The Future of the Pattern Book by Georgina Korrison

The Future of the Pattern Book Stage 2 in association with Pike Textiles

Georgina Korrison N0391454 FASH30002

Contents Page http://piketextiles.blogspot.co.uk

Fig. 1. Munro Collection (2014) by Zoffany

Introduction Extended Research Where Physical meets Digital Where Fashion meets Interiors Customisation & Personalisation Main Focus Sharing and being Hyper-connected Consumer Confidence Consumers as Interior Designers What is the Need/Problem? The Big Idea The Consumer The Big Creative Idea Creative Outcome: The Brand The Website The Physical Book The Press Pack Conclusion SWOT & Long Term Goals Conclusion List of References List of Illustrations Bibliography Appendix

4-5 6-21

22-39

40 41-45 46-49 50-55 56-69 70-89 90-99 100-105 106-111

112-115 116-121 122-137 138-162

Introduction What did we take away from Stage 1? As we progress into Stage 2, The Implementation Stage, of our Pike Textiles project, it is important to summarise what we learnt from Stage 1 first. Page 5 highlights the key findings.

FILTERING & RECATEGORISATION makes the decision process easier for consumers when faced with a tyranny of choice.

COMMUNITY DRIVEN consumers want a sense of belonging.

CONSUMERS ARE CURATORS as they expected more of an input in the decision and buying process.

Using TECHNOLOGY AS AN ADDITION and not an alternative to the physical pattern book. There will always be the need to touch.

Consumers of today want a CONVERSATION. They want to share with their friends and trust other peopleâ&#x20AC;&#x2122;s advice and input.

There are BIG E N V I R O N M E N TA L CONCERNS when the pattern book becomes redundant, because there is a lot of wastage. 5

Fig. 2. Pintura Lotus Flower (2014) by ROMO

Extended Research

Carrying on from Stage 1, we have decided to focus on the following topics in our extended research: 1. Where Physical meets Digital 2. Where Fashion meets Interiors 3. Customisation & Personalisation

Where physical meets digital Since Stage 1, we concluded that consumers will always feel the need to touch despite living in this digital world. We decided to look at examples of where both physical and digital converge in and out of sector to seek inspiration for the interior design sector.

Magazine, 2014)

Digital to physical Fig. 3. Wikipdia Books Project (2014) by Wikipedia

â&#x20AC;&#x153;As this new world of digital and physic we need to learn fr domains. What make physical product? W engaging digital prod

Wikipedia Books Project

In preparation for the Wikimania conference, a small team of developers raised money to print a physical copy of the open source online encyclopaedia, Wikipedia. The book will have about 1,200 pages each, essentially bringing the collective crowdsourced knowledge of the internet to life in physical form.

Fig. 4. Tx. To (2014) by Tx. To

is the merging cal products, rom both es a beautiful What makes an duct?â&#x20AC;? (Net

Tx.To Two French entrepreneurs have created an online service that documents your text conversation and prints it onto a good old-fashioned physical scroll called Tx.to. As well as giving you the opportunity to re-read these exchanges in a physical format, the Tx.to service also offers users a chance to gain some insight into their text relationship. 9

Fig. 5. Vine Flip (2013) by Vine Flip

Vine Flip

Fig. 6. Facebook Chat Books (2014) by Memoirs

Vine Flip is an experiment in ‘slowing down’ the technology. By submitting recorded videos Vine Flip prints out the frames as a physical flip book that is then sent to the user.

Facebook Chat Books ‘Memeoirs’, a book-making service based in Povo, Italy creates you your own personalised Facebook Chat book. The interface for Memeoirs is incredibly simple; you can simply connect your Facebook account to the service and select the person whose conversations you’d like included in the book.

NailSnap NailSnaps is the latest app following the trend of bringing Instagram photos into the real world as tangible objects, in this case as customized nail polish stickers. Users can decide how the design will appear, using either the entire image spread across the nails, or selecting specific sections of the image for each nail.

Fig. 7. NailSnaps (2014) by NailSnaps

Physical to digital

Fig. 8. Finger Reader (2014) by MIT

Marc Jacobs Tweet Shop No money will change hands at the Daisy Marc Jacobs Tweet Shop (open during New York Fashion Week), where the use of #MJDaisyChain can earn you Marc Jacobs fashion items and accessories. The media friendly space will encourage customers to spread the word on Facebook, Twitter and Instagram, and competitions will be set up giving away Marc Jacobs accessories to heighten the shops social impact.

Finger Reader It has been desiged for the visually impaired to help read printed text. The device is able to tell when a users finger strays and gently provides haptic feedback to physically nudge the hand back into place, keeping a straight scanning motion. 12

Fig. 9. Marc Jacobs Tweet Shop (2014) by Marc Jacobs

Retrosuperfuture Italian sunglasses brand Retrosuperfuture have opened a â&#x20AC;&#x153;phy-gitalâ&#x20AC;? store, which allows shoppers the choice of whether to interact with its hidden digital treasures that sets it apart from others.

Fig. 10. Retrosuperfuture (2014) by Retrosuperfuture 13

Where fashion meets interiors During Stage 1, we looked out of sector to see what the interior design industry could take away and fashion felt like the most dominant, inspirational sector. We decided to research into this looking at collaborations between the two and also whether there are any areas that fashion is facing, but interiors arenâ&#x20AC;&#x2122;t.

Taka Naka A/W 14 collection

Tata Nakaâ&#x20AC;&#x2122;s inspiration for the AW14 collection came from the highly decorative world of interior design. They were inspired by Persian rugs, Aubusson carpets, hand-painted Chinoiserie wall papers, ceramic tiles and porcelain china.

Fig. 11. Taka Naka collection (2014) by Look Magazine Instagram

Collaborative Examples

Fig. 12. T

Maison Margiela Collection

Margiela bridged the fashion and interiors. are all made from the of found objects interiors and upholster elevated to art pieces

Arts Thread: Fashion students design interior of high-end hotel

The Exchange (2011) by Arts Thread

Eight students and alumni from the AMFI Amsterdam Fashion Institute were given the unique opportunity to design the interiors of the conceptual Hotel The Exchange. The students were asked to â&#x20AC;&#x2DC;dressâ&#x20AC;&#x2122; each room as a fashion designer would dress a model.

a S/S 14

gap between The garments most luxurious s, reclaimed ry fabrics once s. Fig. 13. Maison Margela (2014) by WGSN

What is fashion doing that interiors aren’t?

Mallzee app

It’s new personalised shopping app that won’t let you buy a a user can move ahead and complete the purchase (and Mall sale, but learns about a user’s taste through the opinions of t fit from a library of over 750,000 clothing and accessories i Asos, Reiss and Urban Outfitters.

