Diss 2 final final issuu

CHARLOTTE MARSHALL N0441573 FASH30002** NEGOTIATED PROJECT STAGE 2 2015

** FASHION COMMUNICATION & PROMOTION

CONTENTS Introduction

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‘Thingness + The Attainment of ‘Stuff’ Unlocking The Sharing Economy The Sharing Capital of Europe The Infinite Closet Key Insights

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Toast + THE Cultural Capitalist

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#Westelmlocal 44 Generation Hashtag

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Obsessive Consumption 51 #Anthroevents 54 Toast + Honest

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#ToasthostsHonest

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W11 67 Creative Branding Development 69 Visual Content Marketing You Are Cordially Invited Hunter Gatherer

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Increase Human Flourishing 89 References

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Picture References Bibliography

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‘I AM THE CURATOR OF AN EXHIBITION NO ONE VISITS’ MICHAEL FABER

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(FIG,1. VU, B. TRUE FALSE. 2008)

stated Michael F ab er i n an i nt er vi ew f o r t he G uar d i an. A co l l ect o r o f ‘ ob scur e music ’, F ab er d i s cus s es t he ‘s heer f ut i l i t y o f t he co l l ect i ng

‘ I A M T H E C UR AT OR imp ulse’ and th e s at i s f act i o n he t akes i n s eeki ng and o w ni ng. It i s O F A N E X HIBIT ION r epor ted that one t hi r d o f p eo p l e i n t he UK co l l ect s o m et hi ng, b ut as N O ON E VISIT S’ Chr istian Jar r et t , aut ho r o f The Ro ugh G ui d e t o P s ycho l o gy ex p l ai ns ,

the accumulatio n o f b el o ngi ngs i s m o t i vat ed b y a m ul t i t ud e o f ‘ex i s t en t i a l anxieties’ ; and as ‘co l l ect i o n[ s ] [ b egi n t o f o r m ] an ex t ens i o n o f o ur id entity ’ (Jar r et , C . 2 0 1 4 ) , w e a s c o n s u m e r s a r e u l t i m a t e l y becoming defined by our ‘stuff’.

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In a pre vi ous stud y I assessed the Midd l e C l as s as p o r t r ayed t hr o ugh t he cur at i o n o f th e i r po ssessions and the intr insic link s t hi s had w i t h t hei r cul t ur al cap i t al ; cr i t i cal l y e va l u a ti n g the ‘ shift fr om backgr ound , ed ucat i o n, accent & p r o f es s i o n t o [ a] q ues t i o n o f ta ste [a n d our ] anxiety ab out stuff’ (Not Act ual Si z e, 2 0 1 2 ) . I f o cus ed p r ed o m i nant l y up o n R a ym o n d Williams theor y of Cultur al M at er i al i s m , w her e key i m p o r t ance i s p l aced up o n t he h i sto ri c a l or igins of cultur e and the imp l i cat i o ns i t has o n ‘m at er i al i s m , co m m er ci al i s m , de m o c ra c y and socialism’ (Williams, R. 1 9 7 7 ) .

H a vi n g a l ready add r essed the latter p ai r , I ho p e t o f ur t her d evel o p m y und er s t and i ng o f th e m i ddle class thr ough the assessm ent o f ho w co m m er ci al i s m and m at er i al i s m ar e tra n sl a te d into tr ibe ‘ habitus’ . A theor y d evel o p ed b y P i er r e B o ud i eu, ‘hab i t us ’, r ef er s t o th e l i f e style, v alues, d isp ositions and ex p ect at i o ns o f p ar t i cul ar s o ci al gr o up s t hat ar e a c qu i re d thr ough the activ ities and exp er i ences o f ever yd ay l i f e ( s ee ap p end i x a) .

U ti l i si n g this theor y , I hav e d ev elop ed an und er s t and i ng o f char act er t r ai t s s yno nym o us wi th c u l tu r ally r ich lifesty les thr ough pr evi o us s t ud i es and vi s ual l y r ep r es ent ed t hi s th ro u gh a conceptual inter pr etation of t he cur ve o f i nno vat i o n. Thes e char act er t r ai t s i n c l u de ; a w illingness to engage sociall y, t o s har e and p l ay an act i ve r o l e w i t hi n a c o m m u n i ty env ir onment (see app end ix b ) .

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Key insights he drew from this research included the Explored by Grayson Perry as he journeyed

symbolism objectified by the attainment of ‘stuff’ and the

‘through the taste tribes of Britain’ (Perry, G. 2012)

hyper-consumption habits typically associated with the

in his recent documentary series ‘All in the Best Possible

out-dated ideals of the lower groupings.

Taste’; Perry submerged himself in foreign tribes,

‘Ostentation was still a difficult drug to resist’ for lower

adopting alien rituals, in order to understand the social

middle classes Perry explained, with ‘subtle branding’

barriers, material culture and the ‘gulf of taste’ (Perry,

offering reassurance of an easily read code.

G. 2012) that defines tribe ‘habitus’, ultimately governing consumer decision journeys and our aspirations for social

Yet as ‘Sky satellite dishes, formally a sign of ‘council

progression.

house culture’, are now found on the side of Belgravia maisonettes’ and ‘Politicians rush to Greggs to scoff sausage rolls and pasties in an attempt to prove how ‘in touch’ they are with ‘ordinary’ voters’ (Wallop, H. 2013), can we legitimately claim that class and tribal membership is still owed to brand affiliation and the ownership of ‘stuff’?

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(FIG,2. WALKER, T. VANITY FAIR. 2007)

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Societal needs, according to Rachel Botsman, author of What’s Mine is Yours, are undergoing a strategic shift. The ‘quest for material things has come at the expense of impoverishing relationships’ not only peer-to-peer but with the planet; prompting reclamation of ‘old virtues’ (Botsmna, R. 2011) .

Wallman, a cultural analyst, agrees and believes the way in which we seek happiness and the emphasis we place on status and identity, as represented by material things, to be outdated. ‘Materialism and consumer revolution transformed standards of living in the 20th century’ now in the 21st century, we are seeking to further transform our quality of life through more sustainable methods. Wallman’s recommendations for this sustainability include ‘spend less’ and ‘do more’, similarly two fundamental criteria for nurturing a prosperous sharing economy.

Outlined in her recommendations for fostering consumer innovation in the UK, Debbie Wosskow, uses the sharing economy as a disruptive yet sustainable platform for consumption. Predicted to be worth an estimated $230bn by 2025, the sharing economy has the capability to strengthen community relations, raise environmental awareness and ultimately re-assess of the value of ownership.

