Research file

the stranger i know

Erin Louise Gribbon

Erin Louise Gribbon Concept Direction and Development AD6605 Research Book

Exploring on from my summer homework and into researching around my 360 campaign. I am carrying on forward with my creative personality traits along except for my own personality traits. I like to maintain control and I find its beneficial to physically create something. This coincides with my creative personality and how I like to work physically and create something big. It helps get ideas out of my mind and allows me to further create a world in which my concepts can live in.

It’s all part of my characteristics as a storyteller.

The following pages include my beginning 12 images to show my starting point and will hopefully springboard my ideas into a wider view for me to delve deeper into my research points and to begin to create a world for my 360 campaign to sit in.

T W E LV E X T W E LV E

ANDROGYNY

PORTRAIT

FLORAL

D E TA I L

FUTURISTIC

HUMAN CONDITION

LOST

NAT U R E

PINK

FEMININITY

OUT OF PLACE

CONCEPT

A WORLD OF RESEARCH

EMOTIVE MESSAGES IN MARKETING One characteristic from both my personal and creative personality I will take forward into my 360 campaign is emotion. As I often feel stronger emotions and have discovered I have linked objects and emotions to certain key moments in the childhood, I find that this will allow me to discover a connection between myself, a storyteller, and the viewer. I believe this is the key to creating a successful campaign and allows you to reach a wider audience as everyone has felt all emotions at some point in their life and will therefore create a subconscious link to that moment in time for them stimulating nostalgia. For brands and creatives, emotive marketing humanises them and breaks barriers between themselves and the consumer/ viewer.

Why it’s important for luxury brands The thing that separates Luxury Brands from the bottom of the marketing level hierarchy is their power in emotional marketing. The reason why consumers buy into luxury and spend more on these sorts of brands is the concepts which the brands create allows for the consumer to become emotively connected to the brand which also builds loyalty. As a storyteller I believe that I fit within the luxury + market levels, due to their heritage developed as many luxury brands are long standing. This heritage would allow a storyteller the adaptability in their creative processes to discover a new way to connect to current consumers as well as updating the brands image in a subtle way which begins to include future generations which will consequently keep the brand relevant and out of the risk of being classes as outdated. All consumers should want to buy into the brand at a luxury + level

LUXURY

H E R I TAG E

VIRGIL MARKETING CONCEPTS Virgil Abloh was able to bring streetwear and luxury together in an authentic way. He had a talent for deconstructing things and opening brands to new audiences. Once exclusive brands such as Louis Vuitton were able to reach a wider audience due to Abloh merging luxury with streetwear. A sharp contrast made each component stand out to multiple groups of consumers. The idea of contrast is something which I will explore further in my research and look to carry forward into my 360 Campaign. He believed that when your brand can successfully contribute to the community, it can become an authentic and influential part of the culture. This is cause branding, a type of emotional branding strategy. This has allowed Abloh is stay relevant and constantly connect with whatever society is going through at that point in time, and as humans we crave reassurance that we aren’t alone in our struggles. Creating that connection to comers through emotion.

NIKE BRAND STRATEGY It speaks to the restraint and inhibition in everyday life that keep people from the experience of transcendence.

Nike provides a language of self-empowerment – no matter whom you are, no matter what you’re physical, economic, or social limitations. Transcendence is not just possible; it is waiting to be called forth. Take control of your life and don’t submit to the mundane forces that can so easily weigh us down in daily life. No more rationalisations and justifications, it’s time to act. - Goldman and Papson (2000, pp 20-21) It’s not just what you say, but how you say it, the communication of the communication. How you say it should include the tone of voice of all communications.

Nike makes their “Just do it” philosophy believable by their marketing efforts, but it is all driven by the attitude, image, and identity

HOW TO CHA -

N G E T H E WAY P E O P L E T H I N K Emotional branding strategies

SENSORY EXPERIENCE This is something I have experimented with before in past concepts and is something that helps me both create and visualise a concept but also helps me explain and build a stronger connection to the viewer. A sensory experience allows the consumer to experience the brand more deeply and develop a deeper connection on a profound level.

Through a visual campaign you can only really incorporate sound and sight, however in a concept store for the brand it allows them to explore all 5 senses since they can now include smell and touch. Furthermore, with fashions expansion into the metaverse sensory challenges for storytellers may become a thing of the past.

STORYTELLING A well told story is more convincing than facts. This is something I have struggled as a creative during my time on the course. I find my mind jumps to quickly from idea to idea and I see that I have created a vision in my head of what I want my concept to be but when it comes to explaining it to an audience it can be come lost. Therefore, I throw myself in to research.

To prove that I know what I’m talking about and that my concept is solid.

For brands to create concepts for their values to sit in visually I believe it allows the view / consumer to place themselves inside that world, inside that brand.

‘Being brave is still speaking out even

n through you may be misunderstood’

CAUSE BRANDING Causing branding is a successful strategy for the new luxury consumers. This type of branding offers consumers opportunities to make a cause-based purchase that would allow consumers to be part of a positive change for social issues other than personal benefits.

This is something I will strongly look at for my 360 campaign to address a social gap in the market. My concept will have to build emotional bonds with the consumers who relate / sympathise with the cause.

EMPOWERMENT Nike is a prime example of empowerment marketing.

This concept supports the idea that its human nature for us to want to feel good about ourselves. This idea links scientifically to the chemical reaction of endorphins in the brain. This is a subject I will investigate further later in my research. The launch of the metaverse consumers is now empowered by brands, by co-creating brand content, which gives consumers a sense of control over brand direction to express their opinions. Once again giving the consumer a sense of belonging which human nature requires/ desires.

BENEFIT OF EMOTIONAL BRANDING The main benefit of emotional branding is the ability to build human connection with consumers. In a fashion landscape, which is fast becoming a digital one with emergence of the metaverse, consumers are subconsciously seeking a human connection from brands. Meaning that they aren't just buying a product from the brand they are buying in to a tribe they want to belong in. It gives them a sense of belonging, something we as humans crave.

MAGAZINES

1GRANARY - A VOICE FOR GRADUATES One of the magazines I’ve chosen to look at is 1 Granary, A MAGAZINE written by students for students. It began as a website of education and cultural dissemination from the fashion designers of CSM in London. I’ve used 1 Granary as a springboard to look further into the life after graduation and to gain a clear picture of current fashion landscape in terms of jobs. Their aim for the magazine is to speak to young designers who are entering the fashion system that crushes talent and engulfs them. They hope to help young independent fashion designers make their way into the ultra-competitive world of fashion and this is something I've researched further into. There is a significant lack of support for young graduates making the step up from university into the industry and as I approach graduation, I’ve chosen to support the aim of 1 Granary and hope to gain a larger awareness for the support graduates need coming into the industry and to help them beautifully bloom into a safe competitive creative space.

FUCKING YOUNG ‘FUCKING YOUNG began as an inspirational platform focusing on youthful aesthetics derived from manly hemispheres. Our freedom allowed us to merge established with emerging artists, thus aiding the latter reaching their own public. A synergy that owed most to a passion for the arts has since grown to a state where not only do we promote content created by others, moreover we sponsor and collaborate in birthing such work. Now we also celebrate this community’s creativity with our printed magazine, which intends to better shelter our love and presence in the youthful hemisphere of the current times.’

I chose this magazine as I love the way they visually create and show a story.

