Beauty by tara francis-smith

CHANGING THE NOTIONS OF BEAUTY

TARA FRANCIS-SMITH COMMUNICATION AND MESSAGE FASH 20031

Fig 2 Kate Moss, 2013

CONTENTS What is Fashion Communication and Promotion? Is it too late to eradicate society’s preconceived notions of beauty?...............3 The Damaging Effects of Mass Media on Young Girls Research...................................................5 The Now and The Then Research...................................................7 Brands Leading the Way Towards More Diversity in Advertising Dove celebrates diversity in their fight for ‘Real Beauty’...............................9 Brands Leading the Way Towards More Diversity in Advertising Luxury brand promotes realistic images in campaign.................................11 The Future of Digital Technology Hyundai Motor Group take projection mapping one step beyond........................13 Change for the Better Projects not Campaigns?..........................15 A Question of Responsibility? Why we do the things we do...................17 Alice Halford Why change now?...................................19 Is there a Future for Diversity Conclusion.................... .........................21 References..................................................23 Bibliography.................................................25 Illustrations.................................................27 Appendix....................................................29 Fig 3 Dapper Dan, 2012

WHAT IS FASHION COMMUNICATION AND PROMOTION?

IS IT TOO LATE TO ERADICATE SOCIETY’S PRECONCEIVED NOTIONS OF BEAUTY?

ashion communication and promotion is a core component in our consumer culture. It’s fast-paced, forward-thinking communication channels have the ability to shape and develop consumer’s values, beliefs and identity, playing a significant role in the projection of societal based standards onto ourselves as well as others. The mass representation of women in advertising is causing the female population to ‘internalise consumer culture ideals of beauty no matter how unhealthy and unrealistic those ideals, and the pursuit of them, might be’ (Dittmar, 2008:2). Society’s distorted notion that beauty is synonymous with perfection is contributing to the expansion of problems surrounding lack of self-esteem, personal acceptance and self-satisfaction. In an ever growing digital age where innovation is at the forefront of communication and promotion, fashion brands have a responsibility to see the detrimental effects mass media is causing our generation and use their power in the industry to communicate more diverse and realistic body images. Diversity has become one of the most often used words of our time- and a word almost never defined’ (Sowell, 2009:69). It is something that has been repeatedly scrutinised in the fashion industry for years and is still an ongoing problem among our popular culture today, with only a small minority of brands notably fighting against the morphed ideals of stereotypical perfection advertisements portray (Fig 4). The primary aim of advertising is to facilitate product sales, however the messages portrayed carry with them much broader consequences and serve as a ‘powerful representation of the industry’s physical ideals and beauty standards’ (Okwodu, 2013: online), that we as consumers feel obliged to conform to.

Estimates suggest that the exposure to advertising ‘has hit an all-time high in developed consumer societies, where individuals see as many as 3000 a day’ (Brower and Leon in Dittmar, 2008:2). With this in mind, the unimaginable and unrealistic standards of beauty that are acting as a source for comparison and aspiration among female consumers, needs to be addressed by brands and industry professionals to combat this unhealthy perception of beauty.

e are constantly being bombarded with superficial images of flawless, young, thin, and predominantly white models that embody the physique portrayed in figure 4. These images convey an ideal which is ultimately unattainable and force women to continually hold themselves against the distorted ‘standard set by the nonreality of popular media’ (Kite, 2011: online). These notions become unquestioned cultural norms in our minds even though they depict a ‘serious under representation of diverse women’ (Kite, 2011: online) and generally lead to ‘lower self-esteem and higher levels of disordered eating’ among girls and young women (Harrison and Hefner, 2006:160). In an industry where the mass media is a ‘potent transmitter and reinforcer of sociocultural body ideals’ (Levine and Harrison in Dittmar, 2008:124), it is an important responsibility for fashion brands to communicate more diverse images of beauty and eradicate the preconceived notions we associate with being perfect.

Fig 4 Kate Moss , 2013

“No one wants to see curvy women. You’ve got fat mothers with their bags of chips sitting in front of the television and saying thin models are ugly. Fashion is about dreams and illusions” -Karl Lagerfeld

Fig 5 Skinny Minnie, 2013

THE DAMAGING EFFECTS OF MASS MEDIA ON YOUNG GIRLS

RESEARCH

onducting primary research into the effects these images can have on young girls presented damaging results, representing how fashion media is teaching females early on that being stick thin is desirable. When presented with the image in figure 5, a focus group of ten pre-teens aged eleven to twelve felt negatively about their own appearance and body image, referring to the flawless woman in the advert as ‘beautiful’ and ‘skinny’. These types of images have detrimental effects on girls as young as eleven who are, as a result, viewing themselves as ‘fat’ and ‘not pretty enough’. When asked how it makes them feel to see these types of women in the media on a daily basis, nine out of ten girls expressed feelings of insecurity and pressure to be more ‘pretty and slim’ (Green, 2013 See app: pg 30). Exploring these ideas further with a larger group of participants allows us to evaluate just how damaging the content in advertising can be. A primary research survey completed by Year 7 girls produced results similar to the focus group. Out of 30 young girls, when asked how happy they were with their appearance, a shocking 73% answered negatively (See app: pg 32), demonstrating the idea that weight and beauty are significant vulnerability factors for negative effects when exposed to unrealistic body ideals (Dittmar, 2008). At a young age females begin to obsessively internalise the conventional notions of beauty we are exposed to on a daily basis by fashion advertising and feel obliged to conform to society’s distorted standards. The survey results demonstrate the strong correlation between body dissatisfaction when linked with high exposure to media with over half of the participants watching 3-4 hours of television daily (see app: pg 32).

“THE CURRENT MEDIA IDEAL OF THINNESS IS ACHIEVABLE BY LESS THAN 5% OF THE FEMALE POPULATION...” -Vox Rationes

THE NOW AND THE THEN RESEARCH

bservational research into the gross mass representation of beauty ideals in fashion advertising, supplied results that further communicate a need for attitude change to transpire. Looking through the advertisements in Vogue Italia, issue 31 September 1990 in comparison to the February 2012 issue, there is no two women that look the same. Still just as beautiful, the portrayal of women is culturally and physically more diverse embodying various size and age differences and positively communicating more attainable, healthy beauty ideals (Fig 6). When showing the adverts to three female consumers to gauge their opinions on how beauty was depicted in the past, there was a general consensus that they felt ‘less pressure looking at a diverse range of sizes’ and weren’t ‘constantly comparing’ (Savage, 2014 See app: pg 34) themselves to the ‘current media ideal of thinness, that is now achievable by less than 5% of the female population’ (Rationis, 2014: online).

