Trend and Forecasting Package for Komodo

F109

F2.5

Trend Forecasting Package: Spring Summer 2021 Amy-Louise Jones

Contents Page

F2.10

Amy-Louise Jones Fashion Marketing Student ID: 201229560 Word Count: 2496

An overview of the new lifestyle: The Hyper Environmentally Conscious Consumer

Page 4

Consumer Moodboard

Pages 6 , 7

Consumer Profile

Pages 8, 9

Consumer day in the life

Pages 10, 11

Brand Moodboard

Pages 12, 13

Brand Profile

Pages 14, 15

Brand Onion

Page 16

Brand Positioning Map

Page 17

SWOT Analysis

Page 19

Overview of trend concept and evidence of why it is right for the brand

Page 21

Mood

Pages 22, 23

Colour

Pages 22, 24, 25

Yarns and Fabrics

Pages 26, 27

Key Silhouettes

Pages 28-39

Retail and Experimental aspects to be considered for the brand and trend

Pages 40-44

Appendices

Pages 44-53

Reference List

Pages 54-55

Figure List

Pages 56-64

F1

An overview of the new lifestyle:

The Hyper-Environmentally Conscious Consumer The Hyper-Environmentally Conscious Consumer highly values the environment and tailors their consumption habits to minimise their negative impact. They do this through a variety of measures from shopping zero-waste products, following a plant-based diet, recycling as well as taking part in climate activism. This consumer was born as a result of rising awareness of the negative environmental impacts of consumption, which consequently caused a major shift in their behaviour. Peet (2018) highlighted that there is rise in wealth within society; this combined with the fact that “climate engagement tends to increase with education and income” (Happer, 2019), suggests that there is a greater level of understanding of the effects of climate change across society. Consumers are more aware of the negative impact of fashion consumption; it accounts for 20-35% of micro plastic in the oceans (BOF and McKinsey and Company, 2020).

It is important to recognise that climate change is not a new concept; it has been around for many years, however there is now increased accuracy of scientific predictions regarding the speed of human impact (PwC 2015-2020). Consumers changing motivations are driven by physical drivers including the understanding that the Earth’s resources are finite and demand for them is straining Earth’s capacity (PwC, 2015-2020). These physical factors have led to societal drivers such as David Attenborough and Greta Thunberg to vocalise the climate crisis across media platforms.

As a result of this consumers are demanding a transformation of the fashion industry; with this demand coming from the younger demographic (BOF and McKinsey and Company, 2020). Greta Thunberg is particularly influential with Generation Z, spearheading the youth activism of this era (Rijs, 2019). This current activism against the dangers of climate change is classified as an “age of dissent” (Okolosie et al. 2016, cited in O’Brian et al.

2018). The digital innovations of our era have helped to spread this trend from the early innovators to the rest of society.

4

F2

5

Consumer Moodboard F1.2

F1.1 F1.7

F1.3

F1.4

F1.5 F1.10

F1.9

F1.6 F1.12

F1.11

6

F1.8

F10

F1.13

F1.14

F1.15

F1.16

7

Consumer Profile Demographics

Psychographics

-Female

-Passionate about sustainability

-Age 18-24 years old, the older Generation Z and the youngest Millenial consumers -This age range is the most common consumer group to be aligned with environmental activism -Unique consumer group with deepset social and environmental beliefs (Rijs, 2019) -Student -Price conscious -Single

Behavioural

Geographical

-Invests in sustainable products -Lives an urban lifestyle -Uses zero-waste products -Conscious about their -City-based own environmental -Takes part in climate change impact activism -United Kingdom -Like to remain up to date in Climate Crisis news

-Follows Extinction Rebellion

-Leads an active life by walking and going to the gym

Tries to buy second hand where possible, either through Depop or charity shops

-Values friends and family

-Recycles and reuses wherever possible

-Enjoys partying and clubbing

-Uses biodegradable food wax made out of beeswax

-Has a part-time job at sustainable company, such -Enjoys socialisng with as Lush, in order to be able to friends and enjoying afford higher priced sustainable student life products

-Loves to travel and has visited many countries

F5

Spending habits

-Food, invests in vegetarian products and vegan meat alternatives, such as Greggs vegan steak bakes and sausge rolls.

-Bus pass in order to travel around the city.

-Fashion as she likes to keep up with the latest trends, but in the most responsible way possible. She tries to source exciting items from thrift shops.

How does she shop for clothes?

- Charity shops and Depop in order to minimise environmental strain.

-Sustainably where possible, however finds this less accessible to her student budget and less fashion forward than she would like, so sometimes shops at high street brands too.

- Browses Monki, Lucy and Yak, Levis, ASOS and Urban Outfitters.

WEEKDAY, Tala, Patagonia, Stella McCartney, House of Sunny and Bottle Top

Inspires to shop for clothes at Follows

8 F3

F4

F6

Lucy and Yak blog, Grace Beverly Instagram, Water Thru Skin Blog, Tank Magazine

9

F17

Consumer day in the life:

- Catches up with coursework - Exercises at gym or does a class - Works at part- time job with Lush

F8 F7

F19

F10 - Wakes up - Healthy breakfast - Scrolls through Instagram

1pm- 6pm

F21

F9

F18

8.00am

6pm- 8pm F20 -Gets home and catches up with housemates - Makes a vegetarian dinner - Socialises with friends

F11 - Walks to university or work - Attends lectures/ work - Grabs coffee with friends

F12 F13 8.30am12pm

- Relaxes by watching Netflix - Goes out for drinks - Parties with friends (at the weekend)

F14 F15 - Eats lunch with friends

12pm1pm

10

F22

F25

F23

F24

8pm- 2am

F16 This is a typical day in the life for my consumer on a weekday. At the weekend it is very similar, however wth a later start to the day as she likes to lie in after a busy 11 week.

Brand Moodboard: Komodo

F2.4

F2.1

F2.6

12

F2.5

F2.3

F2.2

F2.7

F2.8

F2.9

F2.10

13

Brand Profile Komodo class themselves as the “original ethical brand since 1988� (Komodo, 2020) and strongly believe the that consumer should be able to look good whilst still preserving the environment (Komodo, 2020). Komodo have a wide product mix for both men and women, however arguably their main demographic are women aged 25-35 years old due to the classic colours and styles of the garments. The colour scheme of neutrals and navy with subtle hints of bright colours suits this generation and the loose fitting classic shapes of the clothing are in keeping with this demographic. The clothing is mid to high level pricing which matches the budget of the professional working woman. Their product mix also includes sustainable accessories such as organic socks and reusable flasks and bottles (Komodo, 2020). Komodo mainly retail through e-commerce or through stockists located globally; they do not have their own stores (Komodo, 2020).

F28

Komodo use ECO fibres, organic, natural and GOT certified textiles in order to limit their negative environmental impact (Komodo, 2020). The GOT certification defines that no harmful chemicals are used in their products (Global Standard, 2016). Komodo have embraced new innovations such a recycled PET materials and all their products are cruelty free and many are vegan (Komodo, 2020). They are also in the process of using zero plastic in their supply chain (Komodo, 2020).

Komodo are involved in global projects through their participation in 1% for the planet, where they support Sumatran Orangutan Society with their goals to help restore ecosystems and rainforests through purchasing palm oil plantations and restoring the rainforest to provide shelter for the orangutans (Komodo, 2020). This supportive stance stands Komodo apart from competition such as People Tree and Reformation.

14

F26

F27 F29

15

Brand Onion ACTIONS AND BEHAVIOURS Komodo is committed to ensure that their garment workers are in a safe environment with a fair wage (Komodo, 2020)

Website recommends complimenting items to match the selected garment PERSONALITY Sophisticated

g

rin Ca

Brand Positioning Map

Enables consumers the confidence knowing they are wearing an ethically produced garment High quality materials which echo the sophistication of the brand Stylish

FASHION FORWARD AND TRENDY Urban Outfitters

Nobody’s Child Reformation

Pretty Little Thing

VALUES

Misguided

Supporting communities and animal sanctuaries

SUSTAINABLE

Sophistication ESSENCE

Honesty

Minimising environmental impact

Activism

Komodo

Classic prints and styles

Sustainability

Minimalistic

TOPSHOP

NOT SUSTAINABLE

H&M Considered

Transparency

Family

Monki

Zara

Next

People Tree

Marks and Spencer’s CLASSIC AND SOPHISTICATED

Ethics Recycling

Strong relationship with partners in Kathmandu and Java (Komodo, 2020) Supports Sunrise Orphange in Kathmandu (Komodo, 2020)

Effortlessly fashionable

Re

lc

ra ut

ur

o ol

s

ot

l s-

c

e

N

Involved in various important projects across the globe including Wateraid,Tibetan Relief Fund and Sumatran Organutan Society (Komodo, 2020) Komodo, 2020

16 F30

Diagram: Posner, 2015

ible

ns spo

of

Diagram: Posner, 2015

m

a re

17

F31

SWOT Analysis Strengths:

Weaknesses:

- Well established sustainable brand - Respected - Eco-friendly materials - Many products are vegan - Materials are GOTS certified - Part of 1% for the planet movement - Classy, sophisticated clothing (Komodo, 2020)

- Arguably not as well known as competitors such as People Tree (see Appendix 1I) - Doesn’t have the strongest social media presence - Expensive due to the high quality ethical materials - Classic styles rather than fashion forward - Arguably plain and simple clothing

Opportunities:

Threats:

- All products could be vegan - Product range could be expanded to appeal to younger demographic, arguably the most aligned to climate activism - Targeting the youth demographic could help to increase Komodo’s social media presence - Could diversify use of patterns in order to be be more fashion forward - Could experiment with more interesting and aesthetic materials - Could invest in new innovative sustainable materials

- Sustainable fashion market is growing, Komodo must remain on trend to retain competitive edge - It is a challenge to appeal to the growing demand from younger demographic, especially whilst retaining the older loyal customers - Emerging small ethical brands are gaining exposure in the market place

Table: Posner, 2015

18 F32

19

Overview of trend concept The Hyper Environmentally-Conscious Consumer primarily constitutes of Generation Z (aged 18-24), with this younger generation being the most active and aware of climate change. It was important to choose a sustainable brand into order to follow this trend; Komodo clearly shares the same ethos as this consumer.

