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Playscape is all about the post crisis consumer. The playscapers are unconventional and want the get the most out of what they can; age is no longer a concern. They want honesty and put emphasis on the importance of making the most from life. Moving on from the serenity of escapism, they want play and a colourful aesthetic. With the rise of people living longer, the concept of youth is simply a mentality. For a brand, story telling is the best

way to get their attention. The playscaper wants to get the most from their money, so embedding them within your brand through story telling and interaction is key. A good example for the use of interaction is Artist Aaron Sherwood’s work. His piece ‘firewall’ merges human interaction with music and light. This element of play was also exhibited in Nike’s ‘house of innovation’ that was held at Selfridges in 2012. The windows interacted

with those who passed by, this element of fun and interaction attracts those with the eclectic playscaper mind set. Artists that merge well with this trend include Steve Lambert’s and Roe’s sarcastic, frivolous work that comments upon society in a light-hearted manor that provokes thought. Think artistic, eccentric and well made clothing with a collision of bold colours to match their exuberant attitude on life.

The visual Merchandising needs to represent the attitude of the playscapers. The use of colour is key. Graffiti in the style of Boe Vgrfk is the kind of aesthetic to achieve. It is colourful and unconventional the typical street style we are used to. Interactive displays are a must. A good example for this is the ‘Sniff ’ instillation at FILE festival in Sao Paulo. Sniff is a virtual do that reacted to people’s actions, recognising set movements we make, just as dogs do and acted accordingly. At Bread and butter, brands were incorporating fun elements within their stands. Voi jeans had a football table, Jelly Shoes has jars of sweets and

beads and Gola trainers had a personalisation wall in which people colour in their trainers to make their perfect trainer. This fun vibe will allow customers to be more relaxed and feel more involved with the brand. In some C&Astores have hangers that have the number of people who have bought that item and have liked it on facebook, which allows a transparent, honest opinion from others that allows you to trust the brand more. To engage with consumers, carry your story telling on into the store. Use tactile technology to get the playscapers involved, bold colours and recognition are also important elements within VM for them.

The print and Graphics of playscape filters through in the use of bold colours, sarcasm and forms of graffiti. Tops feature ironic writing, with parts of it often crossed out. Grafitti is used in terms of print next to geometric shapes. Cleptomanix’s A/W 2015’s collection does this well and leads by a good example. For colour, monochrome tones are often uses. These are mixes with bright splashes of colour, highlighting a certain part of a garment. The print and graphics mirrors Roe’s art, which often uses one colour to highlight his art. Black and white is also often used for base colours. To summarise, print and graphics bring attitude to a garment, using colour to highlight areas and using ironic writing- especially on t-shirts.

With money still in the front of their mind, the playscapers want to get the most for their money, they want quality. Menswear is well made and has accents that make them more for their cost. Malph clothing applies this well. Their latest collection has up stitched hems, which show a print on the inside of the t-shirt; you would not notice this before but up stitching the hem makes it a feature. Colourful

threads also work well. Creative hemming adds colour and attitude to garments. Playscapers want comfort so practical clothing is a must, however, they want style. They need to have clothing that fits their busy lifestyle as well as represents their individuality. The tops often feature dropped hems and jackets take on a more casual style. It is a far cry from the minalmalist tailoring.

Rousing red

Billy Idol blue

Calming cream

REFERENCES 123456789101112131415161718192021-

Not, acrylic silkscreen and spray-paint on paper, by Amy Woodside, 2012. WGSN. Rero art, bawidewalls, 2013 Rero art, backlash gallery, 2014, Boe Vgrfk, wall art, 2011, Steve Lambert, wealth or happiness, 2012, Nike ‘house of innovation’ Selfridges window display, 2012. Selfridges Pure, Nottingham, own photography Makoto Tojikil, no shadow pieces, 2003 River island, trade show vm Jean brand, bread and butter 2014 WGSN graphic print for A/W 15, Bob and Roberta smith, installation, 2013, Boe Vgrfk- Norms” Stroke Art fair, Munich “, 2012, see fig 4 Street art in Berlin, own photography Bread and butter trade show- 2014 own photography Boys don’t cry t-shirt, 2013. Malph Lookbook, 2013. T-shirt, Malph clothing, 2013. See above. Burberry A/W 15 collection. Bright trade show, Berlin. 2014. Own photography Bright trade show, Berlin. 2014. Own photography


