Censored. by Abbie Lane

Censored.

The struggle for creative freedom in the former superpower

Word count: 8,795 N0423568 Abigail Spencer-Lane FASH30001 Tutor: Chris Macdonald

. How are LGBT rights in Russia affecting the international acceptance of their fashion industry? .

Contents. 46-51 The Russian youth 6- 9: Introduction 10-15 LGBT rights in Russia

52-53 The big idea 54-65 The power of film 16-25 LGBT rights in fashion 26-35 The Russian fashion industry

36-39 Vladimir Putin

66-77 Censored 78-93 Promotional strategy

40-45 The Motherland

94-99 The film 100-103 In conclusion 104-107 List of illustrations 108-113 List of references

114-119 Bibliography 120-199 The Appendix

ENSORED

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(Lybarger, 2014) and hate crimes against homosexuals in Russia became global knowledge. However, with Russia being named a promising future economy and the creation of direct initiatives to aid the growth and global acknowledgement of their fashion industry, can they be accepted into the politically engaged

world of fashion, or may the countries regressive attitudes hinder its growth into this industry? The question therefore stands as to how such regressive censorship in Russia is affecting the international growth of Russia’s fashion industry, if at all.

RUSSIA

In June 2013, a law was passed in Moscow banning non-traditional relationship propaganda from Russian society (Global Equality, 2014). A year later in 2014, Russian president Vladimir Putin was named as the “single biggest threat to LGBT [lesbian, gay, bisexual, transgender] rights in the world” by the Advocate

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LGBT rights in Russia. A media exaggeration?

Figure 20: Irina Fedorishcheva and Svetlana Shompolova (Isabella Moore, 2014)

Figure 19: Sergey and Philippe (Isabella Moore, 2014)

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Figure 2: LGBT rights activists calling for Sochi Winter Olympics sponsors to speak out against Russiaâ&#x20AC;&#x2122;s anti-gay laws in Melbourne. (Paul Crock, 2014)

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set up by “global equality group All Out and Athlete Ally, which tackles homophobia in sports”. The petition stated that it urged “leaders around the world and within Russia to work to eliminate all anti-gay laws and protect all citizens from violence and discrimination in Russia” (MacPherson, 2014).

OTEST

wishes wanted “Olympic sponsors such as McDonald’s, Coca-Cola, Samsung and Visa to speak against Russia’s new laws on homosexuality” (BBC, 2014). Although they did not, TV personalities such as Paul O’Grady took part in the rallies, along with many others from all over the world in cities including London, Madrid, Melbourne, Paris and St Petersburg. These protests resulted

in “telecommunications giant” AT&A, condemning “Russia’s stance, saying it stood ‘against anti-LGBT law” (BBC, 2014). Along with the US company, “more than 50 Olympians” showed their support for the LGBT community by signing a “petition calling on Russia to cease its crackdown on gays ahead of the Sochi Winter Games” (MacPherson, 2014). MacPherson (2014) explains that the petition was

At the beginning of 2014, the Sochi Winter Olympics were set to take place. Just a mere two days before the event, the BBC (2014) reported that “gay rights protests were organised in 19 cities around the globe” after the Russian President cautioned gay visitors not to promote their homosexualtiy adding to, “just leave the children in peace”. The activists who protested against Putin’s

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most of the world. It is clear from the case study that such regressive laws and beliefs will not be tolerated by a large majority of the world, and are hence a hinderance to Russia’s international acceptance. Whether or not this global discontent will hinder the acceptance of Russia’s fashion industry is as of yet unclear.

other acts such as welcoming “Olympic athletes to Sochi on the condition that they didn’t ‘promote homosexuality and paedophilia among minors” (Allwood, 2014), it appears clear that Russian society are operating on regressive attitudes towards LGBT rights that- as shown in case study 1- are not shared with

In recent years, Russia’s controversial, conservative attitude towards LGBT (lesbian, gay, bisexual, transgender) rights has come to the forefront of global conversation, with Russian President Vladimir Putin passing “a law in 2013 banning ‘propaganda of non-traditional sexual relationships” (Allwood, 2014). Along with various

Case Study 1, Sochi Olympics 2014

There is evidence to suggest that despite the media exploration of regressive LGBT laws in Russia, the whole situation has been “blown out of proportion” as mentioned by Russian designer Tigran Avetisyan, cited by Allwood (2014). Alexander Shumsky “points to the fact the government began supporting fashion (including openly gay

TREATMEN

designers) this year as evidence that, for the design community, it’s ‘business as usual’” (Allwood, 2014). However, a documentary on Channel 4s Dispatches showed a darker side to this argument as discussed in case study 2. This case study clearly shows the horrifying nature of what LGBT people in Russia have to face. The fact that

LG The documentary ‘Hunted’, “explores the terror that gay people in Russia are calling ‘hunting season’” (Dispatches, 2014) and follows two different groups of Russians taking part in the humiliation and violence towards LGBT people. The two groups, Occupy Peadophilia and Parents of Russia were shown luring

these groups deem themselves as do-gooders therefore suggests that, -if “according to Pew Research’s 2014 Global Attitudes Project” the “72% of Russians” who they found to believe that “homosexuality is morally unacceptable” (Lybarger, 2014)- then to expect them to adhere to western views on the matter would be extremely naive. These people

believe that they are “doing the right thing” (Frank, 2014), and that the western world is oblivious to the risks of this group of individuals. It can therefore be inferred as unlikely that Russian society would be willing to change for the sake of their international acceptance and therefore potentially, their prominence within the fashion industry.

This brutality directed at LGBT people was visualised in a photography series by Jamo Best called ‘From Russia Without Love’ (Marapas, 2014). The emotive series shows recreated portraits of victims of violent LGBT attacks in Russia (figure 3). The vacant stare of the individuals highlight the antihumanitarian nature of anti-LGBT

attitudes in Russia (Marapas, 2014). This photo series acts as evidence for a need for change, and strengthens the feeling of global discontent towards Russia and their regressive attitudes.

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unsuspecting LGBT people back to a house where they would be filmed whilst enduring horrific ordeals such as verbal abuse, violence and in some cases they would be urinated on as a form of demeaning humiliation (Dispatches, 2014). The perhaps even more worrying side to the groups were their reasons for inflicting such

terror. The group leader of Occupy Peadophilia, Katya was mentioned by Ben Steele as being “a hugely charismatic person” who believed that they were “doing the right thing” and protecting children against homosexuals (Frank, 2014). Case Study 2, Hunted (2014)

Figure 3: To Russia Without Love (Jamo Best, 2014)

LGBT rights in fashion. Politically involved?

Figure 21: Pack your bags, honey, weâ&#x20AC;&#x2122;re leaving the Dorchester (Lea Colombo, 2014)

Figure 22: Saskia de Brauw for Saint Laurent menswear SS13 (Hedi Slimane, 2013)

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The fashion industry have gained international recognition for their acceptance and embracive attitude towards LGBT rights, highlighted in case study 3. This political involvement of a key fashion house and their willingness to take an active stancealong with other industry playerssuggests that LGBT rights is a cause that has gained the complete support of an influential proportion of the industry. Through the disownment of the company- regardless of its quality- it shows how some of the influencers within the fashion industry shy away from being associated with these attitudes and therefore provides evidence for the argument that Russiaâ&#x20AC;&#x2122;s repressive attitudes towards LGBT rights would not be tolerated within todayâ&#x20AC;&#x2122;s western fashion industry.

Figure 4: Saint Laurent Resort 2014 Preview (Hedi Slimane, 2013)

In 2014, Hedi Slimane and Saint Laurent announced that none of the fashion house’s employees would stay in a Dorchester Collection property after it was revealed that “the group’s owner, the Sultan of Brunei” had “introduced repressive anti-gay laws in his country”. The fashion house took to Facebook, where it posted the following: “The House of Yves Saint Laurent, jointly with its Creative Director Hedi Slimane, cannot tolerate such repressive and anti-egalitarian laws, affecting basic human rights, as the Sharia Law just implemented by the Sultan of Brunei” (Tsjeng, 2014). Designer Peter Som and Brian Atwood also decided to take action by asking their “social media followers” to cancel any bookings made with the group (Tsjeng, 2014). Case Study 3, Dorchester Properties, 2014

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Along with some political engagement with LGBT rights, the fashion industry have also begun to embrace these persons within their creative direction. For spring 2014, the “high end fashion retailer”, Barney’s released a series of editorials for their catalogue named “brothers, sisters, sons and daughters”, which featured “17 genderless and transgender models” (Piras, 2014). The brand also made a video for the website where all the models shared “their stories” (Piras, 2014). This example highlights the pro-LGBT stance of the industry, and the adoption of these persons within their brand identity. Further examples include Saint Laurent who reflect their pro-LGBT initiatives within their campaigns. For their SS13 menswear ad campaign, Saint Laurent took an androgynous approach as they cast female model Saskia De Brauw (Davies, 2012). Through this, Saint Laurent appeared to be taking what began with iconic males such as Beau Brummel and David Bowie one step further beyond the realms of dandyism by completely blurring the concept of gender and sexuality.

Lastly, in 2010, transgender model Lea T was cast for Givenchy’s “Fall 2010 ad campaign” (The Fashion Law, 2013). Givenchy designer, Riccardo Tisci commented that in such a position, “you have the power to give a good message to people” (The Fashion Law, 2013), which suggests that within the fashion industry there is a responsibility to promote a positive message, which is perhaps the reason as to why the regressive attitudes of Russia are hindering their global acceptance within fashion. In an interview with Alice Phillips (2014), a model booker at a model agency in London, she furthers this idea, saying that she actually finds it easier to find LGBT models work (figure 5) (appendix pg. 154)-

perhaps because brands want to be seen as inclusive. It is however, clear from the consistent adoption of LGBT persons within the fashion industry’s creative DNA, that the industry stands firmly as pro-LGBT, a direct contrast to Russia’s anti-LGBT stance.

“I don’t really think brands mind about the background of someone... “ “gay models do seem to get more work” “..typically, the fashion industry is associated with homosexuals, so it’s actually sometimes more common to come across gay models than it is straight models.”

PROMINENCE OF HOMOSEXUAL MODELS

Interview with Alice Phillips of D1 Models (2014)

SEXUAL ORIENTATION NOT RELEVANT

Figure 5: Katy at D1 Models. (Gina Amama, 2013)

“A lot of bookings are made for my lovely boys in every shape and form” “They are almost just a face at the end of the day” “the amazing, sparky personalities will usually get a lot of bookings.”

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The UK-Russia Year of Culture programme included “The New Russian Fashion in Film” showcase which presented “a unique collaboration between emerging Russian designers and filmmakers” working “on the theme of fashion film, which is viewed as a new medium for

fashion communication in the digital age” (Gordina, 2014). The event gave the thirteen Russian designers and filmmakers international exposure.

In the short film created by “designer Gareth Pugh, filmmaker Ruth Hogben and photographer Nick Knight”, a host of fashion icons including supermodel Kate Moss and designer Henry Holland were seen “pulling off” a “balaclava and staring into the camera as the words ‘I Support

Amnesty International in their fight against the prejudice and violence directed towards the LGBT community in Russia” appears in front of them (Selby, 2014). Shown in Figure 6.

Case Study 4: UK-Russia Year of Culture (2014)

Case Study 5: anti LGBT right protest video (2014)

Figure 6: Fashion stand up for LGBT rights in Russia (SHOWStudio, 2014)

Despite conflicting beliefs, in 2014 Russia’s creative industries were shown international support from Britain with the “UK-Russia Year of Culture” initiative discussed in case study 4 (Gordina, 2014). However, with LGBT rights being a seemingly overlooked aspect within this initiative, it suggests greatly that Russia’s stance on LGBT rights would not affect its international exposure

dismissal of Russia as an international fashion industry, campaigner Sara Rydkvist mentions to the Independent her dismay about “artists” in Russia being “harassed and censored” (Selby, 2014). This instead suggests that these fashion protestors do not wish to outcast the Russian fashion industry, but instead, they wish to fight for the current censored individuals that struggle creatively due to

within the global fashion industry. However, despite the efforts of the British Fashion Council, “leading UK fashion figures” were seen to peacefully protest “against Russia’s anti-gay propaganda laws” in the early months of 2014 as further explained in case study 5 (Selby, 2014). Whilst this suggests tensions between the Western fashion industry and Russia that could lead to the

legislations such as the one against homosexual propaganda. From this, a valid point is brought to attention, that the growth of the Russian fashion industry is less about how the rest of the world disagree with their stance on LGBT rights, and more about how the legislations put in place to solidify this stance restrict the potential of Russia’s creatives.

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It stands to reason that for the most part, there is unequivocal support of LGBT rights within the fashion industry, and that the global industry is willing to support Russian creatives that are censored by propaganda laws on

issues like LGBT rights. However, it is still clear that the global fashion industry would be unlikely to accept Russiaâ&#x20AC;&#x2122;s offerings that are unaffected by censorship and operate on an anti-LGBT basis.

Figure 14: Lea T for Vogue Brazil (ZeeNunes, 2014)

The Russian fashion industry. Have they got style? Figure 23: Moscow (Lea Colombo, 2014)

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Figure 24: MBFR: Russia (Lea Colombo, 2014)

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Despite efforts of the British Fashion Council, Russia’s fashion industry currently remains under the radar. Emma Allwood in an article on Dazed Digital wrote that “Russia has a record of producing pioneering figures in the visual arts, and yet in terms of fashion, its history is remarkably absent”. However, she notes that with the lifting of the iron curtain, and “spurred on by the possibilities of the internet, there’s

a new wave of young designers” (Allwood, 2014). This progression was highlighted with the creation of the Mercedes-Benz Fashion Week in Russia, which was followed by “a flood of international fashion magazines” that “set up shop in Russia” such as L’Officiel Russia and Russian Tatler (Allwood, 2014). Whilst there are only a handful of successful Russian fashion industry creatives that have managed to gain

global recognition for their work, there are two that have paved the way for the future of Russian fashion discussed in case studies 6 and 7. Rubchinskiy and Lomakin and the support of their work by the fashion industry, signals a change in perceptions of Russia, and outlines the beginning of Russian fashion on a global scale. Rubchinskiy’s involvement with the Russian youth shows promise for the future of the

Russian fashion industry through allowing them to feel part of this “new Russia” (Nakiska, 2014) he is providing an incentive for them to continue the growth of this creative movement. The support of Rubchinskiy by industry leaders such as founder of Comme Des Garcons, Rei Kawakubo, provides insight of the acceptance of a Russian designer within the global fashion community. Both Rubchinskiy and Lomakin’s cases do provide hope for the future of the Russian fashion industry, however this acceptance could be because at the centre of their inspirations lies a call for creative change within Russia, a step away from the repressive nature of conservative beliefs such as anti-LGBT rights. It could therefore be the case that global success for Russian fashion industry creatives derives not only from the creative content itself, but from the declaration

Figure 7: Gosha Rubchinskiy, Crime/Kids (Gosha Rubchinskiy, 2014)

of progressive political attitudes behind the content, as fashion appears to be “inextricably linked to politics” (Allwood, 2014) . This again reiterates the point that the Russian creatives accepted into the global fashion industry are those that are creatively restricted by the regressive laws in their homeland, and wish to progress outdated attitudes.

Gosha Rubchinskiy, a Russian fashion designer, photographer and film director, was born and raised in the suburbs of Moscow. “Having grown up in a country undergoing political, economic and cultural change after the dissolution of the USSR in 1991, Rubchinskiy’s designs

when he took his subculture-inspired vision to Paris” for his SS15 debut (Pearson, 2014). The show used “a mix of models and street-cast boys that looked as though they’d been plucked from the skate parks of Moscow”, giving an authentic feel to Rubchinskiy’s collection (Burley, 2014).

reference to how the rebellious nature of the Russian youth is a depiction of a “new Russia”, with the new generation wanting to “be the voice of their people and spread the word that they are creative and can make cool music and art” (Nakiska, 2014). Rubchinskiy appears to

are for a generation of post-Soviet youngsters” (ICA, 2014). His work is very much inspired by the Russian skater youth and often manages to “reference Russian religious roots”. These inspirations were encompassed within a photobook he created (figure 7) which “explores Rubchinskiy’s

Isabella Burley, in a runway review for Dazed and Confused magazine, likened the Russian designers Paris debut show to the debut collection of Comme Des Garcons in Paris back in 1981, mentioning that Rubchinskiy too, seemed to mark “the beginning of something special,

be championing this movement of creativity in Russia’s youth, which is illustrated by him being referred to as someone that “belongs to a postSoviet generation bent on creative change”, and actively being “part of an effort to rebuild Saint Petersburg creatively”, which he mentioned when

fascination with Russia’s rebellious youth and their outlets through smoking, skateboarding and graffiti” (Westgate, 2014). The photobook named “Crimea/ Kids”, created in Saint Petersburg “sold out in three days” (Westgate, 2014). In June 2014, Rubchinskiy “broke new ground

something big” (Burley, 2014). This excitement surrounding the designer was furthered by “Rei Kawakubo and Adrian Joffe” who were “early supporters of Rubchinskiy, both in stocking his collections at Dover Street Market and in terms of production” (Burley, 2014). Gosha often makes

discussing his inspiration behind a film he created called ‘Transfigurations’ (Baker, 2014).