Through my explorative project I aim to develop an understanding of new patterns of consumerism, ungoverned by ownership and focussed upon forming communities able to ‘overcome the culturally entrenching cult of possessions’ (Botsman, R & Rogers, R. 2011)

(FIG,3. MARBLE, J. SELF DISCOVERY. 2015)

AS ‘OUR D R AW ER S AN D CLOSETS. . . ATTI CS AND GARAGES [ B ECOME] BL OAT ED WIT H MOUN TAI NS OF OB J ECTS’ (B OTSMAN, R. 2011) T HER E IS T HE EN C R OAC HI NG THREAT THAT ‘THE THI NGS Y OU OWN, END UP OWNI NG Y OU’

‘THINGNESS’ & THE ATTAINMENT OF STUFF

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The historical acquisition of material goods and the

Naturally, intrinsically linked to this wave of

‘negative societal effects’ (Muncy, J & Eastman, J. 1998)

neo-capitalism was globalisation, as attitudinal

materialism poses is documented by film maker Adam

propaganda spread worldwide, forcing anthropologists

Curtis in his explorative series ‘The Century of the Self’,

such as Kate Fox to question our national identity and the

whereby through mass democracy and crowd control,

prolific spread ‘American cultural imperialism’ has had

consumer influencers were able to govern spending in

upon UK identity.

the early twentieth century. Focussing on the work of

Throughout her research for her latest book ‘Watching

Sigmund Freud and Edward Bernays, Curtis identifies the

the English’ Fox expressed how she was acutely aware

dangerous, attitudinal propaganda that lead America from

of the threat of a ‘homogenised Mcworld’, in which the

a ‘needs’ to a ‘desires’ society. ‘People must be trained to

rich tapestry of diverse and distinctive cultures are being

desire’, Bernays states, ‘...to want new things, even before

obliterated by ‘multinational capitalist giants’ such as

the old have been entirely consumed... Man’s desire must

Nike, Coca-Cola, McDonalds and Disney.

overshadow his needs’ (Bernays, E. 1927).

Bernays understood the psychoanalysis, a term pioneered

Yet she concluded that despite this threat, she has

by Freud, required to connect with the masses on a

witnessed a rise in nationalism and tribalism in the

subconscious level, through the ‘power of emotions’

UK, predominantly projected through the resurgence to

(Botsman, R & Rogers, R. 2011) when used as persuasive,

gain independence and identify through our consumer

consumerist tools.

behaviour and consumption patterns.

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(FIG,4. LOUGHRIDGE, C. MINT MANSION. 2015)

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(FIG. 5)

(FIG,5 & 6. PARR, M. POSTCARDS FROM PERSONAL COLLECTION. n/a)

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The dangerous pursuit of more, no more apparent than when evidenced by Channel 4 documentary ‘Obsessive Compulsive Hoarder’. The series follows the story of Richard Wallace as he struggles to overcome his insatiable need to collect, accumulate and consume. But as ‘the concept of retaining things [becomes] a problem in itself’, Dr Steve Kellett explains, there is a crucial distinction to be made between the prolific psychological need to collect and collecting as a form of pleasure and enjoyment.

Collecting, historically regarded as a pastime for the socially connected, well travelled elite, has engulfed stately homes for centuries. Upon visiting Calke Abbey in Derbyshire and Snowshill Manor in the Cotswolds, it was evident that the extensive collections were originally to showcase wealth and culture, both boasting collections spanning the entirety of the estate. Collections were often displayed in ‘cabinets of curiosity’, commonly regarded as wunderkammers. The wunderkammer, also known as ‘wonder rooms’, originated during the renaissance, and have forever been popularised by our unwavering

The recent Barbican exhibition Magnificent

curiosity in ‘objects that inspire’ ever since.

Obsessions, explored the idiosyncratic

Architects Tod Williams and Bille Tsien,

personal collections of artists and

commissioned a celebratory wunderkammer,

designers, providing an intimate glimpse

inviting 35 world renowned artists and

into the ‘bizarre and beautiful objects’

designers to each interpret their own

(Sooke, A. 2015) capable of inspiring world

wunderkammer. ‘I suppose you could say we

renowned artists. Subsequently, the next Do

are looking for ourselves’ Williams writes,

Lecture series features a talk on ‘The Artist

‘and we are looking for something outside

As Collector’ directly inspired by Martin

ourselves. We want to affirm our own

Parr’s post war postcards and Andy Warhol’s

importance in the universe [and] objects

assortment of cookie jars (see appendix c).

are our ballasts.’

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For S/S 2015 WGSN has identified, a resurgence of materialism, or neo-materialism, as a ‘dominant philosophical movement... [that] recognises our desire to recapture “thingness” (the origins and materiality of an object) in the products we create.’ (WGSN, Macro Trends S/S15). ‘Thingness’ is a dominant trend throughout this explorative project, reassessing peoples fundamental attachment to objects as neo-materialism and ultimately neo-consumerism lead people to seek ‘satisfaction beyond mere things and look to

This trend is predominantly driven by the millennial market according to Katherine Earley as ‘many seek greater transparency and value, and more control over the way they consume’ explaining that they are primarily ‘prioritising experience and performance over possession’. Abandoning the ‘prevailing ethos of their parents’ generation of baby boomers’ (Botsman, R & Rogers, R. 2011) and instead favouring the values and attitudes of previous generations, not adhering to the social norms of a society raised in a hyperconsumerist, and individualistic culture. I aim to assess how the resurgence of community can be truly harnessed by brands, whose consumers now actively seek access over ownership within a communal environment.

(FIG,7. SEATON, N. LOOKBOOK A/W 13. 2013)

experiences instead.’ (Baggini, J, 2014) (see appendix d)

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(Ivakhiv, A. 2009)

Our understanding and acceptance of consumerism is changing as we become less ‘defined by credit, advertising and what we owned’ and transition into a society ‘defined by reputation, by community, and by what we can access’ (Leadbeater, C. 2008) Our invested interest in our future as a sustainable entity, has lead us to adopt hybrid forms of consumerism.

(FIG,8. SEATON, N. LOOKBOOK A/W 13. 2013)

‘MEANINGS OF WORDS CAN CHANGE, AS OUR CULTURAL ACCEPTANCE OF IDEAS IS REFRAMED’

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The emergence of ‘throwaway living’, a lifestyle ideal marketed post WWII as a metaphor for the liberation of housewives, was founded by manufacturers in an effort to add buoyancy to an economy governed by ‘waste not, want not’ attitudes. ‘Beware of thrift and unwise economy’ was the governmental propaganda launched in a bid to help encourage repetitive consumption, with disposability becoming synonymous with freedom. Yet for today’s consumers, freedom is sought in the ability to choose and invest in brands whose ethics are reflective of current societal values. In an explorative study entitled ‘Materialism and Consumer Ethics’, Muncy & Eastman found there to be an intrinsic link between strong consumer ethics and materialism, those with stronger consumer ethics, displaying less materialistic tendencies.