Focusing on a masculine culture, they have a refreshing outline on gender norms and give a voice to creatives in the industry and are supportive of cultures within society. Something which has become lost in the current youth generation.

DIGITAL MAGAZINE COVERS The physical magazine has survived for 100’s of years without changing. Now, however, as we have entered a new chapter of the digital age, we are beginning to see the magazines we’ve grown to love to change drastically to keep up with the new generations demands. Some magazines began with decreased frequencies, maybe only publishing 1 magazine every fashion season, repositioning as premium, luxury products with higher-quality paper and larger page sizes.

Physical copies are fast becoming a fashionable decorative coffee table piece to have in the trendiest of homes. Yet, a handful of magazines are taking it one step further and transforming their pages into digital versions. The idea of a video front cover is still a new concept to the publication industry, however with the fashion industry heading in to the metaverse we are left wondering what are our avatars going to read?

DIFFERENT STORY

Y T E L L E R S A N D T H E I R WAY O F TELLING STORIES

BAZ LURHMAN He is one of my main influences as a creative. I adore his ways of telling stories and always find myself creatively inspired after watching his films. From The Great Gatsby to Romeo and Juliet he always captures a unique and extravagant way of telling a story that has already been told thousands of times. I love the idea of taking something old or contrasting idea and changing them into something brand new. His direction of The Secret Life of Flowers really helped me as a creative storyteller. The way he created a world for the collaboration to live in showed me that not everything had to be in my head. By getting out of my head it allowed my creative mind to explode into larger ideas and has allowed me to explain myself more clearly than I can do in words.

Luhrmann plays with audiences' expectations by adding contemporary popular music to the 1920s setting of layering and fusing early jazz with hip hop- with the latter of urbanity and multiculturalismsimulates the effect of jazz in today's audiences. ‘The Great Gatsby’ had Luhrmann’s distinctive stamp, not only in its narrative twist—the novel’s narrator, Nick Carraway, is portrayed in the film as the author of the novel—but in its often-vertiginous camera work, operatic scenes, anachronistic musical score, and general embrace of excess. Despite Baz Lurhman being a film director, he still uses emotional strategies to place the viewer in the story much like a fashion communicator uses to attract and gain brand loyalty.

This is not social realism or naturalism. It is a style where, not unlike a forty’s musical, you know how it’s going to end. In the case of Romeo and Juliet, we tell you in the prologue. Enjoying the journey and being fresh or different or, if you like, flamboyant in the telling is what the fun of the game is.

SECRET LIFE OF FLOWERS The Secret Life of Flowers is a fashion film directed by Bay Lurhman. The film was centred around the H&M ERDEM collaboration and takes place in a grand country mansion where it is always spring. The house exists in a private world that is filled with flowers, influenced by ERDEM’s celebrated floral prints.

“I wanted the film to be like a whole movie. It’s a very modern love story, set in a country house that is full of its own secrets and it’s like a metaphor for our times — it’s harsh out there in the world, but in here, the things that really matter keep growing in an eternal spring,” says Luhrmann.

This inspired an idea that I could carry forward into my 360 campaigns. I could create a world in which gen Z / graduates could escape, hiding from the harsh realities that we have constantly known and grown up with. This idea comes with negatives though which I will explore further in my research.

Lurhman exaggerates the use of metaphors throughout the story. The film acts as a metaphor for life as the burgeoning storm outside is met with the ever-blossoming nature of what is inside the house — painting a picture of what is important in life — while the flowers act as a metaphor for people, either walking through the path of normalcy or living wilder, more adventurous, and spontaneous lives.

FLOWERS As a storyteller, my creative visions always take place in nature. This is due to my surroundings of where I grew up but also from Baz Lurhman’s Secret Life of Flowers and how it first inspired me at the start of the course. Storytelling through flowers is a very subtle way of sending a message across to the viewer, that is if they know the secret language of flowers and what they mean. Flowers have been used in many cultures across the world to convey messages and to pass down stories and legends from generation to generation. During the Victorian Era, the tradition began to spread, as flowers were used to communicate secret messages. Thus, the language of flowers was born, where each flower was assigned a particular meaning or message. The subtly of using flowers to tell a story not only incorporates characteristics from my own personality but also ties in with the idea of contrasting something subtle with something that is abnormal and otherworldly.

DANDYISM The style that follows Baz Lurhman’s directing style and the aesthetic that follows the Secret Life of Flowers is most associated with Dandy. Instead embodying a lifestyle where luxury, refinement, and effortlessness extend from one’s outlook and attitude to the clothing they wear. You can’t be tightly wound and anxious, nor can you be cheap, and approach what’s considered a detailed, elevated. This style can also be seen in Baz Lurhman’s The great Gatsby which also correlates with the idea of the ‘lost generation’ which I will explore further in my research. Dandyism visually links with a feminine side of masculinity portraying a new elegance to gender-fluid silhouettes.

MASCULINITY Masculinity is something which I love to explore, and I always find it intriguing to see how different storytellers tackle the gender norms of masculinity, with many storytellers opting to change the norms and blur the lines between genders. It creates a much more interesting story when something looks different, and the viewer is not sure whether they should be agreeing or disagreeing with the artist’s concept. With the norms of masculinity being distored everyday it becomes incresingly harder to predict how a storyteller is going to depict the masculine figure in their concepts.

FRAGILE MASCULINITY

‘How does a man in a dress threaten masculinity’

‘It doesn’t. That’s it, there’s no maybe with this one and the fact that it seems to bother so many people still is quite frankly exhausting.’ (Azcárate, 2022)

The novelty idea of a man in a dress has worn off.

Gender fluidity has been a thing made common across catwalks all over the world. We are now beginning to enter an era that is reclaiming individual masculinity and femininity. Storytellers are looking for new ways to challenge societal norms and putting a man in a dress and a woman in a suit just isn’t cutting it anymore. They are now exploring the values and emotions about what it means to be a certain gender and how people as individuals decide what makes them feel masculine or feminine freely.

FEMININITY ‘The moments in our lives that have rendered us most vulnerable have the ability to transform us the most.’ Liz Goldwyn Femininity is a set of attributes, behaviours, and roles generally associated with women and girls.

Femininity can be understood as socially constructed, and there is also some evidence that some behaviours considered feminine are influenced by both cultural factors and biological factors The idea that femininity is influenced both by cultural and biological factors is an interesting concept for a storyteller. We can begin to question what attributes you need to have to be classed a feminine and how might society react to someone questioning femininity.

ROMEO AND JULIET Often using films as a source of inspiration, the picture shown, visually inspired what my 360 campaign could look like. With bright colours and set in a contrasting dark environment. My tutor and I had the idea to explore religious iconography. I had decided that I hadn’t wanted to play safe and wanted to conceptually show something that challenged the way people viewed my work in the industry.

‘The people who believe in G

od often do the worst things’

RELIGIOUS ICONOGRAPHY The basic and often complex artistic forms and gestures used as a kind of key to convey religious concepts and the visual, auditory, and kinetic representations of religious ideas and events.

When a religion uses dress to reinforce tradition, it will usually be seen in opposition to fashion, which by its very nature is dynamic. The religious dress will change slowly as organised religions often reject fashion as an attempt to focus on individuality rather than salvation. In fashion, religion’s last great surge was in the late 1990s, when the sacred and profane entwined as prophecies of millennial Armageddon intensified. When it is not done tastefully, using religious iconography in something as clichéd as fashion raises controversies. Religious communities are very protective of their icons. Treating religious iconography in a provocative way is the same as mocking religion.