Deriving from Chertanovo, “one of Moscow’s grittiest suburbs”, another Russian success resides in the conceptual designs of Artur Lomakin (Fedorova, 2013). Launched in 2009, Lomakin’s label “Forget Me Not” is credited as being “one of a handful

a labour of love” bringing in just a small amount of profit. The designer has managed to keep the brand very authentic and a true reflection of his own routes, “with the help of his friends”. They assisted him in creating “a visual universe for Forget Me

humble visuals, the focus of the brand seems to be on one of “a more realistic Russia” (Babcock, 2014). Fedorova writes of how this “world” that “Lomakin represents, the world of avant-garde fashion and the Moscow suburbs, is starkly different to the

of conceptual fashion labels to have emerged in Russia over recent years” and “is admired for its truth and texture” (Fedorova, 2013). Whilst it has brought the designer both national and international acclaim, he mentions that it “has at times felt like

Not” by photographing one another “in the places they most frequentagainst the concrete walls of their apartments, on stairwells, outside of their grandparents’ dachas- to create a series of editorials, lookbooks, videos and campaigns”. From these

glitz and glam of the fashion pack beloved by street-style blogs around the globe” (2013).

Case Study 6, Gosha Rubchinskiy

Case Study 7, Artur Lomakin

It appears that whilst Gosha Rubchinskiy and Artur Lomakin became internationally recognised designers from the derelict suburbs of Moscow, they appear to be rather isolated cases. The majority of Russian success stories appear to derive from those that have studied the art abroad. Tigran Avetisyan (figure 8) “a graduate of Central Saint Martins and an LVMH scholarship winner”, who draws on the issues such as the lack of opportunities for design

graduates as his main inspiration, gained international recognition for his graduate collection (Sexton, 2014). On the issue of LGBT rights, Avetisyan appears to have either adopted or naturally drawn upon Western views on the matter, voicing his discontent with the treatment of the gay community in Russia, he outwardly stands as pro-LGBT (Sexton, 2014). These Western opinions of Avetisyan come of no surprise to a designer that spent a

number of years studying in Western Europe. Equally, current director of Mugler, David Koma grew up in St. Petersburg before leaving for “London to study fashion design at Central Saint Martins” (Fedorova, 2014). Koma is now based in London and working for the French brand, designing dresses for celebrities including Lady Gaga and Beyonce (Fedorova, 2014). Dasha Selyanova, founder of the label ZDDZ, is also another designer who found global

acclaim after leaving Russia as, despite featuring numerous Russian inspirations, Selyanova and her label are actually based in London. She is hopeful that her label “has the potential to contribute to the cultural shift happening in Moscow right now” (Selyanova, u.d.). It is abundantly clear that these successful Russian designers all yearn for attitudinal and creative changes to occur in Russia, which brings the argument back to an earlier point- that the fashion industry

supports those who represent a cultural change in Russia, away from the shadows of outdated opinions. It is also clear that whilst some Russian designers have infiltrated the fashion industry, many of these seem to have found international recognition through moving away from their place of birth, towards the Western world. It is questionable as to whether or not these designers could have mirrored their success if they continued to reside in Russia. Therefore, it can be

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said that the Western world provides more opportunities for success within the fashion industry, and that in order to grow the fashion industry in Russia, creatives have to become more open to moving West- a suggestion that does not appear popular as is discussed later on.

Figure 8: Tigran Avetisyan, Forget Me Not (2013)

show that Russia underwent the least amount of growth in 2013, with only a 4.6% increase compared to India’s 15.9%, marking the lowest annual growth of the industry in Russia for four years (MarketLine, 2014). These declining growth rates could be a result of many varying factors.

Whilst Russian designers like Gosha Rubchinskiy found international acclaim, “Russian fashion” in general “remains low on the international radar” (Allwood, E). However, with Russia being named as a BRIC (Brazil, Russia, India, China) country which is one of four “distinguished from a host

of other promising emerging markets by their demographic and economic potential to rank among the world’s largest and most influential economies in the 21st century” (Global Sherpa, u.d.), the future for their retail market appears promising. However, from reports on the apparel retail markets

One potential factor however, could have derived from the controversy surrounding the legislation passed in the summer of 2013, banning nontraditional relationship propaganda. However, to conclude this would be extremely reductionist and ill informed. In any case, it is clear that

BRIC BRIC BRIC BRIC

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whilst the Russian fashion industry is growing at a declining rate, it is still growing none the less and is set to be of even higher value than the Indian and Brazilian fashion industries in the next three years. There is also evidence to suggest that China are in full support of Russian of the four BRIC countries, it has been forecast that the Russian market will witness the smallest growth of them all by 2018, with “an increase of 30.7% since 2013”. However, it will be the second largest of the BRIC countries with “a value of $69 billion” by 2018 (MarketLine, 2014). The reports also

President Vladimir Putin, as they see him much like their Chinese President Xi Jinping, “a strong leader who isn’t afraid to confront the West”, often referring to him as “Putin the Great” (Page, 2014). The implications of this support speak positively for the future of the Russian fashion industry.

With China being one of the four BRIC countries- as mentioned earlierthat shows the most promise in terms of retail. Statistically pleasing, the Chinese apparel industry is forecast to be worth $282.5bn by 2018, more than four times the forecasted worth of the Russian apparel industry

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Figure 9: Gosha Rubchinskiy (2012)

(MarketLine, 2014). This therefore shows that China will remain a strong country that the Russian fashion industry could benefit from as an alliance. It speaks positively for the future of Russian retail that the largest retail market in the world supports them and their beliefs.

However, despite Chinese acceptance, it is still debatable as to whether the Western world- home to the fashion capitals of Paris, New York, Milan and London- will support the parts of the Russian fashion industry that remain anti-LGBT.

Russia seem keen to ensure this growth of their retail market as shown in case study 8. It is clear that with the launch of this council, the opportunity for international exposure for Russian designers is increased, and therefore the global recognition of Russia’s fashion industry could also be increased as a result. However, as Emma Allwood (2014) at Dazed and Confused wrote, “Fashion is inextricably linked to politics, and the arrest and jailing of Pussy Riot,”

and “anti-gay laws have made Russia unpopular within Europe, as the damning boos ringing through the Eurovision arena this year showed”. Therefore, it is questionable as to whether- even with these initiatives taken to increase Russia’s fashion industry- the rest of the world will take to their industry offerings due to their unpopular, regressive stance on LGBT rights and fashions progressive, political involvement with them.

In October 2014 “Alexander Shumsky, the president and cofounder of Mercedes-Benz Fashion Week Russia, announced the launch of the Russian Fashion Council”. The council aims to help Russian designers and to “develop” the Russian fashion industry. “The council will be working with Russia’s Ministry of Trade to ensure easy international export of

the goods” and will also “allow a select group of Russian designers to show their collections in Milan, offering a cohesive show format and exposure to international press and buyers that they wouldn’t get in Moscow” (Drain, 2014). Case Study 8, The Russian Fashion Council (2014)

Figure 10: Backstage at Galetsky, MercedesBenz Fashion Week: Russia (Lea Colombo, 2014)

THE RUSSIAN FASHION COUNCIL THE RUSSIAN FASHION COUNCIL THE RUSSIAN FASHION COUNCIL THE RUSSIAN FASHION COUNCIL

Figure 25: Vladimir Putin on the cover of The Advocate (The Advocate, 2014)

Vladimir Putin.

Dissecting the face of Russia.

PRESIDENT PUTIN PRESIDENT PUTIN PRESIDENT PUTIN PRESIDENT PUTIN PRESIDENT PUTIN PRESIDENT PUTIN PRESIDENT PUTIN

Figure 26: Vladimir Putin (imgkid.com, 2014)

VLADIMIR PUTIN VLADIMIR PUTIN VLADIMIR PUTIN VLADIMIR PUTIN

second consecutive year (Howard, 2014). These awards were again concluded by primary research results shown in figure 12 that the majority of respondents who are aware of politics and keep up to date with world news consider Vladimir Putin a powerful threat and unwise to get on the wrong side of (appendix pg. 162). Therefore, considering Putin’s perceived power, it could be said that he has the potential to spread the acceptance of Russia’s

The countries leader, President Vladimir Putin highlights the possibility of Russia infiltrating the global fashion industry despite their stance on LGBT rights. In 2014, The Advocate named Vladimir Putin “Person of the year”, labelling him as the “single biggest threat to LGBT rights in the world in 2014” (Lybarger, 2014). This depiction of influence was furthered by Putin being named as “the world’s most powerful person” by Forbes in 2014 for the

overwhelmingly negative opinion on LGBT rights globally, eliminating the possibility of being rejected from the global fashion radar. However, as of now it is the case that due to his position of power, he is able to create regressive laws that hinder the acceptance of LGBT rights within Russia, but he is not in a position of power to apply these globally. 38

WAS VLADIMIR PUTIN RIGHTLY NAMED ‘WORLD’S MOST POWERFUL PERSON’?

YES

Figure 12: The power on Putin infographic (own image, 2015)

The Motherland. Russian nationalism

THE MOTHERLAND THE MOTHERLAND THE MOTHERLAND THE MOTHERLAND THE MOTHERLAND THE MOTHERLAND THE MOTHERLAND THE MOTHERLAND

Figure 27: The Motherland Calls statue in Russia (RIAN archives, 2014)

Figure 28: The Kremlin of Moscow (Travel Russia, u.d.)

The problem still stands as to how this industry will become internationally recognised when both Russia and fashion are “inextricably linked with politics” and have very conflicting views on LGBT rights. Allwood hence poses the question of “will designers have to leave the country that so inspires them to find success on a global level?” (Allwood, 2014). Whilst that does seem to be the most promising option for these censored individuals, it seems to be the case that they are extremely hesitant

to leave their country as Allwood also pinpoints how “being Russian is a big part of what drives” them. This adoration for their country was furthered by Jonathan Dimbleby, as he found passionate nationalism in abundance on his travels around what they call the “Motherland” (Dimbleby, 2014, p.xvi). The reluctance of these individuals to abandon a country they care so dearly for, suggests that the future of the Russian fashion industry looks bleak as censorship in Russia continues to limit the potential

of its creative prodigies. Despiteas mentioned earlier- the Western fashion industry appearing in favour of helping the Russian creatives that are restricted by media censorship such as the anti-gay propaganda law; it is suggested that this international exposure becomes less likely with the unwillingness of these creatives to leave the boundaries of Russia.

STAYING PUT STAYING PUT STAYING PUT STAYING PUT

43 Figure 13: Tigran Avetisyan SS14 (Tigran Avetisyan, 2013)

The nationalist nature of Russian citizens could be the reason that they adhere to these regressive antiLGBT initiatives, and are unwilling to leave Russia. From a Russian travel document on the experiences of Jonathan Dimbleby as he made his way across the vast country, he interestingly noted that “the 140 million citizens of the Russian Federation are remarkably uniform in two crucial respects: their hostility towards Western democracy and their passionate nationalism- their unequivocal love of what they

call without embarrassment the ‘Motherland’” (Dimbleby, 2014, p.xvi). The mention of their “hostility towards Western democracy” (Dimbleby, 2014, p.xvi), concludes the unlikelihood of a change in their anti-LGBT stance, in favour of more Western views. Also, the apparent adoration of Russia makes it clear that Russian citizens would potentially be unwilling to compromise on matters that drastically change the nature of the country they love. This sense of patriotism was further dissected by Israeli academic

psychologist Daniel Bar-Tal (2000) who acknowledged the patriotism of the Russian citizens and suggested that it “originates in the far past and was strengthened each time Russians had to defend their country against foreign invaders”. He also referred to the power of this patriotism, mentioning that “the czars as well as Communist leaders used this emotion to mobilize the Russian people for various national projects and to lead them to great sacrifices” (Bar-Tal, 2000, p.76). This, BarTal mentions, is a form of the more

“extreme” type of patriotism which he refers to as “active patriotism” (Bar-Tal, 2000, p.75). The willingness of great sacrifice for one’s country demonstrates the unity and pride of Russian citizens, and therefore highlights that compromising these patriotic values for those of the western world is a highly unlikely scenario. This is also clear with the unified admiration they seem to share for current President Vladimir Putin. Bar-Tal also suggests that when analysing patriotism, it appears that “major defeat in an unjust war...

NATIONALISM NATIONALISM NATIONALISM NATIONALISM

may decrease it” (Bar-Tal, 2000, p.75). This point is highlighted in case study 9. It can be inferred from this case study, that unified admiration among the citizens of Russia for President Vladimir Putin was likely to have derived from this patriotic act of re-building a bruised country and its ego. It is clear that President Putin came into power at a bleak time in Russian history and managed to rectify the country that brought embarrassment to its patriotic citizens; it would therefore not come as a surprise to learn that Russian society

developed great adoration and admiration for the man that saved their country and pride. The countries saviour gained loyal supporters in the Russian people during the late 1990s, and this support does not seem to have lessened. As mentioned on Vice, “a survey released by the Levada Center, Russia’s premier independent polling outfit” in August 2014, “revealed that a record-high 87 percent of Russians approve of Vladimir Putin’s performance as their president” (Bruk, 2014). Hence, it stands to reason as unlikely that Russian society would be willing to go against the anti-LGBT beliefs and laws of their beloved leader. The reasons behind this continued support of Vladimir Putin can be found to have derived from his successful leadership capabilities and early success. As Psychologist Sigmund Freud’s (1921) Group Psychology and the Analysis of the Ego concludes, “groups have an instinctive need for leadership” and “argues that followers have strong emotional attachments to leaders” (Messick et

al, 2008, p.112). It can be inferred that with this “instinctive need for leadership”, it is to no surprise that Putin was supported as he came at a time when Russia needed a leader more than ever. As columnist David Ignatius mentions, “Putin is the tough guy who put a wounded country back together after the fall of communism” (Ignatius, 2009), therefore connoting him as a hero figure that Russia followed at a vulnerable time, suggesting that “strong emotional attachments” could definitely have been formed between Russian society and their President who saved them from the hardships of the 1990s. However, there are those that currently oppose Putin, but as Russian hospital director Seryezha divulged in an interview with Vice; “People in America seem to think that, in Russia, if people don’t protest against something, that means they implicitly support it (like the gay propaganda laws, for example), but that’s not true. It’s just that we don’t have a culture of activism here. In fact, protesting is considered vulgar, insecure and simply a form of personal attention-

THE SAVIOUR THE SAVIOUR THE SAVIOUR THE SAVIOUR

seeking” (Bruk, 2014). Interviewer Bruk (2014) then continues to prove Seryezha’s statement with the findings she highlights of “a 2011 Gallup poll” which “found that, out of 130 countries...Russia has one of the very lowest” scores for “civic engagement” in the world, which Bruk concludes as being a result of Russia never having true “freedom of speech” (Bruk, 2014). It can therefore be inferred that as a society, Russia may not be as anti-LGBT as the media portrays them to be. However, with Vladimir Putin- a man openly anti-LGBT- being

the face and voice of Russia, it appears that his opinions have been associated with the entirety of the country, therefore hindering their global image and acceptance.

The apparent defeat in the Cold War meant that in the 1990s, “Russia saw its international standing drop from being one of two superpowers to that of mere regional power” (Perovic et al, 2009, p.51). This defeat, twinned with “the loss of Chechnya and the defeat of the Russian military at the hands of a small rebel alliance” (Perovic et al, 2009, p.51), can definitely have been accredited with lowering Russian morale. At this time of low morale, Vladimir Putin rose to power, and is praised for re-establishing “Russian pride by apparently erasing one of the most embarrassing legacies of the 1990s” (Perovic et al, 2009, p.51). Case Study 9, Russian defeats 45

The Russian youth. Ripe for change?

