TIFFANY FISHLEIGH
CONTENTS Aim ............................................................................01 Introduction ............................................................02 Chapter 1 What is a Trend? .......................................................04 What makes a trend successful? .............................06 What is a Trend forecaster? ....................................07 The theory of trend forecasting ...............................12 Breakdown process ...................................................14 Diffusion of innovation and theory behavioural model .....................................................17 Chapter 2 Case study: How can the influence of trends and media tactics successfully impact on the developments within a business? .....................20, 22 Chapter 3 What is a Macro Trend? ...........................................24 Long-term forecast - Blurred Lines .........................26 What is a Micro Trend? ............................................28 Short-term forecasts -The Face of Now ..................30 & The Nonconformist ................................................32 Conclusion ..................................................................34 Appendix .............................................................35, 46 References ...........................................................47, 48
AIM
The aim of this report is to demonstrate my understanding of trend prediction and forecasting and how this can be used to influence product development. In order to recognise existing and emerging trends, I am required to gather and compile research using a variety of tools to communicate social trends, innovations, drivers and consumer demands through future trend predictions. This report is designed to indicate my clear understanding of a case study based on trends and tactics used within the media in supporting a business’s growth. Using my research to demonstrate, such as, how Diesel use shock tactics within their marketing campaigns in order to sell their products effectively. I will present three of my illustrated micro and macro trends, forecasted through personal observations, visuals, exhibitions and consumer research within the area of the fashion industry.
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INTRODUCTION This book has been divided into three separate parts. The first section of this report will introduce what trend means and the roles of a trend forecaster. Here I discuss the theoretical elements of trend forecasting, following a breakdown process of the methods adopted within forecasting. The purpose for this section reveals how forecasters discover and communicate trends. Throughout the report I will show progression of my personal research from hunting and gathering to creating a fixed trend den of compiled ideas, visually demonstrating how a trend forecaster operates along with indicating the progression that leads towards my final trends. The report will then discuss adoptions, innovations, behaviours and shifting lifestyles from business model, diffusion of innovation and theory. In the second section, I include a case study, which focuses primarily on the impact of trend and media tactics within fashion industries. Directly after this section I will discuss the secondary findings based on my client Diesel and how the brand represents itself within the media, using shock tactics within their marketing campaigns to impact on their values and their products. The final section of this report will clearly demonstrate my three future predicted trends portraying clear documentation and research of both short-term and long-term forecasts, supported by trend cartograms (See Appendix section 4). My short-term trends include the nonconformist and “The Face� of now and long-term trend blurred lines.
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“Every trend has its roots somewhere in history.” (Wharry, 2013).
WHAT IS A TREND? Fig 1:
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A TREND REFERS TO A GENERAL DIRECTION OR MOVEMENT (STONE, 2008). To summarise, a trend is one big creative loop. You will find commonalities in books, magazines, on blogs, in products and within interior design. New fashions have been continuously created throughout history (Kim, Fiore, & Kim, 2011). However, whilst believing an innovation maybe something new, in actual fact it has more than likely been accounted for and modified from past trends. Therefore, many new fashions tend to be evolutionary rather than revolutionary (Sproles & Burns, 1994). A trend is something that is influential and generates inspiration, it is practical and perceives an identity to those of which trend followers are born, connecting on a much larger scale to the rest of the population. Identifying a trend is a continuous effort of compiling observations and hunting for research. In essence, it is a method of communication, which starts with an idea and develops into a theme, which later draws in attentions of desire and gets manipulated into the social climate as a finalised product. A trend is the next big thing, initially designed to maximize both sales and profit.
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K N I H T R E F F I D 5
Y L T N RE WHAT MAKES A TREND SUCCESSFUL?
According to Dr. Liraz Lasry, in order for a trend to successfully deliver as a product it must follow four simple factors. A product must provide real value – simple, practical benefit. The idea then needs to appeal to consumers, this factor is the identity benefit, it applies to the user and is a way of expressing our identity which is a delicate balance between two opposing forces: belonging and uniqueness. (Lasry, 2013). For a trend to survive long term it must provide consumers with new options, create variations and to keep innovating, for example, Apple with the iPhone. The third factor applies to the first two factors, this includes the product’s story. This factor should be simple but yet draws enough attention to remain popular. The final factor is Social distribution, this is designed
to spread the story socially and engage with two types of people including the trendsetters and the trend followers.Trendsetters are the first to adopt a new trend and hold a much higher uniqueness and lower interest in belonging. Whereas, on the other hand, Trend followers are willing to try new things but have to see other people trying it first.
Whilst collating visuals and factual information, the highlight of generating a new trend relies on personal intuition, something that can’t be taught or necessarily easily explained which is why it can be difficult to explain the role of a forecaster.
