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- Project Audit Abi Buller



Abstract This project explores the concept of slow fashion, in response to a growing fast paced industry. It focuses on the relationship between digital and physical experiences in retail, considering the challenges faced by e-commerce brands in the increasingly prevalent ‘Experience Economy (Pine & Gilmore (1999) ’. This concept resonates clearly with the online retail brand Finery, owing to their ethos of slow fashion, achieving ‘design that’s contemporary, but forever’. Whilst appealing to this ideal through design and in online spaces, Finery doesn’t exist in its own physical environment. This is something which could benefit their communication of brand values, approaching and challenging the current state of retail.



Thank you to all of my collaborators and contributors for providing advice, inspiration, and technical skills to help this project come to life. A special thanks to Daniel Caulfield-Sriklad for his never-ending encouragement and belief in my work. His inspiration has led me towards creative outcomes above and beyond my prior expectations of this project journey.


Collaborators and Contributors Sara Ogbanna-Godfrey 3D Rendering Collaborator

Anja Aronowsky Cronberg Concept Contributor

Philip Handford Concept Contributor

Hannah Roche Finery PR Manager

Carrie Mok Concept Contributor

Rosarie King Concept Contributor

Alex Burgess Trailer Collaborator

Marie Dalle

Photoshoot Assistant

George Buller Web Design Consultant

Georgia Harman

Graphic Design Consultant

Julian Standon

Virtual Reality Consultant


Contents Page Abstract....3 Collaborators and Contributors...4 Acknowledgements....5 Chapter One Introduction....10-11 Finery....12-13 Chapter Two Concept & Design Development Theme: Experience Design & The Future of Retail....20-26 Theme: Communication of Slowness....27-36 Experiential: Spatial Design....37-44 Experiential: Concept Design....45 Theme: Physical/Digital Design....46 Digital: Social Media....48-49 Physical: Takeaway....50 Digital: Visual Questionnaire....51-52 Customer Journey....53 Chapter Three Production Still life shoot...56-58 Digital: Mobile/Desktop Questionnaire....59-66 Physical: Customer Takeaway....65-66 Experiential: Spatial Design....67-70 Digital: 3D Rendering Trailer....71-82 Digital: Virtual Reality....87-91 Brand Proposal....92-95 Chapter Four Evaluative Statement....96-101 Bibliography....102-103 List of Illlustrations....104-106 Appendices....107-112 Appendices....109-114 6


Chapter One: Introduction


Introduction Within traditional retail spaces, the beginnings of popular department stores were able to be successful primarily owing to their visual stimuli. According to Zola in The Ladies Paradise (2008, p.xi), department stores became pleasurable browsing places, as ‘’above all, there was the seduction of pure spectacle, the seduction of the eye through an almost orgiastic display of visual pleasures…’’ xi. Whilst this visual ‘seduction’ was once enough to attract consumers into physical spaces, the emergence of online shopping and a greater reliance on digital interactions, has presented a challenge for physical retail spaces. Much of this digital proliferation has emerged from society’s ‘lack of time’, as well as the ease and convenience of online transactions. However, despite the expected increase in e-commerce purchases, the text Holistic Retail (Zimmerman, 2015, p.51) explains, ’’... bricks-and-mortar retail is expected to remain irreplaceable and capable of generating sales thanks to consumers’ stable disposition to rate the ‘touch and feel’ factor as the single most important one in their purchasing decisions’’. Therefore whilst the tangible appeal of fashion products themselves is one driver towards physical spaces, another important factor is the store experience itself. According to the article, ‘What Will the Store of the Future look like’ (Pine, 2016), ‘’...retailers must design and build places that showcase the ‘experience’ of the merchandise they have for sale.’’. This suggests an experiential correlation between the presentation of branded products, and the spaces they exist in.

Fig. 1 Selfridges Fragrance Laboratory (2014)


Similarly, this article explains that within future retail spaces, ‘time will be the currency’ (Pine, 2016). An idea relevant to time-starved consumers, this concept relates to a greater consumption desire for experiences over products. As explored through the theory of ‘third spaces’ in Vestoj’s issue On Slowness (Cronberg, 2014, p.54), ‘’for a stretched consumer, merging retail and leisure/culture into one space could thus be both a desirable and practical solution’’. This notion of ‘leisure/culture’ applies to something inherently physical, meaning that instore experience must offer something unattainable through online communication.

The research I have conducted indicates that the most important part of experiential retail design is the memorability of the in-store experience. Again referring to ideas surrounding slowness, Cronberg states, ‘’there is a secret bond between slowness and memory; between speed and forgetting’’ (p.9, 2014). This idea of memorability is also relevant to physical/digital ideals, as experiential transactions are generally associated with a slower, more considered approach than instantaneous screen-based experiences. However, these ‘slower’ experiences provided in physical spaces must be worthwhile for a consumer’s precious time; offering something which can only be experienced in a physical sense.

Fig. 2 Finery editorial image (2016)

Fig. 3 Selfridges accessories hall (2017)

According to Pine and Gilmore, ‘`...the greatest opportunity for value creation resides in staging experiences’’ ( 2011, p.x). With the importance of establishing value for customers as an essential part of a brand’s success in both physical and digital worlds, experience design is increasingly important across mediums.  Whilst Finery hosts a digital space with strong aesthetic consideration and a clear tone of voice, I feel their lack of physical environment could be a disadvantage to establishing customer relations and communicating their ideals around slow fashion. However, with a traditional bricks and mortar store as an unlikely resolution for the brand, I proposed to challenge the sense of ‘retail’, approaching ideas considered in ‘Why Retail is getting experience wrong’ (Stevens, 2017), to present the brand in a unique and memorable way. This article considers a successful experiential retail experience as categorised into five approahces: ‘Engaging, Unique, Personalised, Surprising, Repeatable’. I have responded to these ideas through a multi-faceted approach to experiential retail. This project presents an opportunity for communication design for a digitally focused fashion brand.


Fig. 4

Fig. 5

‘‘The brand’s success is perhaps an indication of a growing dissatisfaction with fast fashion’’ Caron Downie (Co-founder of Finery)


Fig. 6

Finery is an appropriate brand of choice for this project because of the following reasons:

. One of their brand goals is to ‘put the excitement back into shopping’ - They believe in slow fashion and creating connections with their customers . They aim to ‘re-inspire’ through design . Their current communication only exists online . They’re a new brand with potential to reach out to new audiences (See appendix 2-4 for further brand analysis)

Fig. 7 Moodboard displaying Finery SS17 ’ In the mood...’ collection imagery, alongside supporting set design for these pieces as an editoiral. Opposite Page: images show Finery SS16 collection, displayed to show the brand’s visual communication and common use of set design to enhance the appeal of their garments.


Chapter Two:

Concept & Design Development


My initial concept iteration informed from research and evaluation was the proposal of a community, coworking space. I considered this as: A members only space for the Finery woman to shop, socialise, and relax in. An ever-changing space, inspired by Finery’s creators, collaborators and customers. This was conceptualised from the desire to create a space relevant to the intellectual interests of Finery women.               After reflection on this, I decided to focus on the concept of an alternative shopping environment, owing to the importance of product integration and incorporation of transactional retail into a brand space. Whilst the community space would create brand awareness; an important part of strategic communication, it would not be a direct way of driving sales. I realised the transactional element needed to be subtly integrated into the conceptual design, ensuring customer loyalty is established through genuine brand connection as opposed to being primarily product focused.

Fig. 8 Moodboard displaying experiential brand spaces, created as inspiration for the below concept.

A Finery ‘Women’s Club’ A members only space for the Finery woman to shop, socialise, and relax in. An ever-changing space, inspired by Finery’s creators, collaborators and customers.


Abi Buller: Would you consider the website’s functionality as an important part of a potential physical space? Hannah Roche: As with our first physical pop up space I think the concept of a physical space will always be based around the website being our flagship store Abi Buller: Do you think using an experiential environment could enhance your values and ethos of `slow fashion’? Hannah Roche: It could definitely help to bring values to life and explain brand ethics if done in the right way - we would like to educate people but in a fun way that suits the brand.

