C A R N I V A L E S Q U E

CARNIVALESQUE

ERIN GRIBBON B A (H O N S) F A S H I O N M A R K E T I N G & C O M M U N I C A T I O N FASHION BRAND DEVELOPMENT AD4606

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CONTENT PART 14 - 21 22 - 29 30 - 33

ONE ALPHA SUSTAINABILITY CONCLUSION

PART 36 - 37 42 - 45 48 - 51 52 - 95

TWO - CHARLES JEFFREY BRAND HISTORY BRAND IDENTITY CONSUMER 20X20

PART THREE - NO SESSO 100 - 103 BRAND HISTORY 104 - 107 BRAND IDENTITY 108 - 111 CONSUMER 112 - 155 20X20

PART FOUR - COLLABORATION 164 - 169 BRAND NARRATIVE 170 - 177 CONSUMER PROFILE 178 - 179 LOGO DEVELOPMENT 182 - 183 PRICE 184 - 185 PLACE 186 - 189 PRODUCT 192 - 193 PACKAGING 194 - 195 WEBSITE/ SOCIAL 196 - 201 CROIQUS 202 - 203 PROMOTION 208 - 209 CONCLUSION 210 - 213

REFRENCE

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The Alpha generation won’t just be existing they will be living. The Alpha Generation are used to getting what they want since they are likely to be an only child. They have a greater tendency to be selfish and expecting instant gratification do to the speed of technology at their fingertips. These characteristics will equip them with the drive to fix problems left behind by past generations. Only the best will be accepted. Better education, better technology and a better economy, The Alpha generation will have the best of the best at their finger tips and they will be the most equipped to deal with issues such as the global warming crisis and other global issues. Before reaching Alpha Generation they were labelled as ‘Regeneration’ and ‘generation Y-not’. McCrindle didn’t want Alpha Generation to be labelled generation A. He believed that it would have connotations of going back to the beginning. By changing the Latin alphabet to the Greek it resembled the idea ‘ the start of something new’. A new hope.

By 2025, there will be 35 million Alphas and it is also estimated by 2050 over 2/3 of the Alpha generation will live in urban areas which could see the boom of streetwear in terms of fashion. Due to the Alpha Generation having an increasing demand for change, not just streetwear will be growing evermore sustainable, all factors in the garment process will be ethically as well as sustainably carried out. This will be aided by technology. The Alpha Generation will be the most technologically advanced generation the world has ever seen and this will massively aid towards the growth in the sustainable fashion industry with examples of growing leather and other fabrics and diamonds in labs and also ensuring excess stock levels will be controlled allowing for less unused clothes going in to landfill.

Alpha Generation will be social immersed and will make a huge difference in the way everyone keeps connected. Such technology as 5G will help enhance connectivity and make the global world more accessible in terms of building wider communities. Brands will now need to start thinking about global narrative in terms of global storytelling to the new generation.

Right now Alpha Gen are influencing their parents spending behaviours ( the Millennials ) , totalling in $130 - $670 billon. Millennials tune out traditional marketing strategies making it even more important that brands are focusing on the needs and wants of the Alpha community.

In terms of marketing, business such as google and snapchat are already aiming there marketing towards Alpha Gen. Google carried out extensive research and understands that the latest generations ( Z and A ) prefer communications via images and voice control over typing and texting. The correlates with snapchat research of the younger generation being more open to augmented reality. Such social media platforms will be important for brands to utilise when aiming their marketing towards the Alpha generation especially small up coming brands with important messages of sustainability and correct ethical practice in the fashion industry. Social media is a brilliant way to optimise a way of ‘no paid marketing’ especially when using and sharing hashtags. This will be evermore important for business to utilise this aspect of social media as the Alpha Generation are more than likely to be influenced by brands on social media platforms that they will uses everyday such as the likes of Instagram, Snapchat and Tictok rather than other ways of branding being used currently. By brands and already loyal consumers using hashtags, it allows brands to create more awareness among their aimed target audience ( Alpha Gen ), allowing the community to grow. Within their communities they can influence each other and build upon the brands message / story. Brands should embrace integration between tribes and communities and never just focus their branding on one ideal consumer. This goes against what the Alpha Generation stands for: as one big community working together and allowing themselves the freedom to be authentic in the world

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This generation will need a strong emotional connection to brands in order to create brand loyalty. This generation will have the greater tendency to be wanting a constant reminder that they are special and are apart of something greater. Fashion brands will need to look at how they are telling their stories, how they are creating communities and also how to maintain the community loyalty to the brand. In this new environment for brands, they will need to focus on the connection of their consumer on an emotion level in order to create an attachment between the brand, the product and the Alpha Generation. Alpha Gen will be constantly connected to each other through social platforms and will be having connected conversations within their community / tribe all the time. Brands should have a strong social media presence in order to connect different tribes together, help spread awareness of the planet and sustainability and guide these new grouped tribes to something greater. Brands should be starting these global conversations.

The new Alpha Generation consumer will be following on from what Gen Z have started. Gen z have begun to set the scene / journey towards a brighter future within technology. Due to the Covid 19 pandemic, it has been a catalyst towards a rapid growth in social media, which has then henceforth led to the spread of important messages and conversation such as: Global Warming, Black Lives Matter, the Me Too movement and other ethical issues that are happening in todays global society. Alpha Gen will be continuing on from Gen Z and will be looking to finish what Gen Z started: Creating a brighter future. The Alpha Generation wont be looking to be different from Gen Z’er’s they will all be looking to build upon their foundations and find a connection that betters themselves. Alpha consumers will be looking for authentic transparency within a brand. Clothes that hold an emotional value, clothes that are sustainable, clothes that consider their workers and their carbon footprint. The new consumer will be looking for authentic brands and stories that will strengthen the connection between the brand and the consumer. Cultural conversations will be integral to part of the story telling process and offer a realness and a sense of community to the consumer. Brands must now look at culture, art, film, politics and music so that the consumer can be integrated into the brand and build a connection of authenticity. The Alpha Generation will want to be able to look and be who they want when it comes to expressing themselves through clothing and portraying their message to the world, this is why brand originality will the epitome for the brand to build connections within its tribes.