Fig 6 Vogue September 1990, 2014

Fig 7 Vogue February 2012, 2014

Fig 8 Dove

Fig 9 Dove Pro-Age Women, 2007

BRANDS LEADING THE WAY TOWARDS MORE DIVERSITY IN ADVERTISING DOVE CELEBRATES DIVERSITY IN THEIR FIGHT FOR ‘REAL BEAUTY’

espite criticism of the use of unrealistic women in advertising, London based Premier agency argue that ‘agencies, advertisers and magazines are only responding to consumer demand’ and that ‘these models sell the products’ (Gillan, 2000: online). How do we know that this is the consumer demand if all we have been used to over years of advertising are these perpetuated ideals of beauty? Martin Lindstrom questions the drive behind consumer demand, arguing that ‘in our increasingly user generated world… our desire for authenticity’ is growing and this will lead to an increased number of marketers using ‘charismatic yet ordinary people with real stories’ (Lindstrom, 2010:189). High street brand Dove are a testament to the representation of real women in their campaign for ‘Real Beauty’ (Fig 9), showing themselves as one of the few brands committed to making a difference and using their power in the industry to communicate more diverse cultural ideologies of body image. There attempts to ‘redefine advertising standards’ (Brinded, 2013: online) by the portrayal of female beauty in a more authentic and attainable way, have helped encourage a change in ‘women’s well-being, happiness and self-esteem’ (Etcoff et al, 2004: online). Using ‘real’ women in their campaigns in replace of perfectly, airbrushed supermodels, makes us as consumers believe in the hope of brands endorsing healthier, more diverse notions of beauty and has shown their willingness as a brand to make a change.

ith only 2% of women considering themselves beautiful (Etcoff et al, 2004: online), it is detrimentally important for fashion brands to understand that ‘higher body dissatisfaction, weight concerns and problematic eating behaviour is linked specifically’ to media exposure ‘that endorses and glamorises thinness’ (Borenkowski, Robinson and Killen in Dittmar, 2008:124). Dove has made it an active goal of theirs to try and change consumer attitudes, building positive levels of self-esteem and inspiring girls and women to be comfortable in the skin they’re in. Their ‘Real Beauty Sketches’ campaign conducts ‘a compelling social experiment’ that explores ‘how women view their own beauty in contrast to what others see’ (Cliffs, 2013: online). A morphed projection of their heightened insecurities combined with low self-esteem and acceptance paints an image of themselves that others don’t see. The film ‘became the most watched video of all time’ (Kelly, 2013: online) and ‘the most shared video in over a year’ striking an ‘emotional chord with millions of women who recognise that they are their own worst beauty critic’ (Cliffs, 2013: online). The campaign has sent inspirational messages to consumers all over the world, helping women reassess how they view themselves and setting the standard for how beauty and identity should be communicated in the future.

BRANDS LEADING THE WAY TOWARDS MORE DIVERSITY IN ADVERTISING

LUXURY BRAND PROMOTES REALISTIC IMAGES IN CAMPAIGN

hile many adverts that are seen to be promoting ideals of ‘real beauty’ are most commonly associated with high street brands M&S, Dove and United Colours of Benetton, there are a handful of luxury high end brands that have started to respond to the consumer demand for more authentic and realistic promotional strategies. The Givenchy Spring/Summer 13 campaign (Fig 10,11) shows a selection of Ricardo Tisci’s closest friends and family showcasing the season’s offerings and celebrating the brand’s choice to use ‘real people’ and ‘family- something that is difficult to find in today’s world’ (Tisci in Harris, 2012: online). The luxury French house is communicating an aspirational message to consumers by integrating strong traditional values into the promotion of their products. Representing ordinary people ‘only taking the best of their personalities, with no effort’ (Tisci in Guilbault, 2012: online) has sent the message to all brands and consumers that diversity is in fact desirable.

Fig 10 Givenchy, 2012

“THEY ARE PEOPLE I LOVE AND WHO LOVE ME” -Ricardo Tisci

Fig 11 Givenchy Fall/Winter, 2013

THE FUTURE OF DIGITAL TECHNOLOGY

HYUNDAI MOTOR GROUP TAKE PROJECTION MAPPING ONE STEP BEYOND

dvertising is very much an integral part of the modern commercial world in which we live’ (Lury, 2001: xv) and ultimately has the power to impact the attitudes and behaviour within our culture. Brands are adopting more unique and innovative ways of targeting their audiences, communicating advanced digital technologies in the hope of changing behaviour and generating awareness around their products. Projection mapping combines the use of ‘motion graphics, 3D animation and video’ to deconstruct, rotate and ‘generally manipulate a building’s usual geometry’ (Creative Bloq, 2012: online). Hyundai have taken this concept even further with the help of Korean artist JonPaSang, who designed and created the Hyper-Matrix Cube Wall (Fig 12), ‘transforming incredible engineering solutions into art installations and efficient advertising ideas’ (Lavinia, 2012: online).

‘

ach square cube is capable of independent motion forming unique shapes, patterns and images (Fig 13). The company’s decision to showcase their amazingly innovative advert at the 2012 Yeosu EXPO exhibition, created a ‘mesmeric display of Hyundai’s technology’ and as a result have seen UK sales leap ‘nearly 14% in 2012- more than the majority of other volume manufacturers’ (Hurrell, 2012: online). These figures represent how an integrated digital advertising campaign can consummately change consumer behaviour and attitudes and could be an interesting step in the fight against changing people’s perceptions around beauty.

Fig 12 Hyper Matrix Installation, 2012

Fig 13 Hyper Matrix Installation, 2012

Fig 14 Speed Camera Lottery, 2014

“BE IT FOR YOURSELF, FOR THE ENVIRONMENT, OR FOR SOMETHING ENTIRELY DIFFERENT, THE ONLY THING THAT MATTERS IS THAT IT’S CHANGE FOR THE BETTER” -Volkswagen, 2009

CHANGE FOR THE BETTER PROJECTS NOT CAMPAIGNS?