1. Reacting to Environmental issues

Fig. 14. The Trash Dress (2014) by Catherine Sarah Young

Climate Change Couture Designer Catherine Sarah Young has fused art and science through design. She has used research collected by the Singapore-ETH Future Cities Laboratory to create pieces focused on a future affected by climate change. Her collection includes The Bubble, which is an oxygen pumped personal chamber that comes equipped with its very own WIFI and there are many more. 16

Fig. 15. Louis Vuitton Pass (2013) by Louis Vuitton

2. Reacting to the latest technology

3. Integrating with social media

an item unless your Facebook friends approve it first. If they agree, lzee receives a commission). If the answer is no, the app blocks the their social graph and recommends products that may be a better items. Over 200 brands have signed up to the network, including

Louis Vuitton Pass Utilising familiar scanning technology, Louis Vuitton Pass scans complete images rather than codes, creating a more aesthetically pleasing experience. Scannable images in the campaign are indicated by a subtle icon, alongside a prompt to download the app, which then connects the user with behindthe-scenes access to further content, including information about the image, product depicted and a store locator.

Fig. 16. Mallzee (2013) by Marina Avgoustaki

Customisation and personalisation has been a big topic since Stage 1, so we decided to look into this further for our Stage 2 research as it seems to be a trending aspect for all sectors to offer.

â&#x20AC;&#x153;With personalisation...the customers becomes a co-creator of the content of the experience. More and more customers want to play this role.â&#x20AC;? (Travis, 2000: 127) 18

Fig. 17. Glance (2013) by Zappos

Customisation & Personalisation

Glance by Zappos Glance is an online shopping experience that allows users to discover the most exciting products from Zappos through curated collections. In addition to hand-picked collections, Glance allows users to heart products they love; ultimately allowing shoppers to discover products hearted by others with similar taste or by what is popular within the community. As the experience is hand tailored, they are more likely to purchase the product or share it with their friends.

â&#x20AC;&#x2DC;â&#x20AC;&#x2DC;

Shoppers are increasingly turning to experiences that offer a smaller set of tailored selections to help find the product that is just right for them according to their individual wants, needs and likes. A tailored experience is no longer just a desire for shoppers, it is an expectation. (Whitehead, 2013)

‘‘

We’ve literally just moved from an age of mass marketing to the age of mass customisation. It’s now possible for brands to communicate with their customers one-toone. (Travis, 2000: 126)

‘‘

This is a savvy campaign launched by Coca Cola, where customers were invited to search for their name (with over 25o to choose from). Fans of the Cola personalised bottles can now order their chosen name using the Ocado site.

Fig. 18. Share a Coke (2013) by Coca Cola

Share a Coke

Main focus We decided to research further into the CONSUMER because we felt they were the emerging touch point within the industry. Consumers are becoming curators and we feel they are replacing mid sector interior designers.

Consumer Research

As a way of researching into the consumer further, we have looked into the following topics: 1. Sharing and being Hyperconnnected 2. Consumer Confidence 3. Consumers as interior designers

Sharing and being Hyperconnected Consumers want to be able to share their decision-making process with their friends and family in order to feel a sense of reassurance (see Consumer Confidence for more information). Also, we are living in an extremely hyper-connected world where sharing this information has become easier than ever before. We decided to look into this further and researched into examples to evaluate whether it is a trend at the moment.

Google Hangout X Fashion Council Allows retailers to discuss trends via web chats whilst consumers simultaneously browse and buy products online. Diane von Furstenberg will be the first designer to get involved.

Fig. 19. Fashion Council Google Hangout (2013) by Google 24

Living Pinterest Board To introduce a new coffee blend, the acclaimed advertising agency Colle and McVoy created a five-story Pinterest board in the Mall of America in Minnesota. Passersby brought the board to life with their own posts from the phone: By tagging images with #caribouinspires, the picture appeared on one of the mega screens incorporated in the board.

Fig. 20. Living Pinterest Board (2014) by Colle and McVoy

Fig. 21. Oral B Smart toothbrush (2014) by Proctor and Gamble

Oral B Smart Toothbrush Oral-B will launch a smartphone-connected toothbrush that will offer “personalized advice” to help improve users brushing technique. The toothbrush will use Bluetooth 4.0 to connect to a smartphone app that can be “programmed with the help of a dentist

Fig. 22. Facebook Life Events (2012) by Facebook

Facebook Life Events A user can add their e.g. organ donor status to their timeline, which shows achievement and raises awareness.

Fig. 23. Savio Armchair (2014) by Designers Guil

Consumer Confidence Another important aspect of the consumer is their confidence, which we wanted to further develop and research, because Stage 1 showed us it is of paramount importance in the interior design industry. The infographic explains below.

Sharing

discussion, recommendations Advice, feedback

Increases consumer confidence

â&#x20AC;&#x2DC;â&#x20AC;&#x2DC;

The more emotionally involving a market is, the more important the people dimension becomes especially when the purchase is expensive and visible to others.â&#x20AC;? (Taylor, 2003: 59) 29

Survey

These are the recurring themes that emerged from conducting a consumer confidence survey (see Appendix 8 for more results).

ÂŁ

Fig. 24. Consumer choosing interiors (2010) by Anon

Consumers found that FRIENDS AND FAMILY gave them a confidence boost when choosing interiors and fashion.

Q: Why do you think its important to gain this level of opinion and advice? A: It would seem like a waste of money if my family and friends didnâ&#x20AC;&#x2122;t like my choice but I also like to think I have chosen well and the item suits me. (Survey, 2014) 30

REASSURANCE was the dominant reason for wanting to receive opinion and advice from others.

The COST OF THE PURCHASE had an affect on whether consumers chose to receive advice.

‘‘

Fig. 25. Banquette Ideas (no date) by Anon

‘‘

If I am making a significant purchase I seek the advice of others as I want to make sure it is a good deal or it confirms my choice. (Survey,2014)

I like to get advice from friends, especially when out shopping with someone. This is because sometimes I’m not sure if something suits me or if it looks right. Having someone else’s opinion gives me confidence to buy something.” (Survey, 2014)

‘‘

Scenarios

We asked consumers two different scenarios to develop a further understanding of their confidence levels. (see Appendix 5 for more results)

1 - Planning a

What do you use to collect your inspiration?

How much time would you hope to allow for planning?

“A couple of hours”

“3 to 6 months”

Fig. 26. Wedding (no date) by Anon

a Big Event

Would you prefer to plan alone, or receive input from others? Input

“Would definitely welcome input from others (need to spread the blame if it’s a disaster).” (Humber, 2014)

Alone

What do you think are your personality strengths and weaknesses for this scenario?