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Sustainability

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There is no fashion on a dead planet. As the worlds 2nd biggest polluter, the fashion industry must switch towards more sustainable consumption and production pattern. 80% of the international garment workforce are female, allowing factory owners to exploit female stereotypes in the work place and only 2% of garment workers are paid a liveable salary. And as consumers, every time we wash plastic garments ( nylon, acrylic, polyester ) at home, micro plastics are released into our water cycle. In the fashion industry, brands should be working towards ‘transparent fashion’ : 100% traceable. Retailers should be able to tell you where each component of their garment has come from, using what materials and who made it. Although, just because a brand is transparent in its process doesn’t mean it's necessarily sustainable.

However, 2020 saw many promising developments in sustainability for the fashion industry. Many social media platforms and media shopping apps have helped with this. Many saw an increasing number of sales and trends. Depop had an outstanding year with content traffic up by 200% and turnover doubling globally since April. Ebay had also seen a dramatic increase in purchases with a 195,691% rise. Social media apps have helped aid the rush of the online thrift consumer and the mass growth of the thrift community, the most influential one being Tictok.

Tictok is home to the most viral fashion trends, from knitting challenges inspired by Harry Styles wearing JW Andersons knitted cardigan to videos of people showing you how to make your own face covering. It truly is a platform in which the fashion industry is blooming in the most sustainable way it can. Fashion brands are building on top of this growing trend and many are starting to begin the conversation of bringing sustainability into the 21st century.

Streetwear brands now produce up to 350 different items a year due to the structured demand of fashion seasons and trends. The streetwear industry can no longer be classed the nascent industry it once was. The market has become saturated with young designers and environmental and social responsibility now seem to be low on the list for them. The business model these young designers have adopted, in order for their business to survive, is based upon creating a need that we as consumers don’t have. This model leads to brands over producing and consumers over consuming. Luxury and fast fashion brands, who have adopted this zeitgeist, opt for easily produced high margin items in an attempt to resonate with todays young consumers and compete with the next streetwear brand. This rapid business growth has turned streetwear to fast fashion especially for young males who’s identity relies on fitting into a tribe / community in which streetwear allows them to achieve this. Streetwear has always had a means to express ones individual identity while connecting them to a larger tribe / community in which they emotionally resonate with and this is where the problem arises. Responsibility in terms of sustainability aren’t written into the care free culture of streetwear; streetwear for many years has carried the idea of free will and freedom that doesn’t obey rules. Streetwear and sustainability don’t go hand in hand in that sense however, in order to progress with the sustainability movement in fashion, the streetwear sector has something that the sustainability sector needs. And that is the younger generations: including the upcoming Alpha Generation.

Streetwear sets trends and talks to an audience with a lot of power. If streetwear brands start to talk about taking more conscious consumption choices it would effect how people would think about their roll in society. Streetwear is about free speech, so its’ almost an oxymoron when brands don’t raise their voice for a better planet. If younger generations are growing up but without solving current problems such as, global warming and the Black Lives Matter movement, what are they going to be growing up into ? They will be a lost generation.

More than 50% of consumers say they plan to switch brands in the future if another brand acts more environmentally and socially sustainable. However many brands are trying to sell themselves as sustainable when it should in fact be their product that holds the sustainable story; from the design process to the manufacturing all the way up till the product is at the end of its life cycle. Innovations in sustainability are being used as a competitive advantage to get a head of their competitor however there is a fear from brands for being called out for greenwashing. Currently for a large number of brands, I believe this is just an excuse to use the business model of getting an edge over the competition. Saying you are green and being green are two completely different things. For brands who are trying to authentically reach a sustainable outcome for their product, they should have evidence of this, whether to be from the workers who have made the garments to the material it is made from or even instructions instructing consumers on what to do after the garment is no longer wearable. Brands should have a greater responsibility for the product after the consumer has left the store.

In the ever growing streetwear sector some brands are beginning to share important messages of sustainability, transparency and ethical issues among their consumer tribes including the up and coming tribe: the Alpha Generation. It’s the cultural relevance that defines the vale of streetwear and its the whole reason streetwear resinates better with a younger target audience rather than an older one. Brands need to understand that the relationship with their community need not be purely a transactional one. You can’t buy culture. Consumers want to buy into the brand and what it sands for, the story and image that comes with the brand: the emotional attachment . The streetwear culture is what the younger generation crave for; it has an intimacy with younger tribes. They want to be apart of a tribe in which they feel emotionally attached: to not financially.