COMBINING CONTRASTING IDEAS The easiest way for a conceptual storyteller to create something visually challenging to look at is to either combine contrasting ideas or change the perception of normal. I plan to try both ways by looking at society now and looking at contrasting brands and storytellers and seeing how their brand values collide with one another.

RALPH LAUREN I chose Ralph Lauren as it's a brand I often wear at home in the countryside. It is who I am as an individual but not particularly so as a creative. as a creative I am more adventurous and flamboyant in styling however in my creativity there remains a sense of control that comes from my personality. I admire the Ralph Lauren brand for its control and perfection. it sells the perfect lifestyle. this resonates with my brand as control is a big part of my personality and is often seen in my styling.

Ralph Lauren is a stand-out brand for me as I believe that paired with the other brands, it's a combination of an unsuspecting thing. With a blend of Ivy and prep styles, everyday apparel, country club uniform and timeless workwear-rooted silhouettes. Ralph Lauren portrays the normal (or what we portray as normal) but what if normal was Tim Walker or Baz Lurhman? what if the new normal was strange and fantasy?

SELLING THEIR IDEA OF LIFESTYLE Ralph Lauren sells the idea of the perfect English country lifestyle to the American culture. But what if I could sell a new idea of a perfectly normal to an already existing concept of normal in today's society?

OXYMORON OF BRANDS An oxymoron is a figure of speech that juxtaposes concepts, it can be used as a rhetorical device to illustrate a rhetorical point or to reveal a paradox.

ARTISTIC INFLUENCES

STYLIST - KATIE GRAND Founder & former editor-in-chief of Love magazine Grand embodies a cheeky irreverent take on her styling. She captures attitude and emotion in her styling, something which I hope to capture in my campaign shoot. She shows the emotion aesthetic through various techniques such as colour, face positioning and clothing. In the styling, the choice of bright or subtle tones attribute to different feelings and meanings. Her work can therefore be simultaneously romantic, nostalgic, mysterious, eccentric, dramatic and melancholic. Further research will allow me to discover and develop semiotics for Gen Z and experiment with Grands style of using colour, face positioning and clothing to depict my campaign concept.

PHOTOGRAPHER - JEFF BARK Jeff Bark’s moody, monumental photographs explore the depths of a collective human experience, something I want to capture when targeting Gen Z in my 360 Campaign. Bark’s dark and dreamy vision explores the various dynamics of human relationships both toward one another and in relation to the mysterious, often elusive natural world around them. This Photographer will heavily influence my work as he captures an element of Tim Walkers work but modernises the subject by connecting in human relationship and condition.

PHOTOGRAPHER - PAMELA HANSON Hansons approach to her work is timeless, capturing her photos in black and white allowing the light and shadows to depict emotion and the story in her photos. Her style suits my intrinsic personality, and I would like to contrast this alongside my own creative flamboyant personality to illustrate a conflict of imagery.

Hanson speaks about her time in the industry and how she felt as a woman in a heavily male dominated fashion landscape. You’d look through Interview and there’d be no women. It was such a boy’s club. Still now, whenever a woman is successful, everyone’s always like, 'They're such a bitch. They're so difficult.' They don't say that about guys.

There's plenty of women out there that are doing really cool things, but if women are demanding and expect things, it's suddenly, you know, they're a bitch. - Into The Gloss, 2016

PHOTOGRAPHER - ELIZAVETA PORODINA Elizaveta Porodina is a Russian artist, photographer and clinical psychologist currently living in Munich. Her pieces are suggestive, unconventional, and experimental. They attract attention, push the viewer to self-analysis and invite him to rethink the usual concept of beauty. Much like Kate Grand, she investigates and analyses the human condition and psyche through photography. By mixing theoretical preparation and artistic inspiration, she generates obscure, symbolic and emotional works of extreme communicative power. Her work depicts obscurities and views may find her concepts developed and pushed to the extreme. Therefore, during my campaign development she work will allow him to have a visual representation of extreme and will contrast against other artists work, much like how Ralph Lauren shows contrast between my own introverted personality and my flamboyant creative personality.

PHOTOGRAPHER - JULIA HETTA Julia Hetta’s photographs provide a glimpse of an alternative world, consumed with romance and quietude that’s often associated with classical painting; this reflects well with the idea of consternating ideas, historical and modern. Working almost exclusively with natural light and long exposure times, Hetta imbues her subjects with a sense of serenity and power, something I wish to express when looking at Gen Z.

PHOTOGRAPHER - ANNIE LEIBOVITZ Annie Leibovitz is a celebrated American photographer best known for her engaging and dramatic celebrity portraits, capturing her subject’s personality and inner life. She is known for to reveal a playful expressive aspect of her concepts and stated, “I no longer believe that there is such a thing as objectivity,” she once said. “Everyone has a point of view. Some people call it style, but what we’re really talking about is the guts of a photograph. When you trust your point of view, that’s when you start taking pictures.” (ArtNet, 2022) One of her iconic shoots was for Vogue in 2021. Capturing a modern Alice in Wonderland, she collaborated with Grace Coddington to create the December issue. Much like Tim Walker, Leibovitz brilliantly illustrate the fashion appeal of Alice. They are funny, whimsical, and transporting. They allow for total immersion in make-believe and offer a vibrant canvas peopled by characters and scenes already familiar to the viewer

PHOTOGRAPHER - TIM WALKER Tim Walker is best known for his fantastical photographs inspired by his love of fairy tales and thirst for adventure. I’ve been inspired by Walker’s work since first year and have adapted my own style from his work, always creative a world for my ideas and concept to live in. My 360 Campaign will be no different. He is known for his ambitious narrative within his shoots and creates life on his sets with various probs and famous faces. He has also challenged himself to capture portraits in a white environment. Like many portrait artists he carefully researches the motives and passions of the sitter allowing him to capture not just them but their personality. For Walker to capture the portraits on a white background, challenges his usual flamboyant style and the contrast shows a great knowledge for photography, something which I hope to develop over this project.

PHOTOGRAPHER - NICK KNIGHT Founder of SHOWstudio, Nick Knight has consistently challenged the norms of beauty in the industry. His creation of show studio allowed Knight to show ‘the entire creative process from conception to completion.’ (Knight, 2014a).

Starting with fashion film it gave a platform for the industry to display influential filmmakers, writers, and over creative visionaries. He is interested in what the whole photograph reveals rather than just one aspect of the image and pushes the technical and creative boundaries, and this is what distinguishes him from other photographers of his time. Knight has also explored other issues, such as disability, ageism, fatism, and racism. In my 360 campaign I will be looking to explore Gen Z and the current fashion landscape and will reflect on how Knight has depicted these issues in the past.

NICK KNIGHT: FLORA 'Flora' wields references from Enlightenment photography to the sweeping lines of colour in abstract art

PHOTOGRAPHER - FRAN FINAT Fran Finat’s work is characterised by being playful and romantic, creating concept worlds of Dream inspired by surrealism. The colour light and shadow he uses in his work depict not only the emotion of the subject but creates fluidity in auras.

PHOTOGRAPHER - JACK DAVISON Jack Davidson is a British portrait photographer. He captures the sitter in a sharp contrast of black and white which depicts a melancholy mood in his photos.