Primary research (see Appendix 1) has highlighted that there is a clear gap in the market for fashion forward sustainable clothing targeted at the youth demographic. 28% of the 50 questionnaire participants identified that the style of sustainable clothing was a deterrent in buying (see Appendix 1K). This range needs to be fashion forward and exciting to compete with brands such as Urban Outfitters and ASOS, which were highlighted as two of the most popular places where this demographic shops (see Appenidx 1G). The capsule aims to break the negative stigma attached to sustainable clothes and create sustainable pieces that are on trend to appeal to young adults that want to express themselves through fashion but also help to protect our planet.

Tidal is a new range from Komodo, designed with the younger generation environmental activists at heart. The name Tidal has connotations of the sea, which encapsulates the collections aim to celebrate the beauty of our environment and minimise our impact by using sustainable materials. It will include items that suit Komodo’s neutral aesthetic, however with a modern and updated twist to appeal to the younger demographic.

Tidal 20

21 F33

F35

Tidal Colour Palette

F34 F37

Tidal

F36

F38

F40

- Echoes the colours and tranquillity of the sea, in an urge to encourage others to protect it - Signifies the new wave of consumers that will become part of Komodo and help make a change to fashion consumption - Encapsulates the student movement against climate change

F39

F41

23

Colour Story: Sand

F42

F43

Recognising that consumers are growing in confidence to wear new colours, it was important for these brights to be included to appeal to the fashion conscious consumer as they encompass the digital and futuristic realms of society’s digital sphere (Boddy and Tebbutt, 2019). Navy is key in Komodo’s colour palette and compliments the other colours in this collection.

F44

F52

F53

F54

F45 F47

F46

F49

F50

F48

F57

F59

F60

F58

F55

F51

Tidal has two key harmonious colour stories. The first is colour inspired by sand in washed tones and neutral hues in character with the minimalistic and natural dyeing trend of 2021 (Boddy and Tebbutt, 2019). This works well with the already very neutral palette of Komodo, with an emphasis on creams and muted browns; paying tribute to the earth’s natural resources (Boddy and Tebbutt, 2019). These colours seamlessly link to the following green and blue hues which also echo the tranquillity of our natural world.

24

F56

F61

Colour Story: Ocean 25

F62

F66

Yarns and Fabric To remain consistent with the Komodo brand, the yarns and fabrics in this range must be ethical and minimise environmental impact. All fabrics will have a good drape and most will be loose fitting in style in order to preserve the classic fits from Komodo’s main collection.

The collection follows a new focus on minimalism with neutral colours and responsibility, evident at Pitti Filat SS21 which emphasised the importance of using botanical dyes where possible (Barnes and Palmer, 2020); these dyes will be used to create the bright pops of colour in Tidal.

F63

Komodo already utilises bamboo, linen and organic cotton in their clothing and this will be continued due to their high quality finishes and environmental alleviation. Bamboo is one of the most sustainable fibres due its fast growing properties and impressive yield (Komodo, 2020). Komodo (2020) highlighted that bamboo is soft and luxurious which makes it the perfect material to continue through to this collection’s t-shirts. This collection will also continue to use organic cotton, which will be GOTS certified to eliminate the use of pesticides in its production. Organic cotton will be used in different compositions, from a twill weave for the denim jacket, a stretch jersey for the vest and a plain weave to be used in conjunction with Tencel for the joggers.

Tencel is a breathable sustainable fibre; it is biodegradable and made from renewable wood pulp and manufactured using a responsible process (Tencel, 2020). The softness and breathability of this fibre ensures it is an effective choice for the joggers (Sterbenz, 2015).

Eco Vero Organza Plain weave

26

F67

Broken twill weave organic cotton

F64

Recycled materials are important for this brand so recycled PET has been selected for the military jacket, it is a fabric that Komodo has used before, but a sateen weave has been added in order to increase the high quality appeal of the garments. Its lightweight properties combined with strength, flexibility and resistance (Specialchem, 2020), make it perfect for the jacket. Recycled polyester will also be composed as a chunky 5gg yarn knitted into a chunky sweater to appeal to the youth market.

Eco Vero is a sustainable fibre made from wood from sustainable and controlled sources; it requires significantly less energy and water than regular viscose, but it still mirrors the soft and luxurious qualities that regular viscose creates (Hendriksz, 2017). It is a very effective choice for the sheer organza shirt and slip dress in order to tap into the “Clear Ambition” sheer trend identified by WGSN (Ross, 2019b), with the transparency of the material echoing the clearness of the waters that we as society hope to restore. This will appeal to the high fashion innovators of the young Hyper-Environmentally Conscious Consumer.

Bamboo Jersey

Chunky PET Knit

F68

Tencel Slub

Tencel F65

Organic Cotton x Linen

F69

Organic Cotton Jeresy

27

F71

Key Silhouttes

F72

F73

F74

F78

F79

F82 F75 F76

F77

F80

F81

Tidal works harmoniously with existing Komodo products as consistency is vital to brand image (Arruda, 2016). It is the perfect bridge from Komodo’s classic pieces to the youth market, keeping the main core aesthetics of neutral and classic loose fitting shapes but energising it with a few key pieces to attract the younger consumer. In order to ensure that this new collection still appeals to the original consumer, the bright pieces always have a neutral colour option to ensure the collection is accessible.

Tidal experiments with a range of different textures in order to ensure it is fashion forward and engaging including sheer organza, denim and slub textures.

28 F70

29

Asymmetric Tracksuit

F85

F87

Wide-leg Loose Trousers

F88

F83 Comfort will appeal to young demographic and student

Athleisure inspired drawstring and side panels, echoing the #newprep trend and highlights streetwear influence (Casey, 2019a).

F72

F89

Updated Komodo’s current stripe patterning with #Stripeddye (Aitken and Watkins, 2019) to appeal to the fashion forward target demographic.

F77

F84

F86

Trend

Stripe dye (Aitken and Watkins, 2019)

Composition

40% Linen 60% Organic Cotton

Construction

Plain weave

F75

30

Trend

Athleisure

Composition

100% Tencel

Construction

Plain weave

31

Utility Joggers

F90

Utility Jacket

F92

F91 F93

Soft utility trend is evident in the military style, modernised with obvious zips and cords to add depth (Ross, 2019c)

F76

F73

Trend

Soft Utilitarian (Ross, 2019b)

Composition

100% recycled PET

Construction

Slub sateen weave

Trend

Soft Utilitarian (Ross, 2019b)

Composition

80% Tencel 20% Organic Cotton

Construction

Slub weave

Slub textures and relaxed loose silhouettes are important for minimalistic trends (Ross, 2019c).

F94

32

33

F97

Boxy Sheer Shirt

F95

F96

Inspired by WGSN trend Liquid Layers, with an emphasis on merging digital colours into our physcial world (Ross, 2019d).

Updates Komodo’s shirts with sheer EcoVero

F78

Trend Composition

Clear Ambition (Ross, 2019b) 100% Eco Vero Organza

Construction

Plain weave

Chunky Knit Sweater

F98

F99

F80

Trend Composition

Soft Minimalism (Barnes, 2020) 100% recycled PET

Construction

Knitted 5gg yarn

F100

Navy blue coincides with Komodos colour scheme as well as providing a more youthful spin on this trend.

Comfort will appeal to both demographics

34

35

Drop Hem Bamboo Tee Feminine Bra Vest

F101

Contemporary bodice with a feminine twist following #newfemininity trend (Casey, 2019a) Updates the vests already available on Komodo with a youthful spin with the draped twisted details

F74

36

F102

Trend Composition

New femininity (Casey, 2019a) 100% Organic Cotton

Construction

Stretch Jersey

Vest is full length to ensure modesty for Komodo’s original demographic

F81

Trend Composition

Essential Basic 100% Bamboo

Construction

Plain Weave

Revisited the basic bamboo tee already available on Komodo by adding drop hem detailing and raw seams (Casey, 2019b); this provides a youthful update.

37

F106

Sheer Midi Dress

Oversized Denim Jacket F79

F107

Back details are important for SS21 (Ross, 2019a). This criss-cross back detail will appeal to youth market, yet it is discreetly located at the back of the garment so if the original consumer is not comfortable with this level of skin showing it could be easily concealed with layers

Dropped shoulders and oversized sleeves create volume and interest (Trotman, 2019)

Youthful editon to this capsule to ensure popularity with Generation Z.

Trend Composition

Youth Street Style 100% Organic Cotton

Construction

Broken twill weave

Minimalistic neckline in order to remain modest for the original Komodo demographic F82

Trend Composition Construction

F104

38

F103

F105

Clear Ambition (Ross, 2019b) 98% Eco Vero Organza 2% Recycled Spandex Plain Weave

1990s futuristic update of the slip dress will appeal to the youth demographic ( Ross, 2019b)

F108

39

Retail Suggestions Komodo is a well-established brand with the older demographic, however further branding and advertising is needed to promote this range to this new target market of 18-24 yearolds. Primary research identified that only 14% of the 50 questionnaire participants had heard of the Komodo fashion brand (see Appendix 1J). It needs further promotion to stand out amongst competitors such as People Tree and Lucy and Yak which were the most wellknown sustainable brands according to this research (see Appendix 1I). The aim of the campaign is to inform consumers that Komodo now offer sustainable clothes for the youth demographic, as well increase exposure for the sustainable brand.

Consumers under the age of 30, are the most likely to shop online (Rosy and Helen, 2018).