Rising from the industrial smog, comes a new digital age. Machines are only human. Dystopic Reevolution is an expansion of the industrial trend which emerged last year. Its main influences come from the evolution of technology since the Space Race began and the dystopian films from the late 70’s and 80’s that followed. Both looked into how it may change the future of the world and the films specifically concentrated on the twenty-teens. At this point in the past our knowledge of technology was limited and the fear of the unknown was instilled in our mind. Creatives rallied around to predict a melancholy state which was to be our future. Yet this trend is a far cry from these dystopian films. In contrast Dystopic Re-evolution focuses on the idea that we have moved on from our fears of technology. No longer do we fear it, Technology is intrinsic to our survival. We do not fear it, we work with it, it significantly improves our quality of life.

Metropolis factory spaces, stripped back to the bare minimum lit up by tube lighting. Steel structures and an overwhelming sense of being denotes the aesthetic of industrial trend. However this minimal rustic look is in direct contrast to the new dystopic re-evolution trend. Yes the structures, the lighting and that overwhelming sense is still appropriate. There is an extension to this, showcasing high spec interiors. With a heavy reliance on technology and interactivity within the store this eclectic mix is a reminder of the old and new. A reminder which shows the rate at which we have grown in terms of technology and how our reliance on it is inherent.

Inspired by visualising tactile textures, technology glitches and angular shapes print and graphics are at the core of trend. Industrial shapes and repititive patterns are essential. Everything is structured and has a form to follow. But it is not strict. Like in reality faults occur within technology these glitches are still refined and are manipulated in order become imperfect. These glitches and imperfections reference the dystopian vision of the world according to where everything comes cataclysmic end yet refining it to suit the understanding according to today.

Think space suits, aluminium heat blankets, mesh overlays and neoprene jumpers that wouldn’t look out of place in a sci-fi film like Star Trek. Extremely tactile by nature, the menswear consists of a juxtaposition of your grans hand-made jumpers with synthetic streamlined fabrics. The structure of the clothing varies playing with hemlines and

new materials. Clunky heavyweight shoes made for practicality and boots that resemble army made issue dominant footwear. Showing the contrast between the industrial and a re-evolution of the digital age. The use of colour is strict with a hazy charcoal as the key colour but with secondary colours which have been taken from the control panel of a spaceship.

Silver Linings

Celestial Skies


Hazy Charcoal

REFERENCES 1. Film still, Metropolis, Fritz Lang, 1927. 2. TV Helmet (The Portable Living Room) by Walter Pichler, 1967 3. Katsuki Nogami, iPad People, Feb 7th 2014 4. Hillary Lloyd, Turner Prize 2011, 5. Bernd and Hilla Becher, Large, steel storage tank 1960 6. Bread and Butter, Emily Norris, January 2014 7. Nike UNKNWN Miami Grand Opening Private Event Recap, 2011, Aaron Hope, 8. Seek Trade Show Berlin, Photography Exhibition, Own photograph, January 2014 9. Madrid, data. Path exhibition ryoji iked, 2013 10. Premium Trade Show Berlin, Own Photograph, January 2014 11. MSGM Fall A/W 14, source WGSN 12. Capsule Trade Show Berlin, Tourne de Transmission, Own Photograph, January 2013 13. Balenciaga Menswear A/W 14, January 2014 14. Bread and Butter Trade Show Berlin, Emily Norris, January 2014 15. Eric Hu, The Lagoon is Gone, 2010 16. Capsule Trade Show Berlin, Tourne de Transmission, Own Photograph, January 2013 17. James Long A/W 14, Instagram by Dazed and Confused Magazine, 7th January 2014 london_menswear_a_w_2014/lou_stoppard_reports_on_the_james_long_show 18. The T-shirt Issue by Mashallah Design & Linda Kostowski 19. Alexander Wang, A/W 14. January 2014 20. Christopher Kane, A/W 14. January 2014 21. /22. Kenzo, A/W 14, January 2014

Open the paint box, stitch the canvas, it’s time to embrace creativity in craft. The subconscious backlash against the prior geometric minimalism is fast approaching with a concept designed to favour the crude homemade over the perfectly constructed. Artime focuses its entirety on conscious efforts to up-cycle by-gone product. But this isn’t the twee make do and mend, no, the mismatches of garish knit and stitch alongside slapdash paint stained prints revolutionises the humble “cupcake-kitsch” interpretation surrounding craft to take on a multitude of new personas. Despite a small increase in the British economy, recent statistics state a continual rise in concerns over the cost of basic utilities. With this in mind 58% of Britons have opted for personal cutbacks, this including the rates of clothing consumption. The creative direction of Artime supports the practicality of D-I-Y assemblage, a humble aesthetic needed in a time of uncertainty.