I have only briefly looked at this photographer just to gain a deeper visual understanding on black and white portraits, which allow me to contrast against the likes of work by Tim Walker of Fran Finat.

DESIGNER - YVMIN A designer I briefly visually looked at was Yvmin. YVMIN has always considered itself as a body-decoration lab rather than a fashion brand, to explore every connection between body and beauty as far as possible. I was captured by the fluidity in her work and portraits to me a futuristic aesthetic. This led me to question what part of my 360 campaign could be futuristic? Another aspect of Yvmin brand ethic like I liked was their research into the idea What if we treat prosthetics like wearable art?

DESIGNER - MOLLY GODDARD Moody Goddard has always been an inspiration towards my work when it came time to approach a dress stand.

The bigger the better is always the way with Goddard’s construction of voluminous creations. As I am a visually creative person, I find its better for me to work outside of my head and this inspired me to recreate a paper doll, a concept we learnt in first year. Inspired by the beginning of my research into Baz Lurhman’s Secret life of flowers, I channelled my inner Molly Goddard and created a large blooming flower dress.

DESIGNER - CHARLES JEFFREY Charles Jeffery is a British fashion designer who was one of the first creatives I researched. His flamboyant, androgynous style and designs linked closely with how I viewed Baz Lurhman’s directing style. His approach to genderless fashion for men is something that I will explore during the creative process for my 360 campaign: my own version of genderless fashion. His outrageous styling and maintain close links to his own heritage which is another reason I admire his work and believe this links to me as a creative, as I’m often inspired by my surroundings. In my first project I was inspired by his punk, club culture styling to visually create a collaboration. This has given me the creative knowledge of a time in culture when to was celebrated to dress outrageously something which isn’t seen in today’s Gen Z youth Culture.

ARTIST -ANASTASIA PILEPCHUCK Anastaisa Pilepchuck’s designs were labelled by the Dazed Beauty Community as creations that can transport you to a ‘different realm’ (Dazed, 2022). Her out of this world designs are perfect for my visual research for what my characters could look like in my 360 campaign. Pipelchuk’s work is rooted in a fascination with the world around her that started when she was young. Something which we share long with Charles Jeffereys concept of heritage. Her personal definition of beauty?

“What enchants, what makes me want to stop and consider, and what is difficult to understand.” (Dazed, 2022) As children, she says, it’s easy for us to admire and see the beauty in many manifestations of life, but when we get older, we lose this ability.

Through her art, this childlike sense of wonder is something that Pilepchuk has clung onto and is what makes her work so engaging. “I view ordinary phenomena from different angles and synthesise my own beauty.” (Dazed, 2022)

ARTIST - AZUMAMAKOTO Supporting my inspiration from the Secret Life of Flowers, Artist Azumamakoto is a lead artist in the field of botanical sculpture. He believes that working with flowers should start early at dawn, when communication with flowers happens telepathically - in his concept it is important that a florist treats flowers with respect and devotion. Intricately elaborate and perhaps bizarre, his work is emotionally provocative. His work ethic is an inspiration for my campaign and his visionary creations inspire what my possible story could be for my 360 Campaign. He describes this work as ‘living art’ the belief that is work is alive and has emotion is a concept I will look further into and the idea behind emotions just being chemical reactions. He has experimented with the strength and power of flora when they face a hostile (or alien) environment like space, ice, and fire. This concept is also a fascinating when applied to the idea of Generation Z and the world they live in today.

- KINTSUGI a Japanese concept of fixing something with g o l d . T h e p h i l o s op hy of a c c e pt i n g f r a g i l it y, bu i l d i n g strength and resilience

C o u l d t h i s c o n c e p t b e a p p l i e d t o t h e l i k e s o f G e n Z ’s ‘ L o s t g e n e r a t i o n’

DIGITAL ARTIST -IDA LISSNER Ida Lissner is a digital artist that creates worlds surround the relationship between nature and technology. She combines the deconstruction of nature and the growth of technology to create digital landscapes. The creations could be closely linked to a Tim Walker aesthetic which has been transformed into a digital oasis. This idea is progressive and is relevant of the current fashion landscape which I currently begin to explore the metaverse.

DESIGNER -IKUTA ENOMOTO HOMME PLUS SS17 The idea of clear clothing to view the true human form. Ikea Enomoto’s COMME des GARCONS HOMME PLUS SS17 collection was inspired by Hans Christian Andersen’s short story, The Emperor’s New Clothes. On the clear clothes you could see printed on see-through garments like “The King is Naked” and “Beauty is in the eye.”. The concept of translucent clothing to see the human form is an idea I would like to transform into a Tim Walker / Baz Lurhman style.

GRADUATE DESIGNER - LIANA PEBERZA Looking at other students for inspiration, Liana Paberza designs fit in perfectly with the abstract world, in which the creatives I’ve previously mentioned fit in to. Designing for the female body she distorts the concept of human condition and is fluid in her designs.

She uses a printed pattern to digitalise her designs, giving them a futuristic aesthetic. By looking at other students on the same path as me (heading into the industry) it will begin to give me an idea of that is currently happening in the industry and an idea of where it is heading to.

HOW TO TELL STORIES IN CONCEPT STORES After studying different creatives and seeing how they show and tell their own concepts, its relevant to myself as a creative that I would physically like to create a world for my 360 campaign to fit into. Since its physical and often my ideas are conceptual challenging to explain I’ve chosen to research how concept store tells stories without words. In a concept store, telling stories that create an impact on the consumer’s mind and connect directly with them is one of the best marketing tools any communicator can have. In the modern fashion landscape consumers are buying into stories more than ever due to the uncertain world we live in. Consumers want to feel a part of something, so they aren’t alone and feel some positive emotion from the experience we can give them as creative story tellers. It’s important to take the viewer/ consumer on an emotional journey, this will include using their senses to enhance brain activity for them to make connection from the story to their own personal life.

HOW TO TELL A STORY IN AN EXHABITION The whole concept behind an exhibition should provoke and inspire viewers to do good or feel a certain way. As a visual storyteller in an exhibition, it’s your job to take the viewer from beginning to end without verbally telling them the story. The images and surrounds should tell the story. This idea is a unique concept. Since the storyteller is telling their story through images and the viewer is depicting the images in their own way. Each viewer isn’t going to get the same story. Each story is going to be related to the viewer in the own unique way without the storyteller needing to rewrite the story thousands of times over.

HOW CAN WE TELL STORIES IN A DIFFERENT WAY In the modern fashion landscape, we have moved on from a simple poster on the wall. We can transport consumers into the world we have envisioned.

With the technology of AR and the emergence of the metaverse the way we now have the resources to transform the communication landscape

METAVERSE The metaverse offers new opportunities to engage Gen Z. Artificial intelligence and augmented reality could open opportunities for new business models that leverage virtual fashion. Technology that allows for 360-degree views has already been used to present seasonal collections through online showrooms, and avatars of models have walked 3-D virtual runways.

GENERATION Z Gen Z is my generation. We have inherited issues like climate change, financial crises, and pandemics. We are self-driven individuals who care deeply and strive for diversity and individualism. The effects of constantly having technology around us from birth has left us with severe side-effects including anxiety, depression, and multiple personalities, however due to our deep understanding of technology we are the change makers of society. We are innovative. We can create a better life for ourselves due to our wide skillset and are better equipped to deal with modern issues and develop a bright future on a global scale. In terms of the matter verse, we have the knowledge that employers need to progress into the digital fashion landscape. Yet, with the rise of the metaverse we are surround ourselves more with social media and technology. We crave individuality and a human connection. We want something that is real and meaningful.

