FASHION WRITING CRITICAL STUDY
BETHANIE RYDER C3470725 WORD COUNT - 2048
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CONTENTS
1. Reflection of Production and Practice ....................................4 1.1 Critical Reflection ........................................................5 1.2 Future Landscapes ......................................................8 2. Final Major Project Proposal..................................................16 3. Bibliography............................................................................26
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CRITICAL REFLECTION
“Critical thinking is a process that relies upon, and develops, a wide range of skills and personal qualities. Like other forms of activity, it improves with practice and with a proper sense of what is required. For some people, this may mean changing behaviours such as paying attention to detail or taking a more sceptical approach to what they see, hear and read.” (Cottrell, 2017, p16) In order for publications to withstand increasing competitor figures and volatile consumer demands, businesses must incorporate the process of critical reflection into their work-flow. As discussed by Brockbank et al (2017) the practice of critical reflection can be defined as “a process which involves dialogue with others for improvement or transformation whilst recognising the emotional, social and political context of the learner.” The benefits of using reflective learning through work-flows include the encouragement of new ideas and improving performance, alongside increasing motivation to share constructive criticism with peers and observe theories from a new perspective. Reflective learning provides a “useful framing device to help conceptualize some important processes in professional learning”. (Dymoke & Harrison, 2008) 5
Source - Instagram (@spoilednation, 2018)
spoiled nation Spoiled Nation is a multi-platform publication, produced for a readership audience of males and females aged between 18-35 years old. In order to develop an understanding of magazine production and design an effective system, the working environment of the publication was aligned as closely as possible to an industry standard work-flow. (Whittaker, 2008) This entailed all individuals involved with Spoiled Nation working towards weekly deadlines, with a prioritisation of workloads and effective timemanagement proving essential during this process. 6
CRITICAL REFLECTION
During the primary process of developing and organising the work-flow of Spoiled Nation, each individual involved was asked to describe and outline their skill-set and position of preference (e.g. art director or editor). Using an autonomous approach towards curating a team was successful in positioning individuals within areas in which they would work most effectively and to their best advantage. As discussed by Whittaker (2008) “Putting several minds together to arrive at a collaborative outcome requires an understanding of team dynamics, empathy for the needs of others and a willingness to contribute.� (p170) By replicating and applying the industry work-flow applied by Whittaker (2008) to the publications development, the individuals involved with the process could be confident in knowing they were partaking in an established and widely-used practice. Primary research concluded that the collaborative aspect of the production process was effective and provided the team with advantages, including the opportunity to openly discuss issues regarding the publication and collaborate with other creative mindsets to create original concepts. 7
FUTURE LANDSCAPES
“Magazine publishers are becoming increasingly innovative in creating new business models to help retain their audience position, with some abandoning the printed magazine altogether� (thedrum.com, 2017)
8 Source - glamourmagazine.co.uk, (2019)
(Source - glamourmagazine.co.uk, 2019)
FUTURE LANDSCAPES
It is clear that recent revenue declines in magazine consumption have come as a result of competition from the internet. (Orchard, Lou X, 2010) Therefore, it is essential that the publication industry continue to adapt and change their business models in order to compete with factors including technological advances, cultural shifts and consumer buying habits. As discussed by McMillan & Weyers, (2013) “There is a need to employ critical thought when responding rapidly to changing, complex events.” Despite this, although publications have experienced a huge digital shift in the past decade, there is still an unwillingness of users to pay for online content. (Forbes. com, 2014) “Magazines that want a significant online presence have to think of new ways to engage with readers.” (Whittaker, 2008, p170)
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FUTURE LANDSCAPES
Source - Instagram (@i_D) (2018)
Advances in social media have given magazines a platform to directly converse with their audiences and give their readership a voice. Alongside introducing the concept of direct responses from consumers, the notion of an authentic and culturally conscious brand image is reinforced. 10
Source - Instagram (@i_D) (2018)
FUTURE LANDSCAPES
“Having an actionable, strategic approach to social media audience marketing and growth puts a brand in the proverbial driver’s seat. Marketers cannot only learn a great deal about their own audiences from social media but can capitalize in ways that go far beyond building volume.� (Raphael, 2012) Publications should consider introducing a social media strategy into their business models, with extensive emphasis on reaching out to consumers for their personal perspectives and viewpoints on particular subjects. Direct dialogue with their audiences is an effective, highly influential method in which businesses can learn vital information about their consumer and integrate this into their own media channels.