Certain brands such as J W Anderson are leading the way in streetwear sustainability along side of Christopher Raeburn, NOAH, VEJA and Stella McCartney. Christopher Raeburn works from his design studio in Hackney Central. He uses unconventional fabrics such as parachutes and . Raeburn uses innovative approaches to sustainable luxury streetwear and like J W Anderson, has a team of British skilled garment workers who hand craft each item. J W Anderson also takes on this approach. All his designs are all currently designed and produced in the UK and he supports a UK based team ensuring his designs are made by UK based craftspeople. His garments are made from using offcuts and surplus fabric including one of his bags that used 9 500ml plastic bottles for the material. J W Anderson has really emerge this year as a designer despite the on going pandemic. His Colour-block Patchwork Cardigan boomed on tictok after Harry Styles was seem wearing the garment in one of his performances. This sparked a trend of tictok users to start knitting their own versions. Bottletop is also another emerging brand which prides itself on British skilled craftsmanship. The brand has sustainable luxury at is core and thrives off its location. The shop is situated on Regent Street alongside Fashion greats like Burberry and Tommy Hilfigure, proving that brands which have sustainability at its core can survive and even sell there products in a strong competitive market. Raeburn, Anderson and Bottletop all have this in common: British sustainability on the High streets and well as e-commerce. Raeburn has established a hackney lift (Low Impact Fashion Trail). A low impact neighbourhood trail that takes in the world’s most responsible fashion, textiles and accessories, as well as events and workshops. This concepts collaborates all the values in which a sustainable brand should encompass. Sustainability should involve using what materials you have around you. These designers use the best of British in is design process and by doing this they are staying true to their core business values. The Lift allows a community to be created in which these small upcoming brands can support each other and started spreading a message in the heart of the British capital.

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The paramount thing for streetwear brands now is to ensure that behind the product is a strong brand story to ensure a strong emotional connection between the label and the consumer. Once this is established consumers will be more open to having bigger conversations on sustainability and ethical issues effecting todays society. Its even more important to be connecting with younger generations as this is often the target audience for streetwear brands. This gives them the edge over other sectors in the fashion industry such as fast fashion or haute couture. The younger generation are more open minded and impressionable allowing for streetwear brands to create a new stronger connection. This connection should allow for the younger generation to establish their own identity by connection emotional the a brands identity. Generation Alpha will be caught in the free fall of a technological global society and will be accountable for a societal transformation. Asymmetrical Multiculturalism will be a thing of the past in the new generation. Brands will help lead the revolution towards a more sustainable future for both environmental, political and social. For brands to create a sustainable story they will need to connect with a tribe and resonate what their brand stands for with what the tribe believe. This makes telling your brands story clear as possible so important as the Alpha generation will be looking for authentic transparency in a brand. By being transparent and authentic in your story telling you allow for your consumer to emotionally connect with the brand and join the tribe. One consumers feel that they fit in with the brand it is only them that brands can begin to start the conversation of sustainability and other issues in todays society.

When brands tell their story, consumers want to know that they understand their own story. Brands should be aware of their own environmental and social impacts and be proactive in aiming towards their goals as a sustainable brand; they shouldn’t have to change their DNA to incorporate sustainability in to their story either. Everything the brand communicates with its consumer should resinate with its brand morals and values unique to itself.

I now believe, after research in to what branding techniques are currently being used, that many luxury fashion brands are running close with the risk of over digitalising their whole story. I believe that encompassing sustainability and ethnicity in to a brand balances out the fight between over digitalising and under digitalising. If a brand under digitalises then it runs the risk of not connecting with the consumer at all as the likes of high street stores Debenhams, M&S and House of Frasier, when they couldn’t connect with the change in the consumer market: Alpha Gen is a technological society and therefore is essential that a brand needs a technology element in order to create brand awareness and an attachment to the brand for the new generation. Yet, if a brand is head strong with the whole idea of turning its whole brand digital then its not only going to risk losing the emotional human connection a consumer needs but may also jump too far ahead, we need to remember that Alpha Gen is still only young and still relies upon Millennials to shop for them.

However, for this research I was looking to the teen years of Alpha Gen not the younger adolescent years. As Alpha Gen grow up brands can begin to increase their technological aspect of their brand, nevertheless, I believe, in such cases as digitalising models, it takes away a sort of humanising aspect to fashion. We aren’t dressing robots: we are dressing people. Alpha Gen will be looking for an emotional connection with the brand it choses. By brands then combining technology with the aspect of sustainability and a sense of ethical awareness it allows brands to have the strongest connection with Alpha gen it will ever have and need in order to survive. By brands showing that they care about global issues and people who are protesting causes, it shows their consumer that they do care about them and will not only clothe them fashionably but they will also support the consumer by allowing them to be able to be free in expressing themselves in a sustainable way in a new world. An equilibrium between technology, real life and sustainability.

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BRAND HISTORY Charles Jeffrey is the 21st century’s self proclaimed club kid. Focusing on acceptance in society, Jeffrey encaptures an egalitarian spirit within his brand and combines his own creativity with other artists, such as photographers poets and musicians to create the LOVERBOY club nights: not only to fund his university degrees at Saint Martins but to also inspire his fashion label ‘LOVERBOY’. ‘LOVERBOY’, for Jeffrey, allows him to create an unapologetic aesthetic and abstract colourful pieces, which help him to define and underpin his own brand identity. Jeffreys androgynous approach to his label allows him to access a growing target audience and reach the ‘back of the room’ kids in society. Often hyper-styled and edgy, Jeffrey captures the carnivalesque aesthetic perfectly in his brands identity.

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BRAND IDENTITY Jeffreys brand identity represents diversity and self-identity and self exploration. often showing a flamyouant out of the box aesthetic.

He also follows the aesthetic of performance, ‘dress up’ by using the transformative power of make-up in his photography designs. His brand results in a colourful tension between control and chaos ,summerising the carnivalesque culture.

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Brand image - photos visual

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CONSUMER Jeffrey’s consumer is self-aware and often express their identity through creative media such as clothing or art. They are activists for social justice without releasing it. By them wearing what they want and not feeling like they are being judged by the social norms of society allows them to transgress the idea society is changing in to a more ethically sustainable place. The consumer age will range between 23 to 33 allowing them the income to buy Jeffreys designs but to also have the freedom to embrace the club culture that comes with Jeffreys style.

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How does Charles Jeffrey connect his rooted

HERITAGE to his brand?

Charles Jeffrey’s connects his heritage to his brand simply through his design.

