-

THE PHOTOGRAPHY BRIEF SUMMATIVE VISUAL REPORT

FASH20031/ T0053426 / SIYAO LI/ JANUARY 2019/ 2525 Words

TABLE CONTEXTS MOODBOARDS KEY INSIGHTS BRAND BACKGROUND BRAND WHEEL SWOT ANALYSIS CLIENT POTFILO POSITIONAL MAPS GENDER-NEUTRAL TREND

Figure 1. Front Cover, 2018.

Figure 2. Inside Cover, 2018.

OF 4 - 15

CONTENT CONCEPTS

16 - 19

OUTCOMES

20 - 25

BIBLOGRAPHY

26 - 27

CONTAXTS

INTRODUCTION Based on the advancement of modern society, at times, the demand of customers has changed, which have an adverse impact on the business strategy of print media advertisements (Newman, 2011). In the internet era, social media has a faster rate of dissemination than the print newspapers (Acosta, 2015). Considering the popularity of social media outlets such as Facebook, Twitter and Instagram etc, different forms of fashion bloggers alongside internet influencer are gradually created consecutively. Using social media to manufacture direct materials and brand stuff into media products and disseminate them quicker than print publications (Mushroom networks, U.N.).

Thus, creating photo-story for print media is obviously a challenge.

Its form should have more depth and attitude to spread through a unique path. The visual report gives an account of how a multi-brand e-commerce retailer such as ASOS provides the key insights into the industry through innovative visual stories within ASOS magazines.

Also, the outcomes are based on gender-neutral fashion trends to present before the potential clients. Simply put, narrative techniques are incorporated within the visual strategy, which is a poetic and flexible approach to express the way in which the gender-neutral model is displaying its lifestyle in the course of an entire day. The results are likewise an integration of digital and conventional film technology to introduce into the market, the establishment of a sensitive emotional connection with the customers is the ultimate goal.

MOODBOARDS

Figure 3. Moodboard 1, 2018.

Figure 4. Moodboard 2, 2018.

Figure 5. Moodboard 3, 2018.

Figure 6. Moodboard 4, 2018.

Figure 7. Moodboard 5, 2018.

Figure 8. Moodboard 6, 2018.

KEY

INSIGHTS

“More and more, it feels instinctively right to translate the same idea for both genders.� via Miuccia Prada (Opulanza, 2015)

Gender-related topic is currently fast becoming trendy within the fashion industry and is subsequently stirring up a growing amount of conversation and consumption among people, particularly in the social media.

This intensifies the audience’s misconception, as well as ambiguity concerning gender neutrality. The main insight is that ASOS consumers are unaware of ASOS’s involvement in issues such as body activism / gender neutrality. Therefore for ASOS to align its brand image with its current ideal model, photography actually needs to be contentious and dialogue around ASOS alongside their gender-neutral stance. Rather than complying with the example previously set by other brands (most “neutral” photo albums, for instance, hinge on men’s and women’s with male in general, loose-fitting outfits that are usually shot completely devoid of any feminine element or make men look feminine). Certain brands have gone from extreme to extreme. Hence, attempt to break a barrier, try to find a balance between masculinity and feminisation, instead of favoring only one of them. There is a need for visual stories to make more opportunities accessible for consumers and guide to explore self-identity through an experimental approach.

BRAND

BACKGROUND

As a multi-brand online fashion and cosmetics e-commerce brand established in the UK with a diverse consumer and a professional buyer team (Moran, 2016), ASOS’s marketing concept has attracted a significant number of followers in the e-commerce industry since 2000. Across the UK, ASOS represents the largest fashion retailer online platform. The company’s major target audience is the young individuals between the ages of 20-30 with over 800 brands in addition to their brands to pick from. Official websites exist across the world (In the UK, Australia, the United States, France, Germany, Spain, Italy, etc.), supporting direct mail in over 140 countries (Robinson U.N.). According to Mcgregor (2017), with the aim of becoming a trend-setting online retailer brand, the name “ASOS” emanates from “as seen on screen”, and its meaning corresponds to their positioning.

Figure 9.Brand wheel 2018

Figure 10. SWOT analysis 2018

CLIENT

PROFILE

Nowadays, consumers are becoming increasingly fashion sensitive, and have their own personalised fashion needs, concurrently, getting increasingly rational, as well as the pursuit of a more cost-effective brand. Young consumers are readily influenced by the influencer, and the speed with which they disseminate information online is remarkable. Brands exploit the social media platform to reach out to young people by using trendy videos and slogans. Provide comprehensive customer information so as to sustain the loyalty of a brand’s consumers.

