810601892563199/ [Accessed 26 March 2018].

Fig. 23 - ANON. (Unknown). The Purist. Available at: https:// uk.pinterest.com/pin/505810601889888577/ [Accessed 25 May 2017].

Fig. 42 – Korfman, K. (2015). SPORT. Available at: http://bantmag.com/ web-galeri-katrin-korfmann/ [Accessed 17 April 2018].

Fig. 24 - Mango. (2017). MANGO Collection 2017. Available at : http:// www.whowhatwear.co.uk/mango-sustainable-collection [Accessed 26 May 2017].

Fig. 43 - Cooper, M. (2015). Katiusha Feofanova. Available at: https:// www.instagram.com/p/_dF_bhyuIO/ [Accessed 15 April 2018].

Fig. 44 - Turner, S. (2018) 3D Printed Fashion Moodboard. Own Image.

Fig. 25 - Spangler, T. (2018). 283. Available at: http://tylerspangler. com/post/171034050645/art-copyright-tyler [01 April 2018].

Fig. 45 - Hottary, Y. (2011). Caprihole by Iris Van Herpen. Available at: https://www.yatzer.com/Capriole-by-Iris-Van-Herpen [Accessed 02 December 2017].

Fig. 26 - Turner, S. (2018). Sustainable Fashion Infographic. Own Image.

Fig. 27 - Piana, J. (2015). David Attenborough Meme. Available at: http://ooksaidthelibrarian.tumblr.com/post/85819230268/ joannathepiana-katherine-afixwithsontarans [Accessed 30 March 2018].

Fig. 28 - Nunn, J (2015). I am Disappointed In You. Available at: https:// imgur.com/gallery/REQtNhs [Accessed 20 March 2018].

Fig. 29 - Turner, S. (2018). Blue Planet II Tweets. Own Image.

Fig. 30 - Turner, S. (2018). Plastic Problem Facebook Status. Own Image.

Fig. 31 - Callaghan, L. (2018). It’s Nice That Banner. Available at: https://twitter.com/lauramcallaghan/status/971700565393756160 [Accessed 26 March 2018].

Fig. 32 - Unknown, (2015). Milk and Thread. Available at: http:// milkandthread.tumblr.com/post/111323277339 [Accessed 26 March 2018].

Fig. 33 - Brink, B. (2015). Spring Cleaning. Available at: http://www. dazeddigital.com/photography/gallery/19819/0/spring-cleaning [Accessed 10 April 2018].

Fig. 34 - Paloma Wool, (2015). Collection No.4. Available at: http:// www.missmoss.co.za/2015/05/12/paloma-wool-collection-no-4/ [Accessed 15 April 2018].

Fig. 35 - Taylor, A. & Turner, S. (2018). PLAY Shoot Three. Own Image.

Fig. 36 - Callaghan, L. (2016). Pose as if someone is watching:

186

187

Fig. 46 – Schor, C. (2017). Bella Hadid for Vogue China. Available at: https://fashioneditorials.com/vogue-china-april-2017-bella-hadid-bycollier-schorr/ [Accessed 10 April 2018].

Fig. 47 - Aquafil, (2017). Econyl Fibre. Available at: http://www. innovationintextiles.com/adidas-develops-new-swim-range-usingregenerated-ocean-waste/ [Accessed 26 March 2018].

Fig. 48 - Adidas, (2018). Parley for The Oceans Collection. Available at: https://www.proswimwear.co.uk/brands/adidas/adidas-parley-for-theoceans.html [Accessed 26 March 2018].

Fig. 49 - Adidas, (2017). Black and White Tracksuit.

Available at: https://i.pinimg.com/originals/9f/be/ b4/9fbeb46593fb3278d1b1ab2df2cfbd68.jpg [Accessed 10 April 2018].

Fig. 50 - Getty Images, (2018) Hailey Baldwin in Adidas. Available at: https://www.vogue.com/article/hailey-baldwin-adidas-originalskendall-jenner-new-york-city-celebrity-street-style [Accessed 27 March 2018].

Fig. 56 - Turner, S. (2018). Athleisure Moodboard Two. Own Image.