Jeffrey’s Scottish heritage can be seen on many of his catwalk looks, from nature patterns inspired by the highlands, to the more obvious tartan often seen on Scottish kilts. By connecting his brand and heritage together to creates depth and authenticity and adds a stronger emotional connection to his brand for himself when designing, and also for his consumers. Heritage to a brand can be a key aspect to gaining loyalty from consumers and for Jeffrey to show his Scottish heritage symbolically through his designs, it allows his brand to show depth and an understanding for community: something which is important in todays the modern fashion industry when competing against other brands. Also, by Jeffrey’s brand story including heritage, alongside gender fluidity, it shows that not only does the brand have a connection to its past but is also progressive in moving forward with more advanced and, at times controversial, concepts such as playing with gender norms.

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How has

CLUB CULTURE inspired Charles Jeffrey’s brand image and identity?

Charles Jeffrey has been dubbed the ‘the ringleader of London’s next-generation club kids’ by Dazed magazine. The club nights that funded his degree, were the birth of his fashion label LOVERBOY and he is ‘speaking to young London the way Alexander McQueen spoke to his generation’. 1970’s club culture and been seen through Jeffrey's brand from playful carnivalesque designs to male models wearing heavy makeup. His brand correlates with the club culture identity that the club is a safe heaven where it’s a safe place to think feel be and also present yourself in a way that expresses who you truly are. Jeffrey's club nights help build upon his brand story of finding a community where your identity is accepted and celebrated.

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How is Charles Jeffrey addressing

SUSTAINABILITY as a fashion brand?

“A lot of the clothes are made from things that I have around me like existing pieces, materials that are already made, things I already have. There’s a concept we’re trying to push where we get a piece of clothing from everyone that’s been going to the club and reclaim it again – my friend Tom has a sequin ripped top that we’re redoing. It’s very much about availability as well, adopting what we have around us.” - Charles Jefferey - Dazed.

In Jefferey’s Fall/Winter 2020 collection he showed a conscious practice' manifesto which not only about respect the environment in the fashion industry but also respect the people the brand relies on behind the scenes.

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What makes

ANDROGYNOUS styling key to Charles Jeffrey’s success?

Since Jeffrey’s consumer is self-exploring and often comfortable with being flamboyant allows them not to see the boundaries between men and women clothing. This allows them to have a wider range of clothing choice when deciding how to express themselves through clothing. Androgynous fashion allows all genders to connect with Jeffreys fashion brand and also connect with others in the wider community that Jeffrey has already created. By building the bigger community and allowing more consumers in with androgynous clothing, let's Jeffrey not only spread his brand message further but give him the power to begin to talk about more pressing issues in society such as sustainability and gender laws.

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How does Charles Jeffrey display a

PUNK ROCK aesthetic in his designs ?

Jeffrey doesn’t conform to norms of society and oppresses the mainstream culture of fashion with his designs. With signs of individualism and rebellion Jeffreys designs stand out on the catwalk and non conformed and dismantled recreating the punk rock aesthetic. His designs often show a DIY ethic and an innovative way of thinking: each part of his design accumulates to form his desired aesthetic of modern punk rock. Since Jeffrey doesn’t conform to the norms of mainstream fashion he is able to regenerate certain part of fashion history and transform them into a modern look: often progressing further than today mainstream fashion consumer, leaving Jeffrey with his own tribe of consumers who not only understand his brand aesthetic but have built and emotional connection to.

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How does Charles Jeffrey create a

CARNIVALESQUE aesthetic in his brand and designs ?

Jeffreys carnivalesque aesthetic is seen through his excessive use of makeup.Carnival allows people to escape from their everyday life and be a different individual and experess themselves in society in a different way. They can escape the norms of a modern day society. Jeffrey paints his models to allow them to fully connect with the design but to also help portray the emotion of the design as well and the make up can be seen as an extension of the clothing.

Often seen in the era of the new romantics, make up was heavily used on both men and women, again contrasting against social normalities of the time.

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Does Charles Jeffrey follow

TREND

or differentiate himself from it?

Jeffrey doesn’t follow trend but follows a certain type of aesthetic that is now embedded in to this brand story. In order for Jeffrey to stay true to his brand narrative and also consumers its important that he differentiates from mainstream fashion trends and Jeffreys consumers chose his brand as it allows them to be individuals in society and helps them sand out against a backdown of consumers who blend altogether in mainstream fashion and its trends. Jeffrey reconstruct fashion in such a way that its not everyones style, yet the message he portrays through his brand is for everyone ‘Society should become more accepting of all different cultural aspects of life’.

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What is limiting Charles Jeffreys’s brand from communicating with other

YOUTH

youth tribes and generations?

Youth society, especially Generation Z, still like to follow trends and don’t like to stray too far from mainstream fashion trends in fear of being singled out as being weird. Such concepts as androgynous fashion are still too taboo for the target audience of Generation Z, however they are becoming more accepting for genderless fashion, which contains neutral colours and staple essential clothing, such as jumpers and jogging bottoms.

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How does Charles Jeffery show

GENDER FLUIDITY in his brand?

Through androgynous clothing and styling. Jeffrey breaks boundary’s when it comes to showing gender fluidity and show it in a way that helps build upon the narrative for his brand. He uses both men and women in his styling but them men seem to be styled more outrageously. Jeffrey doesn’t shy away when it comes to designing something peculiar or something that it not accepted into the norms of society, allowing him when it comes to gender fluidity to be more flamboyant with his designs.

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How does Charles Jeffrey show

ACCEPTANCE towards self-identity?

I believe that all of Jeffreys designs are outrageously independent. Each design can portray a different message, yet when placed in a collection they conglomerate to loudly show Jeffreys brand narrative. Since each design is independent, consumers feel that they can be accepted into the brand no matter what. As society begins to conform to the new Alpha generation, society will have to reconfirm its normalities. Alpha gen will correlate well with Jeffreys designs as they will be a generation that will not conform to mainstream fashion trends and will be more accepting of the weird and wonderful.