‘

ehavioural change offers a real opportunity for brands to think about their marketing communications’ (Hill, 2014: online) and the true objectives behind them. Volkswagen’s ‘Fun Theory’ project created an initiative for consumers to change their behaviour ‘by allowing them to see the fun side of acting responsibly’ (Diaz, 2009: online), ultimately changing their attitudes towards environmentally friendly cars. By conducting a number of fun social experiments, including ‘Bottle Bank Arcade Machine’, ‘Piano Staircase’ and ‘The Speed Camera Lottery’ (Fig 14), Volkswagen have communicated their active goals for a more socially responsible environment on a more personal level, setting the standard for brands worldwide. Proving that changing behaviour is possible when associated with something fun, Volkswagen’s ‘Piano Staircase’ ‘found that stair use increased by 66 percent’ (Flammang, 2012: online) and the ‘Speed Camera Lottery’ marked a ‘22% reduction in speed’ (Bodini, 2012: online). The brand’s decision to commit to a project rather than a short lived campaign has seen consumer’s involvement rise, with over 83,000 likes on Facebook and ‘23 million views on YouTube ’ (Cannes, 2011: online). Adopting this innovative strategy has also seen their ‘share of the eco car market in Sweden’ more than double (Gunn Report, 2011: online). If more brands adopted elements of social responsibility in their marketing and advertising strategies and placed higher importance on the use of projects over campaigns, the industry might start to see a rise in the change of consumer’s behavioural habits and attitudes.

A QUESTION OF RESPONSIBILITY? WHY WE DO THE THINGS WE DO

n a society where ‘most people have a subconscious desire’ (Derbyshire, 2011: online) to copy one another, it would seem that when one brand shows their commitment to social responsibility, others will follow. The ‘genetic drive that compels us to imitate one another’ stems from ‘specific neurons that prompt us to mirror the actions of others’ (Wilson, 2009: online). Our mirror neurons are activated when we observe behaviour and have the ability to make us mimic everything from ‘language and physical movements to emotions and cultural norms’ (Wilson, 2009: online). The idea that brands copy brands could be the future for behaviour change towards more diverse sociocultural body ideals in fashion advertising. The more brands that respond to demand for authentic, attainable body ideals, the more will follow and force high-end advertisers to endorse more realistic ideals of beauty in their campaigns. With a genetic predisposition to copy others, it is brand’s and advertisers’ social responsibility to understand that we are heavily influenced by the context we live in. Exposure to media that perpetuates the idea that beauty is synonymous with perfection propels female consumers to internalise unhealthy cultural ideals of beauty and personal value.

‘

uch human behaviour can be seen as decisionmaking, and so understanding and influencing those decision-making processes’ (Lockton, 2012: online) is an important component to consider when trying to create behavioural changes. An experiment conducted by Tannenbaum in 1953 showed ‘that attitudes towards objects change in a positive direction when communications link them with highly valued sources’ (Cohen, 1964:67). This consequently communicates the idea that for successful attitude change to transpire, brands that hold a high influential position in the market need to start implementing more responsible changes in the messages they communicate to the masses. As Louis Vuitton ‘remains the most powerful luxury brand in the market’ (Divirgilio, 2013: online), they are likely to contribute to a positive change in attitude if they start to endorse more attainable body ideals in their advertising, depicting a more realistic and diverse representation of the female population.

“... NOBODY IS ALLOWED TO HAVE AN AGE ANYMORE, NOBODY IS ALLOWED TO HAVE WRINKLES OR IMPERFECTIONS”

ince 2010, Lanvin has become ‘one of the most sought after luxury brands’ (Kaguri, 2013: online) and their choice to bring a sense of reality to their Fall 2012 advertising campaign (Fig 15) has ‘shown that the lofty world of high style is not as unattainable as it seems’ (Grinberg, 2012: online). Using their powerful voice as a highly valued source in the industry, they have communicated the idea that ‘fashion doesn’t look good only on models’ (Elbaz in Grinberg, 2012: online), showing the brands commitment to impacting attitudes related to body image and self-esteem and reinforcing role models that differ from our societal standards. With ‘revenues up by 28% on the previous year’ (Andretta in Collins: online), the luxury French house has proved that brands do have the power to change consumer behaviour and attitudes if they are committed to promoting a diverse variety of beauty and body types.

Fig 15 Lanvin Fall Campaign, 2012

ALICE HALFORD

Fig 16 Friends, 2014

NAME: ALICE HALFORD

Fig 19 Drake, 2013

AGE: 13 HOMETOWN: CHELTENHAM LIKES: ART, SOCIALISING, WATCHING TV LISTENS TO: JUSTIN BIEBER, EXAMPLE, DRAKE READS: NOW, ELLE STYLE: A MIX OF VINTAGE AND NEW, QUERKY AND INDIVIDUAL SHOPS AT: TOPSHOP, NEW LOOK, H&M

Fig 17 Alice Halford, 2014

WON’T LEAVE THE HOUSE WITHOUT: PHONE, IPOD

Fig 18 Nike Blazer Vintage, 2014

ROLE MODEL: RITA ORA FAVOURITE ITEMS OF CLOTHING: NIKE BLAZERS, BROTHER’S ADIDAS JUMPER

WHY CHANGE NOW?

esearch has shown that mental depression begins at a young age’ and ‘if children grow up seeing thin women in advertisements, on television, and in film they accept this as reality and try to imitate their appearance and their actions” (Schlegel: online). If we can change the way notions of beauty and role models are being communicated in the future, we can change the behaviour and attitudes of young girls so they learn to internalise healthy more realistic ideals of beauty and as a result feel more confident in their own appearance. The primary and secondary research displayed in this report suggests that there is a clear need for brands to change the messages they are communicating to consumers, with 63% of girls feeling pressurised to

look a certain way and 67% comparing themselves to the women portrayed in adverts (See app: pg 32). With initial results presenting girls as young as ten experiencing body dissatisfaction and low levels of self-esteem, it is vital that the standard of beauty portrayed in advertising does not continue to depict an unhealthy image. If brands start to implement innovative digital technologies as an integral part of their advertising objectives or adopt new socially responsible marketing strategies, they might contribute to the reversal of young girls feeling socially inadequate and inferior to what has been portrayed as ‘ideal’ in the media.

Fig 21 Rita Ora Wallpaper, 2013

Fig 20 Cheryl Cole Elle Magazine, 2011

Fig 22 Vintage Adidas, 2012

he consumer profile shows Alice Halford aged 13 (Fig 17). She, like many others, is exposed to the media’s distorted representation of the ‘ideal woman’ and as a result feels insecure about her own body. With just over half of the girls in the survey voicing that they might feel differently if a variety of body types were advertised in the media, it is clear that young girls would benefit from the exposure to more diversity in advertising. At the age of 13, girls are more vulnerable to the images they see projected in the media and start to see being ‘model thin’ as an aspiration (Heubeck, 2006: online). Brands need to start promoting healthier and more realistic body ideals to target self –esteem and body dissatisfaction problems early on.