Fashion rev

eals itself as the most reliable cultural mirror we own - 1Granary

HOW HAVE GEN Z BECOME A LOST GENERATION / TRIBE The term “lost generation”, coined by Gertrude Stein, is applied to a group of writers, poets, and musicians in Paris during the 1920s, often characterised by the similar themes discussed in their work, such as disillusionment in the post-World War I society, loss of identity and tradition, and an uncertainty of the future. Due to over the exposure of social media and the news, we have become desensitised towards the world. We are constantly aware of the bad things happening in the world and since losing the last of our teenage years to the pandemic, many have been forced to grow up without being able to socialise or explore the world.

decadent youth wh

o gave up trying to make sense of a senseless world - E R N E S T H E M I N G WAY, SUN ALSO RISES

WHY ARE GEN Z OFTEN DESCRIBED AS SNOWFLAKES? For a while Gen Z have been criticised for being too ‘soft’ and are often referred to the ‘snowflake’ generation who are unwilling to grow up. Now as a Gen Z myself I can get angry and say that they tell us to grow up just so we can solve their problems, but that would be childish of me. Much of the negative judgment came from a misunderstanding of what it is like to grow up in today’s world when compared with how our elders grew up. They weren’t raised with technology. The effect of growing up with technology has left us constantly open to criticism from social media, shocking events on the news which have desensitised us and filters ready to distort our version of reality.

THE DIFFERENCE BETWEEN GEN Z AND MILLENNIALS AND HOW IT EFFECTS US Gen Z are, overall, much better adapted to life in a digital age than the older generations and they can be very frustrated by what appears to them to be outdated and often irrelevant ways of doing things. They also value self-care, they are more likely than the older generations to question rules and authority because they are so used to finding what they need on their own. Gen z aren’t always right; often they don’t know what they need, especially in a new setting, and this is where inter-generational dialogue can be so helpful. Both the older and the younger colleagues can learn from the other, in each case by listening with more respect, appreciation and trust.

PROTESTS IN GEN Z Activism has long been synonymous with youth culture. Gen Z are up against immense challenges as they make their way into adulthood: climate change, inequality and social unrest, political division, economic distress and more. Although they are far from the first generation who’ve spoken up about injustice and other societal issues, technology has meant Gen Z’s activism looks different than the movements of the past – which means their influence may be, too. Fuelling Gen Z’s protests is their anxiety. They are exposed to news in a different way to their parents or grandparents at the same age; young people are consuming content around social issues and events almost constantly.

‘I’m powered I have no ot -Carnegi

by the fact ther choice’ e, 2022

MENTAL HEALTH WITHIN GENERATION Z A 2019 study found that that depressive symptoms are two-thirds higher in Zeds than in millennials Additionally, Zeds are more likely to be self-critical and score higher on perfectionist tests than previous generations. Trend reports from 2020 only paint a grimmer picture of the mental health status of young adults in the pandemic world. A November 2020 study by the British Journal of Psychiatry found that young adults dealing with anxiety almost doubled from pre-pandemic levels at 12.97% to 24.35% and experienced lower wellbeing during the pandemic. Additionally, the latest statistics from Young Minds, found in their survey of 2,036 that young adults between 18-24 surveyed this summer, 80% of respondents agreed that the pandemic had made their mental health worse and 41% said it had made their mental health “much worse” due to isolation, anxiety, and lack of motivation “This generation is entering uncharted territory, where their opportunities have been devastated. People talk of the resilience of the young, but this crisis has happened so quickly that young people have had no time to change and adapt. The impact on them could become entrenched, with potentially enduring consequences.” Dr. Dasha Nicholls (Hill, 2020)

CHEMICAL REACTIONS - SCIENTIFIC REASONING BEHIND MENTAL HEALTH AND EMOTIONS During a discussion with another graduate, we discussed how we don’t really believe in religion and how if it is meant to be the universe will put us on the right path. I disagreed.

We then continued to talk about the butterfly effect to support their argument, of how something small can turn in to something much larger. I then voiced my opinion, as a nihilist, I believe that life is made up of the emotions we feel. All the moments we have in our lifetime are purely chemical reactions from stimulates which tigger emotions. Life is simply what you do with the choices you are given. The American Museum of Natural History support my theory behind the chemical reactions in our brains: Emotions are controlled by the levels of different chemicals in your brain.

Paul king, a computational neuroscientist, explained that according to neuroscience, we are a highly and deeply orchestrated symphony of quintillions of different interrelated chemical reactions per second. The existential angst expressed in the question details is no different than the meaninglessness many people fear when contemplating evolution producing "life," or our living bodies being nothing but a lot of chemical reactions.

Even if our brain operates by chemical reactions, the beauty and meaning we create through art, music, language, and passion are all still real. There is no reason that being composed of something needs to take away from who we are.

Eden interview is on my youtube please follow this link https://youtu.be/fhh34KM1wQ8

HOW COMPETITIVE THE CREATIVE INDUSTRY IS From listening and studying different interviews from past graduate the industry is ‘dog eat dog’. With there being more creatives graduating then there are jobs young creatives are struggling to find different way to put themselves ahead of the competition. From gaining experience from unpaid internships or strains self-made ventures, the stress from the expectation to ‘make it’ in the industry is overwhelming and graduates are suffering in a time that should be exciting. Especially in London where competition is the fiercest, it’s a game of money over talent in today’s current climate.

IMPOSTER SYNDROME Imposter Syndrome denotes feeling like a fraud and undeserving of success at work. “For me, it comes when I see others doing so much [work], and I begin to question the essence of my own work. I started my career in 2020, and I must remind myself that I have just [started],” says freelance fashion and culture journalist Elvis Onyedikachi Kawedo. As young creatives graduate, we are feeling the increasing pressure of getting a job straight out of university, however the intimidation from the fiercely competitive industry makes getting your foot in the door seem impossible. The pressure of when we do get a job as well makes graduates feel as if we don’t belong and leaves us questioning where do we?

HOW IMPORTANT YOUNG DESIGNERS ARE FOR THE INDUSTRY Especially as we are heading towards a new digital fashion landscape current graduates are equipped with the skills to go into industry to help future proof brands and business to ensure they are kept current and up to date with the current consumer.

QUIETLY QUITTING Quietly Quitting is a newly coined term for when workers only do the job that they’re being paid to do, without taking on any extra duties, or participating in extracurriculars at work. Gaining popularity in response to pandemicinduced burnout, quiet quitting is having a moment; especially among young people who, in many ways, have suffered through the worst of these surreal times. But how do you quietly quit an unpaid internship? Or say no to the opportunity that you’ve can’t afford to say no to? Do you continue at the expense of your mental health or quietly quit? The notion of quiet quitting suggests a norm where people must perform extra, often undesirable tasks outside of their job description, and where not doing that additional work is considered a form of “quitting” your job.