“I think I am a fairly good organiser but may be a bit of a control freak!” (Jones, 2014)

“I guess I’m a good organiser with an artistic eye for detail like a challenge as this and would enjoy the experience giving pleasure to someone else. Don’t like to be the centre of attention.” (Whitfield, 2014)

2 - Buyin

Where do you get your initial inspiration from?

How much time would you hope to allow for planning?

“under month”

“up to 3 months”

34 Fig. 27. Buying a car (2012) by Anon

ng a Car

“Would definitely want input from others with more experience in purchasing cars and if possible with mechanical experience.” (Humber, 2014)

Would you prefer to plan alone, or receive input from others? Input

Alone

What do you think are your personality strengths and weaknesses for this scenario?

“I can be quite impulsive and could quite easily be talked into buying something totally unsuitable and expensive - like a convertible !” (Jones, 2014)

“ I would definitely look around and not choose the first thing I see but I’m rubbish at working out what’s the best value for money.” (Ives, 2014)

Scenarios

What does this show us?

Inspiration comes from a combination of PHYSICAL AND DIGITAL sources

“PHYGITAL”

Consumers consult family and friends for REASSURANCE.

Consumers seek specialist EXPERT OPINION.

i The reasons for these are to PREVENT WRONG DECISIONS being made.

Fig. 28. Scandinavian Style 92013) by Corynne Pless

Consumers as Interior Designers After analysing consumer confidence and talking to interior designer, Bronwen Jones, about how her role has changed (see Appendix 4 for full interview), we have come to the conclusion that consumers are taking more control in the decision-making when they are re-decorating their homes.

Consumers are having a more ACTIVE ROLE during prepurchase

Increase in consumer confidence

Less demand for interior designers

‘‘

The problem here for me, as an interior designer, is that the client will get the cutting, with all the details on, and say ‘great I’ll just order that straight from the supplier’, this makes interior designers reluctant to send out cuttings…The clients go straight to them and order it, this makes me defunct. (Bronwen Jones, 2014)

‘‘ 39

Fig. 29. Karlstad sofa (2014) by Ikea

What is the need/problem?

Consumers want control during the whole decision process: pre, during and after purchase

Consumers lack the knowledge of interior designers

Consumers struggle with the tyranny of choice so they need something to help them embrace their creativity.

“Curation is a relatively new term, but it’s finding its way into other realms; you hear about content curation, music curation – all meaning that in some way, these industries are personalizing their offer according to your individual wants, needs and likes.” (Whitehead, 2013)

The Big Idea

‘‘ 42

Although there will always be a need for the multi-category mass retail experience, curated online shopping is a huge trend that will continue to help consumers navigate the incredible selection to find what’s right for them. (Whitehead, 2013)

‘‘

Consumers as Curators

Consumers are becoming more confident and are more involved in the creation of the outcome. They want a more personalised service.

Consumers as Curators

Fig. 30. Consumers as Curators (2014) own moodboard

The Consumer This consumer tribe is not defined by age, but by the lifestyle they lead, their interests and habits. After interviewing consumers, the following conclusions have been identified (see Appendix 6 for full interviews).

How often do you browse online/offline for interiors? Once a year Twice a year Once a month Once a week Everyday

Where do you browse online/offline for interiors?

What TV programmes do you watch?

What fashion brands do you like?

What colours and patterns are you drawn to?

The Curate Consumer Conclusions

They Shop Around Our target consumers are not loyal to brands, they shop for both fashion and interiors in varying places each time.

They are organised and considerate purchasers our consumers like to research and plan before they buy- this was shown in the scenarios we tested them on- cars and events

They are not afraid of pattern & colour

They look for reassurance

They are individual and unique

shown through consumer interviews where stripes and fuschia pinks are favourites.

our research found our consumer preferred to look to family and friends for reassurance on their purchases. This gives them confidence.

Based on research using the rosette personality test, we found most of our consumers belong to group B.

They are online and offline our consumers use both physical and digital platforms to categorize.

They seek expert opinion research shows consumers like the advice of a professional e.g oral b and fashion council case studies.

Active role. Consumers are looking to play a more active role in the creative processthis has been noted by interior designers as more are bringing in their own moodboards etc.

The Big Creative Idea

A bespoke pattern book service that operates across both physical and digital platforms.

Sharing

Inspiration

Customisation

Trend

Filtering

Expertise

Community

Inclusive

Fig. 31. Brand Aesthetic (2014) by Beth Savory

Key Features

1. The Brand This will include name, logo, brand essence and visual identity.

Crea Outc

(in order o

4. Press Release To send out to consumers and industry professionals

2. The Website The â&#x20AC;&#x2DC;curatorsâ&#x20AC;&#x2122; will be able to design, create and share digital and physical pattern books.

ative comes

of priority)

3. CAD Prototype of physical pattern book Collaborate with an architecture student.

Friendly tone of voice

The Brand Personal

Based on our findings from Stage 1 and 2, we decided to create a spider diagram based on the attributes and qualities we would like our brand to represent. Donâ&#x20AC;&#x2122;t take it too seriously

S Effortless to understand

User fri 56

Hsnd-drawn typography

Celebrate surface pattern

Receptive to consumers design expectations

Visually coded

Reflect a community

What do we want to get out of our brand? Shareable

Sleek and simple aesthetic

iendly

Although the brand needs to celebrate the industry, it can not be too cluttered as this will put people off

Seamless across digital and physical platforms

Brand Name This is an initial brainstorm that we did for our brand name. The Curators Catalogue

Curatus Ctrl. Alt. Curate

Curatical Curate Pictorial

Curate Couture Curate Connect

Surface Aeshetic

Curate Create

Ideas for Brand Name

Switch Swatch Mix Match

Bespoke

Juxtapose The Customiser

Book of Bespoke

The Swatcher

Curate

We decided on Curate for our brand name, because we feel it reflects the characteristics that we want our brand to represent and research throughout Stage 1 and 2 has shown us that consumers are responding to curation well.

Consumer word associations Before, we made our final decision we wanted to ask consumers what connotations they had with the word Curate. We wanted to make sure that they werenâ&#x20AC;&#x2122;t negative or off subject. Their responses are shown below..

Create Thoughtful Craft Exhibitions

Curate

Put together

Serious

Personal

Gallery spaces

Creating something specifically

Fig. 32. Consumer Font Results (2014) by Georgina Korrison, Beth Savory & Catherine Wells

Consumer typography research We also wanted to get consumer responses on the style of typography they prefer: sans serif, handwritten, bold and serif. The handwritten font was the most popular followed by the simple, serif font.