Figure 11.Consumer Porifiles, 2018

POSITIONAL

MAPS

SSENSE

�Ft�ETCH

OPENING CEREMONY

NET-A-PORTER

L _Est. 2002

f�l1'vble,

zalando

GLD\SSJ

--

-

I American Apparer .

Figure 12.Brand competitors, 2018

'

�h,:l'- Fri.c.e.

PRETTYLITTLETHING.coM

boohoo L.Jw �tee.-

�i�i'-

\?rile..

URBL1N {S)UTFITTERS

�

----,

ZARA RIVER ISLAND

cb)

TOPSHOP

next

Fu<Juon.ab(,e.,,

UNI 'QLO �E:)� look

-

--

___j

PR I MARK ®

Law �rtce..-

There are some brands in the positional maps, which were categorised into two aspects. From the location diagram of online retailers, it is evident that ASOS’s competitors are Zalando, Boohoo, Pretty little thing, as well as Missguided. These brand positioning target groups, together with their product prices have basic similarities with that of ASOS, the strength of ASOS lies in globalization. Nevertheless, certain luxury multi-brand online retailers exist such as SSENSE, OPENING CEREMONY and FARFETCH, whereby their strengths lie in originality, manufacturing of higher quality products, as well as providing a link. Among the offline competitors, the ones closest to ASOS are UO, ZARA and TOPSHOP. These offline shops offer direction that AOAS can adopt for future consideration.

GENDER - NEUTRAL

Figure 13. Own moodboard, 2018

In history, according to Shinkle (2008), Newton is one of the avant-garde photographers. In the 70s, the mainstream aesthetic praised the elegant, dignified women who were recognized by the public. On the contrary, the women portrayed in Newton’s lens are independent, rebellious and cold. In the 1960s, Feminism and the development of the the sexual revolution. As Healy C.M. (2015) demonstrated, Yves Saint Laurent created the first female suit in the fashion circle, which was called Le Smoking in 1966. Menswear elements are used by him in women’s clothing. For example, in Newton’s photography, models wearing white shirts, ties and suit designed by Yves Saint Laurent. According to Wrigley (2012), in 1975, at the corner of Rue Aubritot in Paris, Helmut Newton photographed the famous Yves Saint Laurent Le smoking female for French Vogue, which became the famous androgynous Look in the history of fashion. Thus Newton’s work successfully delivers the design concept of Yves Saint Laurent Le Smoking to the consumer.

Besides, the popularity of Le Smoking has changed the stereotype of gender. It reminds me of the concept of gender-ambiguous. In fact, Gabrielle Chanel have applied genderless elements to her design in the early 20th century.

TREND

Nowadays there are some positive cases in gender-neutral trends such as Toogood, Ann demeuleemester, Yohji Yamamoto, Rick Owens, Comme des Garçons etc.

Not with standing, ASOS’s competitor ZARA has launched the “ungendered” series of advertisements. The major promotion of the brand in the market is oversized design elements, basic gray together with white colour T-shirt and hoodies. Nevertheless, the outcomes stirred several controversies. In some platforms of social media, the dominated voices are that of critics, where the majority of the viewers expressed disappointment with ZARA. It was even claimed by some of these viewers that the product portrays an awful expression of gender neutrality (Jones, 2017).

Aside from fashion trends, there are other gender-neutral restrooms accessible to all. Every toilet has a caption on the outside that says “anyone can use the toilet, irrespective of gender and identity”.

You can use the toilet whether or not you were once considered a polyamorous, or a member of the gay community (McCormick, 2017) .

CONCEPTS

Figure 14.Concepts moodboard in sketchbook, 2018

Figure 15.Concepts one to three, 2018

For each concept, we are inspired to break down gender symbols in conventional setup, body language, clothing, and scenes, etc. For concept 1, we plan to use film camera in the bedroom or Arboretum for shooting, we select a pastel colour palette and utilise props/sunglasses to create a romantic feeling. For concept 2,we adopt a cool and bright colour for the tone. In the moodboard, it is evident that the body and feminine posture are powerful, contrarily, these backgrounds were weakened. Therefore, we intend to experiment with makeup and exposing clothes on studio for the shooting. We draw our inspiration from books, magazines, as well as the artists. (There are some photos were taken by the artist Ren Hang. His work is often subjected to controversy in certain circumstances, Ren Hang incorporates himself together with the photographer. His private photos were not solely a record of objective fact, but likewise a way for self-exploration of gender. Concurrently, they portray a reflection of life attitude). For final concept, we plan to shoot the street style at the barbershop, ensure one model displays a diversity, that is, diversity within the gender-neutral trend. In the three concepts, â&#x20AC;&#x153;Subtle Femine Body Languageâ&#x20AC;? which is concept one is eventually linked to a photo story.