EMOTIONS There are 5 basic emotions: joy, fear, sadness, disgust, and anger. We can feel any of the core emotions with differing levels of intensity, and the intensity in which we feel any one of the five core emotions in and of itself establishes a new emotion. When emotional intensity is factored into the equation of labelling how we feel, we quickly expand beyond 5 core emotions into a spectrum of hundreds of emotions. We rarely feel just one emotion at a time. Instead, our emotional experiences are typically made up of feeling a combination of emotions simultaneously.

Emotions themself are Not Complex, but Finding the right label for them are what if we didn't need to label emotions? What if there was a way to define our emotions visually and take the pressure off communication verbally.

Anger is th

he easiest emotion to spread on social media

A COPING MECHANISM FOR A LOST GENERATION The lost generation in 1920’s was known for drinking as a mental escape. The theme of alcohol is apparent in Ernest Hemingway’s 'The Sun Also Rises’. F. Scott Fitzgerald’s The Great Gatsby also refers to alcohol and decadence as a coping tool as well and as the story progresses the ending relays Fitzgerald’s message that excessive materialism and drinking will cause destruction.

TAKING A PILL FOR PAIN ?

A new study has found that taking a beta-blocker alongside ‘reconsolidation therapy’ has the power to dull memories of painful romantic betrayal The study, published in the Journal of Affective Disorders, sought to help those suffering with adjustment disorder, a condition that can occur in response to a significant life event or change – such as a particularly difficult breakup.

As Gen z struggle to maintain their mental health and their hope for the future, as a creative and a gen Z myself, what if we could be transported to a place that was like taking the pill to forget the stresses of modern-day life? Especially with the emergence of the metaverse, it’s becoming increasing more like that taking a pill to feel the full effects of virtual reality won’t be far off.

ESCAPISM Escapism is mental diversion from unpleasant or boring aspects of daily life, typically through activities involving imagination or entertainment. As a storyteller I’m going to use this form of imagination to allow Gen Z and escape from reality. Escapism is also often used to distract yourself from feelings of depression however, he word "escapism" often carries a negative connotation, suggesting that escapists are unhappy, with an inability or unwillingness to connect meaningfully with the world and to take necessary action. C.S. Lewis was in support of escapism: that it could serve both to refresh and to expand the imaginative powers

UTOPIA Utopia typically describes an imaginary community or society that possesses highly desirable or nearly perfect qualities Utopianism, some argue, is essential for the improvement of the human condition. But if used wrongly, it becomes dangerous. Utopia has an inherent contradictory nature here. — Lyman Tower Sargent, Utopianism: A very short introduction (2010) The fashion world is often depicted as a secret society of celebrities and designers that you must be invited into the group, much like the Met Gala, and for graduates trying to make it into the industry you need to have contacts. Creatively as a storyteller for my 360 campaign, creating an idea of utopia that Gen Z could escape to from the current landscape would be interesting to visually explore in a style such as Baz Lurhman’s or Tim Walker. Referring to the Dazed article you could potentially take a pill that would transport you to the place of Utopia.

DYSTOPIA Dystopia is an undesirable or frightening society. Many of the same elements from Utopia go along with Dystopia, however the key difference is the lack of freedom. To maintain the perfect order most of society live in fear. Contextualising this idea towards my 360 campaign. What would happen if we spent too much time in utopia? The biblical ‘Garden of Eden’ was a utopia, until Adam and Eve succumbed to temptation and sin. With the Campaign idea of escaping to utopia, what would happen if they didn’t want to leave?

Would that become a new toxic environment?

FOUR STUDENTS DISCUSS: IF FASHION IS A REFLECTION OF THE ZEITGEIST IS FASHION A DYSTOPIA? What does the fashion industry stand for today? Between show gimmicks, celebrity moments, and cross-brand collaborations the industry seems a bit confused when it comes to its values. At a time when our lives unfold in front of a traumatizingly decomposing socio-political backdrop, it is impossible to take fashion out of its context. Yet, the last months of fashion happenings demonstrated an eager effort to grasp onto the glimpse of hope (or the illusion of hope) an art form like fashion can possibly provide. How is fashion culture reflecting its times and why we can’t seem to move towards real change when it comes to issues such as sustainability, body inclusivity and diversity? We had a chat with four Central Saint Martin’s Fashion Critical Studies MA students, all coming from different research backgrounds, and discussed the fantasy of fashion in the age of pragmatism.

Natassa (1 Granary): The last fashion month expressed a tendency to perform joyfully, with optimism playing a big part in brands’ communication and collections. Do you think this optimistic vibe and approach is a reaction to the darkness of current events- a way to use fashion as an escape, or do you think it is more of an “excuse” to “just do fashion” and stay away from taking a stance on certain socio-political topics?

Carmen: I feel like designers in the post-pandemic times have this need to escape. Maybe there is this need to be optimistic and joyful when there are so many crises around. Covid is still around- it hasn’t gone away. There is this logic of “everything is getting better, why not enjoy fashion, enjoy consumerism, enjoy capitalism”; I think that this is the agenda that is pushed.

Carmen: It is also so complicated to be opinionated right now. I am not sure though if not touching certain topics is even possible anymore. The public expects brands to speak on current issues.

Natassa: It feels like it is easier to tackle topics where it is obvious whose “side” everyone is on than addressing global issues that might risk fashion companies a certain clientele. To be more specific, when it comes to taking a stance about the war in Ukraine, abortion rights or the Iranian protests.

Lucy: It is interesting that in times of social and political conflict, fashion holds back to its criticism, to be this spectacle that people can look at and enjoy. It is providing a lot of images of beautiful clothes that people can use for escapism, to avoid looking at pictures of war, or of the pandemic, etc.

Natassa: Yea, we also get mad when fashion doesn’t get a stance. So, brands are put in a position to express an opinion that might be contradictory to what a brand does and how it contributes to real-life narratives and global issues. Balenciaga is a good example as it encapsulates these conversations. How did you find Balenciaga’s latest shows?

Kiera: Balenciaga’s AW22 show which took place around the time that the war in Ukraine started was impactful because the models that took part donated their earnings to aid for Ukraine. It wasn’t just a slogan on a garment. I think the only way to make a difference is by practically doing something.

Carmen: Yeah, if fashion reflects the zeitgeist what is fashion now? Is fashion dystopia? I am trying to find some collections of this fashion month that tried to say something important but noticed that the prevailing narrative was very much along the lines of “life goes on, especially for the privileged.” Normally designers that are artists, are aware that fashion is capitalist and is about buying, but there is also this artistic element to it, so it is difficult. Brands that really create fashion based on their beliefs and values; these are the brands we should support. It is when brands chose their causes that it doesn’t sit right with me. I find this superficial. It is strange that brands are vocal about certain causes and are silent about others.

Lucy: Even with the Balenciaga show; I could not bear seeing expensive items getting destroyed in mud. It seemed so wasteful. It seemed like shows tried to paint a picture but not provide us with the right context.

DRUGS IN FASHION Labelling Gen Z as ‘the lost generation’ after conducting interviews, it’s clear that students and graduates are turning to drug and alcohol as a coping mechanism in today current climate. With a work culture where you can’t say no to any fleeting opportunity graduates are using alternate methods to survive in the competitive industry. Cocaine abuse is rampant in the industry, particularly during New York Fashion Week, when a typical workday exceeds twelve hours and is followed by a robust assortment of ‘cocaine cultured’ after parties.

Designer Andrew Groves’ 1998 fashion show, called “Cocaine Nights,” featured a catwalk covered in white powder and a dress constructed of razor blades. That was just fine by the industry, but a supermodel doing lines of cocaine at a party was most definitely not. The Ugly Side of Beauty.