Fig. 9 Fig. 10

To help my understanding of Finery’s current communication channels, I contacted their PR and Marketing manager, Hannah Roche (February, 2017) to assess their ideals on physical/digital customer interactions. (full interview in appendices). Having researched into Finery’s previous existence in physical spaces, I felt they could challenge their communication of ideas further to propose a new and experiential approach to shopping. This concept also aligns with their desire to ‘put the excitement back into shopping’.

Above images are take from Finery’s website as part of an interview with Hannah Roche.


Due to the nature of this project as experimental in relation to the topical issue of the current state of retail, its production and iteration is primarily led by concept development. The process was developed alongside industry influencers, as well as individually informed research to arrive at an overall set of concept outcomes. Design iterations were informed by Finery’s existing brand aesthetic and ethos, as well as industry references, and the proposal of hypothetical collaborators. In order to contextualise the concept, I chose to frame the ‘alternative shopping environment’ around the idea of mood based shopping. This is inspired by Finery’s ‘In the Mood for…’ collection; created based on five proposed ‘moods’ through which we may choose to shop. These are: Dance, Refresh, Seriouswear, Travel and Treat.

Fig. 11 Moodboard created to represent the five mood present in Finery’s ‘In the mood...’ collection. Images sourced from Pinterest. Text added in Photoshop.

The concept development was primarily informed by the themes: Experience Design and the Future of Retail, Communication of Slowness, and Physical/Digital Design. I felt the brand’s focus on moods and feelings, in tandem with ideas about slow fashion, would work well as a response to their desire to educate in a fun way.


Fig. 12 Collection of images from ‘The Sweet Shoppe’ concept, created by Campaign Design. (2011)

Having always appreciated concept stores from a visually experimental perspective, I was inspired to push the idea of traditional retail further when introduced to alternative retail concepts such as those explored with Campaign Design’s The Sweet Shoppe (2011) and Selfridge’s The Fragrance Laboratory (2014). These innovative approaches to retail resonated well with my ideas because of their personal and bespoke perspective on what a shopping experience should be. Similarly, I realised the communication of slowness was particularly relevant to these ideas as a more considered approach to purchases occurs when shopping experiences are personalised. In order to inform the development of my concept, I chose to arrange a meeting with Philip Handford (Creative Director of Campaign Design), having been introduced through my tutor. I sought to gain further insight into his work with experiential retail design, as well as asking for feedback on my own ideas.

On reflection, I was informed by Philip’s work with: -Data collection (Choice Architecture) -Personalised and bespoke experiences -Immersive theatre in retail environments


Experience Design/ The Future of Retail

‘‘Goods and services are no longer enough ; what consumers want are experiences — memorable events that engage each individual in an inherently personal way.’’ (Pine, 2016)


-Contextualisation -Exclusivity -Curated Retail -Participation -Museumisation -Transformation Experience design ‘research frame’ inspired by ideas in the text, Holistic Retail (.Zimmermann, 2015) The Sweet Shoppe(....)


Fig. 13 The Sweet Shoppe by Campaign Design (2011)

Contextualisation ‘’As a strategy, contextualisation attempts to influence the interpretation of communications related to purchasing, decisions to the customers advantage. This is accomplished with framing or mood associations’’ (Zimmermann, p.142)

The concept of ‘Shop by Mood’ was initially used by Finery for their AW15 collection, introducing a method of shopping based on image preferences. (appendix 2). This idea was developed for their current SS17 collection, introducing ‘in the mood for...’ as a concept to frame their editorial content for the collection.

Fig. 14 Finery SS/17 ‘In the mood....’ collection image

Adding context to a Finery brand space through their existing ‘shop by mood’ concept adds interest to the idea-attracting both new and existing customers through a unique retail journey.

Exclusivity ‘’The form of exclusivity that is relevant to retailing is emotionally inclusive…’’ (Zimmermann, p.180)

Fig. 15

Fig. 16

I was able to create an exclusive experience through personalisation within the customer journey. With the visual questionnaire using ‘choice architecture’ (page 52) as a method of curation for consumer profiling, each mood room has an exclusive feel because of the ‘invite-only’ aspect. Similarly, being provided with a personal takeaway with a unique URL again adds an element of exclusivity which is often only present within luxury retailing.

Above images show own mock-ups, created using In-Design and Photoshop


Curated Retail ‘’Strategically, curated retail can be categorised as calculated disruption’’ (Zimmermann, p.154)

I introduced a curated retail element to the concept, again through personal profiling obtained through the visual questionnaire. The information gathered, including name, age, profession and dress size will allow the immersive theatre actors to approach customers with this information in mind. Similarly, having customer sizes prior to the event means the stocked inventory will always have garments available in the correct sizes for customers.

Fig. 17 Adobe XD visual questionnaire mock-up

Participation ‘’Participation creates strong, lasting customer relationships’’ (Zimmermann, p.208)

In addition to Finery representatives, I propose the involvement of immersive theatre actors to encourage customer participation in the space. They will be briefed in accordance to the template of experience (page 35).

Fig. 18 Photoshop simulation of Finery model in Kubity rendering I chose to select Reuben Feels actors as they are a company with experience in creating immersive theatre campaigns specifically for brands. (Opposite statement shows Reuben Feels tagline).


Museumisation ‘’Apart from commercial implications, there is no difference between an exhibitor and a retail designer’’ (Zimmermann, p.9)

Fig. 19 Moodboard showing experiential retail spaces: Roksanda, Simone Rocha and LN-CC Throughout my concept and design development, I visited both concept stores and traditional retail spaces to inform my knowledge of merchandise display and how a desired environment could be captured through aesthetic additions. In response, I created weekly prototypes through spatial design testing and moodboards (p 33-36).



I realised I would need to focus on the experiential design to communicate ideals around slowness, as well as being aesthetically and experientially relevant to the five proposed moods. Similarly, with the transactional element of the concept as an important factor within the brand space, I reflected on Finery’s small collections, as well as their brand personality, to ensure an appropriate experience was proposed (see concept proposal). This means that selected merchandise, products, and sensory elements were considered as part of each room design.

A secondary research outcome suggested by Philip Handford was The Gentle Monster; a concept sunglasses store which transforms through installations to create an entirely new brand space. As quoted in Holistic Retail, this concept resonates with the statement: ‘‘not just entered a store but a different world entirely’’ (Zimmermann, p.54). From this research, I was inspired to capture the essence of this idea of transformation-creating a space completely unfamiliar for visitors. Fig. 20

Fig 20: Collection of images from The Gentle Monster’s quantum project installations.


Communication of Slowness ‘‘To be slow is far from remaining static; instead, slowness is a temporal notion that prioritises the journey over the destination’’ Vestoj, editors letter, p.11

Upon reflection of research and testing, I wanted to ensure the spatial design communicated the ideal of encouraging people to spend time in a space; an idea motivated by sensory, aesthetic, immersive and interactive elements. To further inform my concept and design development, I contacted Anja Cronberg (editor of Vestoj journal), having been inspired by the Vestoj issue On Slowness (2014). I presented her with ideas about designing a brand experience which incorporates subtle retail elements, while creating community and positive ideals around Slowness in fashion.

Fig. 21 Collection of images from Selfridges The Fragrance Laboratory (2014)

Having been influenced by ideas discussed with Philip Handford about the curation of an experiential retail space, I conveyed these concept tests to Anja Cronberg with the objective of gaining advice on the best approach to ensuring an element of time control was considered.


We also discussed ideas in relation to the specific experience of each room, considering each ‘mood’ was captured effectively through a multi-faceted approach to design. Throughout the discussion, Anja provided insights into her own production of events as well as attendance to time controlled experiences led by immersive theatre from companies such as Reuben Feels. Drawing on her own experience, Anja explained the concept behind ‘Vestoj Salons’. These events are created in tandem with issues of Vestoj as a method of bringing themes within the journal to life. One event which particularly resonated with me was the ‘Storytelling Salon’-a concept hosting a number of fashion personalities each telling their own story in a series of rooms designed to reflect the person speaking.