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How has

C O V I D - 19

effected Charles Jeffrey as a brand ?

Covid-19 has allowed Charles Jeffrey to develop and grow his connection with his consumer. Consumers through social media have been posting and hash tagging their own take on Jeffreys designs and in response Jeffrey has taken the time to send out small gifts from the sring/summer 2020 collection. He believed his followers ‘deserve it!’. He said that ‘ people don’t usually think of the person behind a brand’ ‘ its such a nice feeling for me to simply communicate with people without an agenda or a product to talk about.’ By using that time of lockdown wisely Jeffrey has been able to build stronger bonds with his consumers and essentially strengthen his brand altogether.

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How can the

COLOURS

used in Charles Jeffrey’s designs be interpreted?

Jeffrey never just uses one colour. And every colour he uses is bright and bold making the designs eye-catching and outrageous. Along with colour Jeffrey also uses prints, which are often strange and weird, however they encapsulate Jeffreys brand narrative of being different.

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How did

LOVERBOY

define who Charles Jeffrey was as a designer in the industry?

I believe the the club culture was a big aspect of fashion and social history and they way Charles Jeffrey brought it back and included all creative cultural aspects helped define him as a fashion designer. He used the club nights to fund his LOVERBOY collection alongside his university fees. The LOVERBOY night club was a brilliant way of starting a brand and also a great way to communicate to people the brand narrative and message. This is what attracted me to the brand as it wasn’t just your run of the mill fashion brand that conformed to the norms of mainstream fashion.

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Is Charles Jeffrey the beginning of the

REBIRTH of the Club Kids / 70’s?

Since Jeffrey’s LOVERBOY club nights, he has certainly began to earn the nickname of the next ‘king of club kids’. This idea links directly to my theory of Carnivalesque and the throning of the new carnival king. As well as the club nights, Jeffreys use of make up on both genders also links to the 70’s club culture.

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How is Charles Jeffrey expanding the

LUXURY CLUB CULTURE market into the mainstream fashion market?

Despite some of Jeffreys outrageous designs, some of his milder designs have made it in to mainstream fashion. Often his tartan looks are more accepted in to fashion as the print is often seen unlike many of his other design prints.Therefor possibly since the exposure of the tartan look, more of Charles Jeffrey’s designs will begin to make their way into mainstream society, showing a shift in cultural/ societal acceptance. Here the tartan coat can be seen on the Killing Eve star Jodie Comer.

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How does Charles Jeffrey speak for the growing

BACK OF THE ROOM tribe community

Jeffreys designs give them a way to talk in society without using words. The ‘back of the room’ tribe includes these who don’t fit into society and are often stood at the back of the room while those other conform to social normalities stand at the front. Jeffrey's club nights celebrate this tribe as his designs allow them to express themselves in a space without judgement from society.

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What aspect of

CLUB KIDS can be seen in Charles Jeffrey’s aesthetic?

Jeffrey’s brand aesthetic shows a strong club kids/culture. His LOVERBOY brand started out as club nights surrounded by creatives including musicians, artists, designers and poets. And just like the original club culture it provided a safe heaven for them. Club kids wore make up, androgynous clothing and often defied the norms of society and mainstream fashion. All of which can be seen in Charles Jeffrey’s brand.

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How does Charles Jeffrey convey a

SCOTTISH culture in his collections?

Jeffreys Scottish heritage can be seen in his designs often through the tartan pattern. I believe that all designers should maintain a connection with where they are from as not only does it show a human side to the brand that allows consumers to attach to but it also give inspiration to designs and projects and gives them a much more significant emotional value to the designer which will resinate through to the consumer.

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How does Charles Jeffrey create

FLAMBOYANCE in his design and brand?

Jeffreys flamboyance can be seen through his designs as he flouts gender norms and reinvents what we know as gender identity and sexuality, in to something more modern and abstract allowing society to start experiencing and understanding it before Alpha gen grow up and make it a social norm.

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Why is Charle Jeffrey

UNAPOLOGETIC? The way that Jeffrey designs means that he has to be unapologetic. He doesn’t follow trend and flouts gender norms as well as socially norms. Many consumer don’t understand his work, however the few that do have strong connections and emotional links to and within the brand. As Alpha gen start to emerge on to the fashion scene, I believe that more and more consumers will begin to understand Jeffreys bond narrative and it will be more accepting into societal norms. However in todays current society Jeffreys work is still seen as abstract and often unusual, therefore meaning that Jeffrey has to design in an unapologetic way.

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BRAND HISTORY No Sesso is a LA community powered brand, celebrating all cultures and diverse backgrounds run by Pierre Davis. Their designs are nonconforming and give a fresh new aesthetic to genderless clothing. The brand is an all-around community and include all minority groups in the likes of modelling, photography, styling and designing. No Sesso gives a voice to the small tribes and communities and allows them to speak to the mainstream fashion brands. Not following trends, No Sesso is a lifestyle brand and supports all those who buy into the brand.

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BRAND IDENTITY “It’s a brand for everyone,” “that breaks away from traditional silhouettes and ideas of garment identity and politics. A brand speaking not only to my community, but to everyone.”

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CONSUMER No Sesso consumer is as socially responsible person and loves dressing to express themselves. they thrive on the idea of equalitly and love to be surrounded by people who empowerthem. these qualities are shown through the brands thye buy in to and they have strong emotional connection to clothing , therefore they dont nessaserily look at price first when shopping for clothes as they see the clothing as an investmnet. the consumer age rage will be between 25 - 36 as No Sesso clothing is luxury and therefore in the higher price range.