Fitzgerald’s message that excessive materialism and drinking will cause destruction: this idea of graduates burning out within the fashion industry do they have a choice not to self-destruct

HALLUSNAGENICS A side effect of lockdown. A psychedelic renaissance? After going through the pandemic and global lockdown, it’s easy to being to think we live in a very much the characteristic of a dystopian society. Psychedelia first swept across the western world in the 1960s, when hippie culture collided with LSD in Haight-Ashbury, San Francisco, the trend was further fuelled in London as the Beatles opened their Apple Boutique in 1967 – serving up handwoven kaleidoscopic printed silks, satins, and velvets to the capital’s cool young things. To cope with the pandemic countless people are turning to psychedelics like magic mushrooms, truffles, and acid to take the edge off. You might physically be trapped in your house – but that doesn’t mean your mind has to be. Some have suggested lockdown triggered a ‘psychedelic renaissance’ as more young people experimented with everything from acid trips to micro dosing mushrooms to escape the monotony of their heavily restricted daily lives. An idea that links closely to how Gen Z and graduates want to escape.

DANSK - PARTYISM DANKS magazine featured an editorial on partyism. The visuals capsulate Fran Finat’s style and simulates auras.

EUPHORIA - HOW THEY EXCELLENTY DEPICT A STRUGGLING GENERATION AND HOW IT HAS GLORIFIED DRUGS IN A DIFFERNET WAY Euphoria glorifies drug use towards Gen z as a way to cope with modern day stresses. The show follows a high school student struggling with addiction amid relationships, friendships, and her home life. The moral of a story is drowned out by a glamorous aesthetic; Euphoria’s seductive cinematography, a delirious haze of lurid light and sparkling skin, beautifully depict the highs and lows of drug addiction. Linking back to my idea of contrast, it may be interesting to glorify the world gen z escape to however show the effects of staying in this ‘chemical utopia’ in a more edgy peculiar aesthetic.

SOCIAL MEDIA Gen Z have grown up with constant exposure to social media and as I’ve shown in research the over exposure to social media has left Gen Z with mental health problems and unhealthy ways of coping with their issues. From my interview with Eden and various other research we discussed how anger was the emotion most easily spread on social media and often when a news story breakout, a onesided view of the story is only shown.

Are we really living for fashion or is fashion living for social media?

WHAT GEN Z EXPECT TO SEE ONLINE Gen Z admire transparency when it comes to brands on social media and are quick to call them out when something isn’t correct. As Gen Z continue to reject older social media platforms, apps like BeReal are taking off due to their concept of using the original premise of social networking, connecting people in smaller groups. Over 60% of US teens report that feeling “welcome and safe” is more important than having a space to speak freely online. Finding a human connection online is what Gen Z wants and it’s a thing that many social platforms are struggling to give them.

HOW DO GEN Z COPE WITH MODERN DAY STRESS Gen Z live in a world of instant online judgment (in 2021, the Wall Street Journal reported that one in eight young girls in the UK who reported suicidal thoughts attributed their poor mental health to social media). Their induction into the world of paid employment is also no picnic: unpaid internships, student debt to service, and a work environment that impinges more and more on what would once have been viewed as leisure time. The workplace, what to my mind distinguishes Gen Z is not that it’s made up of snowflakes who can’t take the pressure – it’s that it’s made up of young people who are experiencing the same stresses as many of their older co-workers, but who are more prepared to be open about this. Sharing worries about mental health used to be a taboo.

CONTROL

CHAOS

DIET PRADA Diet Prada is an Instagram account originally created anonymously until it was named that Tony Liu and Lindsay Schuyler ran the page in 2017.

Initially calling out similarities the account became a more serious voice in campaigning for integrity and accountability within the fashion industry. In 2018 the Instagram account was tabled ‘the most feared Instagram account’.

Diet Prada has been criticised for allegedly giving preferential treatment to brands with whom it has collaborated. Some brands and individuals who have been criticised by Diet Prada have described receiving angry and sometimes threatening comments from the account's followers for long periods of time.

Diet Prada has been described as an example of "cancel culture."

CANCEL CULTURE Cancel culture is when someone is culturally blocked from having a prominent public platform or career after someone does or says something offensive. With Gen Z living in a time where one wrong move could result in being cancelled from society, graduates about to enter the industry feel like they are constantly being watched by keyboard warriors ready to strike at their first fall. This may answer for the reason why young creatives are becoming increasingly less risky in their work. With the risk of their creative career being over before its even started in today’s modern fashion landscape, it’s another added pressure that Gen Z graduates need to face.

THE CURRENT FASHION LANDSCAPE As graduates enter the fashion industry, it’s important to understand the current landscape. Brands will have to work hard to remain attractive to consumers especially Gen z consumers then eventually moving towards Generation Alpha, given the tough economic environment. Consumer behaviours in 2023 will depend greatly on income as well. All this elevates the importance of brands’ marketing strategies. Brands should use the year ahead to innovate their digital marketing as we explore further into the metaverse. New and emerging rules in terms of marketing along with heightened consumer awareness of fashion’s contribution to the climate crisis means that brands will need to be hyper-vigilant about how they talk about their sustainability-related initiatives and achievements to ensure they are not ‘greenwashing’. This term has often been linked to ‘cancel culture’ and highlights the importance of transparency for the Gen Z consumer.

FASHION CONTROVERSIES Italian luxury house Gucci began its Spring/Summer ’20 showcase at Milan Fashion Week with models moving down a conveyor belt, dressed in white straitjackets., A garment historically used to physically restrain the mentally ill, straitjackets are symbolic of a time when mental illnesses were not yet understood, leading to the torture of patients.

Ayesha Tan-Jones, one of the models in the show, objected to the presentation and walked the ramp with the message “mental health is not fashion” written on their hands in protest. British luxury brand Burberry then apologised for showcasing a hoodie with a noose-like design around the neck during its Autumn/Winter show. Critics pointed out that the distinctive noose-knot around the neck triggered associations with suicide, capital punishment and lynching.

RELIGIOUS ICONOGRAPHY IN FASHION Originally inspired by Baz Lurhman’s Romeo and Juliet crypt scene, the idea of including a religious element adds a certain risk to my campaign however after researching about how graduates feel too scared to take the risks in their creativity due to social media, I believe this is where I can stand out from the rest. Religious iconography conveys one or multiple meanings which can only be revealed depending on one’s level of understanding.

Domenico Dolce and Stefano Gabbana are the masters of Christian representation in high fashion. The countless churches, the art, and the general ambiance have constituted the brand’s aesthetic. D&C have handled religious symbols tastefully and have avoided upsetting any religions.

“Some items are meant to be looked at, appreciated as a painting would be”

NIHILISM -WHY GEN Z DONT BELIEVE Nihilism is the rejection of all religious and moral principles, in the belief that life is meaningless. This concept relates to the idea that Gen Z don’t follow religion. My concept is the whole universe is a continuous chain of chemical reactions that will eventually run out. Also believing that people act simply in accordance with social convention and to a point this is what is affecting Generation Z when viewing influencers on social media. They are feeling an increasing pressure to conform to social norms. That is not what I want to do with my campaign concept.

Human beings in a mob What's a mob to a king?

What's a king to a God? What's a God to a non-believer Who don't believe in anything?