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WHAT IS A TREND FORECASTER? The process of trend forecasting takes a lot of hunting and gathering and taking time to build an archive of frequent designing and researching. Trend forecasters are conscious of their surroundings at all times and are consistent with connection to social media sites, using observations and taking into account everyday life situations of themselves and others. According to Geraldine Wharry, “With trends that are very present on Internet, in magazines, often stemming from the streets or the catwalks, it’s easy to see they might have a 1 to 2 year cycle. Whereas some trends are very forward thinking – for example the breakthrough in scientific textiles – that they require more in-depth investigation, risk taking as well as brainstorming with experts from various fields of research.” (Wharry, 2013). A trend forecaster’s role is not only to inspire, they are encouraged to build the right business choices for companies to navigate an extremely competitive and fast flowing field. The process therefore must take into equal consideration the complexities of the fashion industry, alongside the unpredictability of the consumer and their rates of acceptance. Trends are required to be positioned correctly into a specific target market which connects potential routes of product development acknowledged. The role of the forecaster involves being highly creative but also very grounded in the practicalities of business.
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HUNTING AND GATHERING
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Every single product will have a cycle of life. New innovations are developed and styles are produced dominating a particular segment in the market. The product will last for a set time, noting popular demand, which will later flop in mass manufacturing leading to cheaper produced products, which eventually decline and disappear from the market.
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THE THEORY OF FORECASTING BY DEFINITION AND ACTIVITY, TREND FORECASTERS ARE LIFESTYLE DETECTIVES. (RAYMOND, 2010).
To forecast effectively, the process relies as much on theory as it does on personal intuition. Trend forecasters must have knowledge of fashion theory, movements and cycles, as accurate predictions need to be delivered to businesses in order to be successful. The three directional fashion theories include the trickle down, trickle across and trickle up, however the most frequently applied theory is the trickle down theory. This method of research was established by several scholars including McCracken, 1985, and Simmel, 1904; Veblen. This method suggested that fashion change was the result of the need to maintain social stratification (Kim, Fiore, & Kim, 2011).
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THE BREAKDOWN PROCESS STEP 1: RESEARCH The research process consists of constant observation, hunting and gathering. This will help to highlight the red threads of developing trends across a range of disciplines including lifestyle, fashion, beauty and culture. STEP 2: REFINE After compiling all of the research and organising your sources, a trend is identified. Forecasting agencies are used to reaffirm conclusions. STEP 3: REVISIT The forecaster will reflect on past trends of a similar nature, to pull out differences and identify what has catalysed this change in demand. STEP 4: CONSIDER The reception of the trend will be an important consideration at this point, using analytics and consumer databases to define a target market. STEP 5: PRESENT Finally the trend will be delivered. A trend board should visually communicate and strong use of colour and imagery supporting the trend.
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TREND DEN Fig 8:
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(Behaviour Change Model)
DIFFUSION OF INNOVATION THEORY 17
In 1962, E.M. Rogers invented a social science theory called Diffusion of Innovation (DOI). This theory has proven successful both in marketing, communication and in other fields of research. It is one of the oldest theories developed and is a particular science which communicates and explains how an idea or a product diffuses and gains momentum over the years to engage a specific population or social system. The result of this diffusion process leads to people whom are of a particular social system that develop and adopt a new idea, behaviour, or product. In terms of adoption we look at how that person does something differently in transformation of their lifestyle, for example, how they may purchase or use a new product or perform a new behaviour in some way towards something. The key to ‘adoption’ is for the person to perceive something that is new and innovative to the market. It is through this that diffusion is possible. This adoption process (See Appendix 2.1 & 2.2) does not happen simultaneously in a social system; rather it is a process whereby some
people are more apt to adopt the innovation than others. Researchers have discovered that people who adopt an innovation early on have different characteristics to those who develop them later. When promoting a new innovative idea it is important to know the characteristics of that target social area in order to encourage people to adopt that product/idea. There are five established categories for this adoption method, while the majority of the general population tend to fall in the middle categories; it is still necessary to understand the characteristics of the target population.
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HOW CAN THE INFLUENCE OF TRENDS & MEDIA TACTICS SUCCESSFULLY IMPACT ON THE DEVELOPMENTS WITHIN A BUSINESS?
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The two most significant marketing tools a business must consider in order to succeed are classified into two categories, which are the micro and macro environmental factors. The macro factors are uncontrollable, referring to the general environment and are world wide changes that all businesses have to adapt to, these particular forces include, political, technological, social, cultural and economical forces, which is also known as the model, PESTEL. (See Appendix 3.1). A micro environment is defined as an internal factor, which has indirect contact within the business. This environment is much more controllable and the forces that are manipulated are close to the company. The micro factors include suppliers, competitors, marketing intermediaries, customers and the firm itself, also commonly referred to as the COSMIC model. (See Appendix 3.2). These two marketing tools have significant roles and create a huge impact on all businesses improving the success of an organisation’s marketing campaign and the reputation of the brand in the long term if used correctly. The factors of both macro and micro environments should be considered in-depth during each decision making process of a strategic marketer.