Fig. 22 Vestoj Salon: On Slowness , (2014)

This concept resonated well with my ideas in terms of creating a community experience in a ‘slow’ environment, and particularly pushed my ideas towards the involvement of people, and the most effective way to captivate an audience for a desired amount of time. Upon reflection of this, I analysed this event as being immersive through a passive experience, though not as active and participatory. This is an element I realised was important to the introduction of Finery to a physical space; establishing the desired communication of an experiential and slow environment, while ensuring product integration was still a key element within the space.


5 Moods, 5 Spaces, 5 Unique experiences

Workshops/Talks 5 London Locations

Immersive Theatre

Travel Refresh -Immersive theatre -Themed by ‘refresh’ in terms of beauty

Dance -Dance Workshop

Seriouswear -Lecture -Based on professional life

-Travel blogger talks

Treat -Food experience -Cocktail workshops -Specialist coffee

Option 1 Fig. 23 Diagram created to display the potential layout of an experiential space.

In addition to the communication of slowness within experiential design, we also discussed the creation of community in relation to a brand. Having established a tone of voice and community through Vestoj journal as a publication, on social media, and through events, we considered together how this idea could be translated through a temporary space for Finery. This led to discussion in relation to each of the mood rooms, considering how the interests of Finery customers could be incorporated into the experiential design. In response, I proposed three options for the potential set up of the space. Option one being the largest scalethis had the downside of being present across different London locations (therefore lacking community and continuity in the concept). Option two was more succinct as a space, including five rooms in one space, but lacking focus on each mood. Option three was chosen to ensure the momentum of the experience was kept going for existing Finery customers, as well as maximising the potential of reaching out to new audiences. Similarly, the focus on one overall immersive experience at a time further solidifies the notion of slowing down, ensuring that desired feelings are communicated and a more considered approach to shopping decisions is encouraged.


5 Week Project Hub (Five Installation rooms-focus on one mood each week)






Option 2 Fig. 24 Diagram created to display the potential layout of an experiential space.

5 Week Project Hub (One Room)

Week 1: Refresh Week 2: Dance Week 3: Seriouswear Week 4: Travel Week 5: Treat


Option 3 Fig. 25 Diagram created to display the potential layout of an experiential space.

Fig. 26

Weekly prototyping was conducted to test the potential immersive and experiential nature of the space. Top Row:Projection mapping tests created in a studio at Lime Grove. I used found imagery from music videos and involved people to create shadows representing interaction with space. Bottom Row: Small scale tests created with water, oil and food colouring intended to represent the theme of ‘refresh’. The above examples are also shown as moving image tests to create a more immersive effect through movement. (see USB).


Fig. 27

A second studio session involved the creation of the ‘Dance room’, using lighting, set design and sound to create the desired environment. The intention of this test was to explore ways clothing could exist in the space and how people could interact with this space. Top Row: Set design tests created in a studio at Lime Grove Bottom Row (left): design test created using water and food colouring, (right): set design test at Lime Grove Middle bottom row image shows design created using food colouring and water. I was particularly happy with this test and decided to feature it as part of the ‘Refresh Room’ interiors. (see p.78)


Fig. 28

Considering ideas presented, I began to develop the concept of Finery ‘Mood Rooms’ as a holistic design with an overall experiential ‘template’ (shown above) translating across the 5 rooms to ensure effective brand communication was apparent throughout. Alongside the importance of creating a translatable brand experience across the 5 rooms, I also focused on capturing each specified mood experience.

The above moodboard shows my inspiration for the experiential nature of the space. Featuring strong uses of light and colour, these images represent a fluid experiential approach which I aim to present across all five mood rooms.

Fig. 29


Fig. 30 Moodboard created to show aesethetic references. All images sourced from Pinterest

Prototyping of ideas was conducted through initial sourcing of image references on Pinterest, before synthesising into succinct moodboards. Due to the requirements of creating experiential, aesthetic, and ‘mood’ appropriate spaces, it was essential to create moodboards specifically designed to inform each of the 5 moods. I was then able to take inspiration directly from the spaces I visited, and consequent moodboards, to design the experiences in specific relation to each of the mood rooms. I initially tested these ideas on a small scale in my bedroom, using elements such as lighting, sound, and ‘set design’ to capture the sensory essence of the mood atmosphere I wanted to create. To further refine these ideas, I conducted further tests at a studio in Lime Grove (fig 2627). Again using lighting and set design, I used these tests to inform how clothing could exist within a space. These tests solidified my ideas about having a small amount of garments present as part of display, to therefore allow the focus to be on the people involved in the space. The above moodboard is a collection of images created for aesthetic inspiration for the space. I have included colour and design references in-keeping with Finery’s aesthetic.


Experiential: Spatial Design

After initiation of the concept, I prototyped small elements of the spatial design, working directly from moodboards to ensure the aesthetic style remained consistent. The purpose of these prototypes was primarily to visualise elements of space to help me in briefing a 3D rendering collaborator.

Fig. 31

In order to produce these prototypes, I learnt how to use Sketch-up from online tutorials and attending workshops at Lime Grove.


Whilst I was seeking a collaborator to help visualise the space, I thought it would be important for me to have an understanding of the capabilities of Sketch-up to most effectively brief my collaborator. This is something I continued throughout the process, particularly as I was aware I would need to animate the space in post-production.

Fig. 33 Above images show Sketch-Up design iterations and Dance room moodboard (fig 32). Images sourced from Pinterest.


When creating Sketch-up mock-ups, I worked directly from moodboardsapplying photographic imagery to represent an immersive visual experience.

Fig. 34

Creating these mock-ups was helpful in encouraging me to reconsider the scale of the space, as well as whether the experience would be active (participatory), or passive (visually immersive).

Fig. 35

Whilst I didn’t carry these designs forward, they were illustrative in briefing my design collaborator. This page display image references and design iterations for the refresh room (above), and Treat room (right).

Fig. 36


Fig. 37 Set design moodboard showing potential options for hypothetical collaborators. Images sourced from Pinterest. As I began to solidify my ideas further, I focused on selecting hypothetical collaborators to be involved with the production of the Mood Rooms (see concept proposal). These decisions were informed by concept collaborators, as well through ideas realised in concept moodboards.

Fig. 38 Gary Card set design moodboard created as inspiration for hyphothetical collaboration. Images sourced from Pinterest.


Experiential: Spatial Design

Upon selecting my collaborator, I approached Sara Ogbanna-Godfrey as a friend with proficient skills in Sketch-up, CAD and Photoshop. As an Interior Architect, I selected her on the basis of her logistical approach to the production of 3D spatial design. Whilst choosing to collaborate with a friend was a decision primarily motivated by an awareness of budget considerations, I still ensured I analysed her working style before committing to the decision. Although her background is primarily in commercial sites and domestic interiors, she has a strong interest in the fashion and retail industry and was very passionate about my concept when I presented my research document to propose the collaboration. Collaborating with Sara as an interior architect was particularly helpful in relation to the most effective use of space for the set design and installations I proposed. This meant she was able to make suggestions based on the restrictions of the location’s site map as to which interior elements I could include in which areas.

Collaborator: Sara OG (Interior Architect)

Fig. 39 Sara Ogbanna Godfrey portfolio images Left to Right: Final Major Project photoshop visualisation, Sketch-up domestic interior project, photoshop window display project.


Having involved Sara from an early stage in the project (we solidified the collaborative relationship in mid-January), it was sometimes difficult to develop the design aspect of the space whilst I was still developing the concept. This meant that both practices informed eachother, and initial design tests as in figure 1 displayed to me that the concept was still inspired heavily from traditional retail, as opposed to challenging it’s common design aspects. I have categorised the collaboration process into phases to document the workflow:

Phase 1 Briefing Phase 2 Design/ Concept (See Chapter 3) Phase 3 Production Phase 4 Final Design

Fig. 40 Interior Moodboard created as mood room inspiration. Images sourced from Pinterest


Phase 1: Briefing

Fig. 42 Fig. 41

Fig. 43

In briefing the concept, I initially provided Sara with an overview of the concept, sharing with her my Term 1 research document, to introduce Finery as a brand, and in particular the idea of creating a new and challenging retail environment outside of the norms of this design sector. It was very important for me to provide detailed moodboards, including the previously discussed experiential and aesthetics moodboards (p.35-41), the opposite interior and set design references, and provide some inspiration from my initial interior tests (see above).