This increases the importance for Komodo to have a strong online presence to appeal to these consumers. This also works well for Komodo as they mainly sell to consumers through e-commerce. Generation Z are the most active demographic on social media (World Economic Forum, 2020), so Komodo must have a prominent voice in order to compete with a crowded market and attract new consumers. This is also important as 78% of the primary research participants sometimes or always buy from brands they see on Instagram (see Appendix 1C). Within social media there has been an important shift away from digital brand aesthetic towards consumers favouring authenticity and brand values; social media has become as place of social activism (Kolatsis, 2019). This collection will be launched with multiple social media posts with the hashtag: #tidalchange. This enables Komodo to highlight its activist stance and stand out amongst less active competitors. The hashtag builds a sense of community in the fact that Komodo is highlighting they are fighting alongside their consumers for the same environmental goal. Through the campaign, consumers will be encouraged to post photos of their Komodo clothing on Instagram with this hashtag thereby increasing brand exposure. In regard to the AIDA model, the powerful and intriguing hashtag would attract attention and stimulate interest from the consumer, which would translate to their desire for more information through the seamless link from the Instagram platform to the Komodo website (Cope and Maloney, 2016).

Original Ethical Fashion Brand since 1988

100% Organic Cotton 30Âş Machine Eco- Wash

Join the #TidalChange

Please plant me! I am 100% plantable paper

F109 F110

F111

The rise in digital consumption has led to brands having to be proactive and engage with customers on a digital level (Mintel Group Ltd, 2020). Komodo will respond to this through the application of a QR code on the label, which when the consumer scans the code with their smart phone it unlocks an app with the latest news and events on the climate crisis.

It would include the latest updates in the sustainable fashion sector, the latest global agreements as well as Extinction Rebellion strikes. This works very effectively with Komodo’s activist stance and would help facilitate change and gather interest in the climate movement.

The packaging of these products will be biodegradable in order to remain consistent with the brands sustainability goals. In order to compete in the market, the labels from this tidal collection will be made of 100% plantable paper, like Tala, a new sustainable activewear brand (Tala, 2020). The consumers can grow their own plant to help to give back to the planet after their purchase. These labels will also include Climate Neutral Certified labelling; as it is now more crucial than ever for brands to communicate their eco-message and engage their consumers to educate them on sustainability (Pierre-Davis, 2020). This will enable Komodo to raise awareness of their CarbonNeutral status (Komodo, 2020).

40

F116 F114

F112, F113

F115

41

F117

F121

F120

F119

42

F118

#TidalChange

Appendices 1D

Appendix 1: Primary Research Questionnaire This questionnaire was submitted digitally to social media sites and received 50 responses. It is important to recognise that this is a small sample from the sector, so cannot be seen as fully representative. It does however provide a useful insight into these consumers and their sustainability habits which helped consolidate evidence for the need for the Tidal range.

F125. This Study, 2020 1A

1E

F122. This Study, 2020

1b F126. This Study, 2020

F123. This Study, 2020

1F

1C

F127. This Study, 2020

44

F124. This Study, 2020

45

This is a selection of some of the answers to this question. The most common stores included: ASOS, TOPSHOP, Urban Outfitters, Zara, Monki, Pretty Little Thing and H&M. These are all fast fashion stores.

1G

1I

F128. This Study, 2020 F130. This Study, 2020

This screenshot shows a selection answers for this question. Many consumers highlighted that they were not aware of sustainable fashion. The most well known brands are People Tree, Lucy and Yak, TALA and Stella McCartney.

The previous screenshot showed a selection of answers to the prior question. There is some awareness of sustainable fashion through terms such as eco and green but clearly some confusion regarding sustainable fashion, with some consumers answering that they didnt know what it was. In terms of aesthetics, most consumers answered with “beige”, “boring”, “plain” or “classic”.

1H

1J

F129. This Study, 2020

F131. This Study, 2020

46

47

1K

Week 15 This screenshot highlights the results from the participants highlighting the main reasons they do not purchase sustainable fashion.

F132. This Study, 2020

Appendix 2: Reflect and Action Log

Feedback and reflection: Wins, challenges, fails….

Your Actions: What are you going to do next?

How do you respond the issues from the past week?

I have decided on my brand for the project: Komodo.

I will continue to solidify my understanding of the brand and create a customer and brand profile.

In order to get to this decision I looked through the website of Komodo, People Tree and Lucy and Yak. I decided against Lucy and Yak immediately as I am using them for a different project in a different module. I thought that People Tree could be a possibility however I decided the aesthetic was too different from my target demographic. Although Komodo is targeting an older demographic I believe they are slightly more fashion forward than People Tree so could more naturally be altered to fit the younger demographic.

Week 14 Feedback and reflection: Wins, challenges, fails….

Your Actions: What are you going to do next?

How do you respond the issues from the past week?

I created a consumer profile on housemate (Niamh Heron).

Came up with main concept after conversations with Niamh highlighted that sustainable clothes aren’t often available in her style and seen as fashion forward to her demographic. I spotted a gap in the market for sustainable clothes which are fashionable and targeted to Generation Z and Millennials.

I will finalise a brand to work with over the weekend by researching into the innovators for my lifestyle trend to get a better idea of budget, so that I can choose a brand that would suit them perfectly.

Started to think about what brands would be suitable to take forward for my lifestyle trend and made a list.

The current sustainable brands are expensive for my target consumer so i will have to consider this when making my decisions.

48

Week 16 Feedback and reflection: Wins, challenges, fails….

Your Actions: What are you going to do next?

How do you respond the issues from the past week?

I created a consumer profile and a typical day in the life for my consumer group. I have gathered information about the background of the company, into the fabrics they use and when they were founded.

I will lay out these pages on InDesign.

Week 17 Feedback and reflection: Wins, challenges, fails….

Your Actions: What are you going to do next?

How do you respond the issues from the past week?

Gathered some images for the mood boards, however they didn’t save correctly so I have started to recreate them. I also had a very busy week so did not get as much done as I hoped, so will have to work harder over the weekend to get back on track.

Finish the mood boards for the brand and the consumer, including all references.

Start to gather information about colours for SS 2021 using resources such as WGSN.

49

Week 19/ 20

Week 18 Feedback and reflection: Wins, challenges, fails….

Your Actions: What are you going to do next?

How do you respond the issues from the past week?

This week I decided on two main colour storiesNeutrals and Bright’s. The neutral colours were chosen in order to remain consistent with Komodo’s colour scheme a well as to follow WGSN trends of minimalism and natural colours and dyes for sustainability. The bright colours are to appeal to the younger fashion forward demographic and to abide to WGSN trends in line with the rise in digitalisation. I gathered images and facts about each of these colour stories.

Identify yarns and fabrics that would be suitable for my range by looking at sources such as WGSN and Premier Vision.

Prepare for presentation and practice recording myself speaks to check I can cover all with a 20 second a slide structure for a total of five minutes.

Week 19

50

Your Actions: What are you going to do next?

How do you respond the issues from the past week?

I reviewed my work so far and realised that I needed more evidence behind my capsule idea. I needed more information from the target demographic highlighting a need for the clothes to be targeted at the youth age group. In order to do this I created a questionnaire on Google Forms and posted it on Facebook.

I will create a diagram showcasing my results and verbalise these findings in the report.

I finalised on some fabric choices of Organic Cotton, Tencel, PET recycled polyester and Eco-Vero. I then researched the properties and possible weave or knit compositions The questionnaire received 50 responses in a week which I was happy with, however it is important to remember that this is not enough to be representative of the whole sector. In order to improve this I could have posted on more online platforms. Or directly emailed the questionnaire to members of the class (with full permission and consent).

This week I also arranged my previous research into PowerPoint slides. I ensured that the slides were very visual with minimal text.

Feedback and reflection: Wins, challenges, fails….

Your Actions: What are you going to do next?

How do you respond the issues from the past week?

Presentation week! I was very nervous beforehand as I struggle with confidence when public speaking, however I think it went well.

I had positive feedback from Claire which highlighted that I delivered well and that she liked my idea of the range targeting a young demographic, which gave me a boost of confidence and enhanced my excitement for this project.

I am going to take Claire’s advice on board and refine my colour stories. I will create a colour mood board as previously I had just grouped together images, I need a mood board in order to arrange the colours in an aesthetic way and to ensure that they work in harmony together.

Feedback from my work shown in the presentation included: - Think more carefully and refine colour stories to ensure they are perfect - Think about how the fabric will look/ behave rather than just what it is made from - Claire mentioned that it could be a challenge to include the classic shapes to appeal to Komodo’s original target market but also appeal to the new young age range so this will require careful thinking

Feedback and reflection: Wins, challenges, fails….

I am also going to continue researching into fabrics and to improve my understanding of how certain fabrics look and behave.

I decided to start think about silhouettes in order to keep up with the teaching. I spent many hours on the WGSN website exploring all the different silhouette trends for Spring Summer 2021. I found it incredibly exciting having access to all the information however it was slightly overwhelming having all the criteria to fit: Komodo’s aesthetic, the young target demographic, the need to ensure that they work together as a range as well as follow current industry trends. I decided on 9 pieces. I decided to hand-draw some of the silhouettes in order to gain a visual understanding of how the shapes and styles will work in unison as a range. I found this really helpful. I have attached an image of this below.

I need to finalise the percentages of my fabric choices in order to more accurately predict the trend and how the garment will look and feel.

I need to present the results of the questionnaire in the appendix. I will decide how to include relevant information in the main body of the text.

I will conduct further research into fabric compositions so that I can finalise fabric percentages. I will look at similar products for guidance of the correct fabric ratios and come to an evidenced decision.

I will also continue to arrange my InDesign pages in an aesthetic and appealing way. I will start to arrange silhouettes as well.

I will start making notes on possible silhouettes that could be adapted for both an older demographic and young Millennials.

51

Week 21

Week 23

Feedback and reflection: Wins, challenges, fails….

Your Actions: What are you going to do next?

How do you respond the issues from the past week?

Feedback and reflection: Wins, challenges, fails….

Your Actions: What are you going to do next?

How do you respond the issues from the past week?

Coronavirus hit and lockdown shortly commenced!

I am going to rest and get better so I can get back to studying ASAP.

I will check over work again and submit!