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How do they

EMPOWER

their community to strengthen their brand message?

Since No Sesso is a community powered brand anything they do to help the community will strengthen the brands message and narrative. No Sesso gives the minority community a voice to speak through to mainstream fashion, allowing No Sesso’s brand message to be carried through to the main fashion market creating brand awareness. So by empowering communities with diverse backgrounds they not only strengthen their brand message but strengthen connections between the consumer and different communities.

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How has No Sesso

CHALLENGED the conventions fashion main stream?

No Sesso have done a 360 when it comes to the traditional conventions of mainstream fashion.

They have abandoned genders, sizes and they are even they are saying there is no right way to actually wear their garment. There is even no one model that looks the same. All these actions accumulate to strengthen No Sesso’s brand narrative of an open inclusive community.

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How is No Sesso continuing to

EVOLVE the idea of gender clothing ?

"If no one gets you, shape your own culture, shape your own identity, and change the way fashion operates. Because it's gonna stay the same if you don't change."

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how does the clothing act as a

MOUTH PIECE to No Sesso’s brand story?

The clothing is an extension of No Sesso’s brand message and embodies their beliefs as a genderless brand. It essential allows for the No Sesso’s consumer to wear their clothing designs and instantly carry the brand message of giving minority groups a voice.

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How do No Sesso incorporate

SUSTAINABILITY in to their brand?

Sustainability is rooted in No Sesso’s all-inclusive, handmade ethos. The label's pieces often incorporate repurposed fabrics, as well as detailed construction techniques like hand-embroidery, hand-knitting, and patchwork. This works especially well for the brand since its a community powered team, allowing for a constant connection and communication all the way throughout the design process.

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How did No Sesso

ABANDON

the genderless clothing trend and take it a step further?

Many fast fashion brand have followed the trend of genderless clothing, creating clothing which both genders can wear, yet the designs prove to be bland and generic. No Sesso takes it further by including dresses and crop tops which overtake fast fashions simple jumper and joggers. As a luxury streetwear brand No Sesso provide it’s consumers with more personality in their designs allowing the clothes to speak for themselves and helps the individual to stand out in a brands clothing they feel a connection to.

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How does No Sesso give an

IDENTITY to minority groups ?

Their community is always growing. No Sesso is an a brand, not just a fashion label. It’s a lifestyle that encompasses fashion, our parties, embroidery workshops, or just hanging out and feeling that sense of community. This sense of community that runs throughout the brand sets No Sesso apart from mainstream fashion brands especially as fast fashion brands take over.

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In what way does No Sesso express

FLUIDITY in its design story?

“There’s this joke I have that maybe I’ll start putting directions in the garments on how to put them on,”

No Sesso is not just gender fluid in its clothing but also in it design. There is no set way to wear any of the pieces and No Sesso constantly challenge the conventional ideas of clothes. The fluidity in its design strengthens the gender fluidity message the No Sesso hold and allows for the clothes to be more interesting when worn.

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How does No Sesso create

CONNECTIONS within its community?

They include everyone into the brand from models, photographers, stylists and make up artists. Their community is always getting bigger allowing the brand to grow its narrative. Where No Sesso is based in LA, there is lots of minority tribes and communities and as a fashion brand No Sesso provides the community with the coverage it needs to be accepted into society as new generations appear. By designing clothes especially for the minority communities, it lets them build emotional connections to the brand ensuring brand loyalty.

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How does No Sesso view itself as

BOUNDLESS compared to other mainstream fashion brands?

“When a person of color scrolls through our Instagram, I want them to be able to identify and connect with what they see. I don’t want them to feel that fashion is only for white people.”

Through social media, No Sesso is able to communicate with their younger target audience. This will be especially important when Alpha Gen reach the consumer age range.

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Does the brand carry the

CARNIVALESQUE aesthetic?

The carnivalesque aesthetic is shown throughout No Sesso’s brand, through make up. They make up is an extension of the clothing and creates an extended narrative of the brand. The carnivalesque aesthetic allows the idea of social acceptance and freedom of individuality to be seen predominately in the catwalk shows: where No Sesso is on a global stage talking to their global community.

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How does No Sesso class itself as a

MODERN day brand ?

"When a person of color scrolls through our Instagram, I want them to be able to identify and connect with what they see. I don't want them to feel that fashion is only for white people.”

Through social media, No Sesso is able to communicate with their younger target audience. This will be especially important when Alpha Gen reach the consumer age range.

FIGURE 59

ART WORK?

How does No Sesso view their brand and the clothing they create as

No Sesso describes itself as an art brand. They create garments with sculpture in mind and how the end garment will look as a whole. They aim is pieces that look just as beautiful on a body as they would at a museum. The idea that you can buy into the brand and keep the piece of clothing that you can attach an emotional aspect to.

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LIFESTYLE? Is No Sesso a trend brand or

“Fuck what you see everyone else doing, and do what your heart tells you to.

Don’t give up, and keep going,”

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Does being a

GENDER

forward brand limit their ability to talk to wider communities ?

In todays society I believe that gender forward brand are limited to a smaller group of communities due to the fact that society is still slowly changing its views on ethical and societal subjects. However due to the resent protests about black lives and women’s rights, I believe that the alpha generation will be the first generation to is full open minded to the idea of genderless clothing and everybody expressing themselves freely.

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POLITICISED?

Are Gender forwards brands such as No Sesso automatically

For Davis, No Sesso is a form of resistance, a ‘peaceful protest’. Often when society hear of any gender issues they are broadcast on the news or in newspapers in a negative light. Making it seem that gender issues are another inconvenient protest or a passing trend. However by brand such as No Sesso creating their entire brand narrative around genderless clothing and minority groups, it get the messages out to communities that it's not just a passing trend. It's a lifestyle from some people.