Fig. 45 Fig. 44 Location: W1 Studios, Oxford Circus Selecting a location (as detailed in concept proposal) was essential to the development of the spatial design. This gave us a framework through which to focus the design and concept development on. In concept development the restrictions of the space encouraged me to consider the experiential ‘activity’ on a smaller scale. Similarly, given a site map with dimensions, Sara’s spatial awareness in design allowed her to make suggestions to me on the amount of people feasible to interact with the space at a time, as well as the amount of set design structures which would work best in the space.

Images left to right: Illustrator mock-up , Finery jewellery reference, illustrator mock-up, W1 studios image reference, W1 studios image site map


Phase 2: Design/ Concept Step 1 .Rough sketches created together to map out different elements involved in the space. .Sara would then produce a CAD drawing to assist in the logistical design process before interior and aesthetic elements were added. Fig. 46

Fig. 47

Step 2 .Planning of specific interior elements informed by image references from Pinterest. .We would hand-draw interior elements directly from these references-adding in merchandise to ensure a retail element was present.

Step 3

Fig. 48

Fig. 49

Sara would then produce photoshop mock-ups of specific areas of the space before translating into sketch-up. The creation of these images allowed me to provide feedback before developing the concept and design to be more in line with eachother.

Fig. 50 This 3 step workflow example illustrates the development of a specific area of the Treat Room. As an early design test, this process gave me an idea of how to progress further with the collaborative process. I noticed, for example, that some of the references I had provided were quite traditional to retail and leisure environments, meaning I would need to focus on set design and more abstract references. However, in order to be in-keeping with brand aesthetics, I realised I would like to keep elements of these initial mock-ups (such as colours and simple interiors) present in ‘neutral’ areas of the space, including the reception room. Images left to right: Site map hand drawing, CAD drawing, Pinterest reference, hand-drawn sketch, photoshop visualisation


Fig. 51

Fig. 52

Fig. 53

The above images display a similar workflow, with focus on the initially conceptualised Dance Room. Whilst this process was very informative for interior design, I again realised I needed to place greater focus on the experiential concept of the space before committing to such specific fabrications.

Fig. 54

Fig. 55

Fig. 56

These images display initial tests for the reception room, with inspiration taken from Finery’s Instagram in the form of an abstract painting. After this test, I decided to keep this area more brand specific-keeping to jewellery references and classic Finery colour palettes.

Fig. 56

Fig. 57

This photoshop mock-up was proposed for the Treat Room, as an area providing seating for customers to sit and have ‘treat food’ while being surrounded by merchandise. Whilst I was pleased to see that Sara had captured the appropriate brand aesthetic, I was unsure of the way the merchandise was displayed-noticing that it wasn’t very experimental in design. In response to this, I provided Sara with inspiration from Gary Card (hypothetical set design collaborator) with particular focus on Roksanda as a reference for experimental merchandise display. (fig 57).


Images left to right: Pinterest reference, hand-drawn sketch, CAD drawing, Finery abstract painting reference, reception room photoshop mock-up, sketch-up visualisation, photoshop mock-up, Roksanda reference images

Experiential: Concept Design

An Alternative Retail Experience Finery ‘Mood Rooms’ is an alternative shopping experience led by sensory environments and actors to involve customers in a new and exciting approach to fashion choices. Structured by five mood concepts: Travel, Dance, Refresh, Treat and Seriouswear, each atmosphere is created to evoke feelings through immersive set design, theatre, and fashion. The ‘Mood Rooms’ will be a five week project, with a central London space transformed weekly to reflect each mood. Finery customers will be invited to the room which best reflects their personal shopping desires; this will be decided through a visual questionnaire featuring images subtly representative of the proposed moods. Customers will be asked to pay £5 to take part in the project, but will also receive a personal synopsis and product profile as well as a 10% discount to shop on Finery after the event.

After initial design tests with Sara and a finalised concept (as above), I decided to focus the production of the space on two mood rooms, as opposed to designing a space for all five moods. The decision to focus on two mood rooms (Treat and Refresh) allowed for greater focus and clarity on the spatial design, also allowing sufficient time for design alterations and the addition of colour, texture and clothing into the design. This process is continued in phases 3-5 in the production section of this audit.


Physical/Digital Design

‘‘Anything that can be digitised can be customised, so in the future retail must be more and more customised’’ (Zimmermann, (2015) p.51)


Digital: Social Media

Fig. 58

Having primarily been inspired by experience design and the communication of slowness, I then sought ideas further aligned with the future of retail, ensuring that the product focus for Finery wasn’t lost in the creation of abstract spatial and concept design. This development was motivated by discussions with Carrie Mok and Rosarie King who encouraged greater focus on the customer journey, and a consideration of the concept from a marketing perspective. A discussion with Carrie on the logistics of creating a temporary event concept encouraged me to map out specific elements from the introduction of the idea on social media, to it’s continued coverage throughout the duration of the mood room series. I arranged this information as a flighting chart and also considered transactional specifics including a deposit scheme for signing up to the event, and discounts available throughout the series (see concept proposal).

Fig. 59

Additionally, speaking to Rosarie led to a consideration of the entire customer journey with a consideration of both physical and digital brand touchpoints. This meant I began prototyping elements including the invite, social media promotion, and physical takeaway cards.


Top to Bottom: Instagram mock-up using both found and own images, Personal Profile mock-up created using Finery imagery.

Inspired by Sketch restaurant’s ‘Instavision’ wall, Finery mood rooms will incorporate a dedicated ‘Selfie area’ as part of the changing rooms. The selfies taken in this area will then be curated into a ‘Mood Wall’ existing on the Chapters section of Finery’s website. This will create an engaging dialogue between the brand and customers, making the concept feel personal and inclusive. It will also appeal particularly to millenial customers; an audience less focused on through Finery’s previous communication strategies. Fig. 60 Sketch restaurant’s Instagram wall

Attendants to the spaces will also be encrouraged to document their experience using Instagram stories. This will be prompted through the ‘@FineryLondon’ tag, as well as the hashtag: #finerymoodrooms.

Fig. 61 A moodboard created for changing room inspiration, proposed as an abstract, colourful space which will exist well on social media.


Physical: Takeaway

Rosarie and I discussed the physical takeaway, considering what would be most effective for Finery as a brand. I realised from this that it was important to not create something too ‘novelty’, instead focusing on a sleek and personal ‘experience’ card inspired by the model of a business card.

Fig. 62

Physical Takeaway Moodboard-Left to Right: Pinterest graphic design reference, Finery product label, takeaway label from Selfridges Fragrance Laboratory, personalised fragrance from Selfridges Fragrance Laboratory, Chanel ‘Chance’ cards, Anya Hindmarch bespoke product order cards. Next Page: Top series: Photography design tests Bottom series: Studio session ‘seriouswear’ photography design tests


Digital: Visual Questionnaire

A particularly important outcome from my discussion with Rosarie was in relation to the beginning of the customer journey. Together, we conceptualised a ‘Visual Questionnaire’. The questionnaire acts as the driver for introducing customers to the alternative shopping experience; creating initial interest through ‘Choice Architecture’ to profile the customer into a mood room best suited to their preferences. The below images show testing of using the same material in different compositions, to work with the concept of ‘choice architecture’. I decided from this it would be more interesting to propose a variety of conceptual images, in bright colours to also translate well into social media.

Fig. 63

Whilst I received feedback on the images as potentially arbitrary for users, I deduced that Finery customers would appreciate the visual and unique nature of the concept. The selection of imagery is primarily driven by colour connotations and symbolism; an image of a sponge is intended to be representative of ‘Refresh’, whilst an image of an egg timer is reflective of ‘Seriouswear’. These associations are personal to an individual’s visual schema, meaning it was important to offer the option to retake the questionnaire. The below collection of images show testing of visual representations of ‘Seriouswear’.I deduced that the first two were too literal of the concept, so decided to create more conceptual images as in the third example, using pegs as an abstract composition.

Fig. 64














Fig. 65 Colour chart created as initial inspiration for visual questionnaire. Colours chosen from Finery collections.