CASE STUDY
The more knowledge a business has with engagement of upcoming and current trends the better affect it will have when communicating a product or an idea to an audience of people in a particular market. Whatever the trend may be, whether it relates to immigration, politics or culture, it will continue to shift and change, therefore businesses must keep reproducing and creating new innovations as the demographic demand is extremely high, and if a business begins to miss out on opportunities of producing innovative products reflecting current trends, it is likely a business will fail. (Devra, 2018).
With regards to the marketing environment, it marks importance within the fashion industry as it is designed to advertise and sell but also to make products memorable. If we look at shock advertising, for example, this method used within the media is designed to impact on extreme awareness towards consumers, however does this form of advertising make or break a brands image and affect profit of products?
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I AM NOT WHAT I APPEAR TO BE Fig 9:
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If we look at Diesel for an example, (See Appendix 6.1) Diesel is an expressive, innovative, international lifestyle brand, which has grown extensively, from representing denim to transforming their range of clothing into a veritable, lifestyle offering. The brand has always been known for being ahead of the trends and pushing the boundaries of luxury marketing. The company thrives on change and is known for its surrealist advertising campaigns. They are widely known for their use of shock campaigns designed to raise awareness on social, political and economical issues. Whenever a shock campaign is released, no matter the industry, it is usually arranged to address controversial issues such as politics, culture, fashion and health. The way in which campaigns generate interest can come both with a positive impact or come with a price. In terms of representing a brand it could generate extremely passionate and positive results, on the other hand it could create a negative reaction of people feeling strongly towards something or on a personal level, resulting in a bad brand image and also in terms of their values, sales and their consumer loyalty. Another global fashion brand known widely for their history of controversial advertising campaigns, United Colours of Benetton. Through each of their campaigns they would continuously shock the public with their vivid, social messages and photographic imagery. The key idea was to use shocking advertisement and to gauge a statement of realisation on global issues. The label spent a lot of their time associating the brand with a social image rather than keeping it purely a fashion
based, making people think the clothes would appear less effective and creating a lower point of sale. However it seems some of their advertising strategies generated positive feedback for the brand, as they became one of the first fashion labels to discuss difficult issues and actioned social and environmental issues. The implement of shock tactics are designed to grasp the observer’s attention and create that ultimate shock factor which initially aims to push the barriers for the consumers to gauge in the realisation of importance on global situations that we tend to either neglect or ignore. The way these campaigns are promoted are arranged to influence us to take action, which in some cases, encourage us as consumers to buy the product in order to support a particular cause. One example in particular was the launch of Adidas sustainable footwear in 2017, as the creation of 3D printed trainers where made from ocean plastics and for each pair of printed shoe reused 11 plastic bottles. (Kharpal, 2018). This design sold over 1 million shoes due to the high demand from consumers. The growing trend of sustainable products, use of new technologies and innovative materials made this product fashionable and on trend. Effectively from this evidence we can see how the use of media tactics, use of advertising and trend influence has been a transformational success brought to businesses.
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When we think of the word macro in marketing terms, we understand that this means on a much larger scale, which is an uncontrollable force, globally driven. In regards to long-term, macro trends these are viewed as the bigger picture influencers including the movement of a larger consumer interest. According to techtarget, a macro trend is a pervasive and persistent shift in the direction of some phenomenon on a global level. Examples of current macro trends include urbanization, automation and changing demographics. Macro trends are long-term and look much further into the future by five years or more. They are reactive to what is happening in our culture but more explore what the result of the current will mean for the future (Kim, Fiore, & Kim, 2011). WGSN and Unique Style Platform are professional, online trend platforms which present future predicted trends for businesses. These companies combine high tech with human ingenuity, meeting the unique needs for global creative industries. Inspirational materials can be accessed through these trend sights in order to tap into future knowledge for product developments and for businesses to develop and maximize their successes and profitability of their products. Unique Style platform predicted macro 2018 trend, Intrepid. The declaration for this trend is: “Bold, brave and unafraid to say what they want, a new breed of consumer tells their own story and creates a tech enabled future, free from stereotypes. Culture is exchanged, eras blend and glamour is reclaimed, as the desire for individuality in an overexposed world continues�. - USP Communicating visuals and key words formed from this trend has influenced my research and development for my long term (blurred lines).
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WHAT IS A
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“YOU SHOULD ALWAYS START THE SEASON WITH A MACRO TREND AS THIS LOOKS AT THE BIGGER PICTURE”. (ALDOUS, 2018).
MACRO TREND?