Figure 29: Girls (Anastasia Korosteleva, 2014)

A CHANGE A CHANGE A CHANGE A CHANGE A CHANGE A CHANGE A CHANGE A CHANGE A CHANGE

Figure 30: Boys of Russia (Sonya Kydeeva, 2014)

A CHANGE A CHANGE A CHANGE A CHANGE A CHANGE A CHANGE A CHANGE A CHANGE A CHANGE

“The new generation has the internet and they feel like a part of something bigger; they want to be the voice of their people.” (Francis Westgate, 2014)

“Surrounded by media lies day after day, they would like to tell the truth about themselves” (Fedorova, 2014)

NAME: UNDISCLOSED AGE: 18-25 ORIGINATES FROM THE SUBURBS OF MOSCOW IMMERSED IN SKATEBOARD CULTURE LOVER OF NEW RUSSIAN TECHNO MUSIC ENJOYS EVERYTHING HE/SHE ISN’T MEANT TO

THE UNDER-UNDERGROUNDER THE UNDER-UNDERGROUNDER THE UNDER- UNDERGROUNDER THE UNDER-UNDERGROUNDER

Figure 16: Consumer Profile of The Under-Undergrounder (Own image, 2015)

From the before mentioned research, it is clear that Russia’s regressive attitudes towards LGBT rights will not be tolerated by the global fashion industry and that some people of Russia seem unwilling to change their opinions, whilst others prove unwilling to leave the country they love in order to escape this censorship of the media. However, Russian designer Gosha Rubchinskiy provided a glimmer of hope through his adoption and highlighting of the rebellious nature of the Russian youth within his work, that suggests the emergence of a “new Russia” that could prove appealing to the global fashion industry (Nakiska, 2014). This type of person is further explained in figure 16. There seems to be further evidence to suggest that Russia’s beliefs could be ripe for change at the hands of their youth. As mentioned in a trend article on WGSN, “the youth attitude regarding the notion of gender is that it is becoming less important as a label as traditional traits are blurring” (Piras, 2014). This far more progressive view of LGBT rights speaks very positively for the future of the Russian fashion industry

observation by Rubchinskiy that within Russia’s youth, “a new generation of creatives are looking for a new honesty. Surrounded by media lies day after day, they would like to tell the truth about themselves” (Fedorova, 2014), suggests that the Russian youth are beginning to yearn for creative freedom in order to “tell the truth about themselves” (Fedorova, 2014) and ignore regressive attitudes placed upon them by society. Russian designer Gosha Rubchinskiy also mentions that “The new generation has the internet and they feel like a part of something

CONSUMER CONSUMER CONSUMER CONSUMER

if applied to the Russian youth as it suggests that the attitudinal differences between Russia and the global fashion industry would be removed. However, as Russian society are relatively far behind the rest of the Western world in terms of progression towards LGBT rights, it is less likely that this trend can be applied directly to Russia. It is however, likely that the trend, in a lesser, more diluted form could be applied to the Russian youth showing the beginnings of the acceptance of LGBT rights such as gender neutrality. Gender neutrality, paired with the

bigger; they want to be the voice of their people. This movement keeps growing. It’s a new Russia.” (Francis Westgate, 2014). By wanting to “be the voice of their people” (Francis Westgate, 2014), it is evident that in the view of Rubchinskiy, the Russian youth are being fuelled with an energy and desire to showcase their creatively rebellious generation and the passion they have for their country in a more uncensored environment. 49

Figure 17: Suburbs of Moscow (Elizaveta Dedova, u.d.)

It is clear that Russia’s overall antiLGBT stance acts as a hindrance affecting its fashion industry’s potential for global acclaim. Furthermore, the reluctance of creative individuals to leave their country proves problematic again for the growth of this particular industry. It is however evident that the global fashion community are willing to provide assistance to Russian creatives that do not share

the anti-LGBT beliefs of their society, and that are creatively censored by their country. With the Russian youth providing a platform for change within societal beliefs, and paving the way for a “new Russia” (Nakiska, 2014), they prove to be the perfect opportunity for the growth of Russia’s fashion industry into international territory to flourish at anticipated rates.

IN CONCLUSION IN CONCLUSION IN CONCLUSION IN CONCLUSION

The big idea To introduce the ‘new’ Russia into the fashion industry

Figure 18: The strange attraction of Moscow’s suburbs (Masha Demianova, 2013)

The ‘New Russia’ is one of attitudinal change; it provides hope for a growth in the integration of Russia into the international fashion industry. Russia as it stands, is a country of seclusion from the Western world and its alternative attitudes. This seclusion, brought on by anti-LGBT initiatives, is ripe for change at the hands of

the rebellious, gender neutral youth who have grown discontent at the regressive nature of their treasured homeland. As a result, the idea of introducing the ‘New Russia’ into the global fashion industry will be examined and executed.

Figure 18: The strange attraction of Moscowâ&#x20AC;&#x2122;s suburbs (Masha Demianova, 2013)

THE BIG IDEA THE BIG IDEA THE BIG IDEA

The power of film. The medium of opinion change

FILM IS POWER FILM IS POWER FILM IS POWER FILM IS POWER FILM IS POWER Figure 31: Still from Groza (Stereotactic, 2014)

Figure 32: Still from Groza (2) (Stereotactic, 2014)

As of present, acclaimed fashion film directors in Russia seem almost completely absent from the country’s fashion industry portfolio. Whilst designers mentioned earlier such as Gosha Rubchinskiy, Tigran Avetisyan and Artur Lomakin; along with fashion photographers like Ekaterina Bazhenova and Masha Demianova, have already found international success, Russia’s fashion film creatives seem remarkably under-exposed. In the October 2014 issue of the Creative Review, Claus Lindorff, founder and director of BETC Luxe mentions that fashion films “have been

OPPORTUNITY OPPORTUNITY OPPORTUNITY OPPORTUNITY

White Lodge explains in an interview with Creative Review how fashion is now “taking over” from music video as “the training camp for emerging directors” (Williams, 2014, p.52). Whelan also notes that “in terms of money, there’s definitely more money for young directors in fashion film than there is in music video” (Williams, 2014, p.52). This inside knowledge stands as reassurance for the prospects for young creatives that fashion film holds. To introduce fashion film to this community of Russian creatives could prove a successful way to allow the Russian under-

used to seduce new targets and new markets that didn’t necessarily know a lot about the brands” (Williams, 2014, p.49). With Russia’s relative disassociation with the fashion industry, this seems like a relevant choice when considering the medium that is best equipped for tackling the introduction of the Russian fashion market into the global fashion market, which is effectively introducing a new idea into a market. Fashion film is also a great platform for young creatives to get involved in at the moment. Stephen Whelan, creative and strategic director of 56

undergrounders to “be the voice of their people” (Francis Westgate, 2014) and reimagine the foundations of the Russian fashion market as it currently stands, disassociating it with anti-LGBT rights.

Figure 33: James Long x River Island AW15 film still (Menno Fokma, 2015)

Figure 34: Saint Petersburg, Message to man film festival (Vjsuave, 2014)

because of the feeling in the city that artistic freedom is under siege from a government intent on taking it back toward Soviet times’ this year (Gray, 2014). The mere success and adoption of this event in Russia suggests that they still value film, and that it continues to play a prominent role in informing and criticising current societal issues.

Film as a medium has a historic influence over public opinion, especially among Russian society. Looking at the former Soviet Union of the 20th century, film was regarded as harbouring great influential potential due to its popularity within society, with revolutionary Lenin famously noting that “of all the arts… for us the cinema is the most important” thus suggesting that the medium was utilised by revolutionaries as a way to reach the masses (Froncek, 1970, p.282). As a retaliation against the revolutionary groups adoption of film, the government ‘responded by tightening censorship and producing its own propaganda films’ (Froncek, 1970, p.282). Froncek (1970, p.282) explains how it is worthy to note that ‘Russian film, born with the coronation of the last tsar, came of age with the revolution that overthrew him.’ From this, it can be inferred that the power of film as an opinion former was a

potential factor in the success of the Russian revolution. However, with film being adopted by the government itself, it stands to reason that it can not be given an incredible amount of merit due to its failure to savour the government of the time that also embraced the medium. It could be that the way in which each side of the revolution used film ultimately led to their success or downfall, however to deduce success and failure to one medium would be extremely

“a selection of bitingly honest films that felt all the more important because of the feeling in the city that artistic freedom is under seige” (Gray, 2014)

RUSSIA AND FILM RUSSIA AND FILM RUSSIA AND FILM RUSSIA AND FILM

reductionist. It is clear however, that film was deemed an integral factor in influencing public opinion on the matter of politics in the 20th century Soviet Union. From the 20th century to the 21st, it appears that film is still deemed as an important medium for protest. Russian filmmakers at the Message to Man Film Festival (figure 34) held annually in St. Petersburg, produced ‘a selection of bitingly honest films that felt all the more important

FILM? FILM? FILM? FILM? Figure 40: Most influential medium (study) infographic (own image, 2015)

In order to gain a further insight into the most effective medium at generating conversation, a study was conducted where participants were shown three separate types of issue related content (poverty, LGBT rights and war) all in the form of film, print and the written word. It was firmly concluded that the most effective medium of choice amongst participants was film (fig 40). This revelation further supports the case for the use of film to promote Russia’s new creatives (appendix pg. 172). Furthermore, marketing expert David Meerman Scott (2013, p.96) mentions that, “videos use emotion to tell stories in ways that most other forms of marketing cannot”. This particular medium can therefore be seen as the most logical one to use, as the issue of Russian censorship and providing people with a chance to effectively break free and grow the country’s fashion industry on their own terms is an emotional issue that deserves a medium that can best portray such emotion. It therefore seems conclusive to use film as the medium of which the new Russian creatives will utilise to step into the fashion industry and promote a revived image of their beloved country.

FILM

Which communication medium generates the most conversation?

ARTICLES 61

Figure 31: Still from Groza (Stereotactic, 2014)

One group of Russian creatives have already been using film as a way to express themselves away from the realms of media censorship (see case study 10). The collective show the demand for this type of censorship-free platform for Russian creatives, and stress the importance of remaining in Russia.

Figure 35: Stereotactic (Dazed Digital, 2012)

Figure 32: Still from Groza (2) (Stereotactic, 2014)

STEREOTACTIC STEREOTACTIC STEREOTACTIC STEREOTACTIC

Stereotactic are a group of “likeminded” creatives that came together in an independent film collective in order to tell “a different story about Mother Russia” (Gusyatinskiy, 2014). Evgeny Gusyatinskiy (2014) credits them with being “Moscow’s underground film rebels”. Not wanting to move abroad, the collective have come to represent the creatives that are struggling in Russia due to censorship. Pavel Karykhalin, co-founder of the collective mentions that, “we know a lot of young talented artists who are real outsiders. Their ideas are radically different. They belong to the underunderground – some of them are

in trouble with the law – and what we want to do is take them out of the shadows” (Gusyatinskiy, 2014). The group make films, commercials, music and host events in Russia. They believe in only working with those that “share the same attitude and respect their freedom, creativity and openness” (Gusyatinskiy, 2014). Whilst discontent with the current distortion of truth and censorship in Russia, Pavel Karykhalin states proudly that “We are officially called Stereotactic Moscow...and we are proud that we are from this city” (Gusyatinskiy, 2014). Case Study 10, Stereotactic

POLITICAL

ECONOMICAL

Film, or any promotion of LGBT rights is against the law in Russia.

The decline in the rouble could mean that the money aspect of fashion film makes it more appealing.

The promotion of such content could worsen political relationships with Russia and the Western world.

Growing Russiaâ&#x20AC;&#x2122;s fashion industry would help to grow their overall economy.

SOCIAL Russian citizens that are seen to take part in an actively proLGBT programme, could face negativity from citizens that are anti-LGBT. It could lessen the negative international media that Russia recieve in regards to LGBT rights. Change in attitudes of the younger, creative generation of Russia means that they are more open to protest and change.

PEST PEST PEST PEST TECHNOLOGICAL Not all creatives in Russia may initially have the money to purchase the equipment needed to produce film content. Film was suggested as being the most powerful medium in terms of generating conversation. Therefore, it would be advantageous when trying to alter opinions on Russia.

Figure 65: PEST marketing model (own image, 2015)

When considering an execution for how to launch pro-LGBT Russian creatives into the global fashion industry, it is worthy to note the problems with creating creative content promoting LGBT rights, especially in regards to film. These can be seen in figure 65. Ros Murray published that â&#x20AC;&#x153;Political documentary must struggle with the issue of how to represent the interests of a particular group of individuals without generalising, or creating an overall narrativeâ&#x20AC;? (Murray, 2015). It can therefore be inferred that sensitivity is paramount in the production of such content, and that ill-informed representations could prove perishing to the careers of the producer. Therefore, it seems more considered to focus creative content on the promotion of Russian creatives within the sphere of the fashion industry, instead of the direct promotion of LGBT rights. With this approach, the execution also remains culturally sensitive to the legislations passed in Russia on the banning of

homosexual propaganda, which is a key consideration (as highlighted in the PEST diagram). The execution will however, be based around the ideology of LGBT rights as a stepping stone for creative freedom and the abolishment of censorship within Russia. This approach will hopefully tackle the problem at hand of growing international acknowledgement of the Russian fashion industry, without encouraging illegal content.

CONSIDERATIONS CONSIDERATIONS CONSIDERATIONS CONSIDERATIONS

Figure 52: Censored photoshoot (1) (own image, 2015)

Figure 53: Censored photoshoot with logo (own image, 2015)

CENSORED CENSORED CENSORED CENSORED

Figure 50: 5ps of marketing diagram (own image, 2015)

‘Censored’- so named as a direct reference to censorship in Russiawill provide an online platform of both safety yet exposure for under-undergrounder filmmakers in Russia by providing a service that pairs international fashion brands with these creatives. It will act as a middleman, collecting live fashion film briefs from international brands and sharing these briefs with the Russian creatives that pass the quality control sign up process for

the service. The selection process will then take place, where brands search through the online community of portfolios. The brand will then request to contact 1-5 creatives with the live brief. ‘Censored’ will collect proposal submissions from its creative community, and pass these on to the brands. From this, the brand will select their favourite fashion film proposal, and this selected creative will then create the relevant content.

In order to gain international exposure for Russia’s underundergrounders that are currently working under the thumb of censorship, a path joining these individuals and the international fashion industry needs to be created. The proposal for the service is shown in figure 50. The service will be a non-profit organisation operating on a philosophy of “creative freedom for all”, and will provide unique opportunities for ill-exposed/ underground creatives to work within the global fashion industry. The inspiration for the branding can be seen in figures 66 and 67.

Figure 66: Colour palette inspiration moodboard (own image, 2015)

Branding inspiration. Colour palette

Rose gold is the colour for SS15, with it being classed by Jane Boddy as both “striking and soft” (WGSN, 2015), the colour is versatile and eye-catching. With the colour predominantly being associated with feminine attributes, Boddy (2015) suggests using it within both mens and womenswear. The gender neutral attraction of this colour makes it perfect for the branding of ‘Censored’.

Figure 67: Logo inspiration moodboard (own image, 2015)

Branding inspiration. The logo

Minimal sans serif fonts are being used for a clear, fuss-free brand identity.

Boxing the font makes for a stronger, even clearer look that directs gaze directly to the brand.

Pantone: wide range of colours metaphorically comparative with the brand message of creative freedom

The competitors of ‘Censored’ are shown in the perceptual map in figure 64. As a relatively untouched concept, there are not any direct competitors. However, competitors take shape in The Message to Man film festival, a Russian film event aimed at promoting creative freedom. The festival is notorious in Russia for being unwilling “to pander to the state” (Gray, 2013). Whilst the event has international coverage, ‘Censored’ may have more appeal to the Russian creatives interested in fashion as it directly aims to place these creatives into the fashion sphere, and provide them with a lucrative career path. Furthermore, the rebellious nature of the festival means that funding problems are occurring, putting its future existence at risk (Gray, 2013). As ‘Censored’ is a platform based in the UK, unlike The Message to Man festival, the existence of ‘Censored’ will not be threatened by the Russian

government. However, due to the rebellious nature of the underundergrounders, they may find the notion of an ideologically disruptive festival appealing. Diane Pernet’s ‘a shaded view on fashion film’ festival which encourages artists to “challenge the conventional parameters of film” (ASVOFF, u.d.) is another competitor. The festival tours Moscow, and provides a platform for international recognition of fashion film directors (ASVOFF, u.d.). However, it does not provide a direct path into the industry. The USP of ‘Censored’- providing a tailored service that directly links creatives with established fashion brands- is what sets it apart from its competitors, and is therefore what the promotion of ‘Censored’ should stress in order to win over the underundergrounders.