If girls grew up seeing a more diverse range of women and idolising healthier role models in the media, we may see a decrease in the number of eating disorders and girls drastically changing their appearance to fit in with society’s unattainable illusion of the female figure. Alice represents the consumer most receptive to this kind of behaviour change; she is at an age where she seeks inspiration from females in the media and would benefit from exposure to a more diverse range of body types. If brands avoid the constant use of perfectly airbrushed supermodels, they might see a genuine attitude change towards what young girls constitute as being beautiful and as a result allow more females to be satisfied with their own appearance.

Fig 23 Kate Moss, 2013

“IT IS TIME FOR SOCIETY TO TEACH YOUNG PEOPLE EARLY ON THAT IN DIVERSITY THERE IS BEAUTY AND THERE IS STRENGTH” - MAYA ANGELOU

IS THERE A FUTURE FOR DIVERSITY? CONCLUSION

esearch suggests that ‘high persuasibility appears to be related to low self-esteem’ ( Janis and Field in Cohen, 1964:45) in terms of feelings of inadequacy and social inhibitions, which is why fashion communicators and promoters need to assess whether their advertising objectives are sending the implicit message to female consumers that beauty is conformity. In order to change the way in which notions of beauty, role models and identity are communicated in the future and thus improve self-esteem and acceptance among female consumers, brands need to make a commitment to reversing society’s distorted standards of feminine beauty rather than exposing unhealthy, unrealistic and unattainable body ideals (Fig 23). Behaviour change is hard to achieve but with ‘a clear definition of the goals required, ideas can be developed’ (Hill, 2014: online). Brands need to put effort into more creative ways of communicating a healthier, diverse body image to consumers as ‘people are emotionally inspired or compelled to change behaviour, rather than rationally persuaded’ (Hill, 2014: online). Using motivational triggers and innovative digital technologies to influence a behavioural change, similar to Volkswagen’s ‘Fun Theory’ project, brands could see massive improvements in consumer attitudes, which is crucial for strengthening social self-acceptance. If brands put more effort into creating projects over campaigns, showing their long term commitment to the cause for more socially responsible body ideals, ‘the more they will incentivise, attract and engage’ (Hill, 2014: online) consumers.

REFERENCES

BRINDED, L (2013). It’s an ad, but Dove’s Real Beauty Campaign is a Gamechanger. The Independent. [online] Available at: http://www. independent.co.uk/voices/comment/its-an-ad-but-doves-real-beauty-campaign-is-a-gamechanger-8580753.html. [Accessed 4 December 2013] CANNES, L (2011). Volkswagen Sweden: The fun theory. [case study] Available at: http://www.warc.com/Pages/TopicsAndTrends/Features/Feature. aspx?q=volkswagen+fu+theory&Area=&Page=&Tab=&DVals=&SourceOR=&DRange=&Filter=&TopicID=WordofMouth&qr=volkswagen%20 fun%20theory&Sort=Date-Descending.%20[Accessed%207%20December%202013] CLIFFS, E (2013). Dove Real Beauty Sketches Most Viewed Online Ad. Unilever. [online] Available at: http://www.unileverusa.com/mediacenter/pressreleases/2013/doverealbeautysketchesmostviewedonlinead.aspx. [Accessed 7 Decemeber 2013] COHEN, A (1964). Attitude Change and Social Influence. London. Basic Books, Inc. Pg 45- 67. [Accessed 9 December 2013] COLLINS, S. Date Unknown. Lanvin’s Elbaz Makes (Success) Full Figures. [online] Available at: http://www.thecurvystylist.com/2011/12/ lanvins-elbaz-makes-successfull-figures.html. [Accessed 9 December 2013] CREATIVE BLOQ (2012). 10 Projection Mapping Demos that will blow your mind. [online] Available at: http://www.creativebloq.com/video/ projection-mapping-912849. [Accessed 8 December 2013] DERBYSHIRE, D (2011). Born copycats! Why we just can’t fight the subconscious impulse to imitate others. [online] Available at: http://www. dailymail.co.uk/sciencetech/article-2016708/Born-copycats-Why-just-fight-subconscious-impulse-imitate-others.html. [Accessed 8 December 2013] DIAZ, A (2009). Behind the Work: Volkswagen’s ‘The Fun Theory’. [online] Available at: http://creativity-online.com/news/behind-the-workvolkswagens-the-fun-theory/139512. [Accessed 8 December 2013] DITTMAR, H (2008). Consumer Culture, Identity and Well-Being. East Sussex: Psychology Press. Pgs 124-125. [Accessed 1 December 2013] DITTMAR, H (2008). Consumer Culture, Identity and Well-Being. East Sussex: Psychology Press. Pg 2. [Accessed 1 December 2013] DIVIRGILIO, A (2013). 10 Most Powerful Luxury Fashion Brands in the World. [online] Available at: http://www.therichest.com/expensivelifestyle/fashion/10-most-powerful-luxury-fashion-brands-in-the-world/. [Accessed 9 December 2013] ETCOFF, N ORBACH, S SCOTT, J AGOSTINO, H. (2004). THE REAL TRUTH ABOUT BEAUTY: A GLOBAL REPORT. [online] Available at: http://www.dove.co.uk/en/docs/pdf/19_08_10_The_Truth_About_Beauty-White_Paper_2.pdf. [Accessed 5 December 2013] FLAMMANG, J (2012). Volkswagen Finds Fun Way to Curtail Speeders - Videos. [online] Available at: http://www.automedia.com/Blog/post/ Volkswagen-Finds-Fun-Way-to-Curtail-Speeders.aspx. [Accessed 8 December 2013] GILLAN, A (2000). Skinny Models ‘send unhealthy message’. The Guardian. [online] Available at: http://www.theguardian.com/uk/2000/may/31/ audreygillan. [Accessed 4 December 2013] GRINBERG, E (2012). When fashion and reality collide. [online] Available at: http://edition.cnn.com/2012/07/28/living/lanvin-real-people-ads/. [Accessed 9 December 2013] GUILBAULT, L (2012). Givenchy Unveils Spring Campaign. Women’s Wear Daily. [online] Available at: http://www.wwd.com/media-news/ fashion-memopad/givenchy-unveils-spring-summer-13-campaign-6545321. [Accessed 7 December 2013] HARRIS,J (2012). Givenchy Unveils Spring / Summer 2013 Ad Campaign. [online] Available at: http://www.complex.com/style/2012/12/ givenchy-unveils-spring-summer-2013-ad-campaign. [Accessed 7 December 2013]