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MACRO TREND According to Cieslik, whenever a new generation comes of age, it inevitably ends up getting scrutinized by those who came before. (Cieslik, 2018). From death, arrives new life, and old trends re-emerge and develop into something new. This long-term trend has been fuelled primarily from the iGen - Generation Z, which took place between mid-1990s and the mid2000s. It appears to have discovered a new way of expressing identity of social norms in regards to gender and sexuality. These two supporting influences are seen as something on a spectrum and not just simply male, female, gay or straight. The trend, blurred lines is based upon this notion, relating specifically to a future fluid generation of freedom and self-expression. The concept of male and female becomes increasingly irrelevant as a new breed of younger consumers emerge. From 2017, gender no longer dictated the way people dressed. (Petter, 2017). From social media, global fashion brands, to new designers, all began to immerse themselves into a new way of communicating non-binary products and clothing to this particular market. Gender fluid is not something new, however there is still much being developed, therefore I see this trend developing over the next 4-5 years. Blurred lines colour palette is predominantly focused on orange and blue. Both colours represent positive energies designed to portray the influences the new breed of consumers, unafraid to say and be what they want. These warm orange tones translate into happiness, attraction, encouragement, and creativity. The additional colour blue is believed to represent peace, tranquillity, harmony and trust and is often associated to the mind and body. Combining a light contrast of grey scale in the background as this is used as a balance as it identifies as a motionless colour, indicating the detachment from society and the care-free attitude.
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Micro-trends are new, intelligent, leading- and structure-changing innovations. They are the first concrete signs of emerging trend movements. (trendone, 2010).
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WHAT IS A
Somewhere between fads and macro trends comes micro trends, they are more than a fad but less influential than a macro trend and tend to last between 1-2 years. A micro trend affects the smaller scale of consumers in comparison to Macro-trends and may only have serious impact on an individual industry. These short-term trends are almost instantly reactive to what is happening in our immediate culture (Kim, Fiore, & Kim, 2011). This is evidenced in my two trends: the nonconformist and the face of now. An example of a micro trend could indicate an interest for a particular vintage garment, while a deep and sustained shift toward reusing and recycling for sustainable lifestyle would be considered a macro trend.
MICRO TREND?
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Micro trend, The Face of Now, (title converted from designer, Maria Grazia Chiuri’s Interview with Adwoa Aboah for Vogue Arabia) is a short-term trend designed to inspire ugly beauty through the alteration of makeup. Aside from other things, makeup is generally used as a cover up for what flaws you wish to hide, however this trend encourages individuals to pinpoint their so called ‘ugly’ features and enhance them visually with the use of beauty products to be taken note as beautiful. This Micro trend is used to add itself to the existing movement of supporting young women and their insecurities. The trend looks towards the modern day of the transformation of women who are passionate, sensitive and hold unconventional beauty. 2017, online publishing platform, Gurls Talk influences this futuristic trend as it is a community designed to encourage young women artists to use the space to talk on issues through creative approaches of illustration, poetry and product design. According to Adwoa Aboah, “the more we stick together, the better chance we have of making changes”. (Vogue Arabia, 2018). Designer, Shayne Oliver is another driver of this trend, as from early 2016, his spring collection featured over the top contoured models inspired by two of the biggest internet topics at the time: ‘90s nostalgia and the Kardashians’. I have used various pinks as the dominant colour to represent skin tones and portray the delicate state of sweetness and a soft touch of feminism. Pink represents a universal love of oneself and of others according to Jennifer Bourn. Both images and warming tones are designed to link with the keywords previously researched from unique style platform, intrepid macro trend, such as glamor, brave and freedom. The images inspire a natural nature, featuring both soft tones and some harsh reds to empower strength, independence and fierceness. Softer facial expressions are combined with a harsher exterior surrounding the faces and images.