An extension on the prior overarching trend of authenticity, consumers are eager to engage with a product throughout its life cycle, from production to final outcome. Artime revives what consumers regard as disposal waste into something desirable, transforming the everyday commodity into a coveted design, prolonging the designated end date of supposed expendable items. With the staples still intact and glue bursting from the seams, Artime explores the unusual, the imperfect and the unpolished, sourcing and re-cycling discarded materials to manufacture environmentally sustainable merchandising. Creative flair excels through blue-sky thinking, constructing everything (and the kitchen sink if you wish!) from the bare minimal. Resourcefulness is key when devising a unique in-store design, dig for the weird and wonderful before developing it beyond its original function to suit a new purpose.

Think Wassily Kandisky meets Jackson Pollock; this trend marries expressive fluidity with tactability, textured speckles amongst fragmented strokes. The turbulent compositional style of Abstract Expressionism canvased across graphic prints, Artime will exude confidence in individual creative decisions, no two will appear the same and that’s okay. Bleach-splashed splatters/flickers will contribute a collision of colour, an energetic injection of vibrancy intro a generally monotonous season. The expressive outlet of print design provides a much-needed release as we enter the midpoint of the turbulent teens within this centennial, a period often filled with a sense of suppression, ambivalence and unpredictability. Wear your art on your sleeve, drip, splatter and douse your emotions into a cotton canvas.

Cut and stitch patchwork, this fall encourages the contrast between humble customisation methods with indulgent fabric selection. The design concept is devised to underplay an expensive product in a suspended economy. A/W 2014 see’s no defining cut or preferred hem length, distinction comes from decorative craftsmanship and the assemblage of varied textures. Cord and velvet accents hidden amongst chunky knit, the unfinished seams and frayed edges underplay the expensive production of these textiles transforming the inappropriate plush into a commercially viable product. The idea is to present clothing modestly allowing consumers to continue to wear the best while hiding the costly price tag.

The Town

Teritary Orange


Counter Culture

REFERENCES 1 - John Krill, Broadwalk at Main Beach, 2012, 2- Jackson Pollock, Untitled, Date Unknown, 3- Tobias Tovera, Entering The Stream, 2011, 4- Jackson Pollock, Full Fathom Five, 1947, 5- Hakka Clothing, Bukkake Tea, 2014, 6- Leutton Postle, Leutton Postle A/W 2012 Backstage, 2012, 7- Maurizio Anzeri, Artwork for Dazed and Confused, 2011, 8- Leutton Postle, Leutton Postle Garage Jumper, 2011, 9- Guy Catling, KR36 Collage, Date Unknown, 10- Markmus and Neeos Design, Glore-Store VM, 2011, 11- Citiq, Mill Junction Johannesburg Student Accommodation, 2014, 12- Mala & Mad, Visual Merchandising Show and Order Berlin, 2014, Own Photography 13- ZweiDrei Berlin, In-store Visual Merchandising, 2014, Own Photography. 14- Sterling Ruby, SUPER OVERPASS STUDY/CRIPS AND BLOODS IN CORLTROLA, 2007, 15- Raf Simmons and Sterling Ruby, Raf Simons Menswear A/W 2014, 2014 16- Dries Van Noten, Dries Van Noten Menswear A/W 2014, 2014 17- Raf Simons and Sterling Ruby, Raf Simons Menswear A/W 2014, 2014

For our trend document we were inspired by Nelly Rhodi, her mix of images, fabric samples and varying uses of different paper made the book very tactile. This is exactly what we would envision our document to be like.

Our document will be a magazine layout, we want ours to have that slick finish but with scrapbook elements to make it more interactive.

Trend document EM|ME|CO  
Trend document EM|ME|CO