When planning my visual questionnaire, I wanted to focus on colour as a key driver for customer choices. The questionnaire is informed by the idea of ‘Choice Architecture’ (an idea discussed with Philip Handford), as a concept which presents choices to consumers to form personal profiles. The below moodboard shows my inspiration for the still life shoot, particularly focusing on conceptual image references such as those in Toilet Paper magazine.


Fig. 66 Still life moodboard created as visual questionnaire inspiration. Images sourced from Pinterest.





Your Image Choices…

Retake Questionnaire

See Your Mood Option





Both Rosarie and Carrie encouraged me to create a customer journey (shown above) to help realise the concept. This was very helpful in displaying a seamless and unique transition between physical and digital mediums.

Fig. 67 Customer journey layout, created using own mocks up and Finery reference imagery.


Chapter Three: Production


Fig. 68 Behind the scenes imagery, taken at a studio in Lime Grove The first production phase involved still life photography for the visual questionnaire. After initial tests of lighting and props, I conducted a still life shoot in a studio at Lime Grove with Marie Dalle as an assistant to help with the process. Together, we experimented with lighting and composition of objects to create the desired outcome. (As shown above in behind the scenes imagery)

Production Specifics Hardware: Studio back-drop and lighting, set design props, DSLR camera Software: Adobe Photoshop Working Time: Planning and concept development: 2-3 days Shoot 1: 2.5 hours Shoot 2: 2.5 hours Editing: 2 hours Production Team: Creative Direction and Photography: Abi Buller Studio Assistant: Marie Dalle Location: Lime Grove


Fig. 69 Own photography created using still life props and backdrops. All images edited in post-production to enhance brightness for the purpose of optimum digital viewing.


Fig. 70 Own photography created using still life props and backdrops. All images edited in post-production to enhance brightness for the purpose of optimum digital viewing.

Creating images relevant for each mood for the questionnaire required two shoots to ensure the most effective imagery was created. For example, whilst I was pleased with most of the images on the opposite page (first shoot), I didn’t have enough imagery to represent ‘Seriouswear’ or ‘Refresh’. This required revisiting previous moodboards to create imagery more in line with the concept.


Digital: Mobile/Desktop Questionnaire

Having made a final selection of images, I built the questionnaire as both mobile and desktop versions using Adobe XD. It was important to include both versions, particularly as the customer journey is proposed to begin on Instagram. The process of building the visual questionnaire involved consultation with web designer George Buller to ensure experience was the most effective it could be. We also discussed layout for both versions, considering the best use of space for imagery on a large desktop screen in comparison to a mobile interface. This was an iterative process involving feedback and further testing to achieve the desired composition, best suited for the user experience and Finery as a brand.

Option 1

Option 2

Option 3

Fig. 71

Above images show initial testing for colour and layout compositions for the mobile questionnaire. I realised from these tests that it was important to remain consistent with Finery’s aesthetic, using frames and squares as well as overlayed text (as in option 3).

Production Specifics Software: Adobe XD, Photoshop (Still life photography) Working Time: roughly 1 week working time from conception to realisation Production Team: Creative Direction and Design: Abi Buller User Experience Consultant: George Buller


Fig. 72

Above images show initial testing for colour and layout compositions for the desktop questionnaire. Whilst I was happy with the first two as visual options, I thought the desktop version would be better in-keeping with Finery’s aesthetic-owing to the translation of imagery on a larger screen. 62

Click on your preferred image

Click on your preferred image

In the mood for‌ Take the Questionnaire 2/5


Click on your preferred image

Click on your preferred image


Click on your preferred image



Fig. 73 Mobile site visual questionnaire, created using Adobe XD and still life photography


Your Image Choices‌

Retake Questionnaire

See Your Mood Option

First, we would love to get to know you. Please ďŹ ll in the below information:



Profession: Dress Size:

Tell us one thing you do to relax?

Fig. 74 Mobile site visual questionnaire, created using Adobe XD and still life photography


Click on your preferred image

Question 1/5

Click on your preferred image

Question 2/5

Click on your preferred image

Question 3/5

Fig. 75: Desktop site visual questionnaire, created using Adobe XD and still life photography


Click on your preferred image

Question 4/5

Click on your preferred image

Question 5/5

Your Image Choices‌

Retake Questionnaire

See Your Mood Option


Sign Up To Event


Fig 76. Above images show the final design for the desktop questionnaire. The composition is adjusted from the mobile version, in consideration of the larger viewing option.

Physical: Customer Takeaway

Option 1

Option 2

Option 1

Option 2 Fig. 77 Indesign Mock-ups of physical takeaway cards

For the production of the physical takeaways, I consulted with graphic designer Georgia Harman on the best way I could use layout to effectively communicate my ideas. I explained the concept of proposing a small, personalised card designed to be kept in a wallet. This led to a fold-out design which would hold the card as well as being able to display information about Finery. Owing to Finery’s simple approach to print design; present in packaging and lookbooks, I ensured the takeaway was minimal in presentation. I chose to use matte and lightweight paper to reflect this design element. For the final design, I chose to use option 2 for both outcomes , ensuring an element of simplicity and continuity was present in the ‘phrase’ card, and that the business card was personalised and exclusive including the customer’s name and number.

Production Specifics Software: Adobe InDesign Working Time: Roughly 2 days from concept to final design iteration Production Team: Creative Direction and Design: Abi Buller Graphic Design Consultant: Georgia Harman


Fig. 78

Above images show the final design for the physical takeaway. Designed as a fold-out leaflet holding a personalised customer card, the takeaway details the concept behind Finery mood rooms and slow fashion experiences.


Experiential: Spatial Design

Phase 3: Production Reception Room Step 1 The Reception Room was designed with inspiration from classic Finery colours, as well as direct reference from their jewellery designs (as in phase 1). .Seating was designed to be minimal, again in-keeping with Finery aesthetic.

Step 2 After step 1, I added design adjustments with Sara including abstract walls to add interest to the initially smooth interiors. .I then added small details such as Finery look-books to display where the printed physical takeaway would appear.

Fig. 79-81 Reception room mock-ups created using Sketch-up

Step 3 As a final design addition, we decided to change the seating-making it more suited to the brand as well as taking direct inspiration from the references used in moodboards.

Production Specifics Software: Sketch-up Working Time:4-5 weeks from concept to final design Production Team: Creative Direction: Abi Buller 3D Rendering: Sara Ogbanna Godfrey


Refresh Room

Step 1 .Having designed the Refresh room experience as having a meditation area and a juice bar, Sara began to map out the areas of the space which could best accommodate these elements.

Step 2 .After building the space with the required components, I applied colours and textures to suit the mood of refresh. I also added elements such as juice machines to create an accurate representation of the juice bar area.

Step 3

Fig. 82-88

.We reflected together on the set design, realising the wave structure didn’t suit the style of Gary Card as a set design collaborator. This required testing of new ideas more in line with his work, before achieving the desired outcome.


All mock-ups created using Sketch-up

Treat Room

Step 1 .Having taken inspiration from the Gary Card moodboard (page.38), we planned the positioning of the set design to represent a ‘maze’ through which customers could walk through and interact with the subtly positioned merchandise.

Step 2 .I provided feedback on the room’s layout, ensuring small details were considered such as including enough seats added to the ‘activity area’ above.

Step 3

Fig. 89-94

.After placement of key elements of the set design, I then focused on adding in colours and textures, as well as the placement of merchandise. .On reflection, I realised there was too much print design present at the stage-meaning the space would distract entirely from the garments and experience. All mock-ups created using Sketch-up


Changing Rooms

Step 1

Step 2

Mapping out the positioning of Addition of set design and colours ‘changing pods’ and deciding how specific to each mood room. many should be placed in the space.

Step 3 The final design features two changing pods, seating and mirrors on each of the four pillars. This will create an interactive environment in-keeping with the selfie area.

Selfie Area

Fig. 95-100 The selfie area took direct inspiration from Finery SS16 campaign images, so the design process was very simple. Having created shapes referenced from these images, it was then a case of experimenting with the positioning of them as well as choosing colours to compliment the rest of the space.