Fig. 57 - Turner, s. (2018). Athleisure Timeline. Own Image.

Fig. 58 - COLORS, (2018). Jerome Thomas. Available at: https://www. facebook.com/colorsxstudios/photos/a.527493610761163.10737 41828.514998465344011/921716724672181/?type=3&theater [Accessed 26 March 2018].

Fig. 59 - COLORS, (2018). Billie Ellish. Available at: https://www. facebook.com/colorsxstudios/photos/a.527493610761163.10737 41828.514998465344011/927427260767794/?type=3&theater [Accessed 28 March 2018].

Fig. 60 - Apple Music, (2016). Alexander Wang x Apple Music. Available at: https://www.vogue.com/article/alexander-wang-apple-musicfashion-playlists [Accessed 26 March 2018].

Fig. 61 - Turner, S. (2018). PLAY Campaign. Own Image.

Fig. 62 - Turner, S. (2018). PLAY Campaign. Own Image.

Fig. 63 - Taylor, A. & Turner, S. (2018). PLAY Shoot Three. Own Image.

Fig. 64 - Turner, S. (2018). PLAY Shoot One. Own Image.

Fig. 65 - Turner, S. (2018). Adidas Brand Card. Own Image.

Fig. 66 - Turner, S. (2018). COLORS Brand Card. Own Image.

Fig. 67 - Vignaux, D. (2016). Gazelle Collage for Adidas. Available at: http://www.clikclk.fr/2016/08/04/damien-vignaux/ [Accessed 26 March 2018].

Fig. 68 - Turner, S. (2018). Adidas on Sustainability Moodboard. Own Image.

Fig. 69 - Adidas, (2017). Adidas x Parley for The Oceans. Available at: http://inbedwithmaradona.com/gear/2016/11/4/adidas-x-parley-forthe-oceans [Accessed 26 March 2018].

Fig. 70 – Granda, V. (2017). Adidas x Stella McCartney FW17. Available at: https://kith.com/blogs/lookbooks-women/adidas-by-stellamccartney-fall-winter-2017-editorial [Accessed 01 April 2018].

Fig. 71 - Collins, P. (2016). Adidas x Urban Outfitters. Available at: https://www.refinery29.uk/2016/08/118832/instagram-adidasurban-outfitters-petra-collins [Accessed 26 March 2018].

Fig. 72 - Collins, P. (2016). Adidas x Urban Outfitters. Available at: https://www.refinery29.uk/2016/08/118832/instagram-adidasurban-outfitters-petra-collins [Accessed 26 March 2018].

Fig. 51 - Taylor, A. & Turner, S. (2018). PLAY Shoot Three, Own Image.

Fig. 73 - Turner, S. (2018). PLAY Shoot One. Own Image.

Fig. 52 Turner, S. (2018). PLAY Shoot One. Own Image.

Fig. 74 - Turner, S. (2018). PLAY Moodboard. Own Image.

Fig. 53 - Turner, S. (2018). Are you for real? Own Image.

Fig. 75 - Turner, S. (2018). The HUES. Own Image.

Fig. 54 - Turner, S. (2018). PLAY Shoot Two. Own Image.

Fig. 76 - Turner, S. (2018). PLAY Shoot One. Own Image.

Fig. 55 - Turner, S. (2018). Athleisure Moodboard One. Own Image.

Fig. 77 - Turner, S. (2018). The Pink Pathfinder Facts, Own Image.

Fig. 78 - Turner, S. (2018). The Pink Pathfinder. Own Image.

Fig. 79 - Turner, S. (2018). The Pink Pathfinder Moodboard. Own Image.

Fig. 80 - Turner, S. (2018). The Pink Pathfinder Brand Card. Own Image.

Fig. 81 - Turner, S. (2018). The Cobalt Contemporist. Own Image.

Fig. 82 - Turner, S. (2018). The Cobalt Contemporist Facts. Own Image.

Fig. 83 - Turner, S. (2018). The Cobalt Contemporist Moodboard. Own Image.

Fig. 84 - Turner, S. (2018). The Cobalt Contemporist Brand Card. Own Image.