OUTCOMES

Figure 16. Outcomes inspiration, 2018

Taking a close look at the photography of fashion magazine in the course of last few years, in the assertion of Skidmore (2018), a new phenomenon particularly notable is that several models now exist which have started to pose in a surprisingly weird form, for instance, walking around a subway, dancing on the street, or even lying to take a nap on the floor. Even certain photographers are inspired by some behavioral artists, who appear to have broken the conventional “sexy” and “feminine” image of the fashion world. These unique shooting postures, as well as narrative styles give fashion photography a new look full of prospect.

Figure 17. Outcomes mock ups, 2018

In the final visual stories, the vivid pictures of this series is its fluidity, which is accomplished by a combination of our concepts together with various compositional means: compact layout, from waking up to activities, the natural light reflected from the window gives the pictures a romantic perception, from the structure of the bed and sofa through the contrast of light and shadow. Thereafter, model moving to the Hocneystreet from the bedroom, we adopt a lower camera to give the audience chance to see the picture from multiple angles. Our model embraces the flowers beneath the blue sky that displays the soft emotion in the scene.

Figure 18. shooting day, 2018

Adress: Siyaoâ&#x20AC;&#x2122;s apartment / Hockley St, Nottingham.

Art Direction: Jess Greenwood & Georgia Thompson Photographer: Siyao Li, Georgia Thompson & Emilia Denis Filming & Styling: Rae Patel Model: Rae Patel & Umar Rashid

Summaries The final results are aimed at planning ASOS photography stories, and through magazines and social media as the major form of media to disseminate information to ASOS consumer groups, thus stimulating potential customers. Through precise positioning, our team is investigating consumer needs by exploring the consumer profiles, lifestyle habits, social media usage habits, screening shooting models, as well as the core purpose of this shooting. The core value of neutral trends is adopted by this shooting, beginning with lifestyle to persuade consumers and in accordance to the brand image diversity of ASOS, sex alongside internalization are further intensified. The typesetting of the magazine utilises previous magazine case of ASOS, the text incorporate the neutral trend information and ultimately introduce a mobile gender story. To further improve the prospect of consumersâ&#x20AC;&#x2122; association, the entire layout from picture to text, the combination of digital and film style tend to accomplish significant promotion effect.

In this team project, from the contexts stage, I majorly conduct investigation on brand competitors, inclusive of primary and secondary research, and discover certain key insights through group discussions. In Concepts stage, I engaged in the visual collection of each concept and summarised the specific ideas of the three concepts, including how details are linked with outcomes. On a final note, as a photographer in the Outcome stage, so as to convey our team visual story, I was inspired through the examination of certain gender neutral fashion trend photographs. Pin, and the emotions of certain artists, as well as several effective interactions with my team members and models, which enable me to complete the final shooting. Deep communication is highly essential, particularly when the model is not sure of the kind of pose to adopt, how can the photographer persuade the model to liberate himself? How to give full play to his emotions, and ultimately the effect cannot be separated from the collaboration of the entire team. .

B I B LI O G RAP H Y Websites Acosta,M. (2015). Social Media Changes the Way we receive News. At:Medium. https://medium.com/@Mike_Acosta_iEsdeath/social-media-spreads-news-faster-than-news-itself-b40ca66193d1 [Accessed 5 January 2019].

Cascone, S. (2017). Nan Goldin Is Now on Instagram, the Perfect Platform for Her Deeply Personal Photographs.

At: Artnet. https://www.google.com/amp/s/news.artnet.com/art-world/nan-goldin-joins-instagram-1182374/amp-page [Accessed 5 January 2019].

Gleeson, H. (2016). Gender on the brain: Male and female brains are not that different, study shows? At: ABC. https://www.abc.net.au/news/2016-02-19/gender-on-the-brain-male-and-female-brains-study/7179088 [Accessed 5 January 2019].

Healy, C.M. (2015). How Yves Saint Laurent changed fashion. At: Dazed. http://www.dazeddigital.com/fashion/article/25429/1/how-yves-saint-laurent-changed-fashion [Accessed 5 January 2019].