I revisited my silhouettes and added a dress and a jacket as I decided that Komodo needed these key pieces. I then arranged this onto the silhouettes page.

When I am feeling better I will work on the visual layout of my silhouettes and add colour options. I will start to refine my writing as I am over the word count.

This week I made the final touches to my assignment! I finished the layout, added figures and references and contents page.

I struggled to concentrate this week, it was a mentally challenging time with uncertainties as to whether I should travel home or remain in Leeds. I decided it was best to travel home, and didn’t do work for a few days whilst I adjusted.

I will finish cutting down words until it is under 2000 words.

I fell ill a few days after getting back home which prevented me from getting on with my work.

Week 22 Feedback and reflection: Wins, challenges, fails….

Your Actions: What are you going to do next?

How do you respond the issues from the past week?

Still ill so found it difficult to concentrate again this week, however I spent some time refining I will respond to feedback from Claire¬ and adapt the word count and arranging information my retail suggestions accordingly. I will finish visually in tables to save words. This helped to cutting down words until it is under 2000 words. make my writing more concise and I managed to fit my work into the 2000 word count.

I also made some notes on possible retail suggestions and emailed Claire for feedback as I struggled to understand this concept without lectures due to the COVID-19 situation.

52

I really enjoyed this project. I loved the opportunity to be creative and it was a nice change from other The word count was increased to 2500 so I used modules. It was the most creative we have been these extra words to add annotations to my ‘Day asked to be on the course so far and I loved it. It in the Life’ pages and to improve my silhouette gave me a great insight into fashion forecasting, sections by adding more specific details to the and I believe I am better prepared now to go garments. into industry understanding the decision making behind brand decisions. I found it very relevant to my dream aspiration to be a buyer.

This project was not without challenges. Not to mention COVID-19 and working at home and being ill, the content of the work pushed me outside of my comfort zone. I also found it difficult to juggle my time with the heightened work load this semester. In particular this work was challenging as it involved so many decisions from deciding what items to include in the range, the fabrics and colour choices as well as what pieces of information were relevant to include in the main text and what could be shortened in order to fit with the word count and to keep the document concise. I think I have created a good piece of forecasting work to a high standard. I have worked really hard on it and am very proud of what I gave achieved.

To improve on the project I would have liked to used resources such as LSN, however due to lockdown there was a large delay in receiving these resources. I would have consulted resources from the library, which would have increased the range of information in this package.

I also live in a very rural area so the range of articles/ resources my wifi can pick up is limited.

53

Reference List Aitken, A. and Watkins, H. 2019. Prints & Graphics: Core Updates S/S 21 – Womenswear. [Online]. [Date accessed 08/04/2020]. Available from: https://www.wgsn.com/content/board_viewer/#/85557/page/6

Peet, J. 2018. The richest people in the Uk have increased their wealth by 183% in 10 years. [Online]. [Date accessed 10/05/2020]. Available from: https://www.thelondoneconomic.com/news/the-richest-people-in-the-ukhave-increased-their-wealth-by-183-in-10-years/23/10/

Arruda, W. 2016. Why consistency is the key to successful branding. [Online]. [Date accessed 04/04/2020].

Available from: https://www.forbes.com/sites/williamarruda/2016/12/13/why-consistency-is-the-key-to-successful-branding/#5ddb37bb7bbd

Pierre- Davis, B. 2020. Sustainability Bulletin: April 2020. [Online]. [Date accessed 18/04/2020]. Available from: https://www.wgsn.com/content/board_viewer/#/86519/page/4

Barnes, O. 2020. Soft Minimalism: Design Capsule S/S 21. [Online]. [Date accessed14/04/2020]. Available from: https://www.wgsn.com/content/board_viewer/#/86093/page/5

Posner, H. 2015. Marketing Fashion. 2nd Edition. London: Lawrence King Publishing

Barnes, O and Palmer, H, 2020. Pitti Filati S/S 21. [Online]. [Date accessed 14/04/2020]. Available from: https:// www.wgsn.com/content/board_viewer/#/86113/page/1 Boddy, J. and Tebbutt, L. 2019. Global Colour S/S 21. [online]. [Date accessed 22/02/2020]. Available fromhttps://www.wgsn.com/content/board_viewer/#/83155/page/5 BOF and McKinsey and Company. 2020. The Year Ahead: Sustainability Takes Centre Stage. [Online]. [Date accessed 02/04/2020]. https://www.businessoffashion.com/articles/intelligence/the-year-ahead-sustainability-takes-centre-stage Casey, C. 2019a. Cut and Sew: Key Fashion Items S/S 21/. [Online]. [Date accessed 12/04/2020]. Available from: https://www.wgsn.com/content/board_viewer/#/85549/page/1 Casey, C. 2019b. Cut and Sew: Core Item Updates S/S 21/. [Online]. [Date accessed 12/04/2020]. Available from: https://www.wgsn.com/content/board_viewer/#/85522/page/6 Cope, J. and Maloney, D. 2016. Fashion Promotion in Practice. London: Bloomsbury Publishing Plc. Global Standard. 2016. General Description. [Online]. [Date accessed 10/04/2020]. Available from: https:// www.global-standard.org/the-standard/general-description.html Happer, C. 2019. Climate Change it too middle class- here’s how to fix that. [Online]. [Date accessed 31/03/2020} . Available from: http://theconversation.com/climate-change-is-too-middle-class-heres-how-to-fixthat-123231 Hendriksz, V. 2017. Sustainable Textiles Innovations: EcoVero, an alternative to viscose. [Online]. [Date accessed 15/04/2020]. Available from: https://fashionunited.uk/news/fashion/sustainable-textile-innovations-ecovero-an-alternative-to-viscose/2017120527136 Kolatsis, A. 2019. The future of social media is changing and it is all thanks to Generation Z. [Online]. [Date accessed 17/04/2020]. Available from: https://www.thedrum.com/opinion/2019/12/12/the-future-social-mediachanging-and-it-s-all-thanks-generation-z

PwC. 2015-2020. Climate change and resource scarcity. [Online]. [Date accessed 02/02/2020]. Available from: https://www.pwc.co.uk/issues/megatrends/climate-change-and-resource-scarcity.html Rijs, M. 2019. Fast Fashion, Sustainability and Gen Z.[Online]. [Accessed 02/04/2020]. Available from:https:// www.warc.com/newsandopinion/opinion/fast_fashion_sustainability_and_genz/3231 Ross, A. 2019a. Dresses: Core Item Updates S/S 21. [Online]. [Date accessed 30/04/2020]. Available from: https://www.wgsn.com/content/board_viewer/#/85429/page/4 Ross, A. 2019b. Women’s Style Trend Concepts S/S 21: TransForm. [Online]. [Date accessed 08/04/2020]. Available from: https://www.wgsn.com/content/board_viewer/#/84319/page/9 Ross, A. 2019c. Women’s Style Trend Concepts S/S 21: HomeSpun. [Online]. [Date accessed 08/04/2020]. Available from: https://www.wgsn.com/content/board_viewer/#/84305/page/19 Ross, A. 2019d. Women’s Style Trend Concepts S/S 21: GameScape. [Online]. [Date accessed 08/04/2020].

Available from: https://www.wgsn.com/content/board_viewer/#/84323/page/12 Rosy, B. and McCormick, H. 2018. Shopping channel preference and usage motivations. Journal of Fashion Marketing and Management, 22(2), pp. 270-284.

Specialchem. 2020. Polyethylene Terephthalate (PET): A Comprehensive Review. [Online]. [Date accessed 15/04/2020]. Available from: https://omnexus.specialchem.com/selection-guide/polyethylene-terephthalate-pet-plastic Sterbenz, C. 2015. I bought a plain, white button-up made of this ‘luxury’ fabric — and now I’m hooked. [Online]. [Date accessed 15/04/2020]. Available from: https://www.businessinsider.com/how-tencel-compares-tocotton-2015-9?r=US&IR=T Tala. 2020. T/ALA. [Online]. [Date accessed 17/04/2020]. Available from: https://www.wearetala.com/ Tencel. 2020. Sustainability. [Online]. [Date accessed 15/04/2020]. Available from: https://www.tencel.com/sustainability

Komodo. 2020. About. [Online]. [Date accessed 10/02/2020]. Available from: https://www.komodo.co.uk/pages/ about

Trotman, S. 2019. Denim: Core Updates S/S 21. [Online]. [Date accessed 30/04/2020]. Available from: https:// www.wgsn.com/content/board_viewer/#/85427/page/10

Mintel Group Ltd. 2020. Omnichannel Marketing Trends 2020. [Online]. [Date accessed 20/04/2020]. Available from: https://downloads.mintel.com/private/M6Ay0/files/792189/

World Economic Forum. 2020. This graph tells us who’s using social media the most. [Online]. [Date accessed 18/04/2020]. Available from: https://www.weforum.org/agenda/2019/10/social-media-use-by-generation/

O’Brien, K., E. Selboe and B.M. Hayward. 2018. Exploring youth activism on climate change: dutiful, disruptive, and dangerous dissent. Ecology and Society. 23 (3): article no: 42 [no pagination]

55

Figure List 1.

Spratt, A. 2018. Minimal eucalyptus leaves. [Online]. [Date accessed 18/04/2020]. Available from: https:// unsplash.com/photos/hX_hf2lPpUU 2.

Rusev, C. 2019. [No title]. [Online]. [Date accessed 18/04/2020]. Available from: https://unsplash.com/ photos/mrNJrwM-NN4 3.

Spiske, M. 2019. SAVE OUR FUTURE. Global climate change strike - No Planet B -. [Online]. [Date accessed 18/04/2020]. Available from: https://unsplash.com/photos/xH8_bSnpH5Q 4.

IIves, M. 2019. [No title]. [Online]. [Date accessed 18/04/2020]. Available from: https://unsplash.com/ photos/XXRyh-ybxDs 5.

Tittel, S. 2018. Less. [Online]. [Date accessed 18/04/2020]. Available from: https://unsplash.com/photos/ ILR5ikYmXDE 6.