COMPETITORS COMPETITORS COMPETITORS COMPETITORS

Figure 64: Perceptual map (own image, 2015)

Opportunity for recognition by the fashion industry

Little opportunity for recognition by the fashion industry

Opportunity for international recognition

Little opportunity for international recognition

ANALYSING THE IDEA ANALYSING THE IDEA ANALYSING THE IDEA ANALYSING THE IDEA

Figure 36: STEEPLE marketing model (own image, 2015) 77

Promotional strategy. Driving discussion

Figure 54: Censored photoshoot edit â&#x20AC;&#x2DC;Get out of the shadowsâ&#x20AC;&#x2122; (own image, 2015)

Figure 55: Censored poster (own image, 2015)

For the promotional strategy- which will be mainly initially aiming to create an online community of Russian creatives for the ‘Censored’ website- a heavy push on social media platforms will be enforced. As outlined in the STEEPLE diagram (fig 36), this type of service would not be able to be advertised as such in Russia itself through communication channels such as television, radio and print media due to the legislation clashes with the company’s ethos; the company’s only channel of ethical communication is therefore the internet. However, as outlined below, marketing on social media can prove very advantageous. The adoption of social media for promotional purposes is justified in David Meerman Scott’s (2013, p.55) analogy of social media being like a “cocktail party”. He furthers this analogy with the explanation that social media platforms can be looked at as a relaxed environment where many people congregate to discuss and share ideas, just as they

would at a cocktail party (Meerman Scott, 2013, p.55). For ‘Censored’, it therefore seems advantageous to utilise social media due to the location of its clientele being overseas. The company can use social media as an alternative platform of communication to promote the brand to like minded creatives. Meerman Scott (2013, p.56) also mentions the importance of pleasantry when marketing an idea online, proposing that “people like to do business with people they like. And they are eager to introduce

their friends to each other”. From this, the integral nature of creating positive, personal connections with people is highlighted as these attributes can result in both clients and free promotion through wordof-mouth recommendations. It is therefore important to consider a more personal approach to online communication when creating a social media campaign and presence for ‘Censored’. Social media also tends to be the most effective channel of

Figure 37: Boys of Russia (Sonya Kydeeva, u.d.)

In gaining exposure for the brand, a social media presence and promotional film will be implemented to create the online community of Russian creatives, encourage donations, grow knowledge of the issue and attract fashion brands to participate.

Figure 38: Boys of Russia (2) (Sonya Kydeeva, u.d.)

style of online political engagement is occurring (Vromen et al, 2015, p.80). As the essence of ‘Censored’ centres around the politics of creativity, to translate this effectively through a personalised online strategy would be a crucial point to consider and runs consistent with the points made by David Meerman Scott (2013, pp.5556) of the importance of a personal online approach.

Figure 39: Boys of Russia (3) (Sonya Kydeeva, u.d.)

communication when reaching people of the age demographic of the company’s target consumer. As Vromen et al mentioned in a journal article on young people and social media: “Social media is pervasive in the lives of young people” (2015, p.80). This suggests that social media is an integral platform to target when attempting to reach young people. Vromen et al also make note of how young people engage with issues surrounding politics online, and conclude that a “more personalised,”

SOCIAL MEDIA SOCIAL MEDIA SOCIAL MEDIA SOCIAL MEDIA

As a social media platform based on the sharing of visual content, Instagram will be an integral part of the social media strategy for ‘Censored’. The platform harbours generous amounts of potential, with social media marketing manager Dana Howard in an interview with Tim Johnston and Glynn Mangold (2014, p.657) mentioning that “the user base of Instagram continues to grow”. This continuing growth was concurred by WGSN who have labelled Instagram as on “track to become the world’s

most powerful social platform” due to the high levels of both consumer adoption and engagement (Hughes, 2014). The visual origins of the platform have resulted in the adoption of Instagram by the fashion world as mentioned in a trend article by Rachel Arthur who wrote that “Retail and fashion dominate the top 10 largest communities” on Instagram (2014). Antonia Wilson (2014, p.54) also wrote of this popularity, mentioning that “Instagram is hugely

popular among fashion bloggers”, labelling it as the “app of influence” and concluding that it provides the opportunity “to connect creative people globally” (Wilson, 2014, p.54). The idea of connecting creatives globally is a direct similarity to what ‘Censored’ aims to achieve with Russian creatives, therefore making it the perfect platform to utilise. There also appears to be a metaphorical consistency between the two platforms as Wilson (2014, p.54) suggests that “Instagram’s 82

INSTAGRAM INSTAGRAM INSTAGRAM INSTAGRAM

rapid growth is symptomatic of a wider shift… towards more ‘authentic’ images”, which is directly comparative to the target consumer of ‘Censored’, Russia’s creative youth who are “looking for a new honesty” (Fedorova, 2014). It therefore can be assumed that Instagram would be a platform that many of these under-undergrounders would already interact with, therefore making it a perfect place to interact with the target consumer. One particular feature that will prove beneficial

“The app of influence” (Wilson, 2014, p.54) is the automatic playback of video content. This playback feature means that when a user is scrolling down the platform and comes across a video, the video will automatically begin without sound therefore creating intrigue for content that otherwise could have been overlooked. As film is the medium for which the company is based upon, and the crucial visual element of the social media campaign, this feature will hopefully result in more people viewing the video.

A further development of Instagramwhich will allow the collection of donations- is one that is as of current, rather explored. Chirpify is a third party technology that “can post products to Instagram and sales are triggered when Instagram users comment with so-called ‘actiontags’” (Hughes, 2014). This idea could be adapted for donations to ‘Censored’ by promoting the use of the actiontag #donate for users to use on posts from the company. Aria Hughes (2014) suggests that

Figure 41: Instagram mockup (own image, 2015)

Figure 42: social media focus: Instagram (WGSN, 2014)

when launching a company on Instagram, it is more preferable to not attempt to sell to consumers, but instead to engage them with posts that will “foster conversation”. Therefore, in the creation of an Instagram account for ‘Censored’, the general content- such as a snippet of the promotional film- will aim to spark intrigue and debate that is likely to engage the target consumer (fig 41) whilst remaining visually authentic. It would also be beneficial for ‘Censored’ to involve consumer

generated content on this particular platform as part of their marketing strategy- adding to the integral personal element that helps to aid success as discussed earlier. By choosing to solely exist in the realms of Instagram is potentially limiting the amount of reach for the company. However with money at the time of launch for the company likely to be extremely limited, it makes more financial and time effective sense to focus efforts on one social media platform as

opposed to a lesser amount of focus directed at three to four different platforms. Furthermore, as Instagram is a platform purely for showcasing creativity, it seems the most relevant platform to access the target consumer from.

BRAND AMBASSADORS BRAND AMBASSADORS BRAND AMBASSADORS BRAND AMBASSADORS

Due to the lack of communication channels available, brand ambassadors will become a crucial promotional tool for the company. Brand ambassadors act as another path of communication between potential consumers. Due to the discrete, underground nature of the target consumer, it is essential that a variety of brand ambassadors are employed to gain the maximum amount of exposure and reach

fashion brands for the creatives to collaborate with. With Gosha Rubchinskiy and Gareth Pugh acting as direct advocates, and being respected figures within the fashion industry- especially in regards to the long established Gareth Pugh- they provide the company with credibility in the eyes of the fashion industry. Being able to merely mention these credible names in business conversations with fashion brands is

to make the project a success. Oscar Peck (2013) informs that brand ambassadors for non-profit organisations are “usually chosen as they have fully invested in the cause and are able to tap into the organisation’s target audience”. The Captivation Media Group (2011) furthers the importance of this ideological investment, cautioning the potential use of brand ambassadors by stressing that the chosen people

highly likely to be very advantageous by increasing the prospects of meetings astronomically through the willingness of brands to maintain good relations with key industry players.

must have an authentic passion for your company and its message/ cause in order for people to be influenced by them. With this in mind, it is of crucial importance that the brand ambassadors chosen for ‘Censored’ have a direct emotional connection with the cause, and a passion for promoting it. These brand ambassadors are shown in figure 43. The brand ambassadors will also prove crucial in gaining

Figure 43: brand ambassador diagram (own image, 2015)

Figure 49: Gay pride strategy diagram (own image, 2015)

OFFLINE PROMOTION OFFLINE PROMOTION OFFLINE PROMOTION OFFLINE PROMOTION

As a strategy for driving awareness and donations for the company, gay pride events will be targeted with promotional material. Gay Pride events provide a perfect opportunity for the promotion of â&#x20AC;&#x2DC;Censoredâ&#x20AC;&#x2122; due to the companies origins deriving from censorship in Russia imposed on the LGBT community. With the media outrage focused on the antiLGBT comments made by Vladimir Putin surrounding the Sochi Winter Olympics, and the subsequent protests of the global LGBT community; it appears likely that LGBT people

worldwide and their supporters would be the perfect receptors for the companies mission, hopefully resulting in donations. Flyers (page 86-89) and zines will be created (page 90) to hand out at the events as a way of driving traffic to the website. As well as targeting the London Pride event- as the company is based in the UK- the events that will be targeted will also be on an international scale to hopefully result in worldspread acknowledgement of the company and its mission (see figure 49).

DONATIONS DONATIONS DONATIONS DONATIONS

Physical promotional material: flyers (Inspiration for the photographs, pg. 96) (inspiration for layout, Appendix pg. 138)

88 Figure 56: Censored flyer (1) (own image, 2015)

89 Figure 57: Censored flyer (2) (own image, 2015)

Figure 58: Censored flyer (3) (own image, 2015) [flyer]

Figure 59: Censored flyer (4) (own image, 2015)

Physical promotional material: the zine

The film. Visualising the brand message

94 Figure 60: Censored photoshoot (2) (own image, 2015)

Figure 61: Censored film (own image, 2015)

The central focus of this promotional strategy will be a conceptual fashion film that aims to spark both visual inspiration and acts as a call to action. The film will celebrate the influential potential of the medium, and hopefully result in Russian underundergrounders signing up for the service, as well as create followings from fashion brands and donors. The concept of this film revolves around the issue of censorship in Russia and its creatively restrictive nature. This has been visually represented

by strong monochrome gridding imprisoning the model. The use of the grid derived from the concept of what the grid represents. The grid is used as a guideline layout, a set out pattern that people restrict themselves to. Contemporary artist Susan Hefuna provided visual inspiration for the grid, with her work often being referenced as “boundary-breaking art” (artspace, u.d.), a direct reference to the aims of ‘Censored’ to allow Russian creatives a platform from which they can break free of Russian censorship. Through Susan Hefuna’s geometric pieces such as ‘cityscapes’ (figure 47), the artist “explores the intersection of location and identity” (artspace, u.d.), a further parallel between the artists ideologies and the essence of the companies Russian creatives who are struggling with the global negativity towards their location and their identity. 20th Century Russian painter Kazimir Malevich also provided visual and ideological inspiration. With a 1918 painting

named ‘White on White’ (figure 46) -a political piece that represented the freedom that Russian society felt after the Russian revolution that occurred the year before- Malevich managed to redefine abstract art, with “the imprecise outlines of the asymmetrical square” generating “a feeling of infinite space rather than definite borders” (MoMa, u.d.). This implied liberation was something that definitely needed to be explored in the creation of the film as it provokes the emotion of hope and

Figure 46: White on white (Kasimir Malevich, 1918)

creative freedom. Malevich himself famously said when discussing this particular piece: “I have overcome the lining of the colored sky...Swim in the white free abyss, infinity is before you” (MoMa, u.d.). This again depicts the philosophy behind the art of transcending boundaries and breaking free, concurrent with the philosophy behind ‘Censored’ of creative freedom for censored Russians. As well as artistic references, the film drew on conceptual references

from horror films. As Sam Ashby of Dazed and Confused (2014) writes, horror films are conceptually about what is considered the norm- be it traditional families- being completely destroyed and overturned, stressing that horror is “inherently queer”. This idea of overturning the expected that horror films draw upon was applied when visualising the core ethos of ‘Censored’ in the film by implementing an eerie, almost unsettling feel to visualise this conceptual reference. Director Alfred Hitchcock in particular

provided inspiration for the film, particularly in the form of the highly acclaimed ‘Rear Window’ (figure 45). Hitchcock often used an approach of “Pure Cinema” which is effectively relying on visuals instead of dialogue to progress a narrative (Aurora, 2012). This was directly applied to the film, which contains little specific dialogue, but instead exploits the use of visual narrative. ‘Rear Window’ is accredited as being one of Hitchcock’s “most cinematic” as it was told purely in “visual terms” with no dialogue whatsoever in the “first four pages” of the screenplay (Morrow, 2014). Dr. Strangelove (figure 48), a film by Stanley Kubrick provides further conceptual inspiration from the focus of the two main characters who are classed as “merely products of their institutions” which in turn “is ultimately the cause of their insanity” (Abrams, 2007, p.10). The film presents a dystopian view of society, that “all procedures of institutional deliberation and

Figure 44: Grid and gradient trend (Eva Berendes, 2014)

communication ignore individual freedom” (Abrams, 2007, p.10). This idea, whilst formulated in a dystopian way, provides a framework for the film concept. The notion of a person detouring from sanity as a direct result of the lack of freedom imposed on them by their society is an extreme philosophy, but one that can be reiterated in the eerie essence of the promotional film for ‘Censored’, showing the desperate need for the freedom and global acceptance of Russia’s creatives.

Figure 47: Cityscapes (Susan Hefuna, 2012)

Figure 48: Dr. Strangelove still (Stanley Kubrick, 1964)

‘Dr. Strangelove’ draws on the theme of “dehumanisation” that ultimately “amounts to the loss of control over our lives”. The film created for ‘Censored’, directly draws on this link throughout the narrative, however the end- unlike these films by Stanley Kubrick- provides an essence of hope. The reason behind the change in narrative from Kubrick’s dystopian endings to one of hope, is to depict that the company can really help to change the lives of Russian creatives and grow the country’s fashion industry, and to enforce that hope is not lost.

INSPIRATIONS INSPIRATIONS INSPIRATIONS INSPIRATIONS

Watch the film on the webite: thecensoredproject.squarespace.com or, via the CD. (storyboard appendix pg. 134)

Figure 45: Rear Window still (Alfred Hitchcock, 1954)

This warped philosophical narrative behind Dr. Strangelove led to the visual inspiration behind sound effects in the film. The film uses “constant and ridiculous dialogue” between the two main individuals, to represent the characters lack of sanity as a direct result of the “institutions” (Abrams, 2007, p.2). This can be seen in the unsuspecting, erratic sounds in the film produced for ‘Censored’, evoking this same sense of inflicted insanity. Much like ‘A Clockwork Orange’, Jerold Abrams (2007, p.233) concludes that

In order to generate the maximum amount of views for the company film, and therefore gain the maximum amount of clients, utilising all available platforms is crucial. Damian Ryan (2012, p.158) suggests posting such content to social media submission sites such as Reddit, Digg and StumbleUpon so that a wide range of people will view, and hopefully share the submission, amplifying the company exposure. Despite the target consumer of

link below to access the full length film on the website (figure 51). By showing a short amount first, the users will hopefully not be deterred from watching by the length. Instead, they will hopefully be compelled to view the whole film after being enticed by the preview. As entrepreneur Robert Mills (2014) stressed in an interview regarding how to effectively attract consumers to point of sign up; by getting the user to the actual website for viewing, they are more likely

â&#x20AC;&#x2DC;Censoredâ&#x20AC;&#x2122; belonging to quite a niche group, it could be useful to use this strategy to target a variety of online consumers in the hope of gaining donations for the service and general awareness of the cause. Brand ambassadors will also prove crucial in the promotion of the video and therefore the company and its values. By asking the brand ambassadors to share the film with their online communities, it allows the brand to reach even more of the consumers, as well as industry professionals (in the case of Gosha Rubchinskiy and Gareth Pugh) that could encourage an increase in the amount of live briefs provided for the creatives, and in the case of Amnesty International can help to reach potential donors. As discussed earlier, Instagram will be used as the main platform for the promotion of this video, showing just short snippets to gain interest, and then urging the user to click on the

to follow through with a sign up or donation, as they are closer to the page from which this is achieved, lessening the call to action journey that can deter prospective engagers (appendix pg. 158). This decision journey will be further encouraged by a link to the sign up posted directly under the video, where you merely have to input your email address, password and address of your online portfolio for the quality screening process of applicants to take place.

GOING ONLINE GOING ONLINE GOING ONLINE GOING ONLINE

Figure 51: Screenshots of Censored website (own image, 2015)

View the whole website at thecensoredproject.squarespace.com 99

In conclusion. ..........

Figure 62: Censored photoshoot (3) (own image, 2015) 100

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The originating philosophy of ‘Censored’- that of promoting the fashion industry of Russia away from censorship and anti-LGBT attitudes- is considered throughout the promotion and branding of the non-profit organisation. It comes as a direct response to the new Russia being created by the rebellious underundergrounders who are keen to showcase the talent of their beloved country, and disassociate it with the negativity surrounding anti-LGBT rights that is hindering its acceptance as an international fashion market. This considered approach provides ‘Censored’ with the means from which to actively change the lives of Russia’s creative youth, and the status of the country’s fashion industry. It stands as a unique concept, as of yet unrivalled, and paves the way for the future of Russian fashion.