‘Ethics start with an ethos’ writes Chris Arnold, in Ethical Branding and the New Consumer, ‘A desire to do good and respect people and our environment’. Today brands have a responsibility as ‘agents of legitimacy’ to advocate ethical and environmental awareness through their ethos, behaviours and practices. Brands such as The Body Shop, Arnold elaborates, suffered immense profit loss in 2006 after it was sold to L’Oreal. A strong advocator for not testing on animals, Anita Roddick sold the business to L’Oreal, a company, in contrast, that had used animals for testing. ‘L’Oreal also represented a type of business driven by profits, and this again jarred with the public’s view of The Body Shop.’ (Arnold, C. 2009)

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‘CREATE A WORLD THAT INSPIRES HUMAN CONNECTION’

states Airbnb’s online ethos, a pioneering business within the sharing economy. It is an ethos that is embraced by hosts and users worldwide, as I discovered in August 2014, whilst staying with Eduardo Burnay (see appendix e) The sharing economy, ‘where asset owners use digital clearinghouses to capitalize the unused capacity of things they already have’ (Geron, T. 2013) is currently globally worth an estimated $9bn with this set to rise to $230bn by 2025 (Pwc, 2015).

Nesta estimates that 25% of the UK adult population are sharing online, with 72% of Pwc survey participants agreeing that they could see themselves being a consumer in the sharing economy within the next two years (see appendix f).

Debbie Wosskow, in writing ‘Unlocking the Sharing Economy’ outlines her recommendations for fostering consumer innovation in the UK, using the sharing economy as a disruptive yet sustainable platform for consumption.

She believes, forged through the adoption of collaborative consumption patterns, the sharing economy has the capability to strengthen community relations and re-think the value of ownership; with consumers able to reap immediate benefits such affordability, convenience and a heightened understanding of environmental awareness.

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(FIG, 9)

(FIG,9 & 10. AIRBNB INSTAGRAM #BELONGANYWHERE. 2015)

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According to independent research carried out, a collective majority of participants frequently use online market platforms such as Amazon and Ebay (see appendix g). ‘The grandfather of exchange market places’ (Botsman, R. 2010). Botsman goes on to explain how we are ‘wired to share,’ demonstrating how ‘real time technology is taking us back to bartering, trading, swopping and sharing, reinvented into dynamic and appealing forms.’

47% of survey participants (see appendix g) had yet to partake in any form of goods or service sharing, yet through ignorance 63% confirmed that this was merely due to a lack of In response to ‘what products or services would you be willing to share’ 57% of survey participants stated that they would be willing to share services such as time to help or aid another, therefore in acknowledgment of this data, I enrolled with skill and service provider TaskRabbit, to gain key insights into the members of this peer-to-peer, ‘neighbour-helping-neighbour’ platform.

‘Sharing is part of our nature and TaskRabbit is the enabler’ Aaron McGulk explained (see appendix h). A ‘tasker’ since 2012, Aaron offers his services as a personal assistant.

An aid for both ‘social... and financial growth’ for him, TaskRabbit has seen a recent influx of new service providers and receivers as people ‘become more accept[ing] of swopping and sharing.’ ‘People want to connect with people, they’ve just forgotten that they do.’

(McGulk, A. 2015)

(FIG. 11. BRADLEY, S. PAUL SMITH BULGARIA. 2014)

awareness of the services available.

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(FIG,12 .YISRAEL, P. THOSE DAM BIKES. 2015)

‘THE CONSUMER HAS IN RECENT YEARS BECOME INCREASINGLY POWERFUL’

Stated Kajsa Ollongren, Vice-Mayor of the City of Amsterdam.

Amsterdam has ‘position[ed] itself as a leader in the field of... ‘collaborative’ economy’ (Van Sprang, H. 2015).

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Declared the first ‘Sharing Capital’ of Europe

We believe in a world where everyone

on the 2nd Febuary 2015, Amsterdam has

has access to all products, services and

‘position[ed] itself as a leader in the field

knowledge necessary for a thriving,

of... ‘collaborative’ economy’

connected, sustainable and happy life’

(Van Sprang, H. 2015).

As stated in the mission statement of

The city is working in close partnership

pioneering sharing corporation, ShareNL,

with sharing ambassadors such as, The

whose extensive research has lead to the

Public Library, Crowndfunding Hub and

accelerated maturity and accessibility of

ShareNL to ensure the ‘city is a source of

this consumer market. As a ‘progressive,

abundance’ said Daan Weddepohl. Through

tech-enabled, and open-minded city’

social cohesion, the sharing economy

(Johnson, C. 2014) Amsterdam has fully

has the capability to successfully dispel

utilised the consumer potential of peer-

social isolation through local connectivity;

to-peer transactions, enabled by online

connectivity that, research suggests, 84% of

sharing platforms such as Peerby, instantly

Amsterdam residences are willing to partake

allowing you to ‘access everything in your

in, according to the Faculty of Geosciences

neighbourhood’ (Weddepohl, D. 2014).

at Utrecht University.

The study, conducted by Pieter van de

In email correspondence, Eva, a Peerby

Glind, identified the motives of Dutch

representative explained how the company

collaborative consumers & measured the

have harnessed the already social nature of

consumer potential of a collaborative

individuals; Peerby has just made ‘sharing

economic system. In conclusion, research

accessible’ Eva continued. Sharing isn’t

suggested that within Amsterdam, a new

‘a new idea, it is just taking new shapes’

socioeconomic groundswell of ‘sharing,

(Seignette, E. 2015)

bartering [and] lending’ has been redefined through technology, harnessing the potential to further redine consumerism.

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(FIG,13 . LOUGHRIDGE, C. MINT MANSION. 2015)

Further to my conversation with Aaron, we discussed how the fashion industry can successfully penetrate the sharing economy. The infiltration of the sharing economy is most prevalent in industries such as entertainment and media, with 9% of US adults participating in entertainment sharing, followed by the automotive industry 8%, hospitality and dining 6% and retail 2% (see appendix f). One start up company that attempted to penetrate the industry was 99Dresses.

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‘I WANTED TO SOLVE A PROBLEM: HAVING A CLOSET FULL OF CLOTHES BUT STILL NOTHING TO WEAR’

stated Nikki Durkin, founder of Australian startup company, 99 Dresses. Assessing the ‘post-mortem’ of her failed initiative, Durkin, discusses how the popularisation of start up business ventures and the economic potential it presented led to both the success and downfall of her company.

Launched in 2011, Durkin, then 19, built a clothes swapping community to solve her ultimate dilemma.

The idea of the ‘infinite closet’ was ungoverned by economic restraint, using a system where members would swap clothes for virtual currency. Known as ‘buttons’, this currency could then be monetised by the company, selling extra ‘buttons’ to members unable to purchase items, priced over their ‘button’ limit.