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FUTURE LANDSCAPES
“There will be a greater emphasis on analytics and, more importantly, how to analyse those figures to increase conversion and revenue.� (forbes. com, 2018)
(Source - Instagram, @vogue, 2018) (Source - Instagram, @vogueinternational, 2018)
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FUTURE LANDSCAPES
“Content marketing generally refers to a method of marketing a product or service by creating and distributing free informational or entertainment content, especially online. By distributing such content across a wide variety of platforms, companies build brand awareness and credibility with their customer base and maintain ongoing relationships by which customers are constantly in contact with the brand, increasing the probability that they will purchase goods and services.” (Wall & Spinuzzi, 2018) Examples of Content Marketing that Spoiled Nation and other publications could introduce in their business model include: • Episodic Content - Vogue International regularly uses the social media platform Instagram as a ‘storytelling’ device for their content. Spread out over multiple chronological posts, audiences are more likely to stay engaged for a longer period of time. • Multi-format Content - Optimising content to extend its accessibility in maximising audience outreach has proven beneficial for numerous businesses. Examples of multi-format content include websites, blog posts, audio and visual case studies, interviews and long-form print. 13
FUTURE LANDSCAPES
“Audiences everywhere are hungry for reliable, high-quality content, which is to the advantage of magazine media. With the tsunami of information online, readers are bombarded by content that is questionable in terms of its provenance.� (Digital Innovators Summit, 2018)
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Source - theguardian.com, (2017) (Source - privateeye.co.uk, 2018)
FUTURE LANDSCAPES
It is possible that a growing number of consumers are taking to the digital sphere for voyeuristic purposes: audiences are using the internet as a form of escapism, through mechanisms including celebrity culture and consumerism, whilst investing in print publications for authentic journalism and accurate accounts on current affairs. This hypothesis was reinforced through a shift in sales in print magazine genres, with Private Eye’s circulation seeing an 8.6% increase in year-on-year purchases. (BBC. com, 2017) As a result of this, publications should consider reinventing a business model which runs parallel to these consumer habits and alter their information on both platforms to reflect these statistics.
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(Source - WGSN, 2018) (Source - WGSN, 2018)
INSPIRATION Birch
Ember Glow
Dark Olive
13-0905 TCX
17-1360 TCX
19-0516 TCX
Lilac Sand
16-3205 TCX
Blue Creek
18-4026 TCX
17 (Source - WGSN, 2019)
(Source - f-trend.com, 2019)
Heathland Brown 17-1147 TCX
WHAT ARE THE BRAND VALUES?
AWARENESS With an estimated 300,000 tonnes of fashion waste ending up in landfills each year, sustainability in fashion has never been so prevalent. A a result of this, the project will aim to move away from the demand of singular garments that are considered ‘on-trend’ at one particular time, and draw attention to the concept of styling and design options that hold a deeper contextual understanding and have a longer-lasting impact.
RESPONSIVENESS “Fashion responds directly to the cultural landscape of the time. As a visual platform, fashion allows us to easily track key Cultural Currents over time, analysing how they manifest and what this says about society.” (Tutill, 2018) It is imperative that brands and consumers respond to factors including sustainable fashion and cultural movements. The project will pay extensive attention to this factor and ensure content is relevant and current.
UNDERSTANDING “Trend analysis forms a critical part of every decision around pricing, depth of buy, timing within a season and development.” (Business of Fashion, (2015) The project will present an extensive understanding of the significance of trend reports and offer effective and useful information to a variety of audiences. As a result, this will prove beneficial from both a business and a personal perspective.
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WHAT IS THE BUSINESS MODEL? REVENUE The publication will generate a revenue through a subscription service, which will offer an additional option of a bi-annual print copy edition, delivered to the subscribers address. A lower circulation of print to those who subscribe only will result in lower costs for the businesses, whilst a sense of exclusivity for the consumer will remain. From a B2B perspective, businesses will be able to pay for exclusive services including tailored plans and personalised reports in order to help incorporate relevant trends that they feel reflect their image into their brand.