Fig. 85 - Turner, S. (2018). The Moss Maker Facts. Own Image.

Fig. 86 - Turner, S. (2018). The Moss Maker. Own Image.

Fig. 87 - Turner, S. (2018). The Moss Maker Moodboard. Own Image.

Fig. 88 - Turner, S. (2018). The Moss Maker Brand Card. Own Image.

Fig. 89 - Turner, S. (2018). The HUES. Own Image.

Fig. 90 - Turner, S. (2018). Brand Perceptual Map. Own Image.

Fig. 91 - Turner, S. (2018). PLAY Shoot One. Own Image.

Fig. 92 - Turner, S. (2018). Creative Concept Visuals Moodboard. Own Image.

Fig. 103 - Sterling, L (Unknown). Big Lips. Available at: https://i.pinimg.com/originals/ca/37/48/ ca37485012503c3037f7c044355b8d4c.jpg [Accessed 10 March 2018].

Image.

Fig. 104 - Leonardo, J, Collins, P & Adidas. (2018). Original is never finished. Available at: https://www.campaignlive.co.uk/article/ adidas-originals-original-finished-2018-johannes-leonardo/1455566 [Accessed 15 February 2018].

Fig. 130 - Turner, S. (2018). A day in the life: The Moss Maker. Own Image.

Fig. 131 - Turner, S. (2018). How to reach the consumer. Own Image.

Fig. 159 – Turner, S. (2018) PLAY Launch Party Box. Own Image.

Fig. 105 - Wirijia, E. (2018). MUSE. Available at: http://elizabethwirija. com/#/muse/ [Accessed 25 March 2018].

Fig. 132 - Turner, S. (2018). AIDA. Own Image.

Fig. 160 - Turner, S. (2018). Communication Timeline. Own Image.

Fig. 133 - Taylor, A. & Turner, S. (2018). PLAY Shoot Three. Own Image.

Fig. 161 - Taylor, A. & Turner, S. (2018). PLAY Shoot Three. Own Image.

Fig. 134 - Turner, S. (2018). PLAY Shoot Two. Own Image.

Fig. 162 - Turner, S. (2018). PLAY Shoot Two. Own Image.

Fig. 106 - Formichetti, N. (2018). Diesel Campaign. Available at: http:// www.adweek.com/creativity/diesel-awkwardly-stuffs-every-onlineobsession-new-global-ad-campaign-169067/ [Accessed 30 March 2018].

Fig. 136 - Turner, S. (2018). PLAY Tube Map Plan. Own Image.

Fig. 108 - Turner, S. (2018). THANK YOU. Own Image.

Fig. 138 - Turner, S. (2018). PLAY Post Card. Own Image.

Fig. 109 - Turner, S. (2018). PLAY Campaign. Own Image.

Fig. 139 - Turner, S. (2018). Come and PLAY: Magazine Mock Ups. Own Image.

Fig. 137 - Turner, S. (2018). PLAY Poster. Own Image.

Fig. 110 - Turner, S. (2018). PLAY Shoot One. Own Image.

Fig. 140 - Taylor, A. & Turner, S. (2018). PLAY Shoot Three. Own Image.

Fig. 111 - Turner, S. (2018). Come and PLAY. Own Image.

Fig. 112 - Turner, S. (2018). Come and Get to Know. Own Image.

Fig. 113 - Turner, S. (2018). PLAY App in App Store. Own Image.

Fig. 114 - Turner, S. (2018). Label Scanning. Own Image.

Fig. 94 - Turner, S. (2018). PLAY Brand Values. Own Image.

Fig. 115 - Turner, S. (2018). Come and PLAY. Own Image.

Fig. 95 - Turner, S. (2018). PLAY Shoot One. Own Image.

Fig. 116 - Turner, S. (2018). DISCOVER. Own Image.

Fig. 96 - Turner, S. (2018). PLAY Tone of Voice. Own Image.

Fig. 117 - Turner, S. (2018). EXPLORE. Own Image.

Fig. 97 - Turner, S. (2018). PLAY Shoot One. Own Image.