‘An item never actually leaves the Infinite Closet’ Alexia Tsotsis explains, it is simply ‘taken out of circulation’. Purchasing an item from 99 dresses, with the objective of wearing it once, the member can then re-upload it for someone else to wear; ‘It’s guilt-free shopping’ (Durkin, N. 2012) Initially the company was well received, with over four thousand dresses uploaded in the first four months but as the community grew and consumer retention remained strong, there was no governing body monitoring the quality of garments, ultimately resulting in the devaluation of items. The company’s fees were directly affected by the decline in product quality and value, and the company began to lose its consumer trust.

Whilst the initiative received ‘enthusiasm from early adopters and long-term users’ initially, Ira Koenig writing for Yalantis mobile development services, believes its downfall lies in its pseudo currency.

‘Bad money drives out good’ Koeing writes, and ultimately as trust and values decreased so did the community and profits.

According to a Wall Street journal, only 60% of startups survive the first three years of business.

Managing to turn four, 99dresses disproved this statistic, but sadly ‘only 1 in 10 make it for a decade or longer’, and sadly 99dresses succumbed to failure in 2014.

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breakdown of trust both peer-to-peer and the Building trust is an integral part of any sharing network, but crucially, at present, it is the main deterrent preventing potential consumers from sharing. Trust in people, trust in services and trust in quality of product were all listed as preventative factors for prospective customers, with trust in people receiving 42% of the poll votes (see appendix g).

David Brookes explains, there has been a

‘TRANSFORMATION OF SOCIAL TRUST , A REVERSION TO A ‘PRIMITIVE ECONOMY’, [WHERE] PEOPLE TRADED WITH MEMBERS OF THEIR VILLAGE AND COMMUNITY’.

Economically and socially trust has evolved, Brookes goes on the say, as a result of a new ‘personalistic culture in which people have actively lost trust in big institutions.’

NIKE RUSSIA. 2014)

collapse of company and consumer relations.

(FIG,14

The problem fundamentally stemmed from the

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89% of people agree that the sharing economy is based on trust between providers and users (see appendix i), as ‘technology [becomes an] enabler [for] trust amongst strangers’ (Botsman, R. 2010) yet as we seek ‘connection and belonging’, brands must adapt and revise their marketing strategy in order to target consumers fostering a ‘we’ mentality rather than one of ‘me, me, me’.

‘Consumers want to be part of a community’ Charlie Denson, Nike’s brand president stated. Nike is currently now spending, 55% less on traditional marketing and adverting platforms and instead reinvesting that money into ‘nonmedia social hubs’ such as NikePlus.

Co-created with Apple this technology allows runners worldwide to ‘maps their runs, offer advice and encouragement... and arrange to meet up with other runners in the real world.’ By late 2009, Nike had aggregated more than 1.2 million runners who had collectively clocked more than 130 million miles.’

Yet applying this theorem to retail, labelling fashion as a sharing community, stigmatises the venture as second hand often synonymous with poor quality. Would you ‘lend someone [your] best suit or dress for cash? Asked global market research company, Nielson, ‘63% told pollsters, no thanks’. Only 35% of survey participants stated they would be willing to share within this sector (see appendix g), therefore fashion brands must adapt the sharing services they can offer to fully utilise the economy.

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(FIG,15 . HANDLEY, Z. OYSTER X NEW BALANCE. 2013)

35 (FIG,16 . HANDLEY, Z. OYSTER X NEW BALANCE. 2013)

In January 2015, New Balance collaborated with GoodGym, to launch the #useyourun campaign. Aiming to ‘make a difference to your community, not just your body’ GoodGym was established as a not-for-profit organisation in 2009. ‘In gyms all over the country people all over Britain work away furiously; peddling, pushing, lifting, running and achieving no external benefits’ GoodGym aims to harness this energy by making it easier for people to channel it towards social good.’ (GoodGym, 2013) GoodGym has three key objectives for each run: 1.TO DO MANUAL LABOUR FOR COMMUNITY ORGANISATIONS. 2.TO MAKE SOCIAL VISITS TO ISOLATED OLDER PEOPLE WHO WE CALL OUR ‘COACHES’ BECAUSE THEY MOTIVATED US TO KEEP GOING. 3.TO HELP VULNERABLE PEOPLE BY; CLEARING GARDENS, CHANGING LIGHTBULBS AND DOING ODD-JOBS FOR PEOPLE WHO STRUGGLE TO DO THEM ALONE. Exercising the ethos ‘Get Fit, Do Good, Connect’ the #useyourrun campaign embodies multiple aspects of a sharing society whilst, in collaboration with New Balance, promotes the brand as a pioneer within the economy. This ‘new model of voluntary action’ (Young, K. 2015) focuses on the experiences of the people who benefit from the scheme.

Creating a wider beneficial dimension to sharing within the retail sector is fundamental in retaining consumers seeking to dismount the ‘hedonic treadmill’ (Lane, R. 2000) that is consumerism today.

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(FIG,17 & 18 . SEATON, N. LOOKBOOK A/W 14. 2014)

Fundamental to the success of a sharing initiative within the retail sector, is adequate trust in the service provided.

Fashion, as a tangible commodity, is hard to regulate when swopping and sharing, as discussed with Aaron McGulk (see appendix h). Therefore I propose a skill share, to be launched in conjunction with an already Therefore through extensive primary and secondary

established brand. Harnessing the existing consumer base,

research I have developed an understanding of how

that know and trust the brand, the initial trepidation in

fashion brands can best utilise the sharing economy,

the campaign is eradicated, reassured by the services

forming communities able to ‘overcome the culturally

and quality already provided. The adoption of sharing is

entrenching cult of possessions’ (Botsman, R & Rogers, R.

synonymous with an experience economy, yet in order to

2011) and form alliance with the conscientious consumer.

fully utilise both effectively, Gilmore and Pine explain, a differentiation must be made between experiences

Key insights I have drawn from my research include a

and services. Within the current retail sector, many

consumer desire for more – ‘more’ being the intangible

brands ‘simply wrap experiences around their traditional

implication of their purchase. There is a desire to shop

offerings to sell them better,’ yet in accordance to ‘The

conscientiously and consume wisely, shopping with brands

Progression of Economic Value’ model

that evoke a sustainable ethos.

(see appendix model 1).

In order to differentiate a competitive brand, from a progressive one ‘businesses must deliberately design engaging experiences that command a fee.’