AUDIENCE OUTREACH There will be a substantial amount of attention paid to social media platforms, in order to reach possible online consumers. A large-scale following on social platforms will increase the possibility of driving traffic to the online publication and expanding search analytics. Building relationships with the consumer will be a predominant element of the social media strategy; this will be executed through content marketing methods including episodic content, ‘story-telling’ media and direct contact with the brands audience. 19
COMPETITORS “We’re a real, trusted, source of validation.” (WGSN, 2018)
(Source - WGSN.com, 2019)
“Designers make up more than half of WGSN’s customer base” (fashionista.com, 2014) With a total of around 75,000 customers, WGSN are business professionals in their field of work. (fashionista.com, 2014) However, they choose to only offer their services to businesses and those with a professional purpose. The B2B company has accumulated a strong paying client base, consisting of CEO’s, Visual Merchandisers, Buyers and Marketing Executives. 20
COMPETITORS “Social Media dictates trends today. The trend emerges overnight and disappears just as quickly.� (Business of Fashion, 2018)
(Source - Instagram, @weworewhat, 2019)
(Source - Instagram, @sincerelyjules, 2019)
Social Media is a cheap, quick and convenient way for consumers and professionals to track upcoming and popular trends, with in uencers havin a si nificant impact on the fashion industry and how consumers are choosing to spend their money.
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AUDIENCE
(Source - Diffusion of Innovations, Rogers, E. M. (2003))
By applying the ‘Diffusion of Innovation’ theory to the business model, the publication will be aiming to target brands which consider themselves as the ‘Early Innovators’ and ‘Early Adopters’ in fashion. Despite this, the publications’ brand values aim to highlight the significance of ‘slow fashion’ and sustainability in trends, suggesting that this service is not for businesses who generate profit from ‘micro-trends’ and fast-fashion. An emphasis on macro-trends which will bring innovative elements to the industry, yet remain popular throughout seasonal transitions will be evident throughout the trend report predictions, allowing brands to develop strategies in which they can make their designs the most profitable and long-term.
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DEVELOPMENT TIMELINE Explore and observe main influencing factors including WGSN, f-Trend and Trendzoom. Note their use of graphics and colours - where are the images predominantly deriving from? (Consider catwalks, social media influencers, celebrity culture) Review how variety in images and graphics can be incorporated into the project in order to remain engaging and offer versatility. It is essential that the consumer is able to relate to the information offered, meaning a selection of different styles and price points (for example couture and high-street options) is presented throughout.
Research and prioritise contextual factors driving new trends and fashion movements in contemporary society. How are these cultural and societal ideologies highlighted on the highstreet and in high-end fashion (note the ‘trickle-up, trickledown theory)’. Begin creating main themes to be highlighted throughout the report (examples including fourth-wave feminism, sustainability and future landscapes).
Optimize content for viewing on multiple platforms including Social Media, Mobile, iPad and Print. Social Media strategy will be completed and advertisements via channels including Instagram, Twitter and Facebook will begin. Influencer marketing will be a predominant source used throughout the marketing of the brand in order to increase follower count and traffic.
Develop an effective business model and a production workflow strategy. Create and introduce innovative concepts in order to differentiate from competitors that can be included throughout the work process. How will the content be altered depending on the readers interests? Artificial Intelligence could be a possibility in tailoring content for the audience. Assessments on how the information will be appropriate for both B2B purposes alongside the public/personal subscribers will be conducted.
Online Trend Reports will be completed and updated onto the official website for the publication. Search analytics will be monitored in order to gather information and consider techniques to increase engagement and generate revenue.
An example page taken from the bi-annual print edition of the publication, which is available to both consumers and businesses via subscription, will be developed and created. Created on InDesign and exported as PDF and uploaded onto ISSUU. 23
SMART ACTION PLAN What will I do? SMART
(Specific, Measurable, Achievable, Relevant)
Gather information - Evaluate the following: • • • •
Date to be completed by?
Reflections and Outcomes
28/01/19
(To be completed)
11/02/19
(To be completed)
25/02/19
(To be completed)
Date completed?
Catwalks Social Media Celebrity Culture Trend Reports - WGSN, f-Trend, Trendzoom
Create a mood-board consisting of trends which seem to be gaining popularity on multi-platform channels. Gather information - Evaluate the following and log any significant information into diary: • •
Current Affairs and monitoring the daily news Cultural movements and shifts
Resources to consider: The Business of Fashion, The Guardian, The Independent, Forbes Create digital and print strategies - how will the work be managed and prioritised for both platforms? Keep a timeline diary/checklist to ensure a continuation of effective time-management throughout the project is evident. 24
SMART ACTION PLAN What will I do? SMART
(Specific, Measurable, Achievable, Relevant)
•
Attempt to contact one of the main representatives for a major trend forecasting business.
•
Conduct an interview with a social media influencer on their style and where they find inspiration. Do their outfits have an underlying context/meaning or are they simply following ‘trend culture’.