We started looking at ways we could incorporate geometric and pattern into the logo and so we decided to pick simple sans serif fonts, because they were also the second most popular font chosen by our consumers.

Fig. 33. Logo Development (2014) by Georgina Korrison, Beth Savory & Catherine Wells

Brand Logo Development

Fig. 34.Further Logo Development (2014) by Georgina Korrison, Beth Savory & Catherine Wells

After reconsidering what we wanted our brand to represent, we thought we should maybe go for a more hand-drawn, friendly font to mimic the creatve design process that the consumer will undergo when they use the website. This was also the most popular font chosen by our consumers, so we shouldnâ&#x20AC;&#x2122;t ignore their preference either.

We chose the font Sandwich Paper for our logo, because we liked the combinaition of professionalism in the serif font with the hand drawn element inside the letters.

We thought the second logo looked too straight and perfect and we wanted some more colour. This final logo on the right it is at an angle and we liked the way the colours looked like swatches and the pin shows that it could be pinned onto a moodboard.

CURATE

Fig. 35. Final Logo Development (2014) by Georgina Korrison, Beth Savory & Catherine Wells

Final Brand Logo

Aaker Model

Curate Brand as Product Digital Physical Book Website Community Webinars Trend Guides

Brand as Experience Interactive Creative Sharing Customised

Brand as Symbol Fabric Swatch, book String Tape measure Scissors Pattern Hand crafted

Brand as Person Advisor Expert Welcoming Inclusive Unique Personable Reassuring

Brand as Organisation Trustworthy Accessible Diverse

Consumer rosette test As a way of further understanding our consumer and to determine their favourite colours we asked them to pick their favourite rosette. The most popular was the INTROVERTED rosette (see quote for personality description), which had feminine colours, such as pink and purple. This will help us when we have to make our colour scheme.

66 Fig. 36. Rosette Test Results (2014) own infographic

â&#x20AC;&#x153;The nee tranquili harmony possibilit able to d own ind characte group. A their psy make-up both rel environm simultan themselv

(Astl, 20

ed for inner ity and y as well as the ty of being develop their dividuality, erise this user As a result of ychological p, they tend to late to their ment, while neously defining ves against it.â&#x20AC;?

013)

Colour Scheme Based on the consumer rosette test results and what qualities and characteristics we want our brand to stand for, we have come up with the following colour scheme.

Mission Statement

For Industry CURATE is a bespoke interior pattern books service that puts consumers at the heart of their creations. Here at CURATE, we believe consumers should not be limited to one fabric collection and instead have the opportunity to browse through hundreds of brands. We want consumers to be at the core of every step of the creative journey. Consumers are curators. For Consumers CURATE is a bespoke interior pattern books service that puts you at the heart of your creations. Here at CURATE, we believe you should not be limited to one fabric collection and instead have the opportunity to browse through hundreds of brands. We want you to be at the core of every step of the creative journey. You are curators.

The Website This page shows the navigation flowchart that the consumer will go through when they are using the website. Digital Bookshelf View collection of digital pattern books

Curate Us Webinars, Trends, This Weekâ&#x20AC;&#x2122;s Favourites

www.curate.co.uk

Landing page Large image promoting latest competition, new textile designers etc

Contact

Press

About Curate

Create profile using questionnaire

Curate Me

Browse swatches

Swatch Library

Presented with a page of swatch recommendations according to answers

Pay

Member

Save for later Select swatches

Swatch Board Create Book

Digital Pattern Book

Preview

Can view whole book

Drag swatches, change size, annotate, add tabs Edit

Non member

Upgrade

Greyed out sections

Click on swatch

Swatch Details Composition, comment, likes, other swatches people also liked, other swatches in the collection

Website Fonts Sandwich Paper is the header for our website name to keep the brand identity consistent. We also wanted an extreme handwritten font for certain elements of the website, where the consumer would be personalising it. For the body font, we chose Eurofence, because it is simplistic and is easy to read.

Brand Logo Sandwich Paper

Title Vtks Lounge Set

Body Font Eurofence

About Curate For the website, we have written a blurb that will go under â&#x20AC;&#x2DC;About Curateâ&#x20AC;&#x2122; on the homepage.

CURATE is a bespoke interior pattern books service that puts you at the heart of your creations. Here at CURATE, we believe you should not be limited to one fabric collection and instead have the opportunity to browse through hundreds of brands- from well renowned to up-and-coming. CURATE will offer the tools to design your own interactive pattern book online with the option to purchase a physical copy with real fabric samples to test at home. Additionally to our service you can become part of the CURATE community (click here for prices) where you will have access to a unique online platform that provides: expert advice from guest interior designers, digital trend guides and a chance for you to share with other community members. Be your own curator.

74 Fig. 37. Website Aesthetic (2014) by Catherine Wells

Website Aesthetic

Neutral Tones It is important for the website aesthetic not to draw attention away from the fabrics, which are the core essence of the service. Our website will serve as a blank canvas for design, allowing the pattern to breathe.

Linear The hand drawn nature of our aesthetic reflects the art and design industry- it was the preferred style of our consumer shown through their choice of font and their favourite brands.

Texture The website will not be deemed minimalistic with its neutral colour tones as these will be enhanced with texture- i.e masking tape, ripped paper. These hints will not take attention away from the fabrics but work as a structure around them.

Fig. 38. Landing Page (2014) by Georgina Korrison, Beth Savory & Catherine Wells

The Website

(See Appendix 7 for initial website sketches)

Landing page

Fig. 39. Home Page 1 (2014) by Georgina Korrison, Beth Savory & Catherine Wells

About Curate

Fig. 40. Home Page 2 (2014) by Georgina Korrison, Beth Savory & Catherine Wells

Fig. 41. Sign Up Page (2014) by Georgina Korrison, Beth Savory & Catherine Wells

Fig. 42. Questionnaire Page (2014) by Georgina Korrison, Beth Savory & Catherine Wells

Create profile using questionnaire

Fig. 43. Swatch Library Page (2014) by Georgina Korrison, Beth Savory & Catherine Wells

Swatch Library

82 Fig. 44. Swatch Board Page (2014) by Georgina Korrison, Beth Savory & Catherine Wells

Swatch Board

Fig. 45. Swatch Details Page (2014) by Georgina Korrison, Beth Savory & Catherine Wells

Swatch Details

84 Fig. 46. Creating Digital Pattern Book Page (2014) by Georgina Korrison, Beth Savory & Catherine Wells

Create Book

Fig. 47. Preview of Digital Pattern Book for paying members Page (2014) by Georgina Korrison, Beth Savory & Catherine Wells

Preview book as paying member

86 Fig. 48. Preview of Digital Pattern Book for non members Page (2014) by Georgina Korrison, Beth Savory & Catherine Wells

Preview book as non member

Fig. 49. Curate Us Page (2014) by Georgina Korrison, Beth Savory & Catherine Wells

Curate Us

88 Fig. 50. Digiital Bookshelf Page (2014) by Georgina Korrison, Beth Savory & Catherine Wells

Digital Bookshelf

Fig. 51. Payment Page (2014) by Georgina Korrison, Beth Savory & Catherine Wells

Pay

The Physical Pattern Book Customers can have the option to purchase the physical pattern book they have made online. This page shows its key features and visual aesthetics.