(Pine, J & Gilmore, J. 1998)

TOAST & THE CULTURAL CAPITALIST

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Skill sharing has previously been embraced by retail brands such as Gucci, who launched their Artisan Corner I have chosen to collaborate with Toast. ‘Renowned for

in 2011, in a bid to refamiliarise themselves and their

its uncompromising commitment to quality, creativity and

consumers with their ‘humble Florentine beginnings’.

thoughtfulness’ Toast is founded upon four principles;

Gucci has subsequently established Artisan Corner

Simplicity, Modernity, Comfort and Colour. Established in

workshops globally, in a bid to showcase its ‘meticulous

1997 by Jamie and Jessica Seaton, Toast has grown into a

production processes and strict adherence to a Made in

brand synonymous with a lifestyle of aspiration, culture

Italy ethos’ (Christof, T. 2013)

and travel; a lifestyle that corresponds with previously identified consumer tribes that demonstrate high levels of

Whilst ‘demystifying the manual-assembly of shoes,

cultural capital (see appendix j). Each lookbook is an ode

handbags and other accessories,’ Gucci’s events served to

to the collections inspiration, ‘each collection has a story’,

underline the ‘intended thoughtfulness’ of the company’s

Jessica elaborates (see appendix k). Toast’s editorials

products. Christof continues, in writing, ‘they [Gucci]

epitomise simplistic artisanal living, yet I believe through

are among many initiatives, like the Jaeger LeCoulture

harnessing the sharing economy Toast has the opportunity

Masterclass which highlights a definite move towards

to not only visualise this lifestyle for the consumer, but

value-added transparency in how products are created,

involve them in it.

which is an especially refreshing counterpoint to throwaway fast fashion’ (see appendix l)

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(FIG,19 & 20. ISAGER, D. LOOKBOOK HOUSE & HOME A/W 13. 2013)

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‘Everything in TOAST is connected, from the people we work with to the people who buy our products, to photographers and models we use,’ Jessica Seaton explains to Marylebone Style columnist Stevie Martin.

With the adoption of modernity at the core of the brands ethos, research demonstrates that ‘without losing the values with which [the brand] started out’ (Seaton, J. 2013), Toast has the capability to connect with its consumers, in a way that further enhances the community and lifestyle it prides itself on, through unifying all parties involved. Utilising the community of artists, photographers and creatives featured within its lookbooks and blog, Toast can begin to translate the ‘honesty [and] poetry’ (Thomsen Brit, L. 2014) at the heart of the brand, into a tangible experience (see appendix m)

(FIG,21 . ISAGER, D. LOOKBOOK S/S 14. 2014)

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One business with similar ambitions is home furnishing company West Elm. Harnessing its ability to connect ‘like-minded strangers through inspiration, conversation, events and activities,’ West elm prides itself upon on its values and ‘commitment to people’, as demonstrated through the ‘community [it has established] with customers, collaborators and associates’ (Westelm. 2015).

Founded in Brooklyn in 2002, the current company president Jim Brett, credits West Elms success to the ‘humanisation of [it’s] products’ and the company’s commitment to bricks and mortar retail, harnessing the opportunity to ‘use stores and store staff as a vehicle to truly engage with the community’ (Brett, J. 2014).

In 2012, West Elm, trialled classes for consumers, with no success. The events were branded as blatant promotional platforms and people were disengaged with the sales techniques used.

Today the company employs a different approach, classes such as the ‘Basics of Fermentation and Container Gardening’ aim to feel more organic and less promotional,’ with events run by local entrepreneurs and artists, in a bid remain ‘in tune with individual communities’ (Brett, J. 2014) March of this year saw West Elm hosts its first Pop-Up collaboration with Etsy, curated by interior designer Brian Paquette. Supporting the work of artists local to West Elm’s Seattle store, the company promoted the campaign via the hashtag #westelmlocal, offering an environment via which to sell, trade and showcase local craft (see appendix n). ‘The partnership stems from [a] desire for a more personal exchange’ Barbara Thau writes for Forbes. ‘West Elm has an intensifying enthusiasm for the ‘maker’, an enthusiasm shared by social activist Naomi Klein, forerunner of Fashion Revolution Day.

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(FIG,22. OLANOW, A. HOW TO PROPAGATE A SUCCULENT. 2015)

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(FIG,23 . FASHION REV CAMPAIGN. 2015)

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Held annually on the anniversary of the Rana Plaza disaster in Bangladesh in 2013, the WhoMadeMyClothes campaign, challenges a deeper understanding of the ‘maker’, directed at a ‘a fresh generation of women [who] are marching for revolution and want to wear clothes that tell a new story’ (Naomi Klein, 2015). #insideout has at present received 6.6m Google hits worldwide, encouraging participants to take a selfie with their clothes inside out, to showcase the labels they are wearing, ‘urge[ing] followers to ask brands #whomademyclothes in the hope that brands will feel the pressure to reply’ (de Castro, O. 2015) Owing the success of the campaign predominantly to the strength of the hashtag, Stephanie Hepburn, a writer for the guardian, asks whether a hashtag can bring about meaningful change for the industry. She explores the concept of the campaign, whose ultimate goal was to raise awareness, and ‘reach people otherwise not engaged’, if this is achieved than ‘it has provided something of value.’

Validating Hepburn’s analysis, Ruth Stokes, author of The Armchair Activist’s Handbook, goes on to state that ‘the challenge is translating that increased awareness into real-world practical actions, whether that means changing individual behaviours or the laws made by politicians.’

The hashtag is a tool that Toast currently utilises successfully (see appendix q), but research suggests there is margin to surpass current consumer engagement through offering the potential to profit from ‘conversational currency’ (Salzman, M. 2014).

Toast is predominantly marketed at a 25-40 year old market, but popular with older generations for its simplistic, utilitarian design.

Its popularity heightened within a more mature market by its recent infiltration into seven John Lewis stores nationwide, yet its dominant market is retained within the millennial demographic; dubbed the

‘HASHTAG GENERATION’ (Salzman, M. 2014)

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(FIG,24 . ISAGER, D. LOOKBOOK S/S 13. 2013)

Pwc reports that the millennial sector are currently, the largest, most frequent participants within the sharing economy, comprising of 38% of the market (see appendix f).

In accordance with previous tribal and social research, I have been able to categorise Toast’s millennial consumers into the social tribe the ‘Cultural Capitalists’ (see appendix p).

Sharing a mutual habitus with Toast, the Cultural Capitalists exemplify a lifestyle of cultural awareness, of ‘groundedness... and behaviours bound by shared vaules’ (Seaton, K. 2014).

The Cultural Capitalist aspires to travel and engage socially both online and off. Further to this understanding, I have been able to develop an awareness of their consumption patterns. Referring to the consumer diaries carried out by tribe members I have been able to establish an understanding of purchasing habits, and subsequently the frequency and motivation associated with these (see appendix q).

(ILLUSTRATIONS 1-6, BINGHAMAN-BURT, K. OBSESSIVE CONSUMPTION COLLECTION. 2002-2004)

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Directly inspired by Kate Bingaman-Burt and her illustrated consumer journal, ‘Obsessive Consumption: What Did You Buy Today?’, I have illustrated the list of purchases made by the selected consumers. Documented over several years, Binghaman-Burt believes cataloguing her consumption habits allows her to make sense of this ‘sometimes nauseating world of consumer culture.’ She goes on to explain her attachment to objects and her desire to

‘KNOW THE NARRATIVE OF OTHER PEOPLE’S CASTOFFS’ (Binghaman-Burt, K. 2010).