Jones, M. (2017). The pros and cons of the rise of Gender Neutral clothing with this ultimate Gender Neutral Clothing Guide. At: Pinknews. https://www.abc.net.au/news/2016-02-19/gender-on-the-brain-male-and-female-brainsstudy/7179088 [Accessed 5 January 2019].

McCormick, J, P. (2017). What is a gender-neutral bathroom? At: Pinknews. https://www.pinknews.co.uk/2017/05/26/ what-is-a-gender-neutral-bathroom/ [Accessed 5 January 2019].

Mcgregor,K. (2017). How Asos founder Nick Robertson built a £1.4bn business. At: Drapers. https://www.drapersonline.com/how-asos-founder-nick-robertson-built-a-14bn-business/7028171.article [Accessed 5 January 2019].

Moran,G. (2016). My Fashion Life: Asos branded buying director Nikki Tattersall. At:Drapers. https://www.drapersonline.com/people/my-fashion-life/my-fashion-life-asos-branded-buying-director-nikki-tattersall/7005512.article [Accessed 5 January 2019].

Mushroom (U.N). Infographics & Market Research. At: Mushroomnetworks.comhttps://www.mushroomnetworks.com/ infographics/social-media-news-outlets-vs-traditional-news-infographic/ [Accessed 5 January 2019].

Newman, N. (2011). Mainstream media and distribution of news in the age of social discovery. At:ORA. https://ora. ox.ac.uk/objects/uuid:94164da6-9150-4938-8996-badfdef6b507/download_file?safe_filename=Mainstream%2BMedia%2Band%2Bthe%2BDistribution%2Bof%2BNews%2Bin%2Bthe%2BAge%2Bof%2BSocial%2BDiscovery&file_ format=application%2Fpdf&type_of_work=Report/ [Accessed 5 January 2019].

Opulanza, G. (2015). Will Unisex Clothing Become Mainstream? At: Menstylefashion. https://www.menstylefashion. com/will-unisex-clothing-become-mainstream/ [Accessed 5 January 2019].

Robinson,L. (U.N.). The History of ASOS. At: The fact shop. https://www.thefactshop.com/blog/fashion-facts/asos-history [Accessed 5 January 2019].

Shinkle, E. ed., (2008). Fashion as photograph: Fashion Fiction in Photograph Since 1990. Susan Kismaric and Eva Respini.pp. 29-45. [Online Book]. https://ebookcentral.proquest.com/lib/ntuuk/reader.action?docID=677063# [Accessed 5 January 2019].

Skidmore, M. (2018). Posturing – a new vision of the body in fashion. At: BJP. http://www.anothermag.com/art-photography/1869/helmut-newtons-le-smoking [Accessed 5 January 2019].

Wrigley, T. (2012). Helmut Newton’s Le Smoking. At: Another. http://www.anothermag.com/art-photography/1869/ helmut-newtons-le-smoking [Accessed 5 January 2019].

Pictures Figure 1. Li, S. (2018). Front cover. own picture.

Figure 2. Li, S. (2018). Inside cover. own picture.

Figure 3-8. Li, S. (2018). Moodboards via team project. Available at: <https::// www.sylvialsy. wordpress.com>. [Accessed 06 January 2019].

Figure 9. Li, S. (2018). Brand wheels. own picture.

Figure 10. Li, S. (2018). SWOT Analysis. own picture.

Figure 11. Li, S. (2018). Consumer profiles. own moodboards. Available at: <https::// www.sylvialsy. wordpress.com>.

[Accessed 06 January 2019].

Figure 12. Li, S. (2018). Brand competitors map. own picture.

Figure 13. Li, S. (2018). Gender-Neutral moodboard. own picture. Available at: <https::// www.sylvialsy. wordpress. com>. [Accessed 06 January 2019].

Figure 14. Li, S. (2018). Concepts moodboard via team project. own picture. Available at: <https::// www.sylvialsy. wordpress.com>. [Accessed 06 January 2019].

Figure 15. Li, S. (2018). Concepts moodboard one to three via team project. own picture. Available at: <https::// www. sylvialsy. wordpress.com>. [Accessed 06 January 2019].

Figure 16. Li, S. (2018). Outcomes inspiration mood board. own pictures.

Figure 17. Li, S. (2018). Outcomes mockup via team project. own picture. Available at: <https::// www.sylvialsy. wordpress.com>. [Accessed 06 January 2019].

Figure 18. Li, S. (2018). Back cover. own picture.

asos