FIGURE 63

How does No Sesso’s

EMOTIONAL

connection to their brand resinate with the consumers emotional connection to the brand?

"Fuck what you see everyone else doing, and do what your heart tells you to. Don't give up, and keep going,”

FIGURE 64

How does No Sesso

SUPPORT their fashion community/tribe?

Beyond the clothing, the brand is also about community and uplifting minority groups and each other. They support their local community through providing jobs and giving their brand community an identity in mainstream fashion industry.

FIGURE 65

How does LA based brand No Sesso communicate with the

GLOBAL community?

In the global community its easy to lose your brand narrative when gaining a wider community.

No Sesso hope their brand will inspire people to be more community minded and realise that not everything is just about aesthetic or commerce its about humanity and emotional connection.

When No Sesso do communicate to the wider global community they make sure they still maintain their brand narrative and ethos. During NYC fashion week and through social media is when No Sesso communicate the most with their global community and when. Communicating with them they ensure each time that the sense of community is strong and consumers can still connect emotionally with the brand.

FIGURE 66

Does No Sesso pride itself on helping outsiders gain

INDIVIDUAL acceptance in society?

The genderless clothing market in the modern fashion industry is highly competitive and increasing. With seasonal trends and buying cycles increasing, Davis pays little attention and instead focuses on building and bettering the community, in which her brand has grown up in and collaborates with other streetwear brands. By focusing on the community around her she can build an organic narrative and builds a family of consumers in the community.

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‘

Alpha gen will be liberated from the pitfalls of Generation Z. A place where even the ‘back of the room’ kids will be accepted in to mainstream cultures and fashion.

’

BRAND NARRATIVE

Carnival provides a place outside of everyday life where different rules are in effect.

Through the carnival, participants see new possibilities for their everyday lives.

They can provide safe havens from the pressures of power that permeate the social hierarchies of everyday life. The act of transformation from Generation Z to Alpha Generation.

As a story teller to the next generation, we are very much expected to, by the next generation to lead them towards something they aren’t aware of yet. We steer their expectations allowing our narrative to be effective as possible. In literature, carnivalesque is just this.It can be directly applied to the relationship between author and reader, allowing the author to guide the reader as a story teller would to a customer in marketing and communication. Using the theory of carnival it allows a mode that subverts and liberates the assumptions of the dominate style or atmosphere through humour and chaos. It provides a place outside of everyday life where different rules are in effect. Through carnival, participants see new possibilities for their everyday life. This is the conglomeration of Alpha gen and its future relationship with fashion and fashion industry. It will be a new liberation, allowing ‘back of the room’ kids to create their own subculture and be accepted into mainstream fashion trends and societal culture. This acceptance will build a new community culture. A new ‘club kid culture’. Much like the last culture was filled with narcotics and alcohol, this one will be full of awareness and a sensitivity to the world around them. Sustainability will be embedded in to the beliefs of the Alpha generation. Fashion will be the biggest playmaker in sustainability: having a duty as the story teller, to lead the next generation to something they aren’t fully aware of yet.

Both brands ive chosen hold community close to their brand morals and gender fluidity plays a large part into their brand story. Both brands incorporate sustainability into their story’s through their connections to community and both hold this aspect dear to them by gaining inspiration from their communities and giving back to them by giving them a voice in which to speak through to other mainstream fashion brands and communities.

For a brand it’s important because it shouldn’t just be about the clothing it sells. It should be about the story and the message. The community it creates. The feeling it gives to the consumers who wear the clothes. The clothes should be an extension of the brands story. And it’s even more important now for the story to incorporate sustainability along side its original brand story. When consumers believe that the brand they chosen to wear incorporates their own values, as well as helping out ethically and sustainably, consumers are more likely to feel happy and confident in continuing to purchase clothes from the brand.

What ever the brands message is, it’s crucial to maintain transparency with the consumers.

The brands message needs to be clear and concise with what the brand is doing and showing.eg sustainable and ethical production shown through facts, statistics and marketing. Alpha’s will be loyal to brands that they correlate with on a personal level. In the brand’s community they will find like wise individuals who they will relate to and therefore feel more comfortable wearing the brand henceforth creating brand loyalty.

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CONSUMER PROFILE The Alpha Generation will want to be able to look and be who they want when it comes to expressing themselves through clothing and portraying their message to the world, this is why brand originality will the epitome for the brand to build connections within its tribes. This generation will need a strong emotional connection to brands in order to create brand loyalty. This generation will have the greater tendency to be wanting a constant reminder that they are special and are apart of something greater. The target consumer for Carnivalesque will be an out of the box character who has or still is exploring who they are in a creative way. My aim is to create a safe space in which the consumer can freely explore who they are while growing an emotional and personal connection to the brand.

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LOGO DEVELOPMENT

Through trial and error, I combined both brands logos to make the collaboration logo. I wanted to ensure both brand were incorporated in to the logo design, however since Charles Jeffrey was was the main driving force for the brand collaboration I wanted his logo to be more dominant. I decided to keep the logo black and white as when I look at other brands logos, I believe what makes them stand out the most is when they are clear clean and simple so they can be seen for miles away if they are on such items as a tote bag.

When I decided on the final logo outline I began to play around with colour and image. The colour came out better then the image, however the image seems more interesting to look at however would not be good on things such as tote bags or other merchandising as there is too much detail. I wanted to keep the original logo clear and simple, as the idea behind my collaboration was complicated and my brands allowed me to be more creative and edgy when it came to designing the product.

PRICE Since both No Sesso and Charles Jeffrey are at the top of Luxury brand bracket for pricing with No Sesso ranging between $200 and $850 and Charles Jeffreys ranging between £155 and £650 the pricing in the original Pop-up stores will correlate with this luxury pricing.