WaterThruSkin LLC. 2014. Sustainable Fashion List. [Online]. [Date accessed 18/04/2020]. Available from: https://www.waterthruskin.com/fashion/2019/10/3/sustainable-fashion-list-youre-welcome-lista-de-marcas-ecolgicas-de-nada 7.

Cichewicz, K. 2017. [No title]. [Online]. [Date accessed 18/04/2020]. Available from: https://unsplash. com/photos/kqDEH7M2tGk 8.

WaterThruSkin Instagram. 2020. [Online]. [Date accessed 18/04/2020]. Available from: https://www.instagram.com/p/B-dW72ugCT0/ 9.

Rendina, D. 2018. [no title]. [Online]. [Date accessed 18/04/2020]. Available from: https://unsplash.com/ photos/SH6vc3VOOwE 10.

Grace Beverly Instagram. 2020. [Online]. [Date accessed 18/04/2020]. Available from: https://www.instagram.com/p/B-9mDDyAJIf/ 11.

Rudol, R. 2019. [No title]. [Online]. [Date accessed 18/04/2020]. Available from: https://unsplash.com/ photos/KuxjNUBrf7I 12.

Dumlao, N. 2018. [No title]. [Online]. [Date accessed 18/04/2020]. Available from: https://unsplash.com/ photos/ewGMqs2tmJI 13.

Kraft, R. 2018. Coffee table with friends. [Online]. [Date accessed 18/04/2020]. Available from: https://unsplash.com/photos/ZoAlN3-pJO8 14.

Olsson, E. 2018. Lunch meal prep. [Online]. [Date accessed 18/04/2020]. Available from: https://unsplash. com/photos/sosOqjx31Go 15.

Greggs. [No Date]. Vegan Sausage roll. [Online]. [Date accessed 18/04/2020]. Available from: https://www. thesun.co.uk/money/8101085/greggs-vegan-sausage-roll-2/ 16.

Brown, A. 2016. Young people in conversation. [Online]. [Date accessed 18/04/2020]. Available from https://unsplash.com/photos/-Xv7k95vOFA 17.

Marcel, G. 2018. [No title]. [Online]. [Date accessed 18/04/2020]. Available from: https://unsplash.com/ photos/Ld6bx4-axwo 18.

Mars, B. 2018. Aerobic. [Online]. [Date accessed 18/04/2020]. Available from: https://unsplash.com/photos/gJtDg6WfMlQ 19.

Benoit Daoust/ Shutterstock. 2019. Lush “Naked” store. [Online]. [Date accessed 18/04/2020]. Available from: https://www.businessinsider.com/lush-naked-no-packaging-store-uk-2019-1?r=US&IR=T 20.

Medvedeva, M. 2018. Stuffed eggplants with yoghurt and salad. [Online]. [Date accessed 18/04/2020].

Available from: https://unsplash.com/photos/iNwCO9ycBlc 21.

Freepik Company S.L. 2010-2020. Happy female friends siting on sofatoasting glasses. [Online]. [Date accessed 18/04/2020]. Available from: https://www.freepik.com/free-photo/happy-female-friends-sitting-sofa-toasting-glasses_3089624.htm 22.

Noltner, S. 2019. [No title]. [Online]. [Date accessed 18/04/2020]. Available from: https://unsplash.com/ photos/nnLMFQ4p1HM 23.

Deluvio, C. 2017. Browsing Netflix. [Online]. [Date accessed 18/04/2020]. Available from: https://unsplash.com/photos/jtmwD4i4v1U 24.

Schultz, B. 2018. [No title]. [Online]. [Date accessed 18/04/2020]. Available from: https://unsplash.com/ photos/l6BenhrIc2w 25.

Discenza, M. 2017. Close up of drinks at the pub. [Online]. [Date accessed 18/04/2020]. Available from: https://unsplash.com/photos/MxfcoxycH_Y

26.

Komodo. 2020. KIMONO Organic Cotton Shirt Indigo. [Online]. [Date accessed 20/04/2020]. Available from: https://www.komodo.co.uk/collections/womens-tops/products/kimono-organic-cotton-shirt-indigo 27.

Komodo. 2020. EVEL JEAN Organic Cotton Jacket. [Online]. [Date accessed 20/04/2020]. Available from: https://www.komodo.co.uk/collections/womens-organic-coats/products/evel-jean-organic-cotton-jacket 28.

Komodo. 2020. About. [Online]. [Date accessed 10/04/2020]. Available from: https://www.komodo. co.uk/pages/about 29.

Komodo. 2020. Projects we support. [Online]. [Date accessed 10/04/2020]. Available from: https://www. komodo.co.uk/pages/our-projects 30.

Evli, Y. 2018. Dracaena. [Online]. [Date accessed 20/04/2020]. Available from: https://unsplash.com/ photos/bVq6bh26H-Y 31.

Son, I. 2017. Rubber Plant. [Online]. [Date accessed 20/04/2020]. Available from: https://unsplash.com/ photos/FV_PxCqgtwc 32.

Komodo. 2020. About. [Online]. [Date accessed 29/02/2020]. Available from: https://www.komodo. co.uk/pages/about 33.

Sean O. 2017. The last night of a two week stay on the North Shore of Oahu, Hawaii. [Online]. [Date accessed 20/04/2020]. Available from: https://unsplash.com/photos/KMn4VEeEPR8 34.

Maggie on the Rocks Instagram. [No date]. 52909893_417056215767065_3594240683849127154_n.

[Online]. [Date accessed 14/04/2020]. Available from: http://www.instagram.com/maggieontherocks 35.

Arch the. 2020. Arch_The_LA. [Online]. [Date accessed 14/03/2020]. Available from: https://www.wgsn. com/library/results/ids/31109922%7C31106119%7C31106127%7C31106110%7C31109925%7C31106193 36.

Scandi label Baum und Pferdgarten. 2020. #buckethat #sheers. [Online]. [Date accessed 14/03/2020].

Available from: https://www.wgsn.com/fashion/feed?story=5e6a12accac2ea681f564cca 37.

Ahluwalia. [no date].

Sweet_Lassi_Ahluwalia_Studio1. [Online]. [Date accessed 12/04/2020]. Available from: https://www.wgsn.com/ library/results/ids/29993764%7C30801266%7C30801246%7C30801206%7C30801214%7C30801300%7C308012 08%7C30801223%7C30801207%7C30801270%7C30801252%7C30801222%7C30801269 38.

Bestealin Instagram. [No date]. 6364287f260f98e680212c445191f1a4. [Online]. [Date accessed 14/03/2020]. Available from: https://www.wgsn.com/library/results/ids/31109963%7C31116547 39.

Noten, D-V. 2020. Dries_Van_Noten_via_24sevres. [Online]. [Date accessed 14/03/2020]. Available from: https://www.wgsn.com/library/results/ids/31106321%7C31106309%7C31106271%7C30308930%7C31106 312%7C31109986%7C31109985%7C31106330 40.

Stark, D. 2016. Victor Harbour Austrailia. [Online]. [Date accessed 14/03/2020]. Available from: https:// unsplash.com/photos/DLwUVlzrP0Q 41.

Bestealin Instagram. [No date]. 6364287f260f98e680212c445191f1a4. [Online]. [Date accessed 14/03/2020]. Available from: https://www.wgsn.com/library/results/ids/31109963%7C31116547 42.

Bestealin Instagram [No date]. 6364287f260f98e680212c445191f1a4. [Online]. [Date accessed 14/03/2020]. Available from: https://www.wgsn.com/library/results/ids/31109963%7C31116547 43.

Duysen, V-V. [No Date]. 62146816_1244835562365567_1911295524073906828_n. [Online]. [Date accessed 20/04/2020]. Available from: https://www.wgsn.com/library/results/ids/31109922%7C31106119%7C31 106127%7C31106110%7C31109925%7C31106193 44.

Bestealin Instagram. [No Date]. 18580636_1098363606936736_7748859860912963584_n. [Online].

[Date accessed 18/03/2020]. Available from: https://www.wgsn.com/library/results/ids/31106201%7C31106214 %7C31116546%7C31106202%7C31109968%7C31106257%7C30677650%7C30939724 45.

Saadi, M. 2017. White Light. [Online]. [Date accessed 10/04/2020]. Available from: https://unsplash. com/photos/FP-IARaDjnw 46.

Coloro. [No date]. Coloro_036_89_06. [Online]. [Date accessed 04/05/2020]. Available from: https:// www.wgsn.com/library/results/ids/3452393%7C27051027%7C3452412%7C27051048%7C8248039%7C27 053400%7C3454236%7C27052451%7C3452909%7C27051091%7C3453688%7C27051054%7C3453152% 7C27050928%7C3453480%7C27050608%7C3454065%7C27050508%7C3453404%7C27050272%7C3454034% 7C27051147 47.

Own colour from Adobe

57

48.

Pantone TCX/TPX. [No date].14-6305. [Online]. [Date accessed 04/05/2020]. Available from: https:// www.wgsn.com/library/results/ids/3452393%7C27051027%7C3452412%7C27051048%7C8248039%7C27 053400%7C3454236%7C27052451%7C3452909%7C27051091%7C3453688%7C27051054%7C3453152% 7C27050928%7C3453480%7C27050608%7C3454065%7C27050508%7C3453404%7C27050272%7C3454034% 7C27051147 49.

Coloro. [No date]. Coloro_033_64_15. [Online]. [Date accessed 04/05/2020]. Available from: https:// www.wgsn.com/library/results/ids/3452393%7C27051027%7C3452412%7C27051048%7C8248039%7C27 053400%7C3454236%7C27052451%7C3452909%7C27051091%7C3453688%7C27051054%7C3453152% 7C27050928%7C3453480%7C27050608%7C3454065%7C27050508%7C3453404%7C27050272%7C3454034% 7C27051147 50.