Channelling this intrigue into her own work, she now documents her own stories and patterns of consumption through illustration and photography, in a bid to understand her habits.

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established three, current and prospective customers. In order to understand the brands positioning within this millennial market I have assessed its competitors based upon the favoured retail brands of the identified consumers.

I have explored how these contender brands engage with their consumer and how they visually portray the ethics of the brand via the visual language displayed across all social platforms (see appendix r)

(FIG,25 & 26. ISAGER, D. LOOKBOOK HOUSE & HOME A/W 12. 2012)

Within this social bracket I have

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Toast has a steadfast visual code that is portrayed across all media, both online and offline (see appendix s). Its aesthetic is translated into all aspects of the brand, including the visual merchandising of its stores. Whilst visiting the Cheltenham branch I carried out observational research, assessing the ‘multidimensional environments’ Jessica Seaton proudly advocates (see appendix t).

Speaking to the shop manager (see appendix u) it is evident, Toast’s ethics are deeper than the superficiality of clean, minimal editorials. Personable and friendly, the shop’s staff are exemplary brand ambassadors. Aged between mid twenties to late thirties, this dynamitic team advocated the harmony between a millennial market and the simple, uncomplicated design of the SS15 collection. Predominantly not led by trends, the collection focuses on longevity and sustainability, through uncompromising quality and timeless design. ‘Toast isn’t offering something unrealistic. It’s attainable’ (Seaton, J. 2014), as is the proposal to create a platform via which to share skills, offering something realistic, with a wide beneficial reach is wholly apt.

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Insight gained from perceptual mapping (see appendix r) and comparative analysis, highlighted other key brands within my millennial consumer market who are currently utilising skill share to increase consumer engagement.

Pioneered in the United States, true to its American roots, Anthropologie launched in-store events in 2012. Partnering with over thirty contributory artists and designers, the company established the ‘Made in Kind’ campaign, in a bid to showcase emerging global talent. Subsequently stores hold ‘do it yourself’ events, exhibiting the crafts and skills of the featured artists inviting customers to ticketed events, where they have the opportunity to create and make, learning new crafts and skills. This DIY mentality is translated into its online platforms, with the brands blog, featuring activities such as ‘Make It Happen: Origami Lovebirds’ and ‘Let’s Go and DIY a Kite’.

‘Anthropologie is a lifestyle brand that imparts a sense of beauty, optimism and discovery to our customer’ states the brands manifesto. Anthropologie strives to be ‘an escape from the everyday and a source of inspiration and delight’. #Anthroevents captures this consumer delight and engagement via multiple digital media platforms.

Described by The Telegraph as ‘America’s dream shop’, Anthropologie hosted Florist Scarlet and Violet, in 2014, coinciding with the Chelsea Flower Show and in accordance with the cultural calendar. Victoria Brotherson, owner of Scarlet & Violet, was invited to give a talk on how to arrange ‘English country garden’ posies, with all 40 attendees offered the opportunity to hand craft a seasonal bouquet. Tickets were priced at £40.

(FIG,27 & 28 . HOBSON, I. SWALLOWS & DAMSONS. 2015)

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Aesthetically however, I find the promotion of the events and the advertorial graphics, passĂŠ and overtly kitsch, in the translation of the brands visual codes. Anthropologie is famed for its distinctive visual language and merchandising, its selection of eclectic pieces ultimately equating to its global aesthetic identity, yet its flowering arranging and embroidery events, seem to have misinterpreted this identity for twee and marginally clique (see appendix v). With little or no relevance to the current stock or collections, proceeds generated are received by the company and collaborating artist.

TOAST + HONEST

3

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I am proposing Toasthosts; A collaborative skillshare event, that invites the artists and contributors from that season’s collection, lookbook, blog posts and instore collaborations to share their skills and craft with Toast’s consumers; generating a platform via which to further engage the consumer, through an experiential medium.

‘OFFERING A FEW PLEASURABLE MOMENTS OF CALM ESCAPE’ (Seaton, J. 2014)

the event will be ticketed and the proceeds donated to aid various charitable causes local to each Toast shop, at the (FIG, 29.

discretion of the shop manager or collaborative partner.

A FAMILY BUILD A WARDROBE. WALL E & LACEY P. 2015)

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Toast is currently collaborating with Botany; ‘Inspired by nature & simple living’ Botany perfectly embodies Toast’s philosophy of ‘simplicity, modernity and thoughtfulness’. Housing a ‘carefully curated selection of ethically sourced hand-crafted products;’ the brand’s visual language is a seamless extension of that of Toast’s. Botany is situated in Hackney’s creative community; a community that demands adherence to ‘Hackney’s Creative Political Framework.’

Demonstrating that through strategic development, ‘cultural activities and the cultural and creative industries’ have the ability and opportunity to benefit the wider community both socially and economically.

Launched in March 2015, the six week pop up, has received excellent reviews from reputable lifestyle blogs such as Lobster & Swan and A Quiet Style, deeming it a ‘botanist’s dream’, the ‘surroundings...a reflection of a ‘beautiful and balanced life’ (Grant-Riley, T. 2015).

Further to this collaboration, Honest Skin Care, and Conpot Ldn, were also given a platform via which to promote their products. Henceforth I propose an experiential skill share with Honest Skin Care, followed by subsequent events with Tif Hunter, Botany and Alice Gao, to be held at the Notting Hill shop, Summer 2015.

(FIG, 30 & 31.

TOAST + BOTANY. 2015)

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(FIG, 32 & 33 . FISHER. K. HONEST SKIN CARE. 2015)

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The launch event, #ToasthostsHonest will be a one night event, hosted by company founder Katie Fisher. A trained holistic therapist, Katie’s products are all hand crafted from a variety of organic ingredients such as; Cedarwood, renowned for its ‘grounding and calming’ properties and raspberry seeds, ‘high in essential fatty acids which [have] superior anti-inflammatory properties’ (Fisher, K. 2012). The wealth of understanding she has is evidenced through her holistic, organic approach to chemical-less skin care; with Honest’s inherent values being; Natural, Ethical & Honest, values that are reflected in the brands visual aesthetic. #TOASThostsHonest will showcase this skill; an experiential demonstration of the recipe of raw ingredients involved in the creation of these products. The event’s attendees will have the opportunity to make a candle and a bar of soap, from the raw ingredients present at the event, with costs covered through the price of the ticket purchased.

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Increasing brand awareness for both parties and informing the consumer of this collaborative event is the key objective of the marketing strategy. Applying a marketing strategy to an existing brand, it is important you implicate a campaign appropriate for the brand’s positioning and consumer base.

Key considerations include the appropriate receiver, suitable media channel, timing and process control.