All mock-ups created using Sketch-up


Final design created using Sketch-up and Kubity

Stock Room

Meditation Area

Merchandise/ Set Design

Juice Bar

Merchandise/Set Design

Selfie Area

Reception Room

Changing Rooms

Refresh Room Colour Palette


Phase 4: Final Design

Fig. 101


Fig. 102-107

Top Row: Refresh room visualisation created using Sketch-up and Kubity Bottom Row: Refresh room visualisation created using Sketch-up and Kubity, middle image: photography design test used as part of the refresh room visualisation.


Final design created using Sketch-up and Kubity

Stock Room

‘Slumber party’/Food Experience Area

Merchandise/ Set Design

Set Design

Selfie Area

Reception Room

Changing Rooms

Colour Palette


Treat Room

Fig. 108


Fig. 109-114

All images created using Sketch-up and Kubity


Fig. 115-117

Top row: Images created using Sketch-up and Kubity, Bottom row: Window display created using photoshop


Fig. 118-120

All images show simulation of people in spatial design. Created using Kubity and photoshop.


Digital: 3D Rendering Trailer

After the final design iterations of the space, I animated it in sketch-up before transferring into a premiere video file. Having created moving image projects in the past, I was familiar with premiere software, but slightly uncomfortable with the specificities of bringing a sketch-animation into a final edit. I therefore contacted Alex Burgess, an LCF media technician, to gain advice on this element of the project. He suggested I make a general plan of the ‘walk-through’ route in the form of a storyboard, considering the incorporation of subtle transitions and text, as well as design tactics including a ‘hand-drawn’ representation of the space as an introductory visual element to the trailer. I then focused on the production of the trailer as an overall persuasive outcome aimed at the client, adding branded title scenes and music to reflect each mood room.

Fig. 121 Storyboard displaying layout for sketch-up trailer

Creating a storyboard to map out the journey of the walk-through allowed me to plan which elements I needed to re-time in post-production-including stop-frames and slow-motion effects to allow focus on specific areas of interest such as the reception desk and set-design pieces. (See USB for final trailer)

Production Specifics Software: Sketch-up, Adobe Premiere Working Time: 2-3 weeks from concept to final design Production Team: Creative Direction: Abi Buller Production Consultant: Alex Burgess


Fig. 122-127

Step 1 .I applied a ‘hand-drawn’ style to the site map as an introductory visual to allow the space to fade in with colour.

Step 2 .I added titles to key areas of the rooms, with subtle fade transitions to ensure the space wasn’t overwhelmed with text.

Step 3 .Including music chosen specifically for each mood room adds interest through a sensory addition to the trailer. .Adding titles also ensured the trailer is professional, client-facing, and easy to follow as a visualisation.


Digital: Virtual Reality

With the desire to create a more immersive experience for the client, I have transferred the Sketch-up space into virtual reality app, Kubity. I contacted Julian Standon (innovative media practitioner) to gain advice on the software I could use to realise this. He suggested Kubity as a simple, user-friendly transition from Sketch-up into a virtual reality rendering. He also made the suggestion of Kubity as opposed to other options, due to it’s aesthetic nature (time of day functions create a polished lighting effect to enhance the appearance of the visualisation. This viewing option can be experienced online as a 3D rendering, with walk-through options allowing the user to view different areas of the space.

Mood Rooms

Experience the Refresh and Treat rooms in virtual reality. How to access: 1. Download Kubity app compatible with ios and Android 2. Open app and scan QR code 3. Select ‘Google Cardboard’ icon and click ‘Yes’ 4. Insert mobile device into Google cardboard 5. Follow screen instructions to navigate your way through the space, using the red dot as your centre of navigation. NB: If you lose sight of the space simply click the back arrow on your screen, and reselect the google cardboard option to begin viewing again.

Fig. 128 Above image displays VR viewing instructions for the client, as in concept proposal. For QR codes and URL options, see proposal. (Use google cardboard to experience, and see ‘Kubity’ folder on USB for walk-through documentation)

Production Specifics Software: Kubity app Working Time: 2 days from concept to final design Production Team: Creative Direction: Abi Buller Virtual Reality Consultant: Julian Standon


Fig. 129

Above images show mobile viewing of Kubity as a VR experience, including screen insructions of how to navigate within the space.

Using Google cardboard and the Kubity app on a mobile device offers a 360’ perspective view of the space. This allows viewers to experience the space through an alternative dimension, as well as providing a more polished 3D render effect through the addition of lighting and colour simulation translated in Kubity designs.


Brand Proposal


I created a concept proposal to present the mood room series to Finery. It was important to design this as a client facing document-therefore making it look clear and corporate whilst still keeping in-line with both the Finery and mood room concept aesthetics. The proposal documents experiential and aesthetic specifics for each of the five moods, as well as displaying the Treat and Refresh rooms as 3D rendering visualisations. It is intended to be persuasive and professional in design and content.something I feel I have achieved through clear composition of ideas.

Fig. 130. Still life image of printed concept proposal

The above image shows the cover of the concept proposal, which was designed with continuity to the trailer title scenes and in the design of the mood room invites. I chose to use a simple, matte printing style with a ‘hand-crafted’ binding effect to suit the ideals of the brand. The opposite images show an example of a mood room concept as detailed in the concept proposal. This includes moodboards, an experience template, and a location site map featuring imagery reflective of proposed experiential activities present within the space.

Production Specifics Hardware: ABC printing and binding Software: Indesign Working Time: 4 weeks from concept to final design Production Team: Creative Direction: Abi Buller


Fig. 131-133


Chapter Five: Evaluative Statement

This project responds to the challenge of online retail communications; proposing experiential and tangible deliverables in the form of an alternative brand space and a holistic brand experience. The concept reflects Finery’s ethos of slow fashion as well as encouraging customers to shop based on their mood, allowing for a stronger connection with their clothing. I have taken a multidisciplinary approach to this project, considering the relationship between physical and digital retail to create a customer journey which proposes a seamless transition between the two platforms. This includes approaching screen, user experience, experiential and print design. I have responded to the challenges of online retail through the creation of an interactive, immersive and participatory space which takes inspiration from Finery’s desire to ‘put the excitement back into shopping’. The concept similarly reflects the brand’s associations with slow fashion, owing to the memorability of sensory experiences, and the proposal of a ‘time-controlled’ shopping experience. I have proposed a unique and personalised customer journey which will create positive associations with the brand, as well as reaching out to new audiences. This project has been successful because it has been informed by the current topical issue of the state of retail, while referring to client motivations and taking cultural inspiration from a wider perspective outside of the fashion industry. I feel I have met the aims set out in my brief, considering the communication of slowness and the creation of an environment which challenges traditional ideals of retail. I could improve my project through the physical production of one of the spaces; something I was unable to fully realise due to budget considerations. Similarly, I could place greater focus on the production of the trailer-again with a larger budget I may have invested in more sophisticated editing techniques and additional advancements to sketch-up including photo-realistic simulation as seen in professional spatial designs. Throughout the concept and design development phase of my project, I identified with skills of reflection and perseverance as I responded to feedback from weekly presentations and tutorials. I ensured I always offered new ideas and developments to those previously considered. However, at times I found it particularly difficult to push forward with concept iteration. This was due to the nature of the project as new, current and challenging within the industry. Whilst I was able to outsource creative inspiration and refer to industry analysis of the potential future of retail, I was aware of new and relevant industry insights emerging throughout the iteration of my project. Examples of this include the articles: Why Retail is getting Experience Wrong (BoF, 2016), and Inside Farfetch’s Store of the Future (BoF, 2017). These examples, among others referred to throughout this audit, helped sustain interest and motivation as I realised my project challenges topics currently prevalent in the industry.