Reduces waste because whole collections will not be thrown away

Send a sample back and get discount on new samples incentive

Rem mak

Key Features

Environmental Collectable Bespoke - only get what they have personally selected and will use

Opening Spi

Tabs to separate sections

Book

ine

move swatches to ke moodboards

k name on the spine

Fig. 52. Physical Pattern Book moodboard (2014) by Georgina Korrison, Beth Savory & Catherine Wells 91

The CAD Prototype We have collaborated with architecture student, Josh Wickens, to visualise what the physical pattern book will look like. These are the sketches we gave to him.

93 Fig. 53. Sketches for CAD (2014) by Catherine Wells

Fig. 54. Physical Pattern Book 1 (2014) by Josh Wickens

Fig. 55. Physical Pattern Book 2 (2014) by Josh Wickens

Fig. 56. Physical Pattern Book 3 (2014) by Josh Wickens

Fig. 57. Physical Pattern Book 4 (2014) by Josh Wickens

Fig. 58. Physical Pattern Book 5 (2014) by Josh Wickens

Fig. 59. Physical Pattern Book 6 (2014) by Josh Wickens

The Press Pack The last creative outcome is a press pack, which will include: a press release, three postcards showing some selected screenshots from the website and a business card.

Who we are

CURATE is a be spoke inte creations. Her e at CURATE and instead ha ve the oppo to up-and-com ing. CURATE book online w ith the optio test at home.

How it works

We aim to address the tyranny industry. Take the example of J through our collection of samp suggestions specific to her nee preparation for her pattern bo Using CURATEâ&#x20AC;&#x2122;s design toolbox present them in a digital patte copy with real fabric samples t and shift swatches. In addition to the pattern boo expert advice from guest inter community members.

We want consumers to be at t

Consumers are Cu 100

Stay in touch: press@

erior pattern books service that puts cons E, we believe umers at the he consumers shou art of their ld not be limite ortunity to br d to one fabr owse through ic collection hundreds of br E will offer co ands- from w nsumers the to ell renowned ols to design on to purchase their own inte a physical copy ractive patter with real fabr n ic samples for consumers to

y of choice that is currently facing consumers in the interiors Johanna who is looking to reupholster her sofa; by filtering ples guided by her online profile, CURATE is able to provide eds and tastes. Any selected samples are saved to her library in ook. x, Johanna is able to mix and match her chosen samples and ern book format She is given the option to purchase a physical to test at home using CURATEâ&#x20AC;&#x2122;s unique opening spine to move

ok, CURATE offers an online community with access to; rior designers, digital trend guides and a chance to share with

the core of every step of the creative journey.

urators

@curate.co.uk

Visit: www.curate.co.uk

Fig. 60. Press Release (2014) by Georgina Korrison, Beth Savory & Catherine Wells

A bespoke pattern book service that puts you at the heart of your creation

101

Postcards

102

Fig. 61. Postcards (2014) by Georgina Korrison, Beth Savory & Catherine Wells

103

Business Card Development The first business cards we designed featured the old logo, which we felt was too sleek for our brand essence. We decided to add the new logo on the front and added a ripped edge using the same props that the website features, such as the masking tape and pins.

Fig. 62. Business Card Development (2014) by Georgina Korrison, Be & Catherine Wells 104

eth Savory

Fig. 63. Final Business Cards (2014) by Georgina Korrison, Beth Savory & Catherine Wells

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Conclusion

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Long Term Goals & SWOT Conclusion

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INTERACTIVE: Our research has shown, consumers are becoming increasingly hyperconnected- regardless of their confidence level, consumers still highly value the opinion of others (whether these be experts or just family and friends). The Curate website, and for paying members, the online community will provide this level of interaction. ACCESSIBLE: The Curate service will be accessible to a wide audience; the filter system and website navigation in addition to expert help (e.g webinars) makes the entire process easy even for the novice. ENVIRONMENTALLY FRIENDLY: Curate addresses one of the main concerns found in our research; the vast amount of fabric wastage in normal pattern books. Curate is different; its ring binder allows users to mix and match fabrics saving them buying ones they don’t want/need in addition with the ‘trade a swatch’ service allowing them to trade in old swatches to be recycled for a ‘money off’ incentive. SHAREABLE: Our research concluded that consumers demand a certain level of reassurance from their peers, especially when the purchase is expensive. The website will allow consumers to share their concepts through the community. BRAND AFFILIATION: Affiliating curate with brands will serve as a source of revenue- click throughs to website etc.

EXTRA COST? Some consumers may feel buying a pattern book is a costly alternative to simply borrowing them from interior shops or buying the odd swatch. DIGITAL CONCERNS: Despite having an interest in pattern books and interiors, some consumers maybe lack the digital ‘know how’ to use the service. DAMAGING TO DESIGNERS? The concept of consumers as curators may lead to interior designers feeling increasingly ‘defunct’, this will be problematic when hiring experts for webinar’s and advice articles in look book. SOMETHING NEW: some consumers may feel uncomfortable trying a new service when the pattern book has been in the same format for so long.

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O T

SOFT FURNISHING COLLABORATION: The website could offer other accessories, such as curtain tassles, allowing the consumer create a full picture of what their new room will look like. 4-6 years NEW TALENT: It could be a platform for showcasing new textile designers.1-2 years COMPETITION: consumers can enter their book into a competition- this will raise awareness about curate. 1+ ongoing BRANDED CONTENT: brands could create advitorials and can set consumer competitions. This raises the profiles of both the brand and curate. 3-4 years

TECHNOLOGICAL: Some people find the website a great tool, but may want that personal interaction of going into a shop for advice. They may feel out of touch using a website on their own. THE TOUCH STIGMA: some consumers may feel that even in the early stages of choosing a fabric- you will always need to touch. UNIQUE FOR A LIMITED TIME? brands will soon catch on and curate will face competition in the market and will have to re-strategies in order to stay on top. UNPREDICTABLE COST OF MATERIALS: prices of fabric could rise or fall over time CUSTOMISATION TREND: the demand for this may change over time- itâ&#x20AC;&#x2122;s popular now, but in a few years it may just be something people expect and not a novelty. 109

Conclusion CURATE is a unique pattern book service that fully understands the changing needs and expectations of our target consumer. It offers a service that has been proven throughout our research to be in demand and currently not available in the interiors sector. The â&#x20AC;&#x2DC;curateâ&#x20AC;&#x2122; trend is certainly something that is prominent and expanding with a huge potential for further growth. Furthermore, CURATE addresses some of the key problems with the existing format of the pattern book. The ring spine decreases fabric wastage as individual fabrics can be removed easily, and the website allows consumers to fulfil their need for hyper-connectivity. Although, some consumers may be reluctant to test a new pattern book format; we believe this is the future of the sector. There will always be the need to touch, but in an increasingly technology driven world, it is vital for the pattern book to exist across both physical and digital platforms.