Further utilising the consumer diaries carried out Penetrating the consumer loyalty loop of an existing

by members of ‘The Cultural Capitalist’ tribe, I can

consumer base; we are entering the loop at the ‘bond’

further enhance my understanding of the consumer

curve. There is little consideration or evaluation to

through their purchasing habits and in turn develop

contemplate, as the consumer has already established a

an understanding of their consumption routine,

trust and loyalty with the brand, trust that initially was

strategically marketing a campaign that would be

lacking when consumers were first asked what currently

appropriate to them. From the diaries I can deduce

prevents them from sharing. The event seeks to simply

that fashion was often purchased at smaller shops and

further their engagement with the brands, this in turn,

time was preferably spend on leisure pursuits and

increases brand advocacy. If event attendees then

experiences, therefore research suggests that a ‘below

proceed to tell others, awareness subsequently grows,

line’ targeted strategy would be wholly appropriate.

with 91% of people deeming ‘word of mouth’ to be the most powerful consumer decision influence

Below line marketing means that the brand is directly

(Hughes, M. 2014). With due consideration grated to

targeting the appropriate consumer, avoiding mass

the consumer touch points outlined by MediaEdge the

media channels. Techniques include, in store marketing,

events aim to infiltrate the ‘involvement’ sector to an

point of sale promotion and print media, techniques

already targeted market.

already effectively used by Toast.

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(FIG, 34 . FISHER. K. HONEST SKIN CARE. 2014)

HONEST SKIN CARE STUDIO

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currently uses promotional postcard style material, placed throughout the store, and received upon purchase. This non intrusive form of advertising parallels the lifestyle the Company projects and endorses.

This would be a technique deployed by #TOASThosts events, subsequently filtering the audience of the event, prioritising Toast’s existing consumer base.

Furthermore, Toast would produce promotional posters to be used in store, with the event aesthetic sympathetically designed to visually compliment the seasonal shop merchandising (see appendix w)

(FIG, 35 . MARSHALL, C. POSTER DEVELOPMENT. 2015)

Informed by observational research, Toast

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Further to this, and to enhance consumer loyalty, Toast will directly target those consumers who receive catalogues and mail outs with a Notting Hill post code.

Residents of W11, will receive personal invitations and targeted marketing, with promotional material sent to their address. Granting priority to those within the W11 radius, Toast hopes to further enhance its local consumer community, bringing people together through a collaborative experience, seeking to implement that ethos of a communal sharing environment. Promotional material will be sent out two months before the event, aiming to implement a ‘fast build’ marketing campaign, avoiding the threat of a loss of enthusiasm and momentum. Similarly in-store marketing, across all London shops, Chelsea, Marylebone, Islington and Notting Hill would commence two months before the event date.

The weaknesses involved with launching an offline media campaign is that the life span of the print material is limited and can be expensive to produce. These costs however, would be cut by hosting the event in store, therefore eliminating venue hire fees and Toast would offer event attendees the opportunity to purchase clothes and homeware after the event, increasing sales falls and in turn, profit.

CREATIVE BRANDING DEVELOPMENT

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online and offline platforms, with a predominate focus granted to social media channel, Twitter. ‘Visual content marketing’, a highly effective strategic tool, as revealed

by Jesse Mawhinney, has seen businesses significantly increase ‘their blog traffic [and] social media engagement.’ It is reported that ‘tweets with images receive 89% more favourites and 150% more retweets ‘ (Cooper, B. 2015).

A technique already deployed by Toast in the company’s recent competition to win a ticket the Hay Festival. @TOASTtravels will tweet promotional #TOASThostsHonest material with the corresponding promotional campaign image attached, with an embedded URL link to more event information and ticket purchasing (see fig 38). Embedding a URL, can further increase consumer engagement by a further 35% (Rogers, S. 2014), providing the prospective attendee to a link to toa. st.co.uk. The promotional material would be featured on the retail website and corresponding blog, toast.travels.co.uk (see fig 36 & 37).

(FIG, 36 & 37. MARSHALL, C. WEBSITE & BLOG DEVELOPMENT. 2015)

The event will be promoted across both

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(FIG, 38 . MARSHALL, C. TWITTER DEVELOPMENT. 2015)

Strategically promoting the event, utilising ‘omnichanel retail techniques’ (High, S. 2014), Toast and Honest, aim to increase consumer engagement and brand awareness. The hashtag #TOASThostsHonest will simultaneously be promoted via Honest’s twitter handle @honest_skincare, website honestskincare.co.uk and blog, honestskincare.co.uk/blog (see appendix x).

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The importance of visual content marketing has seen Instagram, Pinterest and Snapchat increase in validity within the marketing sphere. With over 300 million users, 67% of whom are within Toast’s millennial market, many brands are utilising the ‘visual advantages’ of Instagram in a bid to ‘complement their other marketing efforts’ (Shayon, S. 2015) Pioneering Sharing Economy brand Airbnb, was crowned winner of the 2015 Shorty Awards for best Instagram account, with over 306,000 followers at present, the account ‘opens the doors to the world’s most interesting places to stay’. Toast and Honest boast an accumulative Instagram reach of 26,400 users, with statistics suggesting that the majority are female and predominantly millennial, the campaign is perfectly targeted at the appropriate market.

Instagram has seen its brand adoption rate increase by 71% since 2014, making it the fastest growing major social network, with over forty million pictures posted every day. For brands, engagement has grown by 350%, with 57% of brands posting an average of one picture a week.

Both Toast and Honest will promote the events via their Instagram accounts, posting promotional material before the offline campaign begins; increasing intrigue and generating interest. Without initially disclosing the date or collaborative partner, both Honest and Toasts accounts will begin posting week commencing the 11th May. Posting no more than one picture a week, to avoid the risk of ‘oversaturation’, the chosen photos will begin to reveal clues as to the event and collaborative partner, with all events details disclosed when the offline promotional material reaches stores the week commencing the 25th May. 83% of Instagram posts contain at least one hashtag, therefore each post will feature the event hashtag #TOASThostsHonest, to further increase awareness and reach.

(FIG, 39 . FISHER. K. HONEST SKIN CARE. 2014)

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(FIG, 40 . FISHER. K. HONEST SKIN CARE. 2014)

During and after the online marketing campaign Toast will be able to monitor campaign engagement using tools such as Alexa. Alexa is an ‘intuitive analytic[al] product, [that] transforms data into meaningful insights that lead to competitive advantages’, through the monitoring of website traffic and social media engagement. Alexa will be able to strategically advise Toast, on the most appropriate way to manage its online presence in order to retain a strong consumer community. Currently Alexa is able to inform the user that toa.st.co.uk is ranked 10,892 in the United Kingdom, based upon the daily views it receives equating to a rough estimate of this site’s popularity. It is also able to disclose that the average site visitor spends a mean time of 2:56 minutes browsing the site, a decline of 28% over the past three months, further emphasising the need for a ‘fast build marketing’ strategy to be utilised for the marketing of the event, enabling the brand to retain the attention of the consumer for the appropriate period of time.