Coloro. [No date]. Coloro_024_45_22. [Online]. [Date accessed 04/05/2020]. Available from: https:// www.wgsn.com/library/results/ids/3452393%7C27051027%7C3452412%7C27051048%7C8248039%7C27 053400%7C3454236%7C27052451%7C3452909%7C27051091%7C3453688%7C27051054%7C3453152% 7C27050928%7C3453480%7C27050608%7C3454065%7C27050508%7C3453404%7C27050272%7C3454034% 7C27051147 51.

Shevlin, H. 2016. Coral pink sand dunes. [Online]. [Date accessed 20/04/2020]. Available from: https:// unsplash.com/photos/3B_NrzTjajc 52.

Ran, R. 2017. [No title]. [Online]. [Date accessed 20/04/2020]. Available from: https://unsplash.com/ photos/bBiuSdck8tU 53.

Rolfsen, V. [No date]. cc4ce447932d1a9cc782da9adacb2103. [Online]. [Date accessed 20/04/2020]. Available from: https://www. wgsn.com/library/results/ids/30609650%7C3453351%7C8247992%7C30609651%7C27052158%7C2705231 1%7C29782043%7C29782044%7C3453361%7C3453949%7C3453915%7C27052039%7C27052306%7C27052784%7C3453956%7C3452891%7C3453605%7C27052391%7C27052076%7C27052420%7C28053662% 7C27127743 54.

Schiereck, M. 2020. [No title]. [Online]. [Date accessed 04/04/2020]. Available from: https://unsplash. com/photos/WgTVl26Vin4 55.

Olsen, M. 2018. Imagine this was your backyard. [Online]. [Date assessed 04/04/2020]. Available from: https://unsplash.com/photos/-CU4mKTWi0o 56.

Coloro. [Not date]. Coloro_078_54_30. [Online]. [Date accessed 04/04/2020]. Available from: https:// www.wgsn.com/library/results/ids/30609076%7C3453101%7C3453984%7C8248052%7C30609660%7C27051 711%7C27051863%7C27051893%7C29782040%7C3454306%7C3452563%7C3452583%7C27051662%7C27051600%7C27051378%7C3453656%7C3452576%7C27051805%7C27051436%7C28053554%7C27127746 57.

Own colour from Adobe 58.

Coloro. [No date]. Coloro_098_59_30. [Online]. [Date accessed 04/04/2020]. Available from: https:// www.wgsn.com/library/results/ids/3453351%7C27052158%7C30609074%7C3453949%7C27052306 59.

Pantone TCX/TPX. [No date]. 19-4019. [Online]. [Date accessed 04/04/2020]. Available from: https:// www.wgsn.com/library/results/ids/3452393%7C27051027%7C3452412%7C27051048%7C8248039%7C27 053400%7C3454236%7C27052451%7C3452909%7C27051091%7C3453688%7C27051054%7C3453152% 7C27050928%7C3453480%7C27050608%7C3454065%7C27050508%7C3453404%7C27050272%7C3454034% 7C27051147 60.

Pantone TCX/TPX. [No date]. 18-4231. [Online]. [Date accessed 04/04/2020]. Available from: https:// www.wgsn.com/library/results/ids/30609650%7C3453351%7C8247992%7C30609651%7C27052158%7C27 052311%7C29782043%7C29782044%7C3453361%7C3453949%7C3453915%7C27052039%7C27052306% 7C27052784%7C3453956%7C3452891%7C3453605%7C27052391%7C27052076%7C27052420%7C28053662 %7C27127743 61.

Marcinkevics, G. 2019. [No title]. [Online]. [Date accessed 04/04/2020]. Available from: https://unsplash.com/photos/a5uptAdUmjE 62.

Pitti Filati Todd and Duncan. 2019. pif50619_P1050278_Todd_And_Duncan_. [Online]. [Date accessed 25/04/2020]. Available from: https:// www.wgsn.com/library/results/ids/30993428%7C31867709%7C31867723%7C31867715%7C30984994%7C31 872915%7C31867721%7C31083022%7C30984910%7C31867712%7C31867717 63.

TRC Leiden. 2017. Organza. [Online]. [Date accessed 25/04/2020]. Available from: https://trc-leiden.

nl/trc-needles/materials/woven-and-interlocking-materials/organza 64.

Blackbird Fabrics. 2020. 6oz Tencel Twill - Dusty Mauve - 1/2 meter. [Online]. [Date accessed 25/04/2020]. Available from: https://www.blackbirdfabrics.com/6oz-tencel-twill-dusty-mauve/ 65.

Brothers we stand. 2020. Organic Cotton and Linen Plain Shirt. [Online]. [Date accessed 25/04/2020]. Available from: https://www.brotherswestand.com/products/knowledge-cotton-apparel-organic-cotton-and-linen-plain-shirt-3?variant=31443862421638 66.

Bamboo Fabric Store. 2020. 100% Bamboo Jersey. [Online]. [Date accessed 25/04/2020]. Available from: https://bamboofabricstore.com/products/jersey-100-viscose-from-bamboo-natural?_pos=1&_sid=f9020c50f&_ss=r 67.

WGSN Denim Team. 2019. Denim Fabric, Wash & Finish Trend Concepts S/S 21: HomeSpun. [Online]. [Date accessed 30/04/2020]. Available from: https://www.wgsn.com/library/results/ids/30868218%7C3 0868198%7C30868232%7C30868225%7C30868230 68.

Blackbird Fabrics. 2020. 4.5oz Tencel Twill - Tobacco - 1/2 meter. [Online]. [Date accessed 25/04/2020]. Available from: https://www.blackbirdfabrics.com/4-5oz-tencel-twill-tobacco/ 69.

Biotissus. [No Date]. Cream organic cotton jersey GOT certified- sample. [Online]. [Date accessed 25/04/2020]. Available from: https://biotissus.com/en/cotton-jersey-and-interlock/3962-cream-organic-cotton-jersey-gots-certified-3663727000523.html 70.

Son, I. 2017. Rubber Plant. [Online]. [Date accessed 20/04/2020]. Available from: https://unsplash. com/photos/FV_PxCqgtwc 71.

Son, I. 2017. Rubber Plant. [Online]. [Date accessed 20/04/2020]. Available from: https://unsplash. com/photos/FV_PxCqgtwc 72.

WGSN Original CADs/Flats. [No Date]. cut_and_sew_S.S_21_10_bis. [Online]. [Date accessed 19/04/2020]. Available from: https://www.wgsn.com/library/results/64729d09725fb9611a1c6df3cc8bf4d3 73.

WGSN Original CADs/Flats. [No date]. Lizzy_Outerwear_2. [Online]. [Date accessed 19/04/2020].

Available from: https://www.wgsn.com/library/results/64729d09725fb9611a1c6df3cc8bf4d3 74.

WGSN Original CADs/Flats. [No date]. cut_and_sew_S.S_21_6. [Online]. [Date accessed 19/04/2020]. Available from: https://www.wgsn.com/library/results/64729d09725fb9611a1c6df3cc8bf4d3 75.

WGSN Original CADs/Flats. [No date]. cut_and_sew_S.S_21_10_ter. [Online]. [Date accessed 19/04/2020]. Available from: https://www.wgsn.com/library/results/64729d09725fb9611a1c6df3cc8bf4d3 76.

WGSN Original CADs/Flats. [No date]. S.S_21_spring_sophisticate_3. [Online]. [Date accessed 19/04/2020]. Available from: https://www.wgsn.com/library/results/64729d09725fb9611a1c6df3cc8bf4d3 77.

WGSN Original CADs/Flats. [No date]. 10.volumetrouser. [Online]. [Date accessed 19/04/2020].

Available from: https://www.wgsn.com/library/results/64729d09725fb9611a1c6df3cc8bf4d3 78.

WGSN Original CADs/Flats. [No date]. RESORT_SHIRT. [Online]. [Date accessed 19/04/2020].

Available from: https://www.wgsn.com/library/results/64729d09725fb9611a1c6df3cc8bf4d3 79.

WGSN Original CADs/Flats. [No date]. Womens_03_Boyfriend_Jacket. [Online]. [Date accessed 22/04/2020]. Available from: https://www.wgsn.com/library/results/64729d09725fb9611a1c6df3cc8bf4d3 80.

WGSN Original CADs/Flats. [No Date]. SS_21_Mock_Neck_Sweater [Online]. [Date accessed 19/04/2020]. Available from: https://www.wgsn.com/library/results/ids/30993428%7C31867709%7C31867 723%7C31867715%7C30984994%7C31872915%7C31867721%7C31083022%7C30984910%7C31867712% 7C31867717 81.

WGSN Original CADs/Flats. [No date]. Boyfriend_tee. [Online]. [Date accessed 19/04/2020]. Available from: https://www.wgsn.com/library/results/33302eb478744f3c5854fbbda4e1626d 82.

PatternReview.com. 2019. Vogue patterns misses dress and slip 1287. [Online]. [Date accessed 22/04/2020]. Available from: https://sewing.patternreview.com/Patterns/52555 83.

Bassike. [No Date]. bassike_51641972_2081764101914664_8372170059707917759_n. [Online].

[Date accessed 18/04/2020]. Available from: https://www.wgsn.com/library/results/ids/31654154%7C316541 11%7C31654142%7C31654169%7C31654162%7C31651256%7C30872431%7C31651257%7C31651258%7C 31647741%7C31654120%7C31654145%7C31654173%7C31654172%7C31654107%7C31654161%7C316541 50%7C31654155%7C31654149%7C31654180%7C31654202%7C31654201%7C31654167%7C31654110%7C 31654178%7C31647657%7C30966286%7C31647631%7C31647627%7C31647701%7C31654170%7C316541

59

39%7C31654140%7C31647630%7C31647632%7C31654129%7C31647728%7C31647693%7C31647618%7C3164 7614%7C30804755%7C30816257%7C30843682%7C30888466%7C30913074%7C31003235%7C30960337%7C30 962016%7C30966163%7C30966353%7C30966301%7C30966300%7C30966294%7C30966289 84.