Explore and decide on a relevant brand name for the publication.
Date to be completed by?
Reflections and Outcomes
11/03/19
(To be completed)
25/02/19
(To be completed)
Date completed?
Create an overview page of the aims and objectives of the report covering brand values. Begin the design process of ‘Trend 1’ report.
Continue weekly deadlines of one Trend Report and one social media advertisement per week to ensure marketing is consistent, alongside an effective workflow.
(To be completed)
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BIBLIOGRAPHY • Abnett, K. (2015) Do Fashion Trends Still Exist?. [Online]. Business of fashion. Available at: https:// www.businessoffashion.com/articles/intelligence/fashion-trends-still-exist. • Brockbank, A., McGill, I. and Beech, N. (2002). Reflective Learning in Practice. 1st ed. Gower Publishing Limited, p.5. • Cespedes, F. and Heddleston, R. (2018). 4 Ways to Improve Your Content Marketing. Havard Business Review Digital Articles, [online] pp.2-5. Available at: http://eds.b.ebscohost.com.ezproxy.leedsbeckett. ac.uk/eds/pdfviewer/pdfviewer?vid=3&sid=4e5b804c-9a78-45c9-acb2-3e03cfe08b37%40sessionmgr103]. • Chou, J. (2018). Five Predicted Trends For Digital Content Marketing In 2019. [online] Forbes.com. Available at: https://www.forbes.com/sites/forbescommunicationscouncil/2018/12/19/five-predicted-trends-for-digital-content-marketing-in-2019/#68fad47370f1. • Cottrell, S. (2017). Critical Thinking Skills: Developing Effective Analysis and Argument. 3rd ed. Palgrave, p.16. • Creed, N. (2017). How publishers are changing business models to connect with their audiences. [online] The Drum. Available at: https://www.thedrum.com/news/2017/10/12/how-publishers-are-changing-business-models-connect-with-their-audiences [Accessed 9 Jan. 2019]. •
Dymoke, S. and Harrison, J. (2008). Reflective Learning and Teaching. SAGE Publications Ltd, p.20.
• Marciniak, D. (2018). Fashion is more than clothing: lifestyle marketing - British School of Fashion. [online] British School of Fashion. Available at: https://britishschooloffashion.com/fashion-is-more-thanclothing-lifestyle-marketing/.
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BIBLIOGRAPHY • McIntosh, S. (2017). Magazines: How print is surviving the digital age. [online] BBC News. Available at: https://www.bbc.co.uk/news/entertainment-arts-40897967. • McMillan, K. and Weyers, J. (2013). How to improve your critical thinking & reflective skills. Harlow: Pearson. • Orchard, L. (2010). An Internal Control Evaluation Tool For Advertising Revenue In The Newspaper And Magazine Publishing Industry. Journal of Business & Economics Research (JBER), 8(9). • Patterson, J. (2018). Innovation launch: Here’s where and how magazines and other media innovate. [online] Digital Innovators Summit. Available at: https://www.innovators-summit.com/news/detail/article/innovation-launch-heres-where-and-how-magazines-and-other-media-innovate/ [Accessed 9 Jan. 2019]. • Raphael, T. (2012). Next steps in social media: turning followers into customers: magazines are going way beyond likes and follows, looking for ways to convert their social audience into active brand participants and a source of revenue. Audience Development, (4), pp.22-25. •
Rogers, E.M (2003) Diffusion of Innovations, 4th ed, New York.
• Satell, G. (2014). How Do You Get People To Pay For Content?. [online] Forbes.com. Available at: https://www.forbes.com/sites/gregsatell/2014/01/23/how-do-you-get-people-to-pay-for-content/#4f65f0fb247b. • Sherman, L. (2014). Trend Forecasting: What Is It Good For?. [online] Fashionista. Available at: https://fashionista.com/2014/08/trend-forecasting.
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BIBLIOGRAPHY • Smithers, R. (2018). MPs to examine environmental footprint of UK fashion industry. [online] The Guardian. Available at: https://www.theguardian.com/fashion/2018/jun/22/mps-to-examine-environmental-footprint-of-uk-fashion-industry]. • Tutill, C. 2018. Fashion: the mouthpiece of cultural change. [ONLINE] Available at: https://mainframe. tra.co.nz/culture-hub/fashion-mouthpiece-cultural-change. [Accessed 11 January 2019]. • Wall, A. and Spinuzzi, C. (2018). The art of selling-without-selling: Understanding the genre ecologies of content marketing. Technical Communication Quarterly, 27(2), pp.137-160. •
Whittaker, J. (2017). Magazine Production. 2nd ed. Routledge.