Similarly, the breadth of potential in such a new concept was often-times overwhelming, and forced me to reconsider some of my creative outcomes. I realised the concept behind an effective holistic experience had overshadowed the importance of the production of visualising the spatial design for the entire project. I originally hoped to visualise five spaces for Finery, in tandem with their five proposed ‘moods’ through which to shop, but decided to focus more on the ‘alternative shopping’ concept as a whole. The decision to focus on the production of two mood rooms allowed me to focus on both the physical and digital customer journey, proposing outcomes to map out the journey from initial brand interest, to establishing brand loyalty. This also allowed me to utilise multiple skills of visual communication including photography, user experience, and print communication. In addition, the focus on two spaces helped ensure I communicated the desired visual design of the space to my collaborator. Upon approaching Sara for the project collaboration, I proposed it as a portfoliobuilding exercise for both of us. It was therefore motivated by creative interest as opposed to financial opportunity. This had both a positive and negative impact on our working relationship as the potential of creative freedom led to a design approach which was unreflective of the concept. With an unfamiliar concept brief presented, Sara initially approached the project from a traditional retail perspective, proposing very conventional interior elements. Having realised this early on in the project, I ensured I communicated the purpose and aesthetics of each of the spaces in the most effective way possible. This was achieved through shared Pinterest boards, as well as face-to-face communication and prototyping of ideas in rough sketches. We communicated over email for logistical purposes, including proposed deadlines and weekly meetings. As the design began to develop, I realised the importance of my input on each of the interior elements was paramount to effective aesthetic and experiential communication. This meant I was responsible for the final editing of the spaces, including design iterations of the set design, the addition of colour, and placement of garments within the space. Similarly, I was aware early on in the project that Sara was inexperienced in simulating Sketch-up spaces as ‘walk-through’ animations; something I therefore planned ahead for, realising I would need to take over this part of the project and source relevant resources to overcome this challenge. I was pleased with the final design outcome and my ability to brief the concept to an external collaborator, having previously been unfamiliar with the process of collaboration before this project. This process has confirmed to me the importance of working with an iterative approach to concept development, ensuring I conducted critical analysis of my own ideas to encourage further improvements. I will continue to build on these strengths practised thus far, ensuring I remain critical of ideas approached from outsourced creative inspiration, as well as those concerning creative collaboration.


Throughout this project I have developed broadly on both a personal and professional level; having overcome a lot of hurdles which I felt held me back during the first two years on this course. I came into final year with the motivation to strive to achieve a project I would be proud of, ensuring I would leave the course having had a positive experience and leaving with necessary skills to aid me in future directions. Within previous projects I often relied heavily on skills such as writing and research, lacking confidence in my ability to communicate visually, and dwelling on my lack of technical skill upon entering the course. I was able to approach these difficulties primarily through a willingness to ask for help, seeking opportunity within and outside of university to aid both my conceptual and technical development. The encouragement from contributors and collaborators within this project inspired me to take further risks with my creative decisions, leading to a unique set of outcomes which I would be pleased to present within future professional scenarios. During my time on the course, I took great advantage of living in London as a space for creative development. Throughout each of my projects, I thoroughly enjoyed visiting exhibitions and taking part in cultural activities to gain inspiration to push my ideas further. Similarly, I have obtained contacts and professional working practices from completing internships at a variety of fashion companies during the work placement term, as well as during breaks from university. Although these experiences have helped build my professional profile, on reflection I would have spent less time working within the industry and more time on developing my personal portfolio and curating an individual aesthetic. This is again something I feel I have only properly approached during final year, alongside utilising the resources and facilities within UAL.


Fig. 134 Personal Reflections Moodboard: Left to Right: My ‘FMP Zone’ in my bedroom, discovering google cardboard, one of many coffee trips for ‘interior research’, Marie and I creating ‘design tests’, ‘In the mood for....a treat’ on set at my still life shoot, a seminar group reunion at the Barbican.

With particular focus on my final major project, I’ve come to realise the importance of creative communities and networking opportunities. Having felt slightly opposed to the idea of collaboration before beginning this project, I was very surprised and thankful to have been able to effectively communicate my concept ideas through moodboards and briefing to arrive at a spatial outcome which was visually appropriate to my creative objectives. Similarly, before this project I hadn’t had the opportunity to present a project to anybody working in industry outside of university. This is something I particularly appreciated, as the ability to present my ideas and gain feedback led to insights I may not have previously considered. This experience has therefore encouraged me to seek future ventures in relation to collaborative working, as opposed to individual creative practices. My final major project and the course as a whole has helped me identify my strengths in concept development, discovering an innate passion for seeking inspiration from a broad spectrum of sources, and translating these ideas into creative outcomes. Whilst I don’t feel I have obtained a definitive technical skill from this course, I have acquired an invaluable skill set to hopefully lead me towards working with fellow creatives in future communication endeavours. After this course I plan to further develop my skills in both written and visual communication, with a desire to work within a future-facing and culturally driven environment. Having had experience of freelance writing for publications including Pigeons & Peacocks, Glass and Pylot during my time on the course, this is something I plan to focus on through the development of journalism practice. Additionally, the positive experience of my final year on the course has further motivated my desire to focus on cultural perspectives practiced within a profession such as trend forecasting.

Fig. 135 An image recently taken at a PYLOT magazine launch party. I felt this statement resonated well with how this course has taught me to think and to be.


Bibliography Cronberg, A (2014) Vestoj Journal, Issue 5: On Slowness Fernandez, C, Business of Fashion, (January, 2017) Available at: https://www. Accessed: May, 2017 Kansara, V, Business of Fashion, (April, 2017) Available at: https://www.businessoffashion. com/articles/bof-exclusive/inside-farfetchs-store-of-the-future Accessed: April, 2017 Pine J and Gilmore K, (2011) The Experience Economy, USA: Harvard Business School Press, Updated Edition Pine, J, Business of Fashion, (July, 2016) Available at: community/voices/discussions/what-will-the-store-of-the-future-look-like/op-ed-stage-experiences-or-go-extinct Accessed: May, 2017 Stevens, D, Business of Fashion, (March, 2017) Available at: https://www. Accessed: April, 2017 Teufel, P and Zimmermann, R (2015), Holistic Retail, Frame Publishers Zola, E (2008), The Ladies Paradise, Oxford World Classics Interview: Roche, Hannah, Finery PR Manager, (February 2017) Interview: Cronberg, A, Editor-in-chief-Vestoj journal (February, 2017) Interview: Handford, P, Creative Director-Campaign Design (February, 2017)


Further References Garton, C and Fromm, J; Marketing to Millenails (2013) Klingmann, A; Brandscapes (2007) Lawson, B; The Language of Space (2007) Urry, J; Consuming Places (1995) Wajcman, J; Pressed for Time (2014)


Image References Figure 1: Selfridges Fragrance Lab, The Future Laboratory and Campaign Design (2014) Available at: https:// Figure 2: Finery editorial (2016), Available at: Figure 3: Selfridges Accessories Hall (2017) Available at: Figure 4-7: Finery SS16 editorial imagery (2016), Figure 8: ‘Finery Women’s Club’ Concept specific moodboard. All images sourced from Pinterest: Figure 9-10: Hannah Roche Interview imagery (2017) Available at: Figure 11: ‘Mood Rooms’ Moodboard created using found imagery from Pinterest (2017), https://uk.pinterest. com/abibuller3/fashion-spaces/ Figure 12-13: Campaign Design, The Sweet Shoppe (2011) Available at: Figure 14: Finery SS17 ‘In The Mood...’ editorial (2017) Available at: Figure 15-16: (Own Imagery). Finery Invite and personal takeaway-featuring own still life imagery, created using InDesign, (2017) Figure 17: (Own Imagery). Finery Mobile Questionnaire-featuring own still life imagery, created using Adobe XD (2017) Figure 18: (Own Imagery). Refresh Room simulation featuring Finery model. Created using Adobe Photoshop (2017) Figure 19: ‘Museumisation’ Moodboard featuring Roksanda, Simone Rocha and LN-CC store images (sourced from pinterest): Figure 20: The Gentle Monster, Quantam Projects (2016),

Figure 21: Selfridges Fragrance Lab, The Future Laboratory and Campaign Design (2014) Available at: https:// Figure 22: Vestoj Salon on Slowness (2015) Available at: Figure 29-30: (Own images) Mood Room Diagram, created using InDesign (2017)