Saadi, M. 2017. White light. [Online]. [Date accessed 19/04/2020]. Available from: https://unsplash.com/ photos/FP-IARaDjnw 85.

Shamoon, S. Maldives. [Online]. [Date accessed 19/04/2020]. Available from: https://unsplash.com/photos/sLAk1guBG90 86.

Sasha, D. Ocean foam. [Online]. [Date accessed 19/04/2020]. Available from: https://unsplash.com/photos/VuBzplNNi0k 87.

Filipe, J. 2017. [No title]. [Online]. [Date accessed 16/04/2020]. Available from: https://unsplash.com/ photos/9mz2XG6stQg 88.

WGSN Original Artwork. 2020. #Stripdeye. [Online]. [Date accessed 18/04/2020]. Available from: https://www.wgsn.com/content/image_viewer/#/image.31676988/set/%5B%22image.31224648%22,%22image.31676988%22,%22image.31622350%22,%22image.31676989%22,%22image.31357066%22,%22image.31287320%22,%22image.30966627%22%5D 89.

WGSN Laura Biagiotti. 2019. Laura Biagiotti #Stripedye suit. [Online]. [Date accessed 30/04/2020].

Available from: https://www.wgsn.com/content/image_viewer/#/image.31357066/set/%5B%22image.31224648%22,%22image.31676988%22,%22image.31622350%22,%22image.31676989%22,%22image.31357066%22,%22image.31287320%22,%22image.30966627%22%5D 90.

Maggie on the Rocks Instagram. [No date]. 52909893_417056215767065_3594240683849127154_n. [Online]. [Date accessed 14/04/2020]. Available from: https://www.wgsn.com/library/results/ids/31125972%7C31109 916%7C31109936%7C31106130%7C31106108%7C31106105%7C31106104%7C31106109%7C31106094%7C311 06097%7C31106169 91.

Premier Vision Luca Cuccolini. [No date]. prv140220_IMG_8134Luca_Cuccolini. [Online]. [Date accessed 14/04/2020]. Available from: https://www.wgsn. com/library/results/ids/32096459%7C31985843%7C32096464%7C32096454%7C32096456%7C31056999% 7C32096457 92.

Joesph. [No date]. Screenshot_2019_11_13_at_10.50.54. [Online]. [Date accessed 18/04/2020]. Available from: https://www.wgsn.com/library/results/ids/30278404%7C31620849%7C31620851%7C31308856%7C316208 45%7C31162155%7C30495994 93. fashioneditorials.com. [no date]. Tomas_de_la_Fuente_Nadja_Bender_7. [Online]. [Date accessed 18/04/2020]. Available from: https://www.wgsn.com/library/results/ids/31657899%7C31641921%7C31442170 %7C31443614%7C31654303%7C31657898%7C31657901%7C31354284%7C31012730%7C31262789%7C31435 667%7C31442186%7C31339100%7C31378013%7C31392271%7C31394851%7C31435637%7C31643177%7C3 1181336%7C31181328%7C31180986%7C31234986%7C31243652%7C31197847%7C31359083%7C31211595% 7C31360352%7C31432878%7C31310217%7C31239107%7C31131660%7C31310248%7C31318241 94.

Ganna. [No date]. ganni_67751923_664875260647433_7209135811168799078_n. [Online]. [Date accessed 18/04/2020]. Available from: https://www.wgsn.com/library/results/ids/31657899%7C31641921%7C3144 2170%7C31443614%7C31654303%7C31657898%7C31657901%7C31354284%7C31012730%7C31262789%7C31 435667%7C31442186%7C31339100%7C31378013%7C31392271%7C31394851%7C31435637%7C31643177%7C 31181336%7C31181328%7C31180986%7C31234986%7C31243652%7C31197847%7C31359083%7C31211595% 7C31360352%7C31432878%7C31310217%7C31239107%7C31131660%7C31310248%7C31318241 95.

Noten, D-V. 2020. Dries_Van_Noten_via_24sevres. [Online]. [Date accessed 14/03/2020]. Available from: https://www.wgsn.com/library/results/ids/31106321%7C31106309%7C31106271%7C30308930%7C31106312%7 C31109986%7C31109985%7C31106330 96.

Peter Do. [No date]. 60841942_192113091705078_743716341468155705_n. [Online]. [Date accessed 18/04/2020]. Available from: https://www.wgsn.com/library/results/ids/31106201%7C31106214%7C31116546%7 C31106202%7C31109968%7C31106257%7C30677650%7C30939724 97.

Loéil. 2020. Loeil_1. [Online]. [Date accessed 18/03/2020]. Available from: https://www.wgsn.com/library/results/ids/31867719%7C31873242%7C31619229%7C31867727%7C31867728%7C26335052 98.

Fildevie_ Instagram. 2020. fildevie_83541817_101254861442272_4434073141305752386_n. [Online].

[Date accessed 20/04/2020]. Available from: https://www.instagram.com/p/B8rTCImgKB2/ 99.

Pitti Filati Todd and Duncan. 2019. pif50619_P1050278_Todd_And_Duncan_. [Online]. [Date accessed 25/04/2020]. Available from: https://www.

wgsn.com/library/results/ids/30993428%7C31867709%7C31867723%7C31867715%7C30984994%7C3187291 5%7C31867721%7C31083022%7C30984910%7C31867712%7C31867717 100. Baisch, S. 2019. [No title]. [Online]. [Date accessed 18/04/2020]. Available from: https://unsplash.com/ photos/K785Da4A_JA 101. Valentinewitmeurlab Instagram. 2020. valentinewitmeurlab_65312021_146962706365588_43692 12763234333709_n. [Online]. [Date accessed 29/04/2020]. Available from: https://www.instagram.com/p/ BzU-6ddCJ8c/alentinewitmeurlab Instagram. 2020. valentinewitmeurlab_65312021_146962706365588_436 9212763234333709_n. [Online]. [Date accessed 29/04/2020]. Available from: https://www.instagram.com/p/ BzU-6ddCJ8c/ 102. Loewe MATCHES FASHION. 2020 loewe_Matches. [Online]. [Date accessed 29/04/2020]. Available from: https://www.matchesfashion.com/products/Loewe-Asymmetric-hem-logo-embroidered-cotton-Tshirt-1315951 103. Stella Blu. [No date]. STELLA_BLU. [Online]. [Date accessed 30/04/2020]. Available from: https:// www.wgsn.com/library/results/ids/30868218%7C30868198%7C30868232%7C30868225%7C30868230 104. ACNE. [no date]. Acne_C90024_228_A. [Online]. [Date accessed 20/04/2020]. https://www.wgsn. com/library/results/ids/31637901%7C31637885%7C31637879%7C31637880%7C31637881%7C31637882%7C 31637909%7C31378472%7C31451843%7C31428798%7C31456968%7C31451992%7C31211527%7C31380477 %7C31196804%7C31642895 105. Stella McCartney. [No date]. stellamccartney55752854_276510166618333_3567645724545955952_n.

[Online]. [Date accessed 30/04/2020]. Available from: https://www.wgsn.com/library/results/ids/31637901%7 C31637885%7C31637879%7C31637880%7C31637881%7C31637882%7C31637909%7C31378472%7C314518 43%7C31428798%7C31456968%7C31451992%7C31211527%7C31380477%7C31196804%7C31642895 106. Bestealin. [No date]. 18580636_1098363606936736_7748859860912963584_n. [Online]. [Date accessed 14/04/2020]. Available from: https://www.wgsn.com/library/results/ids/31106201%7C31106214%7C31 116546%7C31106202%7C31109968%7C31106257%7C30677650%7C30939724 107. Net-a-Porter. 2020. Galvan. Whiteley silk-satin gown. [Online]. [Date accessed 30/04/2020]. Available from: https://www.net-a-porter.com/en-gb/shop/product/galvan/whiteley-silk-satin-gown/1113504 108. Helmut Lang. [No date]. 22709632_123299775015647_1648659854115471360_n. [Online]. [Date accessed 18/04/2020]. Available from: https://www.wgsn.com/library/results/ids/31106201%7C31106214%7C31 116546%7C31106202%7C31109968%7C31106257%7C30677650%7C30939724 109. Komodo. 2020. Logo. [Online]. [Date accessed 27/04/2020]. Available from: http://komodo.co.uk/ 110. QRCode-Generator.de. 2020. Q\r code generator. [Online]. [Date accessed 08/05/2020]. Available from: https://www.qr-code-generator.com/wp-content/themes/qr/new_structure/markets/core_market_full/ generator/dist/generator/assets/images/websiteQRCode_noFrame.png 111. Climate Neutral. 2020. Logo. [Online]. [Date accessed 27/04/2020]. Available from: https://www.climateneutral.org/ 112. Deluvio, C. 2018. Google Search. [Online]. [Date accessed 27/04/2020]. Available from: https://unsplash.com/photos/leqrylJNYUQ 113. Extinction Rebllion. 2020. Screenshot of Extinction rebellion page: The April Rebellion: An Anniversary Celebration. [Online]. [Date accessed 27/04/2020]. Available from: https://rebellion.earth/2020/04/21/ remembering-the-april-rebellion/ 114. Snaith, E. and Boyle, L. 2020. Screenshot of Independent article: Earth Day 2020: Greta Thunberg, David Attenborough, Barack Obama and more send messages as millions protest online. [Online]. [Date accessed 27/04/2020]. Available from: https://www.independent.co.uk/environment/earth-day-2020-live-climatechange-what-is-environment-planet-latest-a9477746.html 115. Extinction Rebellion Twitter. 2020. [Online]. [Date accessed 27/04/2020]. Available from: https:// twitter.com/ExtinctionR/status/1254477866827309056?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Etweet 116. Roberts- Islam, B. 2020. Screenshot of Forbes website: Social Sustainability, Overstock And ‘Greenwashing’: How COVID-19 Is Changing The Fashion Industry. [Online]. [Date accessed 27/04/2020].