IMAGE REFERENCES • Cheyenne Honiball, (2018), Spoiled Nation Magazine [ONLINE]. Available at: https://www.instagram. com/p/BqctvFXlSGL/ [Accessed 10 January 2019]. • Callum Morris, (2018), Spoiled Nation Magazine [ONLINE]. Available at: https://www.instagram.com/p/ Bqcr7RqFHBV/ [Accessed 10 January 2019]. • Flank Flores, (2018), Spoiled Nation Magazine [ONLINE]. Available { at: https://www.instagram.com/p/ BqcrEG6FLHb/ [Accessed 10 January 2019]. • Glamour Magazine, (2018), Gwyneth Paltrow Digital UK Issue [ONLINE]. Available at: https://www. glamourmagazine.co.uk/magazine/october-2018 [Accessed 10 January 2019].
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BIBLIOGRAPHY •Glamour Magazine, (2018), Lily Collins Digital UK Issue [ONLINE]. Available at: https://www.glamourmagazine.co.uk/magazine/december-2018 [Accessed 10 January 2019]. • i-D Magazine, (2018), Do you feel like a creative degree is worth the money? [ONLINE]. Available at: https://www.instagram.com/p/BpPEIt6gnUv/ [Accessed 10 January 2019]. • i-D Magazine, (2018), How do you feel Instagram has changed fashion and arts education? [ONLINE]. Available at: https://www.instagram.com/p/BpPWHIIDFdf/ [Accessed 10 January 2019]. • Bijou Karman, (2018), Vogue International [ONLINE]. Available at: https://www.instagram.com/p/ Br-pMZWg4hy/ [Accessed 10 January 2019]. • Vogue Magazine, (2018), MFW Fall 2018 Millie Bobby Brown [ONLINE]. Available at: https://www.instagram.com/stories/highlights/17865906730216112/ [Accessed 10 January 2019]. • Private Eye Magazine, (2018), May’s Historic Brexit Letter [ONLINE]. Available at: http://www.private-eye.co.uk/covers/cover-1484 [Accessed 10 January 2019]. • Michelle Thompson, (2018), The Guardian A Mission for Journalism in a time of Crisis [ONLINE]. Available at: https://www.theguardian.com/news/2017/nov/16/a-mission-for-journalism-in-a-time-of-crisis [Accessed 10 January 2019]. • WGSN Intimates, (2018), Swimwear Forecast S/S 20: Designing Emotion [ONLINE]. Available at: https:// www-wgsn-com.ezproxy.leedsbeckett.ac.uk/content/board_viewer/#/79652/page/4 [Accessed 10 January 2019]. 30
BIBLIOGRAPHY • WGSN Intimates, (2018), Swimwear Forecast S/S 20: Designing Emotion [ONLINE]. Available at: https:// www-wgsn-com.ezproxy.leedsbeckett.ac.uk/content/board_viewer/#/79652/page/1 [Accessed 10 January 2019]. • Polly Walters (WGSN), (2019), London Fashion Week Men’s: Catwalk Need to Know A/W 19/20[ONLINE]. Available at: https://www-wgsn-com.ezproxy.leedsbeckett.ac.uk/content/board_viewer/#/82246/page/1 [Accessed 10 January 2019]. • f-trend, (2019), Spring Summer 2019 [ONLINE]. Available at: http://f-trend.com/uk [Accessed 10 January 2019]. • WGSN, (2019), The High-Velocity Consumer [ONLINE]. Available at: https://www.wgsn.com/en/[Accessed 10 January 2019]. • @weworewhat, (2019), Instagram [ONLINE]. Available at: https://www.instagram.com/weworewhat/ [Accessed 10 January 2019]. • Sincerely Jules, (2019), Instagram [ONLINE]. Available at: https://www.instagram.com/p/BsSOaaXAKHJ/ [Accessed 10 January 2019]. • E.M Rogers, (2003), The Diffusion of Innovations [ONLINE]. Available at: http://sphweb.bumc.bu.edu/ otlt/MPH-Modules/SB/BehavioralChangeTheories/BehavioralChangeTheories4.html [Accessed 10 January 2019]. • Stevie Dance, (2018), POP Magazine Cover Editorial [ONLINE]. Available at: https://hypebae. com/2018/8/bella-hadid-pop-magazine-cover-box-editorial-2018 [Accessed 11 January 2019].
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