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Fig. 64. Living Room (2010) by IKEA

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List of Illustrations Fig.1, 2014. Munro Collection [digital image] by Zoffany. Available at: http://www.zoffany.com/shop/newcollections [accessed 12/5/2014]. Fig. 2, 2014. Pintura Lotus Flower [digital image] by ROMO. Available at: http://www.romo.com/ collections/prints-weaves/orvieto/pintura/lotus-flower [accessed 12/5/2014]. Fig. 3, 2014. Wikipedia Books Project [digital image] by Wikipedia. Available at: https://www.prote.in/en/ feed/2014/02/wikipedia-books-project [accessed 12/5/2014]. Fig. 4, 2014. Tx.To [digital image] by Tx. To. Available at: https://www.prote.in/en/feed/2014/03/tx-to [accessed 12/5/2014]. Fig. 5, 2013 Vine Flip [digital image] by Vine Flip. Available at: https://www.prote.in/en/feed/2013/04/ vine-flip [accessed 12/5/2014]. Fig. 6, 2014. Facebook chat book [digital image] by Memoirs. Available at: http://www.psfk.com/2014/03/ a-startup-is-printing-customized-books-of-personalfacebook-interactions.html#!M0ow3 [accessed 12/5/2014]. 116

Fig. 7, 2014. NailSnaps [digital image] by NailSnaps. Available at: http://www.psfk.com/2014/03/favorite-

instagram-pics-transformed-into-nail-art.html#!M0slW [accessed 12/5/2014]. Fig. 8, 2014. Finger Reader [digital image] by MIT. Available at: https://www.prote.in/en/feed/2014/02/ fingerreader [accessed 12/5/2014]. Fig. 9, 2014. Marc Jacobs Tweet Shop [digital image] by Marc Jacobs. Available at: https://www.prote.in/ en/feed/2014/01/daisy-marc-jacobs-tweet-shop [accessed 12/5/2014]. Fig. 10, 2014. Retrosuperfuture [digital image] by Retrosuperfuture. Available at: https://www.prote. in/en/feed/2014/02/retrosuperfuture [accessed 13/5/2014]. Fig. 11, 2014. Taka Naka collection [digital screenshot] by Look Magazine Instagram. Fig. 12, 2011. The Exchange [digital image] by Arts Thread. Available at: http://www.psfk.com/2011/11/ arts-thread-fashion-students-design-interior-of-high-endhotel.html#!M1DdA [accessed 13/5/2014]. Fig. 13, 2014. Maison Margela [digital image] by WGSN. Available at: http://wgsn-hbl.blogspot.co.uk/2014/01/ maison-martin-margiela-ss-14-arthouse.html [accessed 13/5/2014].

Fig. 14, 2014. The Trash Dress [digital image] by Catherine Sarah Young. Available at: https://www.prote.in/en/ feed/2014/02/climate-change-couture [accessed 13/5/2014].

Fig. 20, 2014. Living Pinterest Board [digital image] by Colle and McVoy. Available at: https://www.prote.in/ en/feed/2014/02/living-pinterest-board [accessed 13/5/2014].

Fig. 15, 2013. Louis Vuitton Pass [digital image] by Louis Vuitton. Available at: https://www.prote.in/en/feed/2013/11/louis-vuittonpass [accessed 13/5/2014].

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Fig. 23, 2014. Savio Armchair [digital image] by Designers Guild. Available at: http://www.designersguild.com/ fabric-and-wallpaper-showroom/view-all-collections/ savio-fabric/#.U3D1EvldVLc [accessed 13/5/2014].

Fig. 18, 2013. Share a coke [digital image] by Coca Cola. Available at: http://www.redrocketmedia.co.uk/blog/ why-coca-colas-share-a-coke-with-campaign-is-a-strokeof-content-genius/ [accessed 13/5/2014]. Fig. 19, 2013. Fashion Council Google Hangout [digital image] by Google. Available at: http://www.psfk. com/2013/09/fashion-designers-hangouts.html#!xMujs [accessed 13/5/2014].

Fig. 24, 2010. Consumer choosing interiors [digital image] by Anon. Available at: http://www.europaregina. eu/trends/ambiente-consumer_goods-home_decorinterior_design_trends-2010-01052010.htm [accessed 13/5/2014]. Fig. 25, no date. Banquette Ideas [digital image] by Anon. Available at: http://www.bhg.com/kitchen/eat-inkitchen/built-in-banquette-ideas/#page=13 [accessed 13/5/2014].

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Fig. 26, no date. Wedding [digital image] by Anon. Available at: http://media-cacheak0.pinimg.com/originals/e2/05/3b/ e2053be32c5e8878779bb1002f25099f.jpg [accessed 13/5/2014].

Fig. 33, 2014. Logo Development [digital image] by Georgina Korrison, Beth Savory and Catherine Wells.

Fig. 27, 2012. Buying a car [digital image] by Anon. Available at: http://acfinspection.com/2012/06/01/ eight-secrets-to-safely-buying-a-car-online/ [accessed 13/5/2014].

Fig. 35, 2014. Final Logo Development [digital image] by Georgina Korrison, Beth Savory and Catherine Wells.

Fig. 28, 2013. Scandinavian Style [digital image] by Corynne Pless. Available at: http://www.houzz.com/ ideabooks/18082276/list/My-Houzz--ScandinavianStyle-Inspires-a-Bungalow-s-New-Look [accessed 13/5/2014].

Fig. 37, 2014. Website Aesthetic [digital moodboard] by Catherine Wells

Fig. 29, 2014. Karlstad Sofa [digital image] by Ikea. Available at: http://www.ikea.com/us/en/catalog/ products/S69840434/?cid=us/af/pinterest.com/ S69840434_20130605 [accessed 13/5/2014].