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Figure 63: Censored poster (2) (own image, 2015)

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List of illustrations. Figure 1: Mercedes Benz Fashion Week (Lea Colombo, 2014) [photograph] Available at: http://www.joujouvilleroy. com/2014/11/mbfw-russia-lea-colombo-dazed-and-confused/ Figure 2: LGBT rights activists calling for Sochi Winter Olympics sponsors to speak out against Russiaâ&#x20AC;&#x2122;s anti-gay laws in Melbourne. (Paul Crock, 2014) [photograph] Available at: http://darkroom.baltimoresun.com/2014/02/russia-gay-lawprotest-sochi-olympics/#1 Figure 3: To Russia Without Love (Jamo Best, 2014) [photograph] Available at: http://www.trendhunter.com/trends/fromrussia-without-love Figure 4: Saint Laurent Resort 2014 Preview (Hedi Slimane, 2013) [photograph]. Available at: http://www.thegloss. com/2013/06/26/fashion/heroin-chic-is-back-saint-laurent/ Figure 5: Katy at D1 Models (Gina Amama, 2013) [photograph] Available at: http://www.designscene.net/2013/02/katygina-amama.html Figure 6: Fashion stand up for LGBT rights in Russia (SHOWStudio, 2014) [photograph] Available at: http://www. independent.co.uk/news/people/news/kate-moss-and-leading-uk-fashion-figures-wear-balaclavas-to-protest-againstrussias-antigay-propaganda-laws-in-dramatic-new-video-9129442.html Figure 7: Gosha Rubchinskiy, Crimea/Kids (Gosha Rubchinskiy, 2014) [photograph] Available at: http://www. openingceremony.us/entry.asp?pid=10227 Figure 8: Tigran Avetisyan, Forget Me Not (2013) [photograph] Available at: http://mimoshow.com.au/tigran-avetisyandesign/ Figure 9: Gosha Rubchinskiy (2012) [photograph] Available at: http://www.openingceremony.us/entry.asp?pid=6902 Figure 10: Backstage at Galetsky, Mercedes-Benz Fashion Week: Russia (Lea Colombo, 2014) [photograph] Available at: http://www.dazeddigital.com/fashion/article/22467/1/russias-new-fashion-revolution Figure 11: Mercedes-Benz Fashion Week: Russia (Lea Colombo, 2014) [photograph] Available at: http://www.dazeddigital. com/fashion/article/22467/1/russias-new-fashion-revolution Figure 12: The power on Putin infographic (own image, 2015) [infographic] Figure 13: Tigran Avetisyan SS14 (Tigran Avetisyan, 2013) [photograph] Available at: http://calvertjournal.com/articles/ show/1699/designer-tigran-avetisyan-is-reinventing-menswear-fashion Figure 14: Lea T for Vogue Brazil (ZeeNunes, 2014) [photograph] Available at: http://ftape.com/media/?p=75952 Figure 15: Russian Dolls (Wikimedia, u.d.) [photograph] Available at: http://upload.wikimedia.org/wikipedia/commons/ thumb/0/0a/Russian_Dolls.jpg/1280px-Russian_Dolls.jpg 104

Figure 16: Consumer Profile of The Under-Undergrounder (Own image, 2015) [consumer profile graphic] Figure 17: Suburbs of Moscow (Elizaveta Dedova, u.d.) [photograph] Available at: http://calvertjournal.com/features/ show/2473/suburbs-in-contemporary-russian-visual-culture#.VMT5DEesWSo Figure 18: The strange attraction of Moscowâ&#x20AC;&#x2122;s suburbs (Masha Demianova, 2013) [photograph] Available at: http:// calvertjournal.com/photography/show/712/fashion-from-the-suburbs Figure 19: Sergey and Philippe (Isabella Moore, 2014) [photograph] Available at: http://www.dazeddigital.com/ artsandculture/article/18756/1/putins-war-on-gays Figure 20: Irina Fedorishcheva and Svetlana Shompolova (Isabella Moore, 2014) [photograph] Available at: http:// www.dazeddigital.com/artsandculture/article/18756/1/putins-war-on-gays Figure 21: Pack your bags, honey, weâ&#x20AC;&#x2122;re leaving the Dorchester (Lea Colombo, 2014) [photograph] Available at: http:// www.dazeddigital.com/fashion/article/19852/1/hedi-slimane-stands-up-for-lgbt-rights-in-brunei Figure 22: Saskia de Brauw for Saint Laurent menswear SS13 (Hedi Slimane, 2013) [photograph] Available at: http:// www.ysl.com/corporate/en/saint-laurent-collections/men-spring-summer-13/saskia-de-brauw/ Figure 23: Moscow (Lea Colombo, 2014) [photograph] Available at: http://www.dazeddigital.com/fashion/ article/22467/1/russias-new-fashion-revolution Figure 24: MBFR: Russia (Lea Colombo, 2014) [photograph] Available at: http://www.dazeddigital.com/fashion/ article/22467/1/russias-new-fashion-revolution Figure 25: Vladimir Putin on the cover of The Advocate (The Advocate, 2014) [magazine cover] Available at: http:// www.dazeddigital.com/artsandculture/article/22573/1/is-putin-the-worlds-most-influential-lgbt-rights-figure Figure 26: Vladimir Putin (imgkid.com, 2014) [photograph] Available at: http://www.dazeddigital.com/artsandculture/ article/22947/1/putin-named-russias-man-of-the-year-for-15th-year-running Figure 27: The Motherland Calls statue in Russia (RIAN archives, 2014) [photograph] Available at: http://www. mapsofworld.com/travel/destinations/russia/the-motherland-calls Figure 28: The Kremlin of Moscow (Travel Russia, u.d.) [photograph] Available at: http://www.travelallrussia.com/ kremlin/ Figure 29: Girls (Anastasia Korosteleva, 2014) [photograph] Available at: http://www.dazeddigital.com/ photography/article/16830/1/anastasia Figure 30: Boys of Russia (Sonya Kydeeva, 2014) [photograph] Available at: http://www.dazeddigital.com/ photography/article/23283/1/coming-of-age-in-21st-century-russia Figure 31: Still from Groza (Stereotactic, 2014) [film still] Available at: http://www.dazeddigital.com/artsandculture/ article/19588/1/stereotactic-moscows-underground-film-rebels Figure 32: Still from Groza (2) (Stereotactic, 2014) [film still] Available at: http://www.dazeddigital.com/ artsandculture/article/19588/1/stereotactic-moscows-underground-film-rebels 105

Figure 33: James Long x River Island AW15 film still (Menno Fokma, 2015) [film still] Available at: http:// filmmakeriq.com/filmmaker-forums/topic/beautiful-surreal-film-by-acclaimed-director-visual-artist-menno-fokma/ Figure 34: Saint Petersburg, Message to man film festival (Vjsuave, 2014) [photograph] Available at: http:// vjsuave.com/Saint-Petersburg-Russia Figure 35: Stereotactic (Dazed Digital, 2012) [photograph] Available at: http://www.dazeddigital.com/ satellitevoices/moscow/culture/2385/stereotactic Figure 36: STEEPLE marketing model (own image, 2015) [marketing model graphic] Figure 37: Boys of Russia (Sonya Kydeeva, u.d.) [photograph] Available at: http://sonyakydeeva.com/ Figure 38: Boys of Russia (2) (Sonya Kydeeva, u.d.) [photograph] Available at: http://sonyakydeeva.com/ Figure 39: Boys of Russia (3) (Sonya Kydeeva, u.d.) [photograph] Available at: http://sonyakydeeva.com/ Figure 40: Most influential medium (study) infographic (own image, 2015) [infographic] Figure 41: Instagram mockup (own image, 2015) [graphic] Figure 42: social media focus: Instagram (WGSN, 2014) [photograph] Available at: http://www.wgsn.com. ezproxy.ntu.ac.uk/content/board_viewer/#/142671/page/1 Figure 43: Brand ambassador diagram (own image, 2015) [graphic] Figure 44: Grid and gradient trend (Eva Berendes, 2014) [photograph] Available at: http://www.wgsn.com. ezproxy.ntu.ac.uk/content/board_viewer/#/53637/page/1 Figure 45: Rear Window still (Alfred Hitchcock, 1954) [film still] Available at: http://www.tr10023.com/?p=2977 Figure 46: White on white (Kasimir Malevich, 1918) [painting] Available at: http://www.sympathyfortheartgallery. com/post/35583717209/thefilearts-top-kasimir-malevich-suprematist Figure 47: Cityscapes (Susan Hefuna, 2012) [photograph] Available at: http://www.artspace.com/susan_hefuna/ cityscapes Figure 48: Dr. Strangelove still (Stanley Kubrick, 1964) [film still] Available at: http://virginiafilmfestival.org/films/ dr-strangelove/ Figure 49: Gay pride strategy diagram (own image, 2015) [graphic] Figure 50: 5ps of marketing diagram (own image, 2015) [graphic] Figure 51: Screenshots of Censored website (own image, 2015) [screenshots] Figure 52: Censored photoshoot (1) (own image, 2015) [photograph] Figure 53: Censored photoshoot with logo (own image, 2015) [photograph/ graphic] 106

Figure 54: Censored photoshoot edit â&#x20AC;&#x2DC;Get out of the shadowsâ&#x20AC;&#x2122; (own image, 2015) [photograph/graphic] Figure 55: Censored poster (own image, 2015) [poster] Figure 56: Censored flyer (1) (own image, 2015) [flyer] Figure 57: Censored flyer (2) (own image, 2015) [flyer] Figure 58: Censored flyer (3) (own image, 2015) [flyer] Figure 59: Censored flyer (4) (own image, 2015) [flyer] Figure 60: Censored photoshoot (2) (own image, 2015) [photograph] Figure 61: Censored film (own image, 2015) [film still] Figure 62: Censored photoshoot (3) (own image, 2015) [photograph] Figure 63: Censored poster (2) (own image, 2015) [poster] Figure 64: Perceptual map (own image, 2015) [marketing model] Figure 65: PEST marketing model (own image, 2015) [marketing model] Figure 66: Colour palette inspiration moodboard (own image, 2015) [moodboard] Figure 67: Logo inspiration moodboard {own image, 2015) [moodboard]

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List of references.

Books Abrams, J (2007) The Philosophy of Stanley Kubrick. Kentucky: The University Press of Kentucky. Pp. 2-233. Bar-Tal, D. (2000). Shared Beliefs in a Society: Social Psychological Analysis. California: Sage Publications. pp. 75-76. Dimbleby, J (2009). Russia: A Journey to the Heart of a Land and its People. England: BBC Books. pp.xvi-13 Froncek, T. (1970). The Horizon book of the arts of Russia. New York: American Heritage Pub. Co. p.282 Meerman Scott, D. (2013) The new rules of marketing and PR: how to use social media, online video, mobile applications, blogs, news releases, and viral marketing to reach buyers directly. 4th Ed. Hoboken, New Jersey: John Wiley and Sons. Pp. 55-64 Messick, D et al. (2008). The Psychology of Leadership: New Perspectives and Research. New Jersey: Lawrence Erlbaum Associates, Inc. p.112. Perovic, J et al (2009). Russian Energy Power and Foreign Relations: Implications for conflict and cooperation. Oxford: Routledge. p.51. Ryan, D. (2012) Understanding Digital Marketing: Marketing Strategies For Engaging The Digital Generation. London: Kogan Page. Pp. 158-162

Documentary Channel 4. (2014). Hunted. [online] Dispatches, Channel 4. Available at: http://www.channel4.com/ programmes/dispatches/videos/all/hunted [Accessed 30 Oct. 2014]

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Reports MarketLine (2014). Apparel Retail in Brazil. UK, London: MarketLine. MarketLine (2014). Apparel Retail In China. UK, London: MarketLine. MarketLine (2014). Apparel Retail In India. UK, London: MarketLine. MarketLine (2014). Apparel Retail In Russia. UK, London: MarketLine.

Journals Mangold, G. Johnston, T. (2014) ‘Managing your social campaign strategy using Facebook, Twitter, Instagram, YouTube & Pinterest: An interview with Dana Howard, social media marketing manager’ Business Horizons, 57(5), pp.657-665. Murray, R (2015) ‘Activism, affect, identification: trans documentary in France and Spain and its reception’ Studies In European Cinema, 11(3), p. 1 Vromen, A., Xenos, M. and Loader, B. (2015) ‘Young people, social media and connective action: from organisational maintenance to everyday political talk’, Journal Of Youth Studies, 18(1), pp. 80-100.

Magazine articles Williams, E (2014) ‘Fashion on film’, Creative Review, 10(34), pp.49-52. Wilson, A (2014) ‘The app of influence’, Creative Review, 10(34), pp.54-57.

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Fedorova, A. (2013). Dark Kingdom: How Artur Lomakin went from Moscow’s suburbs to global fashion’s avant-garde. [online] Calvert Journal. Available at http://calvertjournal.com/articles/show/546/artur-lomakin-forget-me-notconceptual-fashion-moscow [Accessed 3 Dec 2015] Fedorova, A (2014). Sartorial-east: 24 Russian fashion designers you need to know. [online] Calvert Journal. Available at: http://calvertjournal.com/lists/show/2661/top-russian-fashion-designers [Accessed 3 Dec 2015] Fedorova, A. (2014). Well cut: Russian fashion on film. [online] Calvert Journal. Available at: http://calvertjournal. com/articles/show/2145/fashion-videos-russia-showstudio-british-council [Accessed 4 Nov. 2014]. Francis Westgate, S. (2014). Exclusive images from Gosha Rubchinskiy’s new book. [online] Dazed Digital. Available at: http://www.dazeddigital.com/fashion/article/21524/1/gosha-rubchinskiy-exclusive-images. [Accessed 25 Oct 2014]. Frank, A. (2014). Ben Steele on His New HBO Documentary About Gay Rights in Russia. [online] Vogue. Available at: http://www.vogue.com/2487041/hbo-hunted-russia-gay-rights/ [Accessed 27 Oct. 2014]. Global Sherpa (u.d.) BRIC Countries- Background, Latest News, Statistics and Original Articles. [online] Global Sherpa. Available at: http://www.globalsherpa.org/bric-countries-brics [Accessed 3 Nov 2014] Gordina, J. (2014). New Russian Fashion in Film Event. [online] British Council. Available at: http://design.britishcouncil. org/blog/2014/feb/17/new-russian-fashion-film-event/ [Accessed 4 Nov. 2014]. Gray, C. (2014). Daring documentaries challenge Russia’s status quo. [online] Dazed Digital. Available: http://www. dazeddigital.com/artsandculture/article/22096/1/daring-documentaries-challenge-russias-status-quo. Last accessed 25th Oct 2014. Gusyatinskiy, E. (2014). Stereotactic: Moscow’s underground film rebels. [online] Dazed Digital. Available at: http:// www.dazeddigital.com/artsandculture/article/19588/1/stereotactic-moscows-underground-film-rebels. Last accessed 25th Oct 2014. Howard, C. (2014). Putin Vs. Obama: The World’s Most Powerful People 2014. [online] Forbes. Available at: http:// www.forbes.com/sites/carolinehoward/2014/11/05/putin-vs-obama-the-worlds-most-powerful-people-2014/ [Accessed 9 Nov. 2014] Hughes, A (2014) Instagram: can it drive sales? [online] WGSN. Available at: http://www.wgsn.com.ezproxy.ntu.ac.uk/ content/board_viewer/#/148312/page/1 [Accessed 5 Jan 2015] ICA. (2014). Culture Now: Gosha Rubchinskiy. [online] ICA. Available at: https://www.ica.org.uk/whats-on/culture-nowgosha-rubchinskiy [Accessed 7 Dec. 2014] Ignatius, D. (2009). ‘Miracle and Mystery’: Why Russians Love Putin. [online] The Washington Post. Available at: http:// www.washingtonpost.com/wp-dyn/content/article/2009/07/01/AR2009070103025.html [Accessed 2 Jan 2015] Lybarger, J (2014). The Advocate’s Person of the year: Vladimir Putin. [online] The Advocate. Available at http://www. advocate.com/year-review/2014/11/06/advocates-person-year-vladimir-putin [Accessed 8 Nov. 2014] MacPherson, R. (2014). Olympians Speak Out Against Russia’s ‘Gay Propaganda’ Laws. [online] Huffington Post. Available at: http://www.huffingtonpost.com/2014/01/31/russia-gay-propaganda-olympians-_n_4698662.html [Accessed 1 Nov. 2014] Marapas, V. (2014) LGBTQ Victim Portraits. [online] Trend Hunter. Available at: http://www.trendhunter.com/trends/ 111