Fig. 118 - Turner, S. (2018). Up & Coming. Own Image.

Fig. 98 - Turner, S. (2018). The Anatomy of PLAY. Own Image.

Fig. 119 - Turner, S. (2018). PLAY Campaign, Own Image.

Fig. 99 - Berman, J. (2018). Golf le Fleur Advert. Available at: http:// www.coupdemainmagazine.com/converse/13475 [Accessed 10 March 2018].

Fig. 120 - Turner, S. (2018). PLAY Campaign, Own Image.

Fig. 100 – The Impossible Project, (2018). The Impossible Project Branding. Available at: https://gallery.the-impossible-project.com/ [Accessed 20 March 2018].

Fig. 122 - Turner, S. (2018). The Gig Guide 2. Own Image.

Fig. 102 - Griopus, W. (1919). Bauhaus. Available at: https://www. widewalls.ch/bauhaus-manifesto-key-points/ [Accessed 15 March 2018].

Fig. 135 - Turner, S. (2018). PLAY Marketing Objectives. Own Image.

Fig. 107 - Sprangler, T. (2018). 96. Available at: http://tylerspangler. com/post/169968888900/art-copyright-tyler-spangler-shop [Accessed 15 March 2018].

Fig. 93 - Turner, S. (2018). PLAY Design Recipe. Own Image.

Fig. 101 - Reid, J. (1997) The Sex Pistols: ‘Fuck Forever’. Available at: http://www.artnet.com/artists/jamie-reid/sex-pistols-fuck-foreverIrB6m44wGti7tJKq4ZhjLw2 [Accessed 15 April 2018].

Fig. 129 - Turner, S. (2018). A day in the life: The Cobalt Contemporist.

Own Image.

Fig. 121 - Turner, S. (2018). The Gig Guide. Own Image.

Fig. 123 - Turner, S. (2018). PLAY Shoot One. Own Image.

Fig. 124 - Turner, S. (2018). A Gentle Nudge. Own Image.

Fig, 125 - Turner, S. (2018). PLAY Campaign. Own Image.

Fig. 126 - Turner, S. (2018). Lets Move Things Forward. Own Image.

Fig. 127 - Turner, S. (2018). PLAY Shoot One. Own Image.

Fig. 128 - Turner, S. (2018). A day in the life: The Pink Pathfinder. Own

Fig. 141 - Turner, S. (2018). PLAY Shoot Two. Own Image.

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Fig. 142 - Turner, S. (2018). PLAY Shoot Two. Own Image.

Fig. 143 - Taylor, A. & Turner, S. (2018). PLAY Shoot Three. Own Image.

Fig. 144 - Turner, S. (2018). PLAY Campaign. Own Image.

Fig. 145 - Turner, S. (2018). PLAY Campaign Wall. Own Image.

Fig. 146 - Turner, S. (2018). PLAY Campaign. Own Image.

Fig. 147 - Turner, S. (2018). Instagram Posts Mock Up. Own Image.

Fig. 148 - Turner, S. (2018). Adidas’ Existing Presence. Own Image.

Fig. 149 - Turner, S. (2018). COLORS’ Existing Presence. Own Image.

Fig. 150 - Turner, S. (2018). PLAY Shoot Two. Own Image.

Fig. 151 - Turner, S. (2018). Influencer Strategy: Erika Bowes. Own Image.

Fig. 152 - Turner, S. (2018). Influencer Strategy: Koen Prince Frazer.

Own Image.

Fig. 153 - Turner, S. (2018). Influencer Strategy: Natalie Winter. Own Image.

Fig. 154 - Converse, (2018). One Star Hotel. Available at: https:// onestarhotel.london/ [Accessed 26 March 2018].

Fig. 155 - Smith, R & Turner, S. (2018). Launch Event Red Room. Own Image.

Fig. 156 - Turner, S. (2018). PLAY Clothes Tags. Own Image.

Fig. 157 - Smith, R & Turner, S. (2018). Launch Event Floor Plan. Own Image.

Fig. 158 - Turner, S. (2018) Launch Event Polaroids. Own Image.

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