Fig. 39, 2014. Home Page 1 [digital image] by Georgina Korrison, Beth Savory and Catherine Wells.

Fig. 30, 2014. Consumers as Curators [own moodboard] Fig. 31, 2014. Brand Aesthetic [digital moodboard] by Beth Savory.

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Fig. 32, 2014. Consumer Font Results [digital scan] by Georgina Korrison, Beth Savory and Catherine Wells.

Fig. 34, 2014. Further Logo Development [digital image] by Georgina Korrison, Beth Savory and Catherine Wells.

Fig. 36, 2014. Rosette Test Results [own infographic]

Fig. 38, 2014. Landing Page [digital image] by Georgina Korrison, Beth Savory and Catherine Wells.

Fig. 40, 2014. Home Page 2 [digital image] by Georgina Korrison, Beth Savory and Catherine Wells. Fig. 41, 2014. Sign Up Page [digital image] by Georgina Korrison, Beth Savory and Catherine Wells. Fig. 42, 2014. Questionnaire Page [digital image] by Georgina Korrison, Beth Savory and Catherine Wells.

Fig. 43, 2014. Swatch Library Page [digital image] by Georgina Korrison, Beth Savory and Catherine Wells.

Fig. 52, 2014. Physical pattern book [digital moodboard] by Georgina Korrison, Beth Savory and Catherine Wells.

Fig. 44, 2014. Swatch Board Page [digital image] by Georgina Korrison, Beth Savory and Catherine Wells.

Fig. 53, 2014. Sketches for CAD [digital scan] by Catherine Wells

Fig. 45, 2014. Swatch Details Page [digital image] by Georgina Korrison, Beth Savory and Catherine Wells.

Fig. 54, 2014. Physical Pattern Book 1 [digital image] by Josh Wickens

Fig. 46, 2014. Creating Digital Pattern Book Page [digital image] by Georgina Korrison, Beth Savory and Catherine Wells.

Fig. 55, 2014. Physical Pattern Book 2 [digital image] by Josh Wickens

Fig. 47, 2014. Preview of Digital Pattern Book for paying members Page [digital image] by Georgina Korrison, Beth Savory and Catherine Wells.

Fig. 56, 2014. Physical Pattern Book 3 [digital image] by Josh Wickens Fig. 57, 2014. Physical Pattern Book 4 [digital image] by Josh Wickens

Fig. 48, 2014. Preview of Digital Pattern Book for non members Page [digital image] by Georgina Korrison, Beth Savory and Catherine Wells.

Fig. 58, 2014. Physical Pattern Book 5 [digital image] by Josh Wickens

Fig. 49, 2014. Curate Us Page [digital image] by Georgina Korrison, Beth Savory and Catherine Wells.

Fig. 59, 2014. Physical Pattern Book 6 [digital image] by Josh Wickens

Fig. 50, 2014. Digital Bookshelf Page [digital image] by Georgina Korrison, Beth Savory and Catherine Wells.

Fig. 60, 2014. Press Release [digital image] by Georgina Korrison, Beth Savory and Catherine Wells

Fig. 51, 2014. Payment Page [digital image] by Georgina Korrison, Beth Savory and Catherine Wells.

Fig. 61, 2014. Postcards [digital image] by Georgina Korrison, Beth Savory and Catherine Wells 119

Fig. 62, 2014. Business Card Development [digital image] by Georgina Korrison, Beth Savory and Catherine Wells Fig. 63, 2014. Final Business Card [digital image] by Georgina Korrison, Beth Savory and Catherine Wells Fig. 64, 2010. Living Room [digital image] by IKEA. Available at: http://www.digsdigs.com/ikea-living-roomdesign-ideas-2010/ [accessed 14/5/2014].

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Appendix

138

1. Declaration Form

139

2. Tutorial Record Sheets

140-144

3.. Critical Path

145

4. Interview with Bronwen Jones, Interior Designer

146-148

5. Consumer Scenarioâ&#x20AC;&#x2122;s

149-153

6. Consumer Interviews

154-157

7. Website Initial Sketches

158-159

8. Survey Results

160-161

9. Blog Address

162

10. Design Equation

162

Appendix 1

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Appendix 2

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141

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Appendix 3

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Appendix 4 Bronwen Jones, Interior Designer Q: I can see you have lots of pattern books here from different designers, but which ones do you find the most inspiring and effective? A: Delecuona produce a very smart black box with cuttings that are tied together like this, same fabric but it different colour waves. It looks very sleek and very sophisticated and appeals to the more minimalist architects and designers, it’s very much in the upper end of the market and not very John Lewis. This type of book would be very difficult to sell to John Lewis because you need to be a designer to have that foresight to imagine how it looks. I have cut these out and put them in my own boxes. When I speak to suppliers and I need to show clients ideas, I put a scheme together; I order the cuttings and send them off to the client with a letter. Other designers that have made a name for themselves and who tend to be a bit more eclectic and thought out like Zoffany, use very good quality fabrics and make a pattern book similar to Colfax. In so much that you have the same tone running throughout, it helps you. You could have wing chair in that and a sofa in that and you can’t really go wrong, it’s like painting with numbers. However, a more creative designer will say ‘I want that on the wing chair and the Delecuona for the curtains, it’s about knowing your books. Q: Do you find less people are using interior designers these days because they are taking a more DIY approach? A: The problem here for me, as an interior designer, is that the client will get the cutting, with all the details on, and say ‘great Il just order that straight form the supplier’, this makes interior designers reluctant to send out cuttings. You’ve spent that time to make a collection and the clients have gone elsewhere. A good example of that possibly, is designer’s guild. The client go straight to them and order it, this makes me defunct. So when I started off in a company called Charles Hammond we would have large samples like this one, you can see the whole design and it would be tagged without the details. It would just have a code, so we in the company would know what it was, but the customer wouldn’t. This would guarantee the client to come back to us. But as the market has developed that has not worked necessarily. Q: How do you think the internet has affected the way you get inspired and how has the industry responded to this? A: Now with the internet, for example GP and J Baker have sent me a letter with a code and password so I have access to their full library of their fabrics. However being a designer you need to touch that fabric. You need to see it and get inspired by it, and more often than not you could be working with loads of things thrown out on the floor and because one thing touches another you could think ‘oh wow, they go really well together and they could be from completely different designers. Again, it’s the freedom you need to have as an interior designer. Q: You have pointed out the books you enjoy using, but which ones do you tend not to use so much? A: This company is called Evitavonni, it is very expensive fabric and personally I find this type of book really frustrating. It might look really nice but I think it appeals more to the hotel market because you have a load of pages, one very similar to another and at the back; the details and the name of the fabric but you have to use it in a very specific way. The type of designer using this book is not particularly interested in the overall look; they have just been given a budget and need to implement it. For example, the Duchess rom on floor one of a hotel will have fabrics A,B and C and the bridal suite will have fabric D,E and F. Q: You have a lot of books here; do you find it difficult organizing and storing them effectively? A: With books like these, you have to have the space. I had my shop, but I have downsized so I can only keep here what I think I use a lot. So, this is Zimmer and Rhode fabrics, and they very much deal with the trade rather than retail. They work from designers from the outset. They are good because if I 146