from-russia-without-love [Accessed 4 Jan 2015] MoMa (u.d.) Kazimir Malevich: Suprematist composition: White on White. [online] MoMa. Available at: http://www. moma.org/collection/object.php?object_id=80385 [Accessed 5 Jan 2015] Morrow, J (2014) How Hitchcock Used Editing To Turn ‘Rear Window’ into a Masterpiece of Visual Storytelling. [online] No Film School. Available at: http://nofilmschool.com/2014/07/alfred-hitchcock-editing-rear-window-kuleshov-effect [Accessed 5 Jan 2015] Nakiska, T. (2014). Gosha Rubchinskiy’s Russiaan Rave Revolution. [online] Dazed Digital. Available at: http://www. dazeddigital.com/fashion/article/20134/1/gosha-rubchinskiys-russian-rave-revolution [Accessed 7 Dec. 2014] Out Traveler (2013) 15 Pride Celebrations You Can’t Miss. [online] Out Traveler. Available at: http://www.outtraveler. com/pride/2013/04/11/15-pride-celebrations-you-cant-miss?page=0,0 [Accessed 7 Jan 2015] Peck, O (2013) The Importance of Brand Ambassadors. [online] Touch Down Promotions. Available at: http://www. touchdownpromotions.co.uk/blog/importance-brand-ambassadors/ [Accessed 5 Jan 2015] Piras, L. (2014). Gender Neutral: youth consumer trend analysis. [online] WGSN. Available at: http://www.wgsn.com/ content/board_viewer/#/144897/page/1 [Accessed 2 Dec. 2014] Selby, J (2014). Kate Moss and leading UK fashion figures wear balaclavas to protest against Russia’s anti-gay propaganda laws in dramatic new video. [online]. The Independent. Available at: http://www.independent.co.uk/ news/people/news/kate-moss-and-leading-uk-fashion-figures-wear-balaclavas-to-protest-against-russias-antigaypropaganda-laws-in-dramatic-new-video-9129442.html [Accessed 23. Oct 2014] Selyanova, D (u.d.). Dasha Selyanova. Not Just A Label. [online] Available at: https://www.notjustalabel.com/designer/ dasha-selyanova [Accessed 3 Jan 2015] Sexton, C. (2014). Introducing: Tigran Avetisyan. [online] Dazed Digital. Available at: http://www.dazeddigital.com/ fashion/article/16922/1/introducing-tigran-avetisyan [Accessed 3 Dec 2014] TFL. (2013). Riccardo Tisci On Lea T: “Everyone Was Against It”. [online] The Fashion Law. Available at: http://www. thefashionlaw.com/riccardo-tisci-on-lea-t-everyone-was-against-it/. [Accessed 4 Dec 2014]. Tsjeng, Z. (2014). Hedi Slimane stands up for LGBT rights in Brunei. [online] Dazed Digital. Available at: http://www. dazeddigital.com/fashion/article/19852/1/hedi-slimane-stands-up-for-lgbt-rights-in-brunei [Accessed 6 Nov. 2014]. WGSN (2014) A/W 15/16 Print and Graphics Forecast. [online] WGSN. Available at: http://www.wgsn.com.ezproxy. ntu.ac.uk/en/micro/Art_Dept/2014/creativedirection/AW1516_PrintGraphics/WGSN_AW1516_Print_and_ Graphics_Forecasts.pdf [Accessed 10 Jan 2015]

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Davies, D. (2012) The Saint Laurent Boy Is A Girl. [online] Dazed and Confused Magazine. Available: http://www. dazeddigital.com/fashion/article/15143/1/the-saint-laurent-boy-is-a-girl.[Accessed 4 Dec 2014] Drain, K (2014). Russia Launches Its Own Fashion Council. [online] Fashion Times. Available at: http://www.fashiontimes. com/articles/13549/20141027/russian-fashion-council-to-kickoff-develop-local-fashion-business.htm [Accessed 8 Nov. 2014] E Turbo News (2013) Madrid chosen to host 2017 World Pride. [online] E Turbo News. Available at: http://www. eturbonews.com/39551/madrid-chosen-host-2017-world-pride [Accessed 7 Jan 2015] Fedorova, A. (2013). Dark Kingdom: How Artur Lomakin went from Moscow’s suburbs to global fashion’s avant-garde. [online] Calvert Journal. Available at http://calvertjournal.com/articles/show/546/artur-lomakin-forget-me-notconceptual-fashion-moscow [Accessed 3 Dec 2015] Fedorova, A (2014). Sartorial-east: 24 Russian fashion designers you need to know. [online] Calvert Journal. Available at: http://calvertjournal.com/lists/show/2661/top-russian-fashion-designers [Accessed 3 Dec 2015] Fedorova, A. (2014). Well cut: Russian fashion on film. [online] Calvert Journal. Available at: http://calvertjournal. com/articles/show/2145/fashion-videos-russia-showstudio-british-council [Accessed 4 Nov. 2014]. Francis Westgate, S. (2014). Exclusive images from Gosha Rubchinskiy’s new book. [online] Dazed Digital. Available at: http://www.dazeddigital.com/fashion/article/21524/1/gosha-rubchinskiy-exclusive-images. [Accessed 25 Oct 2014]. Frank, A. (2014). Ben Steele on His New HBO Documentary About Gay Rights in Russia. [online] Vogue. Available at: http://www.vogue.com/2487041/hbo-hunted-russia-gay-rights/ [Accessed 27 Oct. 2014]. Global Sherpa (u.d.) BRIC Countries- Background, Latest News, Statistics and Original Articles. [online] Global Sherpa. Available at: http://www.globalsherpa.org/bric-countries-brics [Accessed 3 Nov 2014] Gordina, J. (2014). New Russian Fashion in Film Event. [online] British Council. Available at: http://design.britishcouncil. org/blog/2014/feb/17/new-russian-fashion-film-event/ [Accessed 4 Nov. 2014]. Gray, C. (2014). Daring documentaries challenge Russia’s status quo. [online] Dazed Digital. Available: http://www. dazeddigital.com/artsandculture/article/22096/1/daring-documentaries-challenge-russias-status-quo. Last accessed 25th Oct 2014. Gusyatinskiy, E. (2014). Stereotactic: Moscow’s underground film rebels. [online] Dazed Digital. Available at: http:// www.dazeddigital.com/artsandculture/article/19588/1/stereotactic-moscows-underground-film-rebels. Last accessed 25th Oct 2014. Howard, C. (2014). Putin Vs. Obama: The World’s Most Powerful People 2014. [online] Forbes. Available at: http:// www.forbes.com/sites/carolinehoward/2014/11/05/putin-vs-obama-the-worlds-most-powerful-people-2014/ [Accessed 9 Nov. 2014] Hughes, A (2014) Instagram: can it drive sales? [online] WGSN. Available at: http://www.wgsn.com.ezproxy.ntu.ac.uk/ content/board_viewer/#/148312/page/1 [Accessed 5 Jan 2015] ICA. (2014). Culture Now: Gosha Rubchinskiy. [online] ICA. Available at: https://www.ica.org.uk/whats-on/culture-nowgosha-rubchinskiy [Accessed 7 Dec. 2014] Ignatius, D. (2009). ‘Miracle and Mystery’: Why Russians Love Putin. [online] The Washington Post. Available at: http://

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www.washingtonpost.com/wp-dyn/content/article/2009/07/01/AR2009070103025.html [Accessed 2 Jan 2015] Lybarger, J (2014). The Advocate’s Person of the year: Vladimir Putin. [online] The Advocate. Available at http://www. advocate.com/year-review/2014/11/06/advocates-person-year-vladimir-putin [Accessed 8 Nov. 2014] MacPherson, R. (2014). Olympians Speak Out Against Russia’s ‘Gay Propaganda’ Laws. [online] Huffington Post. Available at: http://www.huffingtonpost.com/2014/01/31/russia-gay-propaganda-olympians-_n_4698662.html [Accessed 1 Nov. 2014] Marapas, V. (2014) LGBTQ Victim Portraits. [online] Trend Hunter. Available at: http://www.trendhunter.com/trends/ from-russia-without-love [Accessed 4 Jan 2015] MoMa (u.d.) Kazimir Malevich: Suprematist composition: White on White. [online] MoMa. Available at: http://www. moma.org/collection/object.php?object_id=80385 [Accessed 5 Jan 2015] Morrow, J (2014) How Hitchcock Used Editing To Turn ‘Rear Window’ into a Masterpiece of Visual Storytelling. [online] No Film School. Available at: http://nofilmschool.com/2014/07/alfred-hitchcock-editing-rear-window-kuleshov-effect [Accessed 5 Jan 2015] Nakiska, T. (2014). Gosha Rubchinskiy’s Russiaan Rave Revolution. [online] Dazed Digital. Available at: http://www. dazeddigital.com/fashion/article/20134/1/gosha-rubchinskiys-russian-rave-revolution [Accessed 7 Dec. 2014] Out Traveler (2013) 15 Pride Celebrations You Can’t Miss. [online] Out Traveler. Available at: http://www.outtraveler. com/pride/2013/04/11/15-pride-celebrations-you-cant-miss?page=0,0 [Accessed 7 Jan 2015] Peck, O (2013) The Importance of Brand Ambassadors. [online] Touch Down Promotions. Available at: http://www. touchdownpromotions.co.uk/blog/importance-brand-ambassadors/ [Accessed 5 Jan 2015] Piras, L. (2014). Gender Neutral: youth consumer trend analysis. [online] WGSN. Available at: http://www.wgsn.com/ content/board_viewer/#/144897/page/1 [Accessed 2 Dec. 2014] Selby, J (2014). Kate Moss and leading UK fashion figures wear balaclavas to protest against Russia’s anti-gay propaganda laws in dramatic new video. [online]. The Independent. Available at: http://www.independent.co.uk/ news/people/news/kate-moss-and-leading-uk-fashion-figures-wear-balaclavas-to-protest-against-russias-antigaypropaganda-laws-in-dramatic-new-video-9129442.html [Accessed 23. Oct 2014] Selyanova, D (u.d.). Dasha Selyanova. Not Just A Label. [online] Available at: https://www.notjustalabel.com/designer/ dasha-selyanova [Accessed 3 Jan 2015] Sexton, C. (2014). Introducing: Tigran Avetisyan. [online] Dazed Digital. Available at: http://www.dazeddigital.com/ fashion/article/16922/1/introducing-tigran-avetisyan [Accessed 3 Dec 2014] TFL. (2013). Riccardo Tisci On Lea T: “Everyone Was Against It”. [online] The Fashion Law. Available at: http://www. thefashionlaw.com/riccardo-tisci-on-lea-t-everyone-was-against-it/. [Accessed 4 Dec 2014]. Tsjeng, Z. (2014). Hedi Slimane stands up for LGBT rights in Brunei. [online] Dazed Digital. Available at: http://www. dazeddigital.com/fashion/article/19852/1/hedi-slimane-stands-up-for-lgbt-rights-in-brunei [Accessed 6 Nov. 2014]. WGSN (2014) A/W 15/16 Print and Graphics Forecast. [online] WGSN. Available at: http://www.wgsn.com.ezproxy. ntu.ac.uk/en/micro/Art_Dept/2014/creativedirection/AW1516_PrintGraphics/WGSN_AW1516_Print_and_ Graphics_Forecasts.pdf [Accessed 10 Jan 2015] 118

Gorton, T. (2014) The sims 4 is just too gay for Russia. [online] Dazed Digital. Available at: http://www.dazeddigital. com/artsandculture/article/19883/1/russia-have-made-the-sims-4-an-18-rating [Accessed 27 Oct 2014] Stolyarova, G. (2014) Aurora fashion week is all about diversity. [online] St. Petersburg Times. Available at: http:// www.sptimes.ru/story/40934 [Accessed Nov 5 2014] TV Guide (2014) To Russia with love. [online] Progress Index. Available at: http://www.progress-index.com/article/ ZZ/20141027/NEWS/310279994/?Start=1 [Accessed 5 Nov 2014] Jun, C (2014) LGBT Russia’s past is burning. [online] Dazed Digital. Available at: http://www.dazeddigital.com/ photography/article/16830/1/anastasia [Accessed 8 Nov 2014] Gray, C. (2013) 2013 in film: gay love heats up. [online] Dazed Digital. Available at: http://www.dazeddigital.com/ artsandculture/article/18134/1/2013-in-film-gay-love-heats-up [Accessed 8 Nov 2014] Tsjeng, Z (2013) My 2013: Lena Klimova-August. [online] Dazed Digital. Available at: http://www.dazeddigital.com/ artsandculture/article/18197/1/my-2013-lena-klimova-august [Accessed 8 Nov 2014] Sakharnov, K., Laccon, E. (2014) Olya’s Love. [online] Kickstarter. Available at: https://www.kickstarter.com/ projects/256407027/olyas-love-a-film-on-the-lgbt-rights-fight-in-mosc?ref=nav_search [Accessed 9 Nov 2014] Collins, R. (2014) Preview: Aesthetica Short Film Festival 2014. [online] Nouse. Available at: http://www.nouse. co.uk/2014/10/30/preview-aesthetica-short-film-festival-2014/ [Accessed 31 Oct 2014] A shaded view on fashion film (u.d.) Diane Pernet presents: A shaded view on fashion film. [online] A shaded view on fashion film. Available at: http://ashadedviewonfashionfilm.com/ [Accessed 30 Oct 2014] Jutaru, B. (2014) Stella McCartney debuts standalone Moscow boutique. [online] WGSN. Available at: http://www.wgsn. com/en/login/?r=/content/board_viewer/#/135496/page/1 [Accessed 14 Nov 2014] Arthur, R. (2014) Top 10- Best of marketing 2014. [online] WGSN. Available at: http://www.wgsn.com.ezproxy.ntu. ac.uk/content/board_viewer/#/55874/page/1 [Accessed 1 Jan 2015] WGSN (2014) Russian retail: 5 things you need to know. [online] WGSN. Available at: http://www.wgsn.com.ezproxy. ntu.ac.uk/content/board_viewer/#/54743/page/1 [Accessed 27 Nov 2014] Gorton, T. (2014) Free speech in Russia? Not till Putin’s seen it first. [online] Dazed Digital. Available at: http://www. dazeddigital.com/artsandculture/article/19707/1/free-speech-in-russia-not-till-putins-seen-it-first [Accessed 24 Oct 2014] Dazed Digital (2013) Pussy Riot and the fight for internet freedom. [online] Dazed Digital. Available at: http://www. dazeddigital.com/artsandculture/article/14145/1/pussy-riot-the-fight-for-internet-freedom [Accessed 24 Oct 2014] Abnett, K. (2014) East of Eden: How Russia’s Isolationism is Impacting Fashion, Part two- Retail. [online] BoF. Available at: http://www.businessoffashion.com/2014/11/east-eden-russias-isolationism-impacting-fashion-part-two-retail.html [Accessed 1 Dec 2014] Fedorova, A. (2014) New wave: 24 photographers changing the way the world sees Russia. [online] The Guardian. Available at: http://www.theguardian.com/world/gallery/2014/jun/10/24-photographers-russia [Accessed 28 Oct 2014] 119

The appendix. 140-141 Alternative poster designs 122- 123: Declaration form 124-125 Methodology

142-143 Critical path 144-147 Case studies

126-133 Trend moodboards 134-135 Film storyboard

136-137 Behind the scenes

148-153 Marketing models 154-175 Primary research

120

138-139 Poster inspirations

176-189 Consent forms 190-191 Interim presentation feedback

192- 199 Tutorial record sheets

121

Declaration form.

122

123

Methodology. What? Face-to-face interview discussing the prominence of LGBT persons within the fashion industry- focusing discussion around LGBT models.

Why?

When?

Where?

Who?

To gain an understanding into LGBT rights within the fashion industry, and to see how/if these people are both represented and treated.

Start of interview: 7th December 2014, 8.42pm

Costa, St Pancras International, London.

Alice Phillips, model booker at D1 models, age 21, female.

To gain an understanding into promotional strategies and establish the best ways in which to promote ‘Censored’ onilne. Also, to get feedback on the idea of ‘Censored’.

Start of interview: 15th December 2014, 2.15pm

To gain an understanding into how fearful and/ or concerned people are over Russia’s global influence, in order to establish whether this could have a knock of effect on the growth of the Russian fashion industry.

Start date of questionnaire: Online on 8th November 2014 Typeform.

To gain an understanding into the most effective medium at generating conversation in order to establish what communication medium would be most effective in representing the brand message of ‘Censored’ and driving donations.

Start date of study: 9th December 2014, 12.48pm

End of interview: 7th December 2014, 8.49pm

(appendix pg. 154)

Face-to-face interview discussing how best to promote a new business, and how to make it a success. (appendix pg. 158) Online questionnaire on the percieved power and influence of Russia. (appendix pg. 162)

Study measuring how long people discussed 3 different types of communication media. Participants were shown three separate types of issue related content (poverty, LGBT rights and war) all in the form of film, photography and the written word. (appendix pg. 172) 124

End of interview: 15th December 2014, 2.23pm

Starbucks, Festival Robert Mills, Place, Basingstoke co-founder of Mycellium, age 57, male.