GUNN REPORT (2011). Speed Camera Lottery. [online] Available at: http://www.gunnreport.com/about/bullets-from-gunn/2011/. [Accessed 7 December 2013] HARRIS, J (2012). Givenchy Unveils Spring / Summer 2013 Ad Campaign. [onlie] Available at: http://www.complex.com/style/2012/12/ givenchy-unveils-spring-summer-2013-ad-campaign. [Accessed 7 December 2013] HARRISON, K. HEFNER, V. (2006). Media Exposure, Current and Future Body Ideals, and Disordered Eating Among Preadolescent Girls: A Longitudinal Panel Study. Journal of Youth and Adolescence. 35 (2), Pg 160. [Accessed 1 December 2013] HEUBECK, E (2006). Healthy Beauty: Helping Girls with Body Image. [online] Available at: http://www.webmd.com/beauty/style/helping-girlswith-body-image. [Accessed 9 December 2013] HILL, R (2014). Forward Thinking: A change of behaviour on behavioural change. Marketing magazine [online] Available at: http://www. marketingmagazine.co.uk/article/1225448/forward-thinking-change-behaviour-behavioural-change. [Accessed 8 December] HURRELL, S (2012). WATCH THE INCREDIBLE HYUNDAI â&#x20AC;&#x2DC;HYPER-MATRIXâ&#x20AC;&#x2122; DISPLAY. [online] Available at: http://www. motortorque.com/hyundai/news/watch-the-incredible-hyundai-hyper-matrix-display-19558. [Accessed 8 December 2013] KAGURI, E (2013). 5 Most Influential Luxury Brands. [online] Available at: http://www.therichest.com/expensive-lifestyle/fashion/5-mostinfluential-luxury-brands/. [Accessed 9 December] KELLY, S (2013). Viral Dove Campaign Becomes Most Watched Ad Ever. Mashable. [online] Available at:: http://mashable.com/2013/05/20/ dove-ad-most-watche/. [Accessed 7 December 2013] KITE, L (2011). Beauty Whitewashed: How white ideals exclude women of color. [online] Available at: http://www.beautyredefined.net/beautywhitewashed-how-white-ideals-exclude-women-of-color/. [Accessed 1 December 2013] LAVINIA (2012). Hyundai Motor Group Promoted by Incredible Hyper-Matrix Cube Wall. [online] Available at: http://homes.yahoo.com/news/ hyundai-motor-group-promoted-incredible-hyper-matrix-cube-171515854.html. [Accessed 8 December 2013] LINDSTROM, M (2010). Buyology: Truth and Lies About Why We Buy. United States: Broadway Books. Pg 189. [Accessed 4 December 2013] LOCKTON, D (2012). Cognitive Biases, Heuristics and Decision-Making in Design for Behaviour Change. [online] Available at: http://papers. ssrn.com/sol3/papers.cfm?abstract_id=2124557. [Accessed 8 December 2013] LURY, G (2001). ADWATCHING: Lifting the lid on advertising. Los Angeles. Blackhall Publishing. Pg xv. [Accessed 7 December 2013] OKWODU, J (2013). Bethann Hardison on Diversity in Fashion. [online] Available at: http://models.com/mdx/bethann-hardison-on-diversityin-fashion/. [Accessed 1 December 2013] RATIONES, V (2014). Motives: Why we look in the mirror. [online] Available at: http://www.sirc.org/publik/mirror.html. [Accessed 1 December 2013] SOWELL, T (2009). Understanding and Managing Diversity. 4th ed. New Jersey: Pearson Education, Inc. Pg 69. [Accessed 1 December 2013] WILSON, JW (2009). Cracking the Learning Code. Advanced Learning Institute, Inc. [online[ Available at: http://crackingthelearningcode.com/ element25.html. [Accessed 8 December 2013]