GOOD THINGS ABOUT GEN Z AND HOW THEY NEED SUPPORT Despite the world Gen Z have grown up in, compared to Gen Xs, Gen Z work more based on challenge and passion. They are driven by perfection, and they work long and hard hours, doing so with passion. Gen Zs look to their predecessors for direction towards that challenge. If they receive that direction— in the form of mentorship—things go well. However, if they don’t, many resort to social media to fill the vacuum. The problem is past generations haven't created environments where Gen Zs can thrive. More of their time and effort is spent trying to protect their own positions of authority over them or, in the case of advertisers, exploiting them. We are equipped with skills that, combined with the wisdom of past generations, would allow the fashion landscape o transform into a safe creative space that works towards a more supported competitive environment.

GEN ALPHA AND WHY I AM NOT INCORPORATING THEM Born in 2010 - 2024 Generation Alpha will succeed Generation Z. Still surround by advanced technology, Generation Alpha will be more protected from the pit falls of social media. Generation Alpha may simultaneously be growing up faster—or “upaging”—because of their heightened awareness of the world around them, but they’ve also been cut off from critical in-person social interaction. This has increased their dependence on the technology that has replaced it.

Whilst they are relevant to brands today as a consumer, I've chosen to focus on Generation Z as they are the ones that are emerging into the working fashion industry and need the most support. As a soon to be graduate myself, the zeitgeist of graduates is a worry and uncertainty of what we should do once we finish our course in the creative industry.

WHAT CAN WE DO AS AN INDUSTRY TO HELP GRADUATES Academy Class’ client Emma Pateman is one of the people who had to face this problem.

Emma is a London Metropolitan University graduate with a BA degree in Graphic Design.

After finishing studies, Emma’s goal became to get into the creative industries. “I am a very creative person and enjoy creating and developing ideas and get real enjoyment watching them coming together to form the final piece that helps convey ideas and information to the person viewing it.”, Emma explained.

Emma’s top priority after graduating is finding a job. After spending a lot of time and hard work to get her degree, she wants to move on to the next learning curve, which, according to her, starts when you get your first job.

Although Emma tried to apply for a lot of job vacancies after graduation, she never even managed to secure an interview. “I either do not get any feedback or get told that my skills and experience do not match those required for the job”, Emma complained.

When asked about the biggest problems for her to get a job in the creative industries, Emma replied that she found the focus of her degree being more on the creative side of things and that the briefs were very broad and not reflective of the industry where the briefs would be more specific. When applying for jobs, she also found that employers require other technologies or skills like knowledge of HTML, banners, and apps. “These things were not even discussed or alluded to on my degree so feel like I am already behind what the industry is doing as a norm”, said Emma. (Jones-Evans, 2022)

FA S H I O N F I L M

Wi l l o w S m i t h’s D a y d r e a m - B e n To m s D a z e d 2016 A p l a y f u l a n d s i m p l e f i l m i n s p i r e d b y d a y d r e a m . Mo v e m e n t i t f l u i d and f lowing and aids the creativity of the multiple videos shown, ref lecting the random speed of human thoughts whilst in a daydream state of mind.

Secret Life of Flowers - B a z Lu r h m a n 2017 Tr a n s p o r t e d t o t h e E n g l i s h c o u nt r y s i d e , w e a r e c ap t u r e d b u t t h e my s t e r y s u r r o u n d s t h e c h a r a c t e r s , w h o w e f o l l o w i n t o a ‘ Ha v i s h a m’ e s t a t e h o u s e f i l l e d w i t h f l o w e r s .

We c o n t i n u e t o f o l l o w t h e s t o r y o f r o m a n c e a n d my s t e r y i n t r i g u e d b y t h e i d e a o f a secret society that is hinted at due to the remoteness of the setting.

Wa t c h t h e Wo r l d G o B y - WRIGHT 2021 Wa t c h t h e Wo r l d G o B y a n a l y s e s t h e i m p o r t a n c e o f f a s h i o n a n d h o w i t c a n s e r v e a s a r m o u r i n e v e r y d a y l i f e . T h e f i l m’s p r o t a g o n i s t He r i t i e r e n g a g e s i n a s e r i e s o f e n l i g h t e n i n g interactions with an array of idiosyncratic individuals, all p u r p o s e f u l l y s t e e r i n g h i m a w a y f r o m a l i f e o f g r e y m e d i o c r i t y.

T h r o u g h o u t t h i s j o u r n e y, h i s p l a i n b r o w n s u i t t r a n s f o r m s a s he collects the wisdom of these characters.

VIDEOGRAPHY For my 360 Campaign I plan to follow a creative path of videography. Originally inspired by films and directors I believe that’s the best route for me to follow to allow me to conceptual tell my story of Gen z graduates. After viewing various fashion films and movies the most effective ones are kept simple and conceptual, allowing the viewer to follow the story but allowing them the freedom to create their own version of their story from their own interpretations.

Plug me right in, jump through the screen Fina l f ront ier, I c an b e anyt hing Maddening scenes, Anthropocene Blink and you'll miss us like we were a dream Maybe AI is the messiah My machine's learned all my kinks and desires Virtual porn, airbrush my jaw Are we having fun yet?

Endless hot takes, chaos'll reign Guess we learned nothing from history's mistakes Billionaires, rocket to Mars Stuck on Earth drinking in driverless cars Icecaps'll fall, Cali'll burn Wilful denial until it's my turn Bunch of old white men who don't give a fuck Are we having fun yet?

Bastille

A R E FA I RY TA L E S O V E R D O N E ?

HA S

ALICE WO N D E R L A N D

LEFT

HOW ALICE IN WO N D E R L A N D I S N OW OV E R DONE AND IS V E RY M U C H A R E A L I T Y W E NOW LIVE IN - IS THERE A N Y WAY T O R E C R E AT E T H E B I Z Z A R A N D WO N D E R F U L T HAT WO N D E R L A N D O N C E HA D ?

D I D P E T E R PA N EVER GROW UP? HOW GEN Z FEEL L O S T A N D WA N T T I M E T O S TA N D STILL

DID C I N D E R E L L A’ S S H O E S R E A L LY F I T C O M F O RTA B LY WILL G R A D UAT E S E V E R R E A L LY F I N D T H E I R O W N P L AC E I N T H E I N D U S T RY ?

CONCEPT BOARD This is the beginning of my visual concept board.

Currently show is a floral aesthetic inspire by the Secret life of flowers fashion film incoroperating dying flowers as well on the board showed the contrast i desired in my 360 campaign. From this board i went on to cret a paper doll to physically see parts of my conept come to life.

Paper Dolls When struggling with my initial research or not feeling motivated I found it beneficial to physically create something. this coinsides with my creative personality and how I like to work physically and create something big. it helps get ideas out of my mind and allows me to further create a world in which my concepts can live in. it’s all part of my storyteller characteristics.

The photos below depict 9th November’s procrastination, returning to my first-year project of paper dolls is where I found the first signs of my love of storytelling and creating conceptual art. The paper doll 2.0 is influenced by Baz Lurhmanns the secret life of flower film (h&M and ERDEM collaboration). cutting flower petals out, with no clear idea in mind: I just know that I needed something physically big on the mannequin. The petals took a Peony form on the mannequin. my next step is to spray the petals with a pink water solution in hopes that it replicates a realistic petal more.

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