End date of questionnaire: 4th January 2015

Snowball sample. Aged 19-55 Male and female Number of respondents: 37 Also posted on the LGBT community forum on reddit. com

End date of study: 9th December 2014, 3.32pm

Isolated room, Nottingham

Samples collected via postings on facebook asking people to participate. Number of participants: 11 Aged-20-22 Male and female All students

Strengths

Weaknesses

Interview provided a lot of qualitative information, allowing for Leading questions: throughout the interview there were some reasons to be discussed behind what is occurring in the the fashion leading questions asked that could have potentially swayed the industry in regards to LGBT rights. participants reponse, therefore resulting in less valid results. In an interview scenario, there is less likely to be a lot of The setting of the interview was in a public space. Due to the nature consideration before answering (unlike on an onine questionnaire), of the conversation, the participant could have been altering her therefore making for responses that are more accurate to the responses as to not offend anyone around. interviees true beliefs. Due to only interviewing one person, the results cannot be The position of the participant within the fashion industry means that generalised to experiences of all within the fashion industry. she had inside knowledge and direct experience with the issue that The participant could have been trying to answer with responses was discussed making for more reliable results. that she thought the researcher would want to hear, therefore the results could potentially not represent the truth. Interview provided qualitative information, allowing for reasons and The responses were relating to how the participant successfully personal experience behind promoting a new business. promoted a service that made the induction of new employees The participant had many years of experience, so was able to give easier, and therefore cannot be assumed to work for Censored as some valuable feedback to the company idea of Censored. the consumers are completely different. The participant was discussing his own experience and offering Due to only interviewing one person, the results cannot be advice, and therefore it can be assumed that he did not alter his generalised to all successful promotional strategies. responses depending on what the researcher wanted to hear. A variety of different respondents in terms of age and gender Snowball sampling could have led to a certain type of response make the results more generalisable. becoming more prominent, and makes the research less Getting respondents from reddit on the LGBT community forum, generalisable as all respondents are personally linked, so it could provides a broader range of respondents. be that they are all representative of a very specific type of person Anonymity of results could mean that respondents were more honest and attitude. as they knew their identity would be hidden. Online questionnaire means that participants can take as long as Quantitative results were easy to analyse. they like answering questions. Therefore, the results could be less Qualitative results were rich in detail and gave an insight into valid if participants thought more about their answers instead of reasons behind percieved power. putting their initial opinion. 37 results makes the research valid. The results can not be attributed to global opinion on Russiaâ&#x20AC;&#x2122;s power. The participants were briefed about the project, and told that we The time taken to discuss each medium may not have been a would measure their responses to each medium shown, however they reflection of the most effective medium, but instead, a reflection of were not told what response we would be looking for. Therefore the most thought provoking topics, visuals or narratives. making the results more valid as participants did not know that the The sample was very specific (all students, all in their early twenties) amount of time they discussed the content for was what was being therefore making the results less generalisable. directly recorded, therefore they were unlikely to have adjusted the No qualitative results recorded- could have been useful to see why time they took to discuss each one. (a debrief was given afterwards the respondents thought each medium was/ was not effective. to inform participants on what exactly was recorded). Good, quiet room where study took place, which stopped any outside influence from affecting the results.

125

Paper mache, issue 5

Trend inspirations.

Chloe, AW14

126

Hans Hollein

Phillip Lim AW14/15

On the grid.

â&#x20AC;&#x2DC;On the gridâ&#x20AC;&#x2122; is a trend that derives from the need for order. In a world currently filled with chaos and fear, visuals have responded by incorporating a feeling of safety and order. Visuals adopt a minimal colour palette with a linear feel.

Dom Sebastian 127

Industrial intrigue Industrial intrigue is born from the fascination of finding beauty amongst the grit of the â&#x20AC;&#x153;uglyâ&#x20AC;? industrial. The suburbs of Moscow are a perfect example of this, with local creatives utilising the harsh lines and bleak visuals of the architecture in order to create beautiful images that reflect the people that live there. This trend is reflected in the harsh lines and linear feel of the document layout.

The suburbs of Moscow

French Connection AW15/14 Lookbook

128

Amsterdam Noord

Amsterdam Noord 129

Susan Hefuna, ‘Cityscapes’

Jil Sander, 1990s

Archiduchaise by Xavier List

130

Margaret Howell

The 90s have been reborn, and an emerging trend can be seen gearing towards the monochrome minimalism of the decade as a call for truth and authenticity. Hair and make-up were stripped back to basics, and visuals were given clean lines with minimal props. It was a visual honesty that is rarely seen in the photoshopped perfection of today.

Helmut Lang, 1990s

The movement back towards this visual honesty can be seen in the abstract minimalsim of contemporary artists like Damien Hirst and Susan Hefuna, as well as in furniture design and fashion. This authentic trend was used throughout the layout of this document as a reflection of the Russian youths call for freedom from censorship.

Kate Moss, 1990s

The basic 90s

131

Repetitive rampage

Sulki & Min Repetition is occurring in typography. Linked to modern technology- taking inspiration from the repetitive appearance of coding- repetitive type evokes a feeling of persuasion. The trend visually adopts the feeling of conformity that is parallel to the feeling of some citizens in Russia under censorship from the government.

132

Vajza Nâ&#x20AC;&#x2122;Kuti 133

Film storyboard.

134

This is a very rough sketch that I took in on the day of filming in order to remember and communicate my vision to the model.

135

Behind the scenes. The making of the film/ photoshoot

136

137

Poster inspirations.

-Minimal colour palette -Uncluttered -Clean -Clear -Effectivw use of negative space

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Alternative posters.

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Critical path. Secondary research

Analyse secondary research Primary research Analyse primary research Develop the big idea Writing Creative concept- finding visual inspiration and research Layout Excecution- Film production, photoshoot and website Excecution- editing

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Case studies. CASE STUDY 1 The Sochi Winter Olympics At the beginning of 2014, the Sochi Winter Olympics were set to take place. Just a mere two days before the event, the BBC (2014) reported that “gay rights protests were organised in 19 cities around the globe” after the Russian President cautioned gay visitors not to promote their homosexualtiy adding to, “just leave the children in peace”. The activists who protested against Putin’s wishes wanted “Olympic sponsors such as McDonald’s, Coca-Cola, Samsung and Visa to speak against Russia’s new laws on homosexuality” (BBC, 2014). Although they did not, TV personalities such as Paul O’Grady took part in the rallies, along with many others from all over the world in cities including London, Madrid, Melbourne, Paris and St Petersburg. These protests resulted in “telecommunications giant” AT&A, condemning “Russia’s stance, saying it stood ‘against anti-LGBT law” (BBC, 2014). Along with the US company, “more than 50 Olympians” showed their support for the LGBT community by signing a “petition calling on Russia to cease its crackdown on gays ahead of the Sochi Winter Games” (MacPherson, 2014). MacPherson (2014) explains that the petition was set up by “global equality group All Out and Athlete Ally, which tackles homophobia in sports”. The petition stated that it urged “leaders around the world and within Russia to work to eliminate all anti-gay laws and protect all citizens from violence and discrimination in Russia” (MacPherson, 2014).

CASE STUDY 2 Dispatches ‘Hunted’ The documentary ‘Hunted’, “explores the terror that gay people in Russia are calling ‘hunting season’” (Dispatches, 2014) and follows two different groups of Russians taking part in the humiliation and violence towards LGBT people. The two groups, Occupy Peadophilia and Parents of Russia were shown luring unsuspecting LGBT people back to a house where they would be filmed whilst enduring horrific ordeals such as verbal abuse, violence and in some cases they would be urinated on as a form of demeaning humiliation (Dispatches, 2014). The perhaps even more worrying side to the groups were their reasons for inflicting such terror. The group leader of Occupy Peadophilia, Katya was mentioned by Ben Steele as being “a hugely charismatic person” who believed that they were “doing the right thing” and protecting children against homosexuals (Frank, 2014).v

CASE STUDY 3 Dorchester Properties In 2014, Hedi Slimane and Saint Laurent announced that none of the fashion house’s employees would stay in a Dorchester Collection property after it was revealed that “the group’s owner, the Sultan of Brunei” had “introduced repressive anti-gay laws in his country”. The fashion house took to Facebook, where it posted the following: “The House of Yves Saint Laurent, jointly with its Creative Director Hedi Slimane, cannot tolerate such repressive and anti-egalitarian laws, affecting basic human rights, as the Sharia Law just implemented by the Sultan of Brunei” (Tsjeng, 2014). Designer Peter Som and Brian Atwood also decided to take action by asking their “social media followers” to cancel any bookings made with the group (Tsjeng, 2014).

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CASE STUDY 4 UK-Russia Year of Culture (2014) The UK-Russia Year of Culture programme included “The New Russian Fashion in Film” showcase which presented “a unique collaboration between emerging Russian designers and filmmakers” working “on the theme of fashion film, which is viewed as a new medium for fashion communication in the digital age” (Gordina, 2014). The event gave the thirteen Russian designers and filmmakers international exposure.

CASE STUDY 5 Anti-LGBT right protest video (2014) In the short film created by “designer Gareth Pugh, filmmaker Ruth Hogben and photographer Nick Knight”, a host of fashion icons including supermodel Kate Moss and designer Henry Holland were seen “pulling off” a “balaclava and staring into the camera as the words ‘I Support Amnesty International in their fight against the prejudice and violence directed towards the LGBT community in Russia” appears in front of them (Selby, 2014).

CASE STUDY 6 Gosha Rubchinskiy Gosha Rubchinskiy, a Russian fashion designer, photographer and film director, was born and raised in the suburbs of Moscow. “Having grown up in a country undergoing political, economic and cultural change after the dissolution of the USSR in 1991, Rubchinskiy’s designs are for a generation of post-Soviet youngsters” (ICA, 2014). His work is very much inspired by the Russian skater youth and often manages to “reference Russian religious roots”. These inspirations were encompassed within a photobook he created (figure 7) which “explores Rubchinskiy’s fascination with Russia’s rebellious youth and their outlets through smoking, skateboarding and graffiti” (Westgate, 2014). The photobook named “Crimea/ Kids”, created in Saint Petersburg “sold out in three days” (Westgate, 2014). In June 2014, Rubchinskiy “broke new ground when he took his subculture-inspired vision to Paris” for his SS15 debut (Pearson, 2014). The show used “a mix of models and street-cast boys that looked as though they’d been plucked from the skate parks of Moscow”, giving an authentic feel to Rubchinskiy’s collection (Burley, 2014). Isabella Burley, in a runway review for Dazed and Confused magazine, likened the Russian designers Paris debut show to the debut collection of Comme Des Garcons in Paris back in 1981, mentioning that Rubchinskiy too, seemed to mark “the beginning of something special, something big” (Burley, 2014). This excitement surrounding the designer was furthered by “Rei Kawakubo and Adrian Joffe” who were “early supporters of Rubchinskiy, both in stocking his collections at Dover Street Market and in terms of production” (Burley, 2014). Gosha often makes reference to how the rebellious nature of the Russian youth is a depiction of a “new Russia”, with the new generation wanting to “be the voice of their people and spread the word that they are creative and can make cool music and art” (Nakiska, 2014). Rubchinskiy appears to be championing this movement of creativity in Russia’s youth, which is illustrated by him being referred to as someone that “belongs to a post-Soviet generation bent on creative change”, and actively being “part of an effort to rebuild Saint Petersburg creatively”, which he mentioned when discussing his inspiration behind a film he created called ‘Transfigurations’ (Baker, 2014).

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CASE STUDY 7 Artur Lomakin Deriving from Chertanovo, “one of Moscow’s grittiest suburbs”, another Russian success resides in the conceptual designs of Artur Lomakin (Fedorova, 2013). Launched in 2009, Lomakin’s label “Forget Me Not” is credited as being “one of a handful of conceptual fashion labels to have emerged in Russia over recent years” and “is admired for its truth and texture” (Fedorova, 2013). Whilst it has brought the designer both national and international acclaim, he mentions that it “has at times felt like a labour of love” bringing in just a small amount of profit. The designer has managed to keep the brand very authentic and a true reflection of his own routes, “with the help of his friends”. They assisted him in creating “a visual universe for Forget Me Not” by photographing one another “in the places they most frequentagainst the concrete walls of their apartments, on stairwells, outside of their grandparents’ dachas- to create a series of editorials, lookbooks, videos and campaigns”. From these humble visuals, the focus of the brand seems to be on one of “a more realistic Russia” (Babcock, 2014). Fedorova writes of how this “world” that “Lomakin represents, the world of avant-garde fashion and the Moscow suburbs, is starkly different to the glitz and glam of the fashion pack beloved by street-style blogs around the globe” (2013).

CASE STUDY 8 The Russian Fashion Council (2014) In October 2014 “Alexander Shumsky, the president and co-founder of Mercedes-Benz Fashion Week Russia, announced the launch of the Russian Fashion Council”. The council aims to help Russian designers and to “develop” the Russian fashion industry. “The council will be working with Russia’s Ministry of Trade to ensure easy international export of the goods” and will also “allow a select group of Russian designers to show their collections in Milan, offering a cohesive show format and exposure to international press and buyers that they wouldn’t get in Moscow” (Drain, 2014).

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CASE STUDY 9 Russian defeats The apparent defeat in the Cold War meant that in the 1990s, “Russia saw its international standing drop from being one of two superpowers to that of mere regional power” (Perovic et al, 2009, p.51); Russian patriotism potentially declined. This defeat, twinned with “the loss of Chechnya and the defeat of the Russian military at the hands of a small rebel alliance” (Perovic et al, 2009, p.51), can definitely have been accredited with lowering Russian morale. At this time of low morale, Vladimir Putin rose to power, and is praised for re-establishing “Russian pride by apparently erasing one of the most embarrassing legacies of the 1990s” (Perovic et al, 2009, p.51).

CASE STUDY 10 Stereotactic Stereotactic are a group of “like-minded” creatives that came together in an independent film collective in order to tell “a different story about Mother Russia” (Gusyatinskiy, 2014). Evgeny Gusyatinskiy (2014) credits them with being “Moscow’s underground film rebels”. Not wanting to move abroad, the collective have come to represent the creatives that are struggling in Russia due to censorship. Pavel Karykhalin, co-founder of the collective mentions that, “we know a lot of young talented artists who are real outsiders. Their ideas are radically different. They belong to the under-underground – some of them are in trouble with the law – and what we want to do is take them out of the shadows” (Gusyatinskiy, 2014). The group make films, commercials, music and host events in Russia. They believe in only working with those that “share the same attitude and respect their freedom, creativity and openness” (Gusyatinskiy, 2014). Whilst discontent with the current distortion of truth and censorship in Russia, Pavel Karykhalin states proudly that “We are officially called Stereotactic Moscow...and we are proud that we are from this city” (Gusyatinskiy, 2014).

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Marketing models.

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Figure 64: Perceptual map (own image, 2015)

Opportunity for recognition by the fashion industry

Little opportunity for recognition by the fashion industry

Opportunity for international recognition

Little opportunity for international recognition 152

POLITICAL

ECONOMICAL

Film, or any promotion of LGBT rights is against the law in Russia.

The decline in the rouble could mean that the money aspect of fashion film makes it more appealing.

The promotion of such content could worsen political relationships with Russia and the Western world.

Growing Russiaâ&#x20AC;&#x2122;s fashion industry would help to grow their overall economy.

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Interviews.