BIBLIOGRAPHY

ASSAEL, H (2004). Consumer Behaviour And Marketing Action. South Western. [Accessed 2 December 2013] BRINDED, L (2013). It’s an ad, but Dove’s Real Beauty Campaign is a Gamechanger. The Independent. [online] Available at: http://www. independent.co.uk/voices/comment/its-an-ad-but-doves-real-beauty-campaign-is-a-gamechanger-8580753.html. [Accessed 4 December 2013] CANNES, L (2011). Volkswagen Sweden: The fun theory. [case study] Available at: http://www.warc.com/Pages/TopicsAndTrends/Features/Feature. aspx?q=volkswagen+fun+theory&Area=&Page=&Tab=&DVals=&SourceOR=&DRange=&Filter=&TopicID=WordofMouth&qr=volkswagen%20 fun%20theory&Sort=Date-Descending. [Accessed 7 December 2013] CLIFFS, E (2013). Dove Real Beauty Sketches Most Viewed Online Ad. Unilever. [online] Available at: http://www.unileverusa.com/mediacenter/pressreleases/2013/doverealbeautysketchesmostviewedonlinead.aspx. [Accessed 7 Decemeber 2013] COHEN, A (1964). Attitude Change and Social Influence. London. Basic Books, Inc. Pg 45- 67. [Accessed 9 December 2013] COLLINS, S. Date Unknown. Lanvin’s Elbaz Makes (Success) Full Figures. [online] Available at: http://www.thecurvystylist.com/2011/12/ lanvins-elbaz-makes-successfull-figures.html. [Accessed 9 December 2013] CREATIVE BLOQ (2012). 10 Projection Mapping Demos that will blow your mind. [online] Available at: http://www.creativebloq.com/video/ projection-mapping-912849. [Accessed 8 December 2013] CORRIGAN, P (1997). The Sociology of Consumption. London. SAGE Publications. [Accessed 4 December 2013] DERBYSHIRE, D (2011). Born copycats! Why we just can’t fight the subconscious impulse to imitate others. [online] Available at: http://www. dailymail.co.uk/sciencetech/article-2016708/Born-copycats-Why-just-fight-subconscious-impulse-imitate-others.html. [Accessed 8 December 2013] DIAMOND, J, E (1999). Fashion Advertising and Promotion. New York. Fairchild Publications. [Accessed 7 December 2013] DIAZ, A (2009). Behind the Work: Volkswagen’s ‘The Fun Theory’. [online] Available at: http://creativity-online.com/news/behind-the-workvolkswagens-the-fun-theory/139512. [Accessed 8 December 2013] DITTMAR, H (2008). Consumer Culture, Identity and Well-Being. East Sussex: Psychology Press. Pgs 124-125. [Accessed 1 December 2013] DITTMAR, H (2008). Consumer Culture, Identity and Well-Being. East Sussex: Psychology Press. Pg 2. [Accessed 1 December 2013] DIVIRGILIO, A (2013). 10 Most Powerful Luxury Fashion Brands in the World. [online] Available at: http://www.therichest.com/expensivelifestyle/fashion/10-most-powerful-luxury-fashion-brands-in-the-world/. [Accessed 9 December 2013] EARLS, M (2007). HERD: How to change mass behaviour by harnessing our true nature. England. John Wiley&Sons Ltd. [Accessed 3 December 2013] ETCOFF, N ORBACH, S SCOTT, J AGOSTINO, H. (2004). THE REAL TRUTH ABOUT BEAUTY: A GLOBAL REPORT. [online] Available at: http://www.dove.co.uk/en/docs/pdf/19_08_10_The_Truth_About_Beauty-White_Paper_2.pdf. [Accessed 5 December 2013]. FLAMMANG, J (2012). Volkswagen Finds Fun Way to Curtail Speeders - Videos. [online] Available at: http://www.automedia.com/Blog/post/ Volkswagen-Finds-Fun-Way-to-Curtail-Speeders.aspx. [Accessed 8 December 2013] GILLAN, A (2000). Skinny Models ‘send unhealthy message’. The Guardian. [online] Available at: http://www.theguardian.com/uk/2000/may/31/ audreygillan. [Accessed 4 December 2013] GRINBERG, E (2012). When fashion and reality collide. [online] Available at: http://edition.cnn.com/2012/07/28/living/lanvin-real-people-ads/. [Accessed 9 December 2013] GUILBAULT, L (2012). Givenchy Unveils Spring Campaign. Women’s Wear Daily. [online] Available at: http://www.wwd.com/media-news/ fashion-memopad/givenchy-unveils-spring-summer-13-campaign-6545321. [Accessed 7 December 2013] HACKLEY, C (2005). Advertising and Promotion: Communicating brands. London. SAGE publications. [Accessed 2 December 2013]

HARRIS,J (2012). Givenchy Unveils Spring / Summer 2013 Ad Campaign. [online] Available at: http://www.complex.com/style/2012/12/ givenchy-unveils-spring-summer-2013-ad-campaign. [Accessed 7 December 2013] GUNN REPORT (2011). Speed Camera Lottery. [online] Available at: http://www.gunnreport.com/about/bullets-from-gunn/2011/. [Accessed 7 December 2013] HARRIS, J (2012). Givenchy Unveils Spring / Summer 2013 Ad Campaign. [onlie] Available at: http://www.complex.com/style/2012/12/ givenchy-unveils-spring-summer-2013-ad-campaign. [Accessed 7 December 2013] HARRISON, K. HEFNER, V. (2006). Media Exposure, Current and Future Body Ideals, and Disordered Eating Among Preadolescent Girls: A Longitudinal Panel Study. Journal of Youth and Adolescence. 35 (2), Pg 160. [Accessed 1 December 2013] HEUBECK, E (2006). Healthy Beauty: Helping Girls with Body Image. [online] Available at: http://www.webmd.com/beauty/style/helping-girlswith-body-image. [Accessed 9 December 2013] HILL, R (2014). Forward Thinking: A change of behaviour on behavioural change. Marketing magazine [online] Available at: http://www. marketingmagazine.co.uk/article/1225448/forward-thinking-change-behaviour-behavioural-change. [Accessed 8 December 2013] HURRELL, S (2012). WATCH THE INCREDIBLE HYUNDAI ‘HYPER-MATRIX’ DISPLAY. [online] Available at: http://www. motortorque.com/hyundai/news/watch-the-incredible-hyundai-hyper-matrix-display-19558. [Accessed 8 December 2013] KAGURI, E (2013). 5 Most Influential Luxury Brands. [online] Available at: http://www.therichest.com/expensive-lifestyle/fashion/5-mostinfluential-luxury-brands/. [Accessed 9 December 2013] KELLY, S (2013). Viral Dove Campaign Becomes Most Watched Ad Ever. Mashable. [online] Available at:: http://mashable.com/2013/05/20/ dove-ad-most-watche/. [Accessed 7 December 2013] KITE, L (2011). Beauty Whitewashed: How white ideals exclude women of color. [online] Available at: http://www.beautyredefined.net/beautywhitewashed-how-white-ideals-exclude-women-of-color/. [Accessed 1 December 2013] LAVINIA (2012). Hyundai Motor Group Promoted by Incredible Hyper-Matrix Cube Wall. [online] Available at: http://homes.yahoo.com/news/ hyundai-motor-group-promoted-incredible-hyper-matrix-cube-171515854.html. [Accessed 8 December 2013] LINDSTROM, M (2010). Buyology: Truth and Lies About Why We Buy. United States: Broadway Books. Pg 189. [Accessed 4 December 2013] LOCKTON, D (2012). Cognitive Biases, Heuristics and Decision-Making in Design for Behaviour Change. [online] Available at: http://papers. ssrn.com/sol3/papers.cfm?abstract_id=2124557. [Accessed 8 December 2013] LURY, G (2001). ADWATCHING: Lifting the lid on advertising. Los Angeles. Blackhall Publishing. Pg xv. [Accessed 7 December 2013] OKWODU, J (2013). Bethann Hardison on Diversity in Fashion. [online] Available at: http://models.com/mdx/bethann-hardison-on-diversityin-fashion/. [Accessed 1 December 2013] OGILVY, D (2007). Ogilvy on Advertising. London. Peion: Carlton Publishing Group. [Accessed 5 December 2013] OTNES, C ZAYER, L (2012). Gender, Culture and Consumer Behaviour. New York. Taylor and Francis Group. [Accessed 5 December 2013] RATIONES, V (2014). Motives: Why we look in the mirror. [online] Available at: http://www.sirc.org/publik/mirror.html. [Accessed 1 December 2013] SHARMA, A (2006). Consumer Behaviour. India. Global Vision Publishing House. [Accessed 6 december 2013] SOWELL, T (2009). Understanding and Managing Diversity. 4th ed. New Jersey: Pearson Education, Inc. Pg 69. [Accessed 1 December 2013] WILSON, JW (2009). Cracking the Learning Code. Advanced Learning Institute, Inc. [online[ Available at: http://crackingthelearningcode.com/ element25.html. [Accessed 8 December 2013]