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Tickets for the event will be purchased via the Toast website, for the price of £15. The price is costed to cover ingredients expenditure, with a surplus rate added in order to generate a charitable margin within the ticket price. This margin will be donated to a charity local to the branch the event will be held at, and is up to the discretion of the collaborative partner or shop manager.

The money raised is a fundamental part of the event. Vend, a point of sale software development company, report that 87% of ‘global consumers factor in Corporate Social Responsibility into their purchase decisions.’ ‘Shoppers want to know the money they are spending is not going into one person’s pocket, but is truly making a difference in the community they live in,’ Adrianne Weissman, owner of Evelyn & Arthur told Vend researchers. 2015 is predicted to see the highest inflation of ‘good deed initiatives’ infiltrate brand manifestos.

Subsequently, after purchasing a ticket, attendees will receive an invitation through the post, granting them entry to the event (appendix y).

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Referring to a ‘collection’ for inspiration seems wholly apt and appropriate. ‘One journalist’s experience of attending catwalk shows’ was beautifully documented earlier this year at Somerset House. ‘Invitation Strictly Personal’ provided attendee’s of the exhibition with an ‘ intimate and fascinating insight’ into a collection of catwalk show invitations from 1961 – 2015, documenting the emergence of digital media, colour and typography trends, and invitation formatting.

Attending the exhibition provided key insight into invitation layout, the key information required and the appropriate aesthetic to reflect that brand. Displayed in the ‘uniformed manner of a catalogue’ (Gonsalves, R. 2015) Webb explained how he wanted the collection to be solely focussed on the invitation, with each image thematically presented with accompanying text. Invitations such as Alexander McQueen’s A/W 09, beautifully reflect both this environmental ethos, and his historical sources of inspirational reference. Similarly invitation formats, such as Valetino’s cassette invite and Clements Riberio’s embroidered handkerchief were reflective of the anticipated show.

‘SOME PEOPLE ARE DRAWN TO COLLECTING – Ian Webb.

Key insights gained included the importance of translating brand narrative and appropriate brand aesthetic into the invitation, whilst not comprising the key information required (see appendix z).

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(FIG, 42 . MCQUEEN, A/W 09 INVITATION. 2009)

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The visual aesthetic for the event will be drawn from the strong visual codes both Honest and Toast project through their brand, marketing and media.

Inspired by the brands, and the simplistic, natural ethos they convey, many of the colours will be pulled from the organic ingredients used by honest, the seasonal colours in the Toast collections and the informative trend trajectories as visualised by WGSN. For S/S 2015, WGSN has forecast the trend ‘Harmony’ applicable across both print and graphics and branding and labelling (see appendix aa).

Subcategory ‘Hunter Gatherer’ is partially applicable, capturing the organic nature of ‘botanical style’ through the use of natural tones and colours, as well as the visualisation of natural inspiration, displayed through minimalist horticultural visuals, not dissimilar to that of Toast’s lookbooks and Instagram account.

Reflective of Honest’s organic, simplistic philosophy, a minimal palette can be utilised across all forms of media and branding. Prominent colours will include natural earth tones, balanced with minimal shades of whites and cream, directly inspired by inspirational visual merchandising, and previous promotional material, that will similarly influence the event styling and layout. (see appendix bb)

(FIG, 43 . LEMHOLT, H. n/a. 2014)

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Rough Trade in Nottingham houses minimal aesthetic brands Aesop and ‘Objects of Use’. This visual identity, although basic in its appearance, is reinforced through the transparency it projects. The millennial market is seeking ‘greater transparency a striped back aesthetic is wholly reflective of this consumer desire (see appendix cc) Further to this I began to gather visual merchandising inspiration and event styling imagery based upon the visual brand insights gained. I have critically deconstructed the visual language of both brands, placed key importance on projecting the hand-crafted and home-made narrative of Honest and the lifestyle of Toast, incorporating both into the event styling. Shelves full of labelled ingredients, copper pans and Belfast sinks became synonymous imagery for high quality home craft.

The organic nature of Honest will be not only reflected in the promotional material but similarly in the execution of the skill share. The soap, once crafted, will be wrapped in muslin, for the attendee to take home; the candle, once set in a glass jar, will be wrapped in brown paper, unifying the aesthetic, products and the collaboration itself.

On leaving the event, guests will receive their hand crafted products, wrapped and boxed, with a recipe card inside the box, creating the opportunity to further share the craft the attendees learnt during the event; further enhancing the aspect of community skill share.

(FIG, 44 . BERG, J. MAJORCA. 2015)

and value’ (Earley, K. 2014) within its purchases and

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(FIG, 45 .MARSHALL, C. 2015)

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Through harnessing the awareness brands can generate through the ‘shared creation of goods’, the sharing economy can thrive within the retail sector. The British Fashion Council valued the fashion industry’s contribution to the UK, at £26 billion last year, Natalie Massenet disclosed. As Chairman of the Council, Masset went on to state that ‘the international spotlight is on us and we aim to make the most of it.’ Through the adoption of the sharing economy, research suggests that the retail industry can fully utilise its time in the spotlight; shining not only on the industry, but on its capabilities beyond fashion. The adoption of sharing has the ability to cast light on businesses and corporations looking benefit the wider community beyond its immediate consumer.

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To refer once more to Katherine Earley’s deduction that ‘many are seek[ing] greater transparency and value, [in the] way [they] consume,’ this I believe can be achieved through embracing an economy ‘wired to share’ (Botsman, R. 2010).

Not only a collaboration of brands, but one of ethos’ and lifestyles, Toast and Honest, perfectly combine to form a platform from which to launch a skill sharing initiative into retail, strengthening consumerbrand engagement, with far-reaching impact.

‘THINK ABOUT THE FUTURE SUCCESS OF YOUR BUSINESS AS A TOOL TO INCREASE HUMAN FLOURISHING’

James Poulos writes; A future, I concluded, to be secured though the adoption of sharing.

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REFERENCES + BIBLIOGRAPHY

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[Directed by Adam Curtis] 11.Botsman, R, 2010. The Case for Collaborative Consumption. TEDTalks. com [Online] Available www.ted.com/talks/ rachel_botsman_the_case_for_collaborative_consumption [Accessed on 23.02.15] 12.Brett, J., Cited: Sacks, D., 2014. Fixing this one big problem helped turn around struggling furniture retailer West Elm. Fast Company. [Online] Available at: www.fastcompany.com/3026993/the-future-of-furniture-west-elm [Accessed on 27.04.15] 13.Brooks, D., 2014. The Evolution of Trust. The New York Times. [Online] Available at: www.nytimes.com/2014/07/01/ opinion/david-brooks-the-evolution-of-trust.html [Accessed on 13.04.15] 14.Burke, E., 1757. Pg 44. Cited: Botsman, R & Rodgers, R., 2011. What’s Mine Is Yours. London: Collins

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