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MICRO TREND
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Protester, rebel, freethinker and misfit. Introducing the transformation of the 21st century; the nonconformist, in simplified terms, not conforming to the standards of society. This short-term trend is inspired and enhanced by the current gender fluid movement. Enabling individuals to explore their identity through the power of dressing and combining a form of art to explore their sexuality and express themselves through empowering messages, slogan tees and protest bulletin print designs. I have heavily embedded my research from the two micro trends selected from WGSN: Love Revolution and Youth Tonic (See Appendix 5.1 & 5.2). Both trends are driven by a new youthful spirit, influenced by creativity and taps into the artistic, playful side of the power of protesting, producing tongue-and-cheek expressive print designs and making marks and textures to embrace imperfections. Throughout the 20th century there was a movement of androgynous fashion, which began trending throughout to our current millennial, shifting its way into what could be arguably classed as ‘contemporary style fashion’ encouraging gender fluidity both with people and within clothing. (Petter, O. 2017). These genderless designs have been increasingly evolving within the media and from emerging designers such as Bobby Abley, Matty Bovan and Charles Jeffery, whom are all known for their unique, expressive clothing range, featuring gender-neutral collections on the runway shows at London Fashion Week early this year including powerful slogans and diverse models. High street/premium brands are also embracing this cultural subversion of gender norms, including H&M, River Island and Diesel, as they begin to feature unisex, non stereotypical advertisement campaigns, some of which influence shock tactics, announcing forward-thinking dress wear leading with non-binary products and expressing individuality in many shapes and forms. Although the movement of diversity and identity is subjected as a long term trend, the artistic element and protesting awareness of gender fluidity is only selective and is defined as my micro trend, as this particular trend is a statement of recognition, using art to be manipulated and constructed with protesting to portray self-expression. The nonconformist colour palette features a neutral setting of white and beige tones designed to represent the gender neutral aesthetic. I have included colours such as reds and blacks, which are designed to express bold a statements representing as the perfect choice of colour predominately used for protests and as a focal point for the the nonconformist; it captures the sense of rebellion and youth that this trend channels. Building on this notion, the trend also captures an artistic and creative theme, being expressive with prints and designs in order to express oneself creating an additional impact within the moodboard. Together the colours combine the concept of subtleties and turbulence.
MICRO TREND
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We learn about the profession of a trend forecaster and how they are constantly observant and take in depth research, observation and application in order to provide valuable trend information for businesses. They have a huge influence on the growth and development aspects for a company, as they encourage and guide managers and designers to look ahead, towards future developments in order to maximise the progress and profitability of their products. The role of a forecaster is a continuous cycle of hunting, gathering and compiling evidence and images in order to spark a trend. From looking back at the question, “How can the influence of trends and media tactics successfully impact on the developments within a business?� we notice that throughout the case study we learn about the importance of business structure and material, looking at the two most significant marketing factors, which are the micro and macro environmental factors, leading onto the discussion of the PESTLE and COSMIC models supporting this. (See Appendix 2.1 & 2.2). We learn that when businesses develop more knowledge and engage with trend research, the better affects their outcome will have on communicating their ideas and their products towards their consumer base. It is important for businesses to look at all aspects and areas of trends, as everything in the world has a continuous effect and shift, therefore they need to continue innovating and remain up to date with the latest fashions and continue reproducing and creating new products as the demand continues to grow from the entire population. The case study also refers to the use of media and how in particular the use of shock tactics are reinforced through different brands, one of which I discuss is Diesel. This particular brand is well known for being a step ahead of the trends, produce innovative marketing material and in particular have previously used shock tactics in many of their advertising campaigns. We learn how the conflict of shock tactics can be portrayed positively in promoting a brand success in selling products.
CONCLUSION
Throughout this report we have learnt that trends are undoubtedly one of many important factors used within a business as they are designed to keep products interesting and innovative. Trends are essential tools devised to present many frameworks and directions which include social, economical, cultural and so on.
To conclude, the final section of this report brings together all the research and findings of my own forecasts, communicating a minimum of three emerging trends, two of which are short term and one of which is a long term trend. Each of these three forecasted trends communicate their own message with links to fashion, beauty, current events, and reflections of social and political developments of my own interpretations of the future predictions.
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APPENDIX
Appendix 1: Fashion Life Cycle. Introduction - this stage of the process introduces the new innovation of creative inspiration, which is released into the market and begins to gain acceptance from consumers, slowly creeping its way up the slope. Growth - In the stage of the products growth, this is where the innovation starts to take off however, competition increases from other markets, manipulating similar styles and attracting more consumers to gain popularity. Maturity - this stage tends to be the longest of the fashion cycle, as competition becomes increasingly intense, therefore mass production start using cheaper labor and materials to produce the same product, resulting in cheaper products appealing towards their market. Decline - this is the final stage of the cycle. The products lose their popularity and and start to go out of fashion, this can be due to the high demand of a product, leading to further reductions by retailers and the trend continues to fall resulting into its decline process.
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Appendix 2: Diffusion of Innovation Theory (Behaviour Change Model) 1.1 The five stages of the adoption process INNOVATORS These are the people who are the first to trial and adopt the innovation. They are the ones who are intrigued and interested in trying out new ideas. These people are risk takers and are often first to develop new ideas. (trend forecasters) - very little needs to be done to attract this population. EARLY ADOPTERS These are people who embrace change and opportunities. They represent and enjoy leadership roles. They are aware of the changes already and are comfortable adopting new ideas. How-to manuals and information sheets on implementation are strategies that appeal towards this population of people. EARLY MAJORITY This population, rarely lead, however they do adopt new ideas before the average person. That said, a particular innovation but be tested/prototyped so show its function or evidence of ability to work before they are willing to adopt it. Strategies to appeal to this population include success stories and evidence of the innovation’s effectiveness. LATE MAJORITY These people are skeptical of change of innovations, and will only adopt after it has been trialed by the majority of people. Strategies to appeal to this population include information and evidence on how many other people have tried the innovation and have adopted it successfully. LAGGARDS These people are bound by tradition and very conservative. They are very skeptical of change and are the hardest group to bring on board. Strategies to appeal to this population include statistics, fear appeals, and pressure from people in the other adopter groups.