Available from: https://www.forbes.com/sites/brookerobertsislam/2020/04/21/social-sustainability-overstock-and-greenwashing-how-covid-19-is-changing-the-fashion-industry/#4c342dd6582d 117. Komodo. 2020. About. [Online]. [Date accessed 27/04/2020]. Available from: https://www.komodo.

61

co.uk/pages/about 118. KomodoFashion Instagram. 2020. [Online]. [Date accessed 27/04/2020]. Available from: https://www. instagram.com/p/B_Z-JhJH-aT/ 119. KomodoFashion Instagram. 2020. [Online]. [Date accessed 27/04/2020]. Available from: https://www. instagram.com/p/B_Djvlnhd-k/ 120. KomodoFashion Instagram. 2020. [Online]. [Date accessed 27/04/2020]. Available from: https://www. instagram.com/p/B_RjIwuH1Rf/ 121. KomodoFashion Instagram. 2020. [Online]. [Date accessed 27/04/2020]. Available from: https://www. instagram.com/p/B_K0tnSn_yF/ 122. This Study, 2020.

123. This Study, 2020.

124. This Study, 2020.

125. This Study, 2020.

126. This Study, 2020.

127. This Study, 2020.

128. This Study, 2020.

129, This Study, 2020.

130. This Study, 2020.

131. This Study, 2020.

132. This Study, 2020.

Figures for Mood Board 1 (consumer) Pages: 6-7 1.1. Cerullo, D. 2018. Woman standing surrounded by exercise equipment. [Online]. [Date accessed: 19/02/2020]. Available from: https://images.unsplash.com/photo1534438327276-14e5300c3a48?ixlib=rb-1.2.1&ixid=eyJhcHBfaWQiOjEyMDd9&auto=format&fit=crop&w=400&q=60 1.2.

Good Soul Soup. 2019. Three born BUCK naked soup company. [Online]. [Date accessed: 19/01/2020].

Available from https://images.unsplash.com/photo1556037914-bc3c9094e061?ixlib=rb-1.2.1&ixid=eyJhcHBfaWQ iOjEyMDd9&auto=format&fit=crop&w=400&q=60 1.3.

Fleischmann, L. 2017. Clothing Rack. [Online]. [Date accessed: 19/02/2020]. Available from: https://images.unsplash.com/photo-15124369916416745cdb1723f?ixlib=rb-1.2.1&ixid=eyJhcHBfaWQiOjEyMDd9&auto=for mat&fit=crop&w=750&q=80 1.4. Reyna, E. 2019. Woman smiling wear black crew-nek sweater. [Online]. [Date accessed 19/02/2020]. Available from: https://images.unsplash.com/photo1571863393474-b94c72f117fe?ixlib=rb-1.2.1&ixid=eyJhcHBfaWQi OjEyMDd9&auto=format&fit=crop&w=400&q=60 1.5. Depop. 2020. Image from Depop of the app on a mobile phone. [Online]. [Date accessed 19/02/2020].

Available from: https://www.depop.com/

1.6. Kenion, C. Stack of assorted-title book lot arranged on white wooden table. [Online]. [Date accessed 19/02/2020]. Available from: https://images.unsplash.com/photo-15223226593703c98da30c99c?ixlib=rb-1.2.1&ixid=eyJhcHBfaWQiOjEyMDd9&auto=format&fit=crop&w=400&q=60 1.7. Spiske, M. 2019. Woman holding Save Our Future signage. [Online]. [Date accessed 19/02/2020]. Available from: https://images.unsplash.com/photo-1569225022281f652746229fe?ixlib=rb-1.2.1&ixid=eyJhcHBfaWQiOjEyMDd 9&auto=format&fit=crop&w=334&q=80 1.8. Hardy, M. 2018. Body of water under sky. [Online]. [Date accessed 19/02/2020]. Available from: https://images. unsplash.com/photo-1518837695005-2083093ee35b?ixlib=rb1.2.1&ixid=eyJhcHBfaWQiOjEyMDd9&auto=format&fit =crop&w=750&q=80 1.9.

Dumlao, N. 2017. Shallow focus photography of coffee late in mug on table. [Online]. [Date accessed 19/02/2020]. Available from: https://images.unsplash.com/photo-1509042239860f550ce710b93?ixlib=rb-1.2.1&ixid=eyJhcHBfaWQiOjEyMDd9&auto=format&fit=crop&w=400&q=60 1.10. Kroell, M. 2020. Mountain ranges. [Online]. Date accessed 19/02/2020]. Available from: https://images.unsplash.com/photo-1579248907908-d925af193a07?ixlib=rb1.2.1&ixid=eyJhcHBfaWQiOjEyMDd9&auto=format&fit=cr op&w=400&q=60 1.11. Haymarket Media Group Ltd. 2020. Image of Lush store in Campaign Article. [Online]. [Date accessed 19/02/2020]. Available from: https://www.campaignlive.co.uk/article/lush-ditches-uksocial-media-accounts/1581564 1.12. Gilbert, J./ Alamy Stock Photo. [no date]. Sir David Attenborough, English broadcaster and naturalist. [Online].

[Date accessed 19/02/2020]. Available from: https://www.carbonbrief.org/the-2004-lecture-that-finally-convinced-david-attenborough-about-global-warming 1.13. Lomig. 2019. Image of cows in a field. [Online]. [Accessed 19/02/2020]. Available from: https://images.unsplash. com/photo-1568038100292-c75e7d6b9d82?ixlib=rb1.2.1&ixid=eyJhcHBfaWQiOjEyMDd9&auto=format&fit=crop&w =667&q=80 1.14. Tittel, S. 2018. Person holding white net with vegetable. [Online]. [Accessed 19/02/2020]. Available from: https://images.unsplash.com/photo-1531904895138-ac676f9f125a?ixlib=rb1.2.1&ixid=eyJhcHBfaWQiOjEyMDd9&aut o=format&fit=crop&w=400&q=60 1.15. Mittula, L. 2019. Clear glass container on shelf. [Online]. [Date accessed 19/02/2020]. Available from: https:// images.unsplash.com/photo-1552940862-d52170cf7cfb?ixlib=rb1.2.1&ixid=eyJhcHBfaWQiOjEyMDd9&auto=format&fit=crop&w=400&q=60 1.16. Foreman, B. 2018. Image of thrift shop. [Online]. [Date accessed 19/02/2020]. Available from: https://www.34st. com/article/2018/10/build-your-fall-and-winter-wardrobe-at-these-thriftshops

Figures Mood Board 2 (brand) Pages: 12-13 2.1. Komodo Fashion. 2020. [Online]. [Date accessed 26/02/2020]. Available from: https://www.komodo.co.uk/pages/about 2.2. Komodo Fashion. 2020. [Online]. [Date accessed 26/02/2020]. Available from: https://www.komodo.co.uk/collections/womens-ss20 2.3. Webb, S. 2015. Coconut leaf. [Online]. [date accessed 26/03/2020].Available from: https://images.unsplash.com/ photo-1449496967047-2a322e78ec26?ixlib=rb1.2.1&ixid=eyJhcHBfaWQiOjEyMDd9&auto=format&fit=crop&w=400 &q=60 2.4. Mills, Z. [No date]. Image of an orangutan. [Online]. [Date accessed 26/02/2020]. Available from https://www.

63 orangutans-sos.org/crisis/

2.5. Komodo Instagram. 2020. Image of two models wearing warm colours of 2020. [Online]. [Date accessed 26/02/2020]. Available from: https://www.instagram.com/p/B89hGnGn5Yy/

Declaration of Academic Integrity

2.6. Schram, R. 2019. Agave Parryi leaf close up. [Online]. [Date accessed 04/03/2020]. Available from: https:// images.unsplash.com/photo-1566940715650af10bb93faf3?ixlib=rb-1.2.1&auto=format&fit=crop&w=750&q=80

Student name Student Id number

2.7. Perez, A. 2018. Selective focus photography of water splash. [Online]. [Date accessed 26/02/2020]. Available from: https://images.unsplash.com/photo1519455953755-af066f52f1a6?ixlib=rb-1.2.1&ixid=eyJhcHBfaWQiOjEyM Dd9&auto=format&fit=crop&w=400&q=60

Programme of study Module code

2.8. Komodo Fashion. 2020. Menswear. [Online]. [Date accessed 28/02/2020]. Available from: https://www. komodo.co.uk/collections/mens-ss20

Module title

2.9. Chuttersnap.2018. Palm trees. [Online]. [Date accessed 04/03/2020]. Available from: https://images.unsplash. com/photo-1518965539400-77d851d65c43?ixlib=rb1.2.1&ixid=eyJhcHBfaWQiOjEyMDd9&auto=format&fit=crop &w=400&q=60

Mark deduction for late hand in

Lecturer/Tutor

Amy-Louise Jones 201229560 Fashion Marketing DESN2365 Trends and Forecasting Claire Watson

For individual pieces of work I promise that in the attached submission I have not presented or attempted to present anyone else’s work as my own except where I have explicitly indicated. I understand that to do so would mean that I have committed plagiarism, the University’s definition of which is published. I realise that if I commit plagiarism I can be expelled from the University and that it is my responsibility to be aware of the University’s regulations on plagiarism and their importance.

2.10. Komodo Fashion. 2020. [Online]. [Date accessed 28/02/2020].Available from: https://www.komodo.co.uk/ collections/womens-dresses/products/primrose-tencel-linendress-spice

I reconfirm my consent to the University copying and distributing any or all of my work in any form and using third parties (who may be based outside the EU/EEA) to monitor breaches of regulations, to verify whether my work contains plagiarised material and for quality assurance purposes.

I confirm that I have declared, in writing with supporting evidence, all mitigating circumstances to the Module Manager and the School General Office that may be relevant to the assessment of this piece of work and that I wish to have taken into account. I am aware of the school’s policy on mitigation, and procedures for the submission of statements and evidence of mitigation. I am aware of the penalties imposed for the late submission of coursework.

Signature

Date

10/05/2020

Confirmation of the receipt of work Module Code Hand in date Student’s name

64

Receipt not valid unless dated and either signed or stamped by school staff

65