Figure 32: (Own images) Design tests created using projection mapping and water/food colouring tests. (2017) Figure 33: (Own images) Design tests created in a studio at Lime Grove (2017) Figure 34: (Own images) Experiential moodboard (2017) Images sourced from Pinterest: abibuller3/fashion-spaces/?lp=true Figure 35: (Own images) Aesthetics moodboard (2017) Images sourced from Pinterest: abibuller3/fashion-spaces/?lp=true Figure 36: (Own image) 3D Rendering created using Sketch-Up (2017) Figure 37: Dance Room Moodboard (2017) Images sourced from Pinterest: fashion-spaces/?lp=true Figure 38: (Own image) Dance Room installation mock-up created using Sketch-Up (2017) Figure 39: (Own image) Refresh Room Moodboard (2017) Figure 40: (Own image) Refresh Room Sketch-Up (2017) Figure 41: (Own image) Treat Room Sketch-Up (2017) Figure 42: Set Design Moodboard: Gary Card, Andy Hilman, Kim Harding, Felicity Hammond (dates: various) Images sourced from Pinterest: Figure 43: Sara Ogbanna Godfrey, Interior architect portfolio images (2017), Available at: http://sogbonna. Figure 45: Interior Moodboard (2017), images sourced from Pinterest: Figure 46: (Own image) Illustrator mock-up created with inspiration from Finery jewellery (2017) Figure 47: Finery jewellery reference (2016) Available at: Figure 48: (Own image) Illustrator mock-up created with inspiration from Finery jewellery (2017) Figure 49: W1 Studios, Location Reference (2016), Available at: Figure 50: W1 Studios, Location Reference (2016), Available at: Figure 51: W1 Studios, Location Reference (2016), Available at: Figure 52: (Own image) Treat location sketch (2017) Figure 55: (Own image) CAD Drawing (2017) Figure 56: Pinterest image reference (2017): Available at: Figure 57: (Own image) (2017) Finery Photohop visualisation Figure 58: Pinterest reference (2017) Available at: Pinterest:


Figure 59: (Own image) (2017) CAD) Dance Room location drawing Figure 60: Finery abstract painting reference (2016), Available at: Figure 61: (Own image) Sketch-Up mock-up (2017) Figure 62: (Own image) Finery Photoshop mock-up (2017) Figure 63: (Own images) Roksanda head office (2016) Figure 64: (Own image ) Finery Instagram mock-up (2017) Figure 65: (Own image) Personal Profile mock-up (2017) Figure 66: Sketch Instavision Wall (2017) Available at: Figure 67: Changing Room Moodboard (2017), Images sourced from Pinterest: Figure 68: Physical Takeaway moodboard (2017), Images sourced from pinterest: abibuller3/fashion-spaces/, Finery product card (own image-scan), Anya Hindmarch product card (own image-scan) Figure 69: (Own images) Photography design tests (2017) Figure 70: (Own images) Photography design tests (2017) Figure 71: (Own image) Visual questionnaire colour chart reference (2017) Figure 72: Visual questionnaire still life references moodboard (2017) Available at: abibuller3/fashion-spaces/ Figure 73: Customer Journey featuring own imagery and images sourced from Finery website. Available at: (2017) Figure 74-76 (Own images) Still life photography (2017) Figure 77-83: (Own images) Mobile site visual questionnaire, created using Adobe XD (2017) Figure 84-85: (Own images) Physical Takeaway tests, created using InDesign (2017) Figure 86-94: (Own image) 3D rendering visualisations, created using Sketch-up (2017) Figure 95-117: (Own image) 3D rendering visualisations, created using Sketch-Up and Kubity (2017) Figure 118-120 (Own image) 3D rendering trailer storyboad (2017) Figure 129: (Own images) 3D rendering trailer screenshots, created using Sketch-Up and Adobe Premiere (2017) Figure 130: (Own images) Virrtual reality mood room instructions (2017) Figure 131-133 (Own images) Virtual reality screenshots shown on Kubity app (2017) Figure 134: (Own image) personal moodboard featuring own photography (2017) Figure 135 (Own image) photography, source: Pylot! Magaizine launch party (2017)


Appendix 1

Finery Research Questions: Hannah Roche (PR Manager) AB:Have you considered having a physical space in addition to the Finery website? If not, why not? HR:When we launched in February 2015 we hosted a pop up shop on Monmouth Street, the concept was a ‘Fitting Room’ - we had one of every style in every size and the purpose of the space was for customers to get to know the brand, feel the quality of the fabrics and see how well the garments fitted. This was great and in the future it would be good to do more of these. At the moment we are in John Lewis stores across the country and we find having this physical presence really helps and allows customers to see the clothes before they commit to buying. AB:Would you consider the website’s functionality as an important part of a potential physical space? HR: As with our first physical pop up space I think the concept of a physical space will always be based around the website being our flagship store - therefore the idea of trying on the garments in store but potentially ordering through iPads and having the same journey as buying online at home. AB: How do you currently focus on communication of ‘slow fashion’ through online spaces? HR: We have an area on our site called ‘chapters’ and here we like to communicate with our customer, whether this is by profiling women that we find interesting or looking into how and where our garments are made. As we don’t have a store this is a really important part of making our brand come to life and allowing people to enter our ‘Finery world’. It also means that we can explain our thoughts etc on ‘slow fashion’ with interesting content and interviews. AB: Do you think using an experiential environment could enhance your values and ethos of ‘slow fashion’? HR: It could definitely help to bring values to life and explain brand ethics if done in the right way - we would like to educate people but in a fun way that suits the brand. AB: How do you create personal connections and build a rapport with customers through the online space? HR: As above - the chapters page really helps us to communicate all of our brand messages. We like to profile not only women we find interesting but also team members so that customers can see who is behind the brand. We want to show we are a tight knit team and not a big corporate environment, there is a lot of love and attention that goes into each garment and we want to show that through our content.


Appendix 2

The act of browsing, a fundamental part of discovery in bricks-and-mortar stores, has been given a new lease of life online by innovative brands taking a more imaginative approach to e-commerce. To mark the launch of its autumn/winter 2015 collection, Finery invites customers to choose between a series of either-or images to determine which garment best suits their frame of mind.


Appendix 3

Brand: Finery

Contemporary British brand Finery London, brand directed by Caren Downie, was launched as a label focused on design quality and authenticity without designer price points. Owing to Downie’s experience at ASOS and Topshop, Finery incorporates feminine and vintage design with a modern and quirky edge. They aim to be authentic and to connect with their audience, as ‘‘What differentiates Finery London is the team’s genuine love for clothes...’’. This statement is universally relatable among many women, who are therefore likely resonate with Finery’s brand values. The fouunders are also aware that‘‘A good business model relies on customer loyatly..’’. Whilst a lot of care is taken in the creation and execution of their products, I felt that the brand benefit from a physical presence. Particularly as Finery is attuned to the slow fashion movement, they would likely exist welll in a physical environment, which encourages time spent with the brand, as opposed to an instantaneous digital-only relationship. As identified, the brand needs to maintain customer loyalty; something which resonates with millenials and their desire for participation and community. In terms of their target market, the founders imagined the brand to be for women in their 30’s who had outgrown high-street fashion, but actually their main consumer is in their late 30s to 40s. Despite this age range being the brand’s most prominent audience, they actually have customers from 17-70. Whilst 30-40 year old women are already familiar with the brand, I would like to focus on millenials, particularly as my interviews with millenials showed they were unfamiliar with the brand, despite appreciating their competitors such as Cos and &OtherStories.

Brand Onion Appendix 4

Invests in idea of ‘Forever’ pieces Female focused Made with love Designed to re-inspire Unique Accessible Quality

Contemporary Beautiful Sophisticated Feminine Inspiring

Carefully considered Detail driven Innovative A sense of fun Antithesis of fast fashion Designing pieces to treasure


Positioning Map Appendix 5
















BOTH 111

Appendix 6

Anja Cronberg Interview (February, 2017) Questions asked about the following: -Slowness and third spaces -Communication of slowness and how to encourage people stay in a space -Incorporation of retail -How to communicate brand values


-Create a community and a lifestyle concept around the brand (like The Gentlewoman) -Art Foundation x Brand -Immersive theatre: Punch Drunk, Reuben Feels, Secret Cinema -Keeps momentum going to split the 5 ‘moods’ into a series of events in different spaces in London (attracts different audiences) -Captivated audience-you’ve given a time frame -Creates memories and prompts word of mouth sharing -Create a type of community we can relate to; ‘slumber party concept’ -Free gift system



Final Major Project- AUDIT  
Final Major Project- AUDIT