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1.2 Adoption process graph
Appendix 3: Marketing Models 2.1 Pestle Diagram POLITICAL
LEGAL
ECONOMICAL
PESTEL ENVIRONMENTAL
SOCIAL
TECHNOLOGICAL
2.2 COSMIC Diagram CUSTOMERS
SUPPLIERS
EMPLOYEES
COSMIC SHAREHOLDERS
MEDIA
COMPETITORS
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Appendix 4: Trend Cartograms 3.1 Macro trend - Blurred lines Innovators: 69, non demographic, denim clothing label, representing genderfluid clothes, based in Los Angeles, California. Helen Anthony, British designer, NYFW’ 18 Gender fluid collection. Marques’ Almeida, British fashion label founded in 2011, spotted at LFW’18 using bold slogan prints representing identity and beauty. Matty Bovan - self expressive, unique fashion and handcrafted accessories designer who challenges the gendered, commodified paradigms of fashion design. LFW’18 features his knitwear garments, deconstructed dresses and an overall sense of fun. Exploring craftsmanship, colour and texture. Arca, Brooklyn-based songwriter and music producer who targets a new breed of consumers through a Cultural movement. Drivers: Rising fashion designers featured at London Fashion Week 2018 showcasing their links to gender fluid clothing and diversity in the current trending industry. Social media’s impact on social, political and global changes, with an increase on urban activisms and showcasing Instagram influences. New streetwear brands creating non binary products and uni sex clothing ranges to gain a larger, more flexible audience. The future fluid generation (Generation Z) of freedom and self-expression. The concept of male and female products becoming increasingly irrelevant to the emerging, new breed of younger consumers. From 2017, gender no longer dictated the way people dressed. Impact: A new generation focusing on themselves and representing their true identities with no labels attached. Discovering a new way of expressing identity of social norms in regards to gender and sexuality. Portraying a sense of powerful dressing, self expression and freedom from stereotypes. More people focusing on themselves and being expressive through clothing. People speaking out and becoming more self aware. Using social media as a tool to visually communicate this movement. Instagram is the most commonly used social site for younger audiences, to spread messages across globally. Socially responsive support is recognised through these sites featuring a hash tagging system. Consequences: More diverse range for both men and woman and for those who choose not to identify towards a specific gender. associated with body positivity - a focus on loving oneself and becoming more happy Taking away stereotypical names Increase of creative freedom of the mind and physical attributes Future: Diverse range of gender fluid featured clothing with launching of creative future brands New breed of designers brought to the market challenging social norms within people and clothing designs including more sustainable resources. Urban/street activists and cults emerge
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3.2 Micro trend - The nonconformist Innovators: Selfridges - Agender - literally meaning ‘without gender’. Department store creates a project based on a unique genderless shopping experience across fashion, accessories and beauty. Laurie Lee Leather - Founded in London in 2015. Drawing from urban street styles, combining pop cultural references with the traditional hand crafted painting on to leather biker jackets. Designed to symbolise rebellion - transforming classic everyday pieces into wearable art. Ambush Spring Summer 2018 Menswear fashion show featured on the Vogue Runway. Concept centered around the new youth culture of today of how kids customize their style and experiment with their identities. Grit Magazine: Long live the protest. - Photoshoot inspired by The Breakfast Club.
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Drivers: Youthful, artistic influences such as fashion designers Laurie Lee, Bobby Abley and Charles Jeffery working with expressive print designs, pop culture and contemporary art. WGSN 2018/19 micro trends Love Revolution and Youth Tonic. Both trends are driven by youthful spirits, with a creative influence that recognises the artistic, playful side of protesting, featuring expressive print designs using marks and textures to embrace imperfections. Both high street and premium brands including H&M and Diesel indulge into the cultural subversion of gender norms. Impact: Diversity and identity has increasingly developed within the fashion industry from 2017. From the rise of female empowerment, model diversity to gender neutral clothing. New marketing gimmicks such as GRL PWR slogan tees to runway shows featuring men in skirts has made it impossible for us all to ignore this huge development evolving in fashion. Popular brands featuring unisex products and clothing, advertising non stereotypical campaigns introducing forward-thinking dress wear expressing individuality in many shapes and forms. Existing elements: Selfridges 2015 ‘Agender’ campaign, H&M with their ‘Denim United’ line, Premium brand Diesel for successful living gender neutral range and River Island’s most recent advertising campaign on celebrating diversity and challenging stereotypes. Consequences: The artistic, protest elements will become a statement of awareness and recognition as well as belonging to a stylish fashion. Individuals customising their clothing in unique ways to express themselves. Denim will become increasingly popular as it is an easy fabric to manipulate for both men and woman and to restructure into genderless designs. Future: Advertisement campaigns and runway shows featuring more customised, creative clothing representing the gender fluid generation. Art cultures and customising will become more popular as an in store activity for consumer engagement making people aware of generation developments and creating an environment which feels safe to express freely.