ILLUSTRATIONS

Fig 1 Wallpaper (2012) Women Models Wallpaper. [image online] Available at: http://wallpoper.com/wallpaper/women-models-419741 [Accessed 10 January 2014] Fig 2 Yenny (2013) Kate Moss. [image online] Available at: http://www.studded-hearts.com/tag/kate-moss/ [Accessed 10 January 2014] Fig 3 Majari, G (2012) Dapper Dan. [image online] Available at: http://www.genevievemajari.com/projects/the-alternatives/ [Accessed 10 January 2014] Fig 4 Yenny (2013) Kate Moss. [image online] Available at: http://www.studded-hearts.com/tag/kate-moss/ [Accessed 10 January 2014] Fig 5 Wallace, C (2013) Skinny Minnie. [image online] Available at: http://www.littleplastichorses.com/tag/skinny/ [Accessed 10 January 2014] Fig 6 Vogue September 1990 (2013) [own photograph] [Accessed 10 January] Fig 7 Vogue February 2012 (2013) [own photograph] [Accessed 10 January] Fig 8 Logo Dove (n.d.) [image online] Available at: http://it.wikipedia.org/wiki/File:Logo_Dove.png [Accessed 10 January 2014] Fig 9 Macleod, D (2007) Dove Pro-Age Women. [image online] Available at: http://www.advertisingforadults.com/print/2007/2/dove_pro_age_mary. jpg [Accessed 10 January 2014] Fig 10 Friedman, V (2012) Givenchy. [image online] Available at: http://blogs.ft.com/material-world/2012/12/18/givenchy-burberry-and-marketingfriends-and-family/ [Accessed 11 January 2014] Fig 11 Batista, A (2013) Givenchy Fall/Winter 2013. [image online] Available at: http://fuckingyoung.es/givenchy-fallwinter-2013-campaign-preview/ [Accessed 11 January 2014] Fig 12 Baptiste, P (2012) Hyper matrix Installation. [image online] Available at: http://www.fubiz.net/2012/09/05/hypermatrix-installation/ [Accessed 11 January 2014] Fig 13 Baptiste, P (2012) Hyper matrix Installation. [image online] Available at: http://www.fubiz.net/2012/09/05/hypermatrix-installation/ [Accessed 11 January 2014]

Fig 14 The Gunn Report (2014) Speed Camera Lottery. [image online] Available at: http://www.gunnreport.com/about/bullets-from-gunn/2011/ [Accessed 11 January 2014] Fig 15 Fashion Gone Rogue (2012) Lanvin Fall 2012 Campaign. [image online] Available at: http://www.fashiongonerogue.com/lanvin-fall-2012campaign-features-unique-stars-steven-meisel/ [Accessed 12 January 2014] Fig 16 Halford, A (2014) Friends, [image online] Available at: https://www.facebook.com/photo. php?fbid=10151961505778791&set=a.431788073790.221102.684733790&type=1&theater [Accessed 12 January 2014] Fig 17 Alice Halford (2014) [own photograph] [Accessed 12 January 2014] Fig 18 Office (2014) Nike Blazer Vintage. [image online] Available at: http://www.ebay.co.uk/itm/Nike-Blazer-Hi-Suede-Vntage-Gorge-GreenTrainers-Shoes-/130660848437 [Accessed 12 January 2014] Fig 19 Kyle, H (2013) Drake. [image online] Available at: http://ampersandsocial.com/ [Accessed 12 January 2014] Fig 20 Grindhouse, A (2011) Cheryl Cole Elle Magazine. [image online] Available at: http://amygrindhouse.com/cheryl-cole-elle-uk.html [Accessed 12 January 2014] Fig 21 Free Fever (2013) Rita Ora Wallpaper. [image online] Available at: http://www.freefever.com/wallpaper/1600x1200/rita-ora-wallpaper-12603.html [Accessed 12 January 2014] Fig 22 Glory, H (2012) Vintage Adidas. [image online] Available at: http://www.helen-glory.com/2012/11/new-jumper.html [Accessed 12 January 2014] Fig 23 Yenny (2013) Kate Moss. [image online] Available at: http://www.studded-hearts.com/tag/kate-moss/ [Accessed 10 January 2014]

APPENDIX

METHODOLOGY

FOCUS GROUP In order to expand on secondary research found on the effects mass media has on young females, a focus group was conducted. This method was chosen to gain a better perspective into the potential problems the current representation of women in advertising might be causing. Conducting the focus group allows us to have a deeper understanding of how young girls feel about the beauty ideals portrayed in adverts. It also allows us to clarify the results produced from the surveys handed out to a similar age group, giving more detailed answers in a conversational manner. The focus group was conducted during the time of 12- 12.30pm on the 9th of December 2013 at The High School for Girls, Denmark Road in Gloucestershire, using the schoolâ&#x20AC;&#x2122;s library facilities. The ten participants present were aged eleven to twelve and were randomly chosen to ensure results were varied and representative of the age group. Consent forms were previously given to parents in preparation for the focus group as participants are under the age of 16. The focus group itself was initially difficult to arrange and hard to manage at times. There was a lot of discussion around other topics but ultimately the results gave a deeper understanding of the topic in question. There was a general consensus that females in the media are portraying an unhealthy image to girls and are acting as a negative source of inspiration. Using an image to gauge opinions on a particular body type was extremely useful and further displayed the elements of body dissatisfaction that females begin to experience early on in their lives.

9 OUT OF 10

GIRLS FELT INSECURE AFTER SEEING A SKINNY GIRL IN AN ADVERTISEMENT

8 OUT OF 10

SOPHIE GREEN

GIRLS SAID THEY DIDN’T FEEL CONFIDENT WITH THEIR APPEARANCE

DO YOU WATCH A LOT OF TELEVSION OR READ ANY MAGAZINES? I don’t read many magazines, only if my Mum has bought some. I watch lots of televsion, probably about 5 programmes after school

JENNA WILSON

DOES IT MAKE YOU FEEL INSECURE SEEING THIS TYPE OF WOMAN IN THE MEDIA?