1. An interview with Alice Phillips, model booker at D1 models on the 7th December 2014 at 8.42pm to gain insights into the treatment of LGBT models in the fashion industry

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TRANSCRIPT TRANSCRIPT TRANSCRIPT TRANSCRIPT

Interview start: 7 December, 2014: 8.42pm Interviewer: Hey, so, are you alright? Alice Phillips: Hey babe, I’m wonderful thank you! And you? I: Yeah I’m perfect thank you! A.P: Good, this is so strange being interviewed by you! I: I know, it’s so weird. Anyway, shall we begin? A.P: Let’s do it. I: (laughs) okay so, you obviously, work in the fashion industry at the moment as a model booker in London.. A.P: Indeed I do. I: So, I wanted to ask you about LGBT rights. So, the presence of lesbian, gay, bisexual and transgender models within your area of work? Are there many? A.P: Yeah definitely, there’s pretty much a split between them and you know, “straight” people or whatever. Everyone’s so lovely in this industry- well, who I’ve come across anyway- so everyone’s embraced really. (pause) I haven’t come across that many transgender models actually. I book quite a lot of gay models- I work with men, so I don’t really work with any lesbian models- but yeah, a lot of bookings are made for my lovely boys in every shape and form. I: Amazing. (pause) Do you find that there’s a difference in booking rates between the male models you look after at all? A.P: Well actually, the gay models do seem to get more work. It could be because people just prefer their look though, all of mine have quite strong faces and jaws so they are very popular. They are lovely, lovely guys though so I can imagine that this works well when they go to bookings. (pause) Everyone wants to work with people that they get along with- people want to have fun at work you know? So the models with the amazing, sparky personalities will usually get a lot of bookings. I: Yeah definitely, you’ve got to have fun at your job, I would hate to be stuck with a stuffy, boring model to work with. A.P: Exactly, it wouldn’t be any fun at all. I: Very true. (pause) So.. do you think that brands consider the sexual orientation of the models they use when booking them? A.P: I’m not sure, I mean it isn’t as if their orientation is thrown out there to clients, but with some, they are typically camp, or are more well known. (pause) I think that brands sometimes like to be seen to include all types of people, but at the end of the day, if the model isn’t very well known, no one is going to be able to tell their sexual orientation from a catwalk show or an editorial in a magazine. (pause) They are almost just a face at the end of the day- I know that sounds horrible to say- but it’s kind of true. I mean, apart from the supermodels like Cara Delevingne or someone, who is loved for her quirky personality as well as her looks. I: Yeah I guess, it can be quite shallow in that sense. A.P: Oh definitely, I don’t really think brands mind about the background of someone- as long as they take good pictures, look good in the clothes and are fun to work with, people generally don’t judge anyone. 155

I: It’s weird really, that fashion is given quite a bad reputation for being ‘bitchy’- yet they do show that they are quite an inclusive industry. A.P: Absolutely. People don’t care. You will come across the odd person that personifies that type of bitchyness, but people ignore them. I don’t think you can really make it with that kind of attitude. People have to like you in this industry, not be afraid that you’re going to slag them off behind their back. I: (pause) Do you think that personality is almost more important than anything else then? A.P: Well, a combination of looks and personality. If someone has energy, it’s going to be contagious. 9- 5’s (starts singing working 9-5) (laughs) are so boring (laughs). Sorry about that. I: (laughs) no worries! I can imagine that they get quite boring though. A.P: Yeah, I love my job but there are days when you just get so bored, but then someone can walk in who is really happy and bubbly, and it’ll make everything so much better. I: I can imagine. Do you think that sexual orientation plays a part at all then? A.P: Maybe slightly. I’m not really sure. If a brand has a bad reputation or doesn’t want to come across as homophobic then maybe they would chose to use a gay model instead of a straight one. I: What about if say, a brand was presented with two models- both who had equal fitting looks for the company, and who both had equally amazing personalities, the only difference being that one was gay, and one was straight, who do you think they would chose? A.P: Ah that’s so hard! I really have no idea. (pause) It depends what the brief is really. If it’s a photoshoot with say a girl model that the male model needs to be intimate with, then it may be better to go for the straight model so that the intimacy looks more natural. But equally, if it’s a photoshoot with a male model that the other male model needs to be intimate with, then it may be better to go for the gay model. It just all depends really- sorry that probably wasn’t very helpful! I: No no, it really was. It’s interesting that you feel that there isn’t really any discrimination against LGBT people within fashion. A.P: Yeah, I guess that’s what makes it so different. I think as well, typically, the fashion industry is associated with homosexuals, so it’s actually sometimes more common to come across gay models than it is straight models. I: Yeah I can see why that is actually. It’s so interesting. A.P: That’s why I love it! It’s so different to any other industry. I: Definitely! A.P: Anything else you want to ask? I’m obviously very helpful (laughs). I: I think that’s actually it you know. But yes, you’ve been so helpful, thanks Alice! A.P: Anytime darling! Interview terminated at: 7 December 2014, 8.49pm

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PROMINENCE OF HOMOSEXUAL MODELS

Interview with Alice Phillips of D1 Models (2014)

SEXUAL ORIENTATION NOT RELEVANT

Figure 5: Katy at D1 Models. (Gina Amama, 2013)

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Face-to-face interview with Robert Mills, co-founder of Mycellium, discussing how best to promote a new business, and how to make it a success.

Time of interview: 15th December 2014, 2.15pm Interviewer: Hi, how are you? Robert Mills: Yeah I’m okay thanks, not bad. I: Good good, is it okay if I just start firing questions? R.M: Absolutely, go for it! I: Okay so, what I want to ask you first is about your current business Mycellium, and how you were able to make of a success of it really. So, what do you think was key in the success of Mycellium? R.M: Well, I guess we just had a good idea. I mean, we tested it through and through, we knew we had a unique concept that- from our own experience in business- could really help in the day-to-day running of a business. (pause) I think you have to believe in your idea. If you don’t, it’s pretty much sure to fail. Just make sure that you have a unique selling point, something that addresses and fixes a problem. (pause) Yeah.. that’s pretty much it, just a unique concept and make sure there’s a problem that your offering fixes. I: Perfect, thank you. (pause) So, I wanted to briefly pitch to you my idea that I’m working on to get your thoughts on it if that’s okay. So.. it’s basically a non-profit organisation that acts as a service for young creatives in Russia to be able to create content free from Russian society’s censorship. It will be allowing them to integrate into the fashion industry and.. well yeah, so it’s a service that builds a bridge between the Russian fashion industry and the global fashion industry kind of on the basis of creative freedom I guess. Do you think this sort of thing could work? R.M: Well I don’t have much knowledge on this area- I’m no fashion expert as you can see- but I mean, as long as you’ve identified that it’s definitely a problem and that there’s demand for this type of business, then I don’t see how it couldn’t work. (pause) I think with it being non-profit as well, your company automatically has a leg up. People are more willing to give the time of day to companies that aren’t demanding a certain amount of money. I mean, in meetings it always seems to go well until cost comes into the equation- people just tend to get disheartened (laughs) as if they thought up till then that it would be free! I: (laughs) that must be so annoying! Do you think this could work as an advantage when trying to get fashion brands involved then? I think I forgot to mention actually- so the company would pair up with fashion brands to provide live briefs that will then be passed on to the Russian creatives who will create proposals, then the brand chooses who they want to make the content. Do you think that it would be advantageous by not asking for money? R.M: Oh definitely! I mean, it’s very hard for new brands that need money to get meetings with other brands. When you aren’t demanding that side to things then I would imagine it would be a hundred percent easier. I’m not sure if it’s the same in fashion I mean I’ve heard about the odd collaborations, but I think companies in general are really keen to create this angelic image of themselves, so collaborations with charity organisations are quite high on their agenda. With yours as well, it seems quite unique so it looks like it would gain quite a lot of interest with people who you know- want to appear to be “do-gooders” (laughs). I: Ah such a relief to hear! I always seems to question it like, am I doing the right thing? Will it actually work? You just get over involved in it I guess. Anyway (laughs), so...What do you reckon would be helpful in the promotion of the service? Like, are there any tips you could give me? Or things that really helped you and your business? R.M: Ummm… well I mean you always have to check over every single detail of your idea before going in to meetingsmake sure that the company can’t trip you up on anything. A few years ago when I was still working in London, I had a meeting with someone trying to sell this photo service or something- I can’t exactly remember- but anyway, they forgot the cost! (laughs) can you believe it? I mean surely that’s the most essential thing when you want money from someone? 159

Well, you’d think anyway (laughs). But I mean nerves can do weird things to you, so just make sure that you have all of the information- facts and figures- to ensure that you don’t do something silly like that. It was just such a bad representation of the company he was pitching for as well, there was no way we were going to agree a deal from that… ridiculous! I: That’s so bad! He must have been so embarrassed! Ahh, poor guy. (pause) Apart from meetings with brands then, do you have any advice on how to attract Russian creatives to sign up for the service? R.M: Well I don’t know much about the Russian consumer, but I mean.. well, one of the key things I stressed to my partner when creating Mycellium was the time it takes the consumer from initially clicking to sign up- to actually signing up. I mean we live in a world where we all want things done quickly, as fast as possible, you know? No one wants to do something that will take a significant amount of their time. So yeah, we just made sure that this process was as short as possible. So, we only had 2 stages in our signup- the consumer putting in their email address and password of choice, then choosing the type of account they wanted. Loads of brands had those lengthy conformational emails that you have to click in, but we just sent an email so that if it wasn’t them that signed up, they can see the email… but we didn’t make the consumer have to click on a link in the email or anything like that to confirm. It just takes extra time, by which.. you could have lost them! It’s all a matter of speed really. Time effective measures. I: Ah I never really thought of that. But yeah I get what you mean, I often huff and puff when filling out lengthy forms and things.. its just annoying really. I wanted to get your opinion on social media as well- particularly Instagram- I mean, I know that you haven’t used this as part of your promotion of your brand, but I just wanted to see if you had any insight on using it for promotional purposes? R.M: (pause) Well for your idea it seems quite relevant- with it being to do with creativity I guess it makes it really relevant. (pause) I don’t have that much experience with Instagram really, I mean I know it’s where people post pictures of their food and cats, but that’s about it really, sorry. I: No worries! (pause) What about video- do you think that this is a good way to promote your brand? I mean, I know you too used a video to promote Mycellium- how effective do you think it was? R.M: That was the main part of the promotion really. We used it more to inform people of what Mycellium was, and what it did. People get bored of just listening to your voice, so it’s good to have something that’s a bit different, and gets people interested in again. (pause) I think it’s good to look at what current brands are doing with video when creating one. Some are absolutely rubbish, but some are really quite engaging. People like to watch funny things.. like O2 and Three are doing, but it can go so badly if you don’t create something that’s universally funny- or at least funny to your consumer. Comedy is really subjective so getting it right is crucial, but if you get it right it can really work to your advantage as people will associate your brand with those euphoric feelings. Neither me or Eric are particularly funny, and we accepted that and instead created something that was “cute” if you will, by creating a little character for the company. I: Yeah I did think about humour, but then I thought that perhaps it would be a little insensitive to use humour when talking about a serious subject? (pause) I don’t know, just I’m all for doing something different as I don’t see many non-profits doing comedy, but I don’t want to offend anyone, especially being a new company that needs to gain respect and credibility. R.M: Yeah, it definitely has to suit the company. Maybe it isn’t the best route for a non-profit, but then being a start-up, you should look at it as more of an advantage, a chance to be really creative. I think it’s wrong to assume that because you’re a new company, you can’t take risks. It’s the time when you can take risks! You haven’t built a reputation yet, so if something fails, you can try again. It’s not as if you have an established brand and you’re risking all the time and effort you’ve put into it by taking creative risks. I: I guess, it’s just quite daunting, I think especially when concerning Russia, I don’t want to cause any conflict or cause offense to anyone. I want it to be about helping people, and I don’t want to hurt people in the process I guess. (pause) Urrmmm...What about the promotion of the video then?

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R.M: Well, we didn’t use a lot of promotional efforts. We put it on YouTube and used it more in meetings as an introduction to the company to hopefully warm the client up. Our company isn’t about creativity though, we are a very boring brand in reality. We provide a solution to a problem, but we aren’t doing anything particularly exciting or visually creative. Sure, we get excited by it still, but I was an IT technician and programmer, I love this sort of stuff. (pause) Just make sure you’re doing something that you love and won’t get bored of. I think when you get bored of it, your idea will automatically die. I: Right, perfect! I think that’s all the questions I wanted to ask really. Thank you so much for helping me out with that, you really gave me some good insights! R.M: Oh good, and no problem. I’m glad I could help, I know I’m not the most creative but hopefully you could take something from it. I: Definitely, thank you. End of interview: 15th December 2014, 2.23pm

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Online questionnaire.

RESULTS RESULTS RESULTS RESULTS

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A questionnaire into the perceived power of Russia in an attempt to see whether or not Russia have the status to grow their dominence internationally.

Gaining informed consent at the start...

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The questions...

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The key results...

BUT

the majority of people who kept up-to-date on world news and politics deemed Vladimir Putin as the world’s most powerful man “He (Vladimir Putin) has the world’s resources at his fingertips ” WORD ASSOCIATION OF “PUTIN”: “SCARY” “HOMOPHOBIC” “POWERFUL” “BALD” “RUSSIA” “ HORSE” WORD ASSOCIATION OF “RUSSIA”: “BIG” “ “POWERFUL” “SUPERPOWER” WAR

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OUTDATED” “CONFLICT” “ COLD ”

99% of respondents believe that America is more powerful than Russia .

of respondents believe that the UK is more powerful than Russia

57 %

of respondents are unaware of who Vladimir Putin is.

Analysing the results. Whilst many people when asked if Vladimir Putin was correctly named “World’s most powerful man” answered “yes”, 99% of respondents deemed America as more powerful than Russia. It is therefore interesting as to why they did not disagree with that statement in favour of American President Barrack Obama for the world’s most powerful man. Many people were unsure of who Vladimir Putin was, although the people who were, saw him as a massive threat. It is therefore again interesting to note why he is not a hosueheld name, and if this in itself diminishes his international influence.

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The study.

RESULTS RESULTS RESULTS RESULTS

This study was conducted by showing 11 participants on seperate occasions, 3 different types of content related to 3 different types of issues. They were shown to the participants in different orders. When the participant had finished viewing each piece of content, the researcher asked â&#x20AC;&#x153;what did you think of that?â&#x20AC;? and then the participants responses were recorded to measure how long they spoke about each medium for.

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POVERTY RELATED CONTENT: FILM: 2014 TV advert from Save the Children about Child Poverty in the UK. Available at: https://www. youtube.com/watch?v=04A_5q2h8Eg PHOTOGRAPHY: Poverty photograph (2011) by Spanish photographer J M Lopez. Available at: http:// www.theguardian.com/artanddesign/gallery/2011/dec/21/unicef-photo-of-the-year-pictures ARTICLE: Writing from Poverty.com on hunger and world poverty. Available at: http://www.poverty.com/ LGBT RIGHTS RELATED CONTENT: FILM: #ProudToLove YouTube video (2013) Available at: https://www.youtube.com/ watch?v=mDm0zsw9vjY PHOTOGRAPHY: Series of victim portraits by Jamo Best called ‘from Russia without love’. Available at: http://jamobest.com/43592/2872525/people/from-russia-without-love ARTICLE: ‘Gay rights around the world: the best and worst countries for equality’ (2013) written by Emine Saner for The Guardian. Available at: http://www.theguardian.com/world/2013/jul/30/gay-rightsworld-best-worst-countries WAR RELATED CONTENT: FILM: 2014 campaign video from Save the Children about the horrific effects of war. Available at: https://www.youtube.com/watch?v=RBQ-IoHfimQ PHOTOGRAPHY: Photograph by Adam Ferguson (2009) of the war in Afghanistan. Available at: http:// www.theguardian.com/media/2011/jun/18/war-photographers-special-report ARTICLE: Writing by Marco Giannangeli for express.co.uk as Chantelle Taylor explains her experiences of the Afghanistan war (2014) Available at: http://www.express.co.uk/news/world/490051/SoldierChantelle-Taylor-s-experience-of-Afghanistan-war

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The average amount of time each participant spent discussing the viewed content... POVERTY RELATED CONTENT:

AVERAGE RESULTS AVERAGE RESULTS AVERAGE RESULTS AVERAGE RESULTS

FILM: 02.17 PHOTOGRAPHY: 01.34 ARTICLE: 00.56 LGBT RIGHTS RELATED CONTENT: FILM: 01.58 PHOTOGRAPHY: 01.48 ARTICLE: 01.30 WAR RELATED CONTENT: FILM: 02.05 PHOTOGRAPHY: 01.20 ARTICLE: 02.00

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FILM

Which communication medium generates the most conversation?

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Consent forms. Interview: Alice Phillips

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Interview: Robert Mills

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The study.

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Model consent- signed on behalf of with consent.

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Interim Presentation feedback. Negotiated Project 1

STUDENT FEEDBACK FORM Course: Fashion Communication & Promotion Module title: Negotiated Project Stage 1 Module code: FASH30001 Credits: 60 Project: Interim Presentation – Self-Devised Project

STUDENT: Abbie Spencer-Lane TUTOR: Chris ASSESSMENT DATE: 24 – 28th November 2014

Feedback on formative Areas of strength

CONTEXT

Your question is very specific which is good. The context was good- very clear bulletpoints on how the idea is relevant. It’s a very timely question. I liked how you used quotes- it bought it to life. You had some really good primary research. Areas to improve

However, the question suggests a measure- If you’re talking about impact, how do you measure that impact? As you have a very specific question, I would like a specific output from the question instead of a measure. Areas of strength

THE BIG IDEA

Areas to improve

Does your big idea link back to your question? Has it come from your research? It seems like a bit of a creative leap in some ways. It felt more personal rather than being informed by what you found out. Think about, does it link to the question and has it come from insight?

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Areas of strength

I liked how you showed your visual inspiration, you can tell that you have got a lot. I liked the idea of film, it would be really good if you could do that, but just make sure that it links. CREATIVE CONCEPT

Areas to improve

But you might want to go and refine that when youâ&#x20AC;&#x2122;ve gone back to the big idea. So, Go back and look at key insights and have an open mind as to where you could take it. Really clear question but not sure how itâ&#x20AC;&#x2122;s really linking to your big idea, then how does that translate to your creative outcome? Areas of strength

EXECUTION

Areas to improve

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Censored.

N0423568 Abigail Spencer-Lane FASH30001 Negotiated Project Stage 1 Module Leader: Matt Gill

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