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3.3 Micro trend - The face of now Innovators: April 2018 issue of Vogue Arabia, with designer, Maria Grazia Chiuri’s Interview with Adwoa Aboah. Adwoa Aboah - British model, activist and founder of gurls talk - designed to support young women online. Maria Grazia Chiuri, The first female artistic director of Dior was born and bred a feminist through the exceptional example set by her parents. Fashion designer, Shayne Oliver’s 2016 spring collection featuring exaggerated contour on models down the runway, inspired by 90s nostalgia and the Kardashians. Drivers: Growth of women supporting one another after Trump’s Inauguration. 2017, The Women’s March worldwide protest designed to advocate legislation and policies regarding human rights and women’s rights. Introducing a global movement encouraged by the majority of woman to make changes. Fashion designers and Makeup artist collaborations - make ugly beautiful.
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Impact: Reflecting upon the incredible changes in the world made possible by feminism and the women’s rights movement, learning that the personal is political. Designed to encourage young woman to express their so called ‘ugly’ features and enhance them visually with the use of beauty products. By 2020 instore/retail beauty departments actioning a form of therapy and physical transformation Consequences: Further campaigns & marches reaching out to other areas of beauty and body positivity. The artistic elements of beauty products used to drive a social statement of recognition of transformation for women expressing their unconventional beauty. Beauty Products will fight pollution, according to Funmi Fetto at Vogue Daily.The next wave of skin aggressors on everyone’s radar are thanks to pollution, so expect to see anti-pollution skincare ranges multiply. In the UK alone, sales of anti-pollution prestige skincare products amounted to £3.1 million in the second half of the year. (Fetto, 2017). Future: Woman uniting as one to have a better chance of making a change. - New line of artistic beauty products used to drive a social statement of recognition of transformation for women expressing their unconventional beauty.
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Appendix 5: WGSN Trends 5.1 Love Revolution WGSN Micro trend S/S19 - Love Revolution taps in to the artistic, playful side of the power of protesting. This trend engages with young people’s independence, standing up and making a difference within by manipulating art into designs and enhancing the generation of today, including the new age of subcultures of girl gangs and gender fluid individuals. The demand for this trend will look into producing tongue-and-cheek slogan tees and expressive print designs. The prints themselves are very bold, bright, strong and freely driven much like the Intrepid trend where it features key works such as freedom and fierce. The bold images and blocks of colour reminds us of the brave new breed of consumer today, unafraid to say what they want and do what they want.
5.2 Youth Tonic WGSN Micro trend S/S18 - Youth Tonic is driven by a new youthful spirit, similar to the Love Revolution S/S19 trend, as it focuses on print design and independence, however, Youth Tonic’s brash confidence encourages bolder, more expressive designs. This edgy, adventurous style of work allows designers to have more creative, free flowing technique making marks and textures to embrace the imperfections - this can be linked with the Intrepid trend predicted by Unique Style platform, as the the new revolution of empowering women and how the encouragement of celebrity endorsements have impacted on woman all over the world by introducing a more diverse range of models and actresses, letting their imperfections be seen as beautiful and glamorous.
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Appendix 6: Premium Streetwear brand 6.1 About Diesel Diesel is a lifestyle brand well known for being ahead of the trends and pushing the boundaries of luxury fashion and marketing. After the arrival of Italian-Japanese fashion director/editor Nicola Formichetti in 2013, the brand had a new dose of energy and was “rebooted” into a new wave of innovative thinking. While retaining its philosophy of Rosso’s spirit and vision, standing for passion, individuality and self-expression, Diesel has evolved and introduced itself as a premium label featuring lifestyle qualities including casual wear clothing, accessories, homeware furnishings and fragrances, all to enhance and create an alternative to the established luxury market. Their brand value is to produce an apparel line perfectly fit for individuals who aim to self-express and follow their own unique path in life. The goal is to identify and design clothing that can be worn by people who are style-makers, who express their bravery, audacity and humor in unique individual way. “Only the Brave” is the parent company of Diesel. OTB aim to build brands by targeting a new breed of consumer, developing a more modern, unconventional group of individuals who want to express their identity and lifestyle through what they wear. OTB adapt the rules by pushing the boundaries of controversial fashion and manipulate an attitude to think innovatively about how things could be done differently. Formichetti is widely known as the artistic director for Diesel. He was contracted to collaborate with the brand for four years. By December 2017, Formichetti’s contract had expired and is now focusing on his own label, Nicopanda. Currently Diesel have decided to not name a successor to the artistic director at this moment in time. Rosso explains how the company is believed to work different now, in a complete different direction, he continues to suggest there are special projects on the way, looking in to the new market sector which has developed over the years. Diesel needs to explore and become modern.