DO YOU WATCH A LOT OF TELEVSION OR READ ANY MAGAZINES?

I feel a bit intimidated as she has a really flat belly

IF YOU HAD TO DESCRIBE THE WOMEN IN THREE WORDS, WHICH WOULD YOU CHOOSE? Perfect, Skinny and Rich

DO YOU FEEL CONFIDENT IN YOUR OWN APPEARANCE? Not really, I would prefer to be taller and have longer hair. Sometimes I get spots as well, which I cover up with concealer

Yes, I have a subscription to some magazines and watch a lot of television on weekends. Sometimes after school when I’m finished with my homework as well

DOES IT MAKE YOU FEEL INSECURE SEEING THIS TYPE OF WOMAN IN THE MEDIA? I would like to look like her when I’m older, she has really nice skin and is pretty

IF YOU HAD TO DESCRIBE THE WOMEN IN THREE WORDS, WHICH WOULD YOU CHOOSE? Pretty, Celebrity and Hot

DO YOU FEEL CONFIDENT IN YOUR OWN APPEARANCE? Kind of, I like my legs but I think my hair is really flat and my belly looks bigger than hers.

METHODOLOGY

PILOT QUESTIONNAIRE

QUESTIONNAIRE Generating a broader number of responses to evaluate any patterns or correlations in the data, required a questionnaire research method. Being easy to analyse and producing quick results made this method successful. Having researched into the opinions of ten girls in the focus group, it was important to see if their answers were truly representative and produced similar opinions to a larger group of the same aged girls. The questionnaire was piloted before being given to the participants to ensure questions were appropriate. The questionnaire was given out to 30 girls in Year 7 ranging from ages 11 to 13 at The High School for Girls, Denmark Road on the 16th of December 2013 at 8.45am. The results showed a positive correlation between the amounts of media exposure against body dissatisfaction. 54% of the participants watch 3-4 hours of television daily and every one of these girls answered negatively when questioned about their own appearance. There was a consistency in the language used to describe the women portrayed in advertisements with words like ‘perfect’ and ‘skinny’ being a common response. The questions that required a mark out of 10 were not as useful as the direct yes or no answers as it was harder to see a pattern with results so varied.

DOES THE REPRESENTATION OF WOMEN IN ADVERTISING AFFECT YOUNG GIRLS?

78%

OF YOUNG GIRLS WATCH MORE THAN 3 HOURS OF TELEVISION DAILY

67%

Low Self-Esteem

OF GIRLS COMPARE THEMSELVES TO WOMEN IN ADVERTS

Unrealistic Beauty Ideals

ON A SCALE OF 1 TO 10, 10 BEING MOST CONFIDENT, HOW DO YOU FEEL ABOUT YOUR BODY?

17%

24%

5 6 13%

OVER OF THE PARTICIPANTS WOULD FEEL DIFFERENTLY ABOUT THEMSELVES IF MORE BODY TYPES WERE ADVERTISED

3% 2

1 9 8

3% 7%

13%

63%

FEEL PRESSURISED TO LOOK A CERTAIN WAY

HALF

13% 4

74%

ARE UNHAPPY WITH THEIR APPEARANCE

WHAT DO YOU THINK ABOUT THE WOMEN YOU SEE IN FASHION ADVERTS?

METHODOLOGY

OBSERVATIONAL RESEARCH

An observational research method was required to analyse the difference in advertisements between an issue of Vogue published in 1990 in comparison to an issue published in 2012. This method was carried out to see how the standard of beauty has changed over time and to see if the mediaâ&#x20AC;&#x2122;s portrayal of women has become increasingly unrealistic and unhealthy. The research was carried out on the 10th of January 2014 at 10am. The results showed a small change over time in terms of the variety depicted in body types, culture and age. Even though the change was small it was still significant enough to notice a clear decrease in the weight of models used in adverts today. To critically analyse the differences in women shown in 1990 to our present day, we would need to research a number of magazines from each time period to stimulate more in-depth results and generate a broader knowledge on how times have changed. This primary research however, does back up the notion that fashion brands are depicting more unattainable ideologies of beauty and portray a standard of beauty that is increasingly unrepresentative of our female population. To back up the observational research and see if the public found similar differences in the standard of beauty portrayed in both magazines, a random selection of three female participants were asked their opinions on the types of women used in advertising in the 1990â&#x20AC;&#x2122;s. All three women agreed there was a slight difference and felt if brands used a more diverse variety of females in their adverts, they might feel less pressure to look a certain way. The research was useful as it allows us to see how women receive adverts with more authentic, attainable beauty ideals but would generate some greater, more in-depth results if conducted in a focus group. Consent forms were filled out by all three participants.

BECCA CROFT

AMY KELLY

HOLLY SAVAGE 33

HOLLY SAVAGE AGE 21

‘ THERE IS SOMETHING ABOUT THE VOGUE ISUUE PRODUCED IN 1990 THAT DOESN’T FEEL AS INTIMIDATING AS THE CURRENT ONES WE ARE EXPOSED TO TODAY’ ‘I WOULD PROBABLY FEEL BETTER ABOUT MYSELF IF ADVERTISING PORTRAYED MORE WOMEN SIMILAR TO THE 1990 ISSUE’ ‘THERE IS LESS PRESSURE LOOKING AT A DIVERSE RANGE OF SIZES, I DON’T FEEL THE OBSESSIVE NEED TO COMPARE MYSELF TO THE GIRL WITH THE PERFECT BODY’

‘SHOWING A RANGE OF BEAUTY TYPES WOULD IMPROVE MY SELF-CONFIDENCE MASSIVELY, MEN WOULDN’T HOLD US TO SUCH A HIGH STANDARD OF BEAUTY’ ‘I FEEL LIKE IT IS HORRIBLE TO BE COMPARED TO PERFECTION’

BECCA CROFT AGE 20 ‘THE WOMEN ARE ALL BEAUTIFUL BUT THERE SEEMS TO BE A MORE DIVERSE RANGE OF MODELS. THERE IS A SIGNIFICANT DIFFERENCE IN THE AGES THAT ARE PORTRAYED’ ‘I PROBABLY WOULDN’T FEEL MORE CONFIDENT JUST BECAUSE I’M ALREADY USED TO WHAT’S OUT THERE AT THE MOMENT, I KNOW WHAT IM INSECURE ABOUT’

AMY KELLY AGE 19