However, the pricing in the nightclub stores will be significantly cheaper as it will not only allow those who want to buy in to the brand collaboration to buy into it but the main aim for for club stores will be for advertising so by having a lower price range for the items in the store it will allow for a wider spread of marketing for the collaboration.

PLACE Stemming from Jeffrey’s club nights, I decided to use the same idea but instead, selling products in the night club. Running along side the pop up stores in the communities in which my chosen brands grew from, LA and London, as both cities are know for their rich club culture and I believe that by selling products in the nightclubs will be the best way to create brand awareness for the collaboration. Not only does it incorporate community but it can also link to the carnival culture of a gift shop type of pop up shops in the night clubs. Another idea growing from my love of taking a souvenir home from a night-out: The nightclubs will use recyclable cups alongside cd’s, mix tapes and Spotify links from music that was played that night in the club, allowing everyone to take home a piece of the brand from the club.

The original Pop-up stores, located in LA and London will sell the main clothing collection, as well as being able to buy other smaller items of the collaboration such as keyring and tote bags.

However, the main original Pop-up stores won’t be open until a week after the first club night.

My aim would to create a larger brand awareness first through the club nights and word of mouth advertising on the club scene. The reusable cups will be seen throughout the city, creating a buzz as well as the music played in the nightclubs trending on the likes of Spoitfiy and Tictok.

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PRODUCT For the Carnivalesque collection I wanted to incorporate a sense of the classic club kid era along side new romanticism. I believe both brands I’ve chosen help me include this aesthetic into my Carnivalesque designs. When drawing the designs I let Jeffreys brand shine through more as he allowed me to add and edgier look as well as exaggerating the carnival aesthetic I desired for my collaboration. No Sesso allowed me to research into more androgynous clothing, which I believed would play a major part of my collaboration narrative of acceptance in society. Both brands played a big part in the narrative behind the clothing designs as they both allowed me to portray the idea of self-acceptance and allow the consumer to explore their individuality in society: just like how club culture and the new romantic era provided a save heaven for the creative flamboyant individual in society back them.

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PACKAGING

WEBSITE

CARNIVALESQUE

CARNIVALESQUE

CARNIVALESQUE

CROQUIS

CROQUIS

PROMOTION As well as the club nights, I plan to incorporate social media into my promotion strategie.

Alpha Gen will be a tec-savy generation and will heavily use technology in their daily lives.

By using both digital and face to face promotion, I avoid my initial worry for future brands who will heavily rely on technology and lose the human connection and emotion a consumer uses to attach themselves to a brand. Alpha gen will be looking for this connection and by providing them with both allows the brand to reach a wider audience improving sales and most importantly spreading the message wider. The message of self acceptance in society: a thing that is currently portrayed poorly in social media.

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THE CARN IVAL ESQUE CULTURE

E

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Figure 22: https://uk.fashionnetwork.com/galeries/photos/Charles-Jeffrey-Loverboy,35659.html Figure 23: https://www.vogue.com/fashion-shows/designer/charles-jeffrey-loverboy Figure 24: https://i-d.vice.com/en_us/article/8xgn34/charles-jeffrey-loverboy-and-the-importance-of-doing-things-your-own-way Figure 25: https://uk.fashionnetwork.com/galeries/photos/Charles-Jeffrey-Loverboy,35659.html Figure 26: https://www.vogue.co.uk/fashion/article/charles-jeffrey-coronavirus-interview Figure 27: http://www.ccmag.eu/charles-jeffrey-loverboy-ss-18/ Figure 28: https://jungle-magazine.co.uk/charles-jeffrey-loverboy-london-fashion-week-mens-ss18/ Figure 29: http://firstview.com Figure 30: https://www.vogue.com/fashion-shows/designer/charles-jeffrey-loverboy Figure 31: https://showstudio.com/collections/spring-summer-2021/charles-jeffrey-loverboy-june-2020/lookbook Figure 32: https://loverboy.net/clothing Figure 33: https://www.greenwichpeninsula.co.uk/whats-on/the-peninsulist/charles-jeffrey-loverboy/ Figure 34: https://www.vogue.com/fashion-shows/designer/charles-jeffrey-loverboy Figure 35: http://www.petrieinventory.com/charles-jeffrey-x-loverboy Figure 36: https://www.dazeddigital.com/artsandculture/article/19809/1/michael-alig-is-finally-free-and-tweets-a-selfie https://www.papermag.com/its-sort-of-like-a-nightclub-party-monster-michael-alig-explains-priso-1427585092.html Figure 37: https://i-d.vice.com/en_us/article/8xgn34/charles-jeffrey-loverboy-and-the-importance-of-doing-things-your-own-way Figure 38: https://showstudio.com/collections/spring-summer-2021/charles-jeffrey-loverboy-june-2020/lookbook Figure 39: https://www.anothermag.com/fashion-beauty/8624/whos-happening-fashions-loverboy-charles-jeffrey Figure 40: http://firstview.com Figure 41: https://www.dazeddigital.com/fashion/article/43244/1/los-angeles-no-sesso-pierre-davis-arin-nyfw-aw19-new-york Figure 42: https://nosesso.la/ns2018 Figure 43: https://cfda.com/news/agender-brand-no-sesso-is-making-nyfw-history https://i-d.vice.com/en_us/article/433qeq/no-sesso-genderless-clothing-brand-everyone-los-angeles Figure 44: https://shelikescutie.com/work/a-w-2019/ Figure 45: https://www.thefader.com/2018/04/18/kelsey-lu-new-song-shades-of-blue Figure 46: https://hypebeast.com/2018/4/no-sesso-come-tees-collaboration-lookbook

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WELCOME TO THE CARNIVAL