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IMAGE ACCREDITATION Fig 1: Retrieved from https://www.pinterest.co.uk/pin/490259109429673114/ Fig 2: Grit Magazine: Long live the protest. [Photograph] A.Camenisch. Retrieved from http://www.natvanzee.com/grit-magazine/ Fig 3: MOOI-HIP-COOL, VEGA MAGAZINE RACK (2013) Retrieved from http://mooi-hip-cool.blogspot.co.uk/2013/09/vega-magazinerack.html Fig 4: Hunting and Gathering, Fishleigh T. (2018). Fig 5: Academic Design. Retrieved from https://vk.com/academic_design?epik=0UfprE_IW391z Fig 6: WGSN 2018 Trend. Youth Tonic. (2018). Retrieved from https://www.wgsn.com/blogs/wgsn-presents-the-most-influential-trendsfor-ss18/ Fig 7: DYING OF THIRST. Retrieved from http://streetbeast.tumblr.com/ Fig 8: Trend Den. Fishleigh, T. (2018). Fig 9: Diesel Burqa Ad: Islamophobic Or Empowering? (2013). Retrieved from https://www.huffingtonpost.com/2013/09/21/dieselburqa-ad_n_3962554.html Fig 10: Unique Style Platform, macro Trend: Intrepid. (2018). Fig 11: Arca, Instagram. (2018). Retrieved from https://www.instagram.com/p/BdqFIg6jtdr/?hl=en&taken-by=arca1000000 Fig 12: 69 Fall 2016 New York Fashion Week - Vogue (2016). Retrieved from https://www.vogue.com/article/69-fall-2016-presentationnews-new-york-fashion-week Fig 13: Studio Blvd ft RiverIsland Campaign. (2018). Retrieved from https://marcommnews.com/studio-blvd-and-river-island-createprovocative-campaign-for-its-ss18-collection/ Fig 14: Trend me. Carola-corana (2011). Retrieved from https://www.trendme.net/Picture-from-album-diesel-sex-sells-album-pic/ OTQ0MTk0OTgw.html Fig 15: officemagazinenyc, Instagram. (2016). Retrieved from https://www.instagram.com/p/BJ3KYKEAeRI/ Fig 16: The Runway Authority. (2018). Retrieved from http://www.therunwayauthority.com/home/2018/2/28/helen-anthony-2018-nyfw-collection Fig 17: marques_almeida, Instagram. (2018). Retrieved from https://www.instagram.com/p/BfQdfUZHZ0t/?hl=en&taken-by=marques_ almeida Fig 18: VOGUE, Aden Error’s korean vetements. (2016). Retrieved from https://www.vogue.com/article/ader-error-korean-fashioncollective-jeans-socks Fig 19: VOGUE ARABIA. (2018). [Photograph] C. Bird. Retrieved from https://en.vogue.me/fashion/adwoa-aboah-interview/ Fig 20: Marius Sperlich Close-up Photography (2017). Retrieved from http://designcollector.net/likes/marius-sperlich-close-up-photography Fig 21: YSL BeautÊ (2016). [Photography] J. Wilks. Retrieved from http://isamayaffrench-archive.tumblr.com/post/134753147696/ ysl-beaut%C3%A9-creative-direction-by-isamaya-ffrench Fig 22: Femme & Fierce Poster. Retrieved from https://forallwomankind.com/posters/femme-fierce-poster Fig 23: STYLE CASTER. (2015). R. Krauser. Retrieved from http://stylecaster.com/beauty/hood-by-air-nyfw-ss-2016-makeup/ Fig 24: Grit Magazine: Long live the protest. [Photograph] A.Camenisch. Retrieved from http://www.natvanzee.com/grit-magazine/ Fig 25: Poplin shirt with pocket and slogan from Zara. Retrieved from https://www.pinterest.co.uk/pin/490259109429456716/ Fig 26: Volt cafe, blog. Agender at Selfridges. (2015). Retrieved from http://www.voltcafe.com/blog/agender-at-selfridges Fig 27: CRES. E DIM. (2015). Retrieved from http://cresedim.com/product/lookbook.html?cate_no=89%20 Fig 28: DYING OF THIRST. Retrieved from http://streetbeast.tumblr.com/ Fig 29: Unknown. Retrieved from https://www.pinterest.co.uk/pin/490259109429351361/
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