I am looking for a silk in a very specific colour, they will have a whole book dedicated to silk; this is how the true designer likes to work. You decide you want a silk and sifting through books like these are tedious; you want all the colours in one book like this one. Again due to space, Zimmer have created tiny books, these are good for me as I can see what they are like but a client might want to see a bigger piece. From my point of view, this way of viewing a fabric works very well. If I get it condensed like this, it’s perfect! Zimmer and Rhode have also embrace technology, you can actually see their fabrics online. This is useful for the designer because you can get an idea at a glance but of course colours and texture do not come across on a computer so you still have to order a cutting to get the real feel. Q: This book here is particularly striking; do you think it’s useful or important to have lots of imagery in a pattern book? A: This is a huge book by Andrew Martin and very difficult to show but very inspiring. It’s very good for people who are lacking imagination, for designers and clients. You might think that certain fabrics are a bit old fashioned but put in the right scheme it can look completely different. You have an illustration next to the fabrics and wallpaper, again a very contemporary feel for it. They are helping you, it works! Andrew Martin has marketed himself very well but you do need the space for the books. Also, with these books, it’s accompanied by brochures which replicate the images further pushing the designs forward. As a designer, really it doesn’t matter how anything is presented to you, ultimately you will make that decision yourself because you have that imagination. You have to buy these books at a very costly price. A typical Andrew Martin book like this one will cost £160, however It’s an investment you have to make, which is why when a client uses us then goes somewhere else to source the fabrics, we are resentful. Another way of getting samples is using a ‘ladder hanger’, which is made up of about 6 colour ways with one larger sample of your choice, so a client can see what the impact is but also the other options available. Q: It seems to me, that now more than ever, designers in all areas of the field are trying to sell a lifestyle rather than just a product e.g.Orla Kiely. Do you think this is the future for these books? A: This is a Cecil Beaton book, it can be very effective. It is selling a style, as illustrated in the images, and like Designer’s Guild, Cecil Beaton goes with Cecil Beaton. There are some companies that are quite specific. You have to have the whole lot! Q: Do you find more and more clients are coming to you with their own inspiration found from magazines and the internet? When you get to meet a client you have to learn about them but obviously they have come to you for your advice so it’s a compromise really. You want to give them the best; I have a tendency of pulling out my favourites. It’s important when choosing a designer you look at their style and see if it suits you. Some clients know exactly what they want before they come to you, these are the worst because they like to undermine you. They need to accept you have hired a designer because they know best! Q: Pike believe that the days of the pattern book, the way it is now, are limited and it will soon be replaced by a more modern and digital service, what you do think? A: I think there is a plus and a minus for that. I think there would be a lot of wastage. I could ring up after looking online for fabrics and to cover myself I will order 10 samples and only use 1 or 2. I think it could work but the suppliers could get bogged down by sending lots of samples. The Delecuona idea with the box is forward thinking. You buy it for £20 and you get all the cuttings you want, so the suppliers aren’t constantly sending out cuttings, paying for the postage and the administration. I don’t think we will lose pattern books but I think it will become increasingly aided by the internet, but the nature of our work; you need to touch it and feel it because one linen is very different to another linen. It’s not until you see it in the flesh that you can appreciate the difference between the two. 147

I do get the feeling that certain books are very expensive to produce, they won’t be making much profit, and nobody would buy it if it was too much. Especially with companies like Andrew Martin who also provide a brochure, you can see from those images what you want; there is no need in spending so much on making a sell proof book. I think something does need to be done in terms of the way pattern books work. What I find annoying is when certain fabrics and wallpapers in a book get discontinued; you have to cut it out so the customer can’t see it and your left with a very scruffy looking book. It doesn’t reflect well when you’re trying to inspire someone. You have to update everything all the time, if your client sets their heart on something and you find out it has been discontinued your put in a very difficult situation.

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Appendix 5 Consumer Scenario’s Planning a big event 1. Where do you get your initial inspiration from? 2. What do you use to collect this inspiration together? 3. How much time would you hope to allow for planning? 4. Would you prefer to plan alone, or receive input from others? 5. What do you think are your personality strengths and weaknesses for this scenario? Buying a car 1. Where do you get your initial inspiration from? 2. What do you use to collect this inspiration together? 3. How much time would you hope to allow for planning? 4. Would you prefer to plan alone, or receive input from others? 5. What do you think are your personality strengths and weaknesses for this scenario? Charles Eyston Scenario 1 1. One’s imagination. 2. Blank sheet of paper, then onto ipad ‘notes’. 3.Several hours. 4. Input from others. 5. Strengths- Well Organised. Weakness - Not enough imagination. Scenario 2 1) Need for a new car, and what it will primarily be used for. 2) Internet research. 3) Thought over days, with research. 4) Yes. 5) Experience with cars. Lesley Jones scenario 1 1. Inspiration would come from thinking about the person I was planning the event for. What sort of person is he/she. What would he/she like etc 2. I would then think about events I had attended and perhaps take the best bits -- food/venue/decoration etc - from all the events and then look through magazines or internet to find new ideas to add to. 3. If it was a big event I would like 3 to 6 months. If a smaller event maybe 4 to 6 weeks. 4. I would probably like to have input from others but then make the final plan myself 5. I think I am a fairly good organiser but may be a bit of a control freak ! Scenario 2 149

2. I would look at other cars on the road, friends and familyâ&#x20AC;&#x2122;s cars, I would visit car showrooms and look online and visit car auctions. 3. I would probably look over a period of 2 to 3 months. 4. I would welcome input from others especially about their own experience with cars. 5. Occasionally I can be quite impulsive and could quite easily be talked into buying something totally unsuitable and expensive - like a convertible !! On the other hand I can be quite sensible and have in the past spent ages looking for a bargain at auction. However I do feel maybe my wild side is due to come out soon !! Teresa Humber 1. Would use internet to get ideas and potential companies that could provide all aspects of the celebration: ie venue, catering, music/entertainment, table arrangements/dressing of venue, special effects etc. Probably in conjunction with appropriate magazines. 2. Mood board/brochures/files 3. 6 months minimum 4. Would definitely welcome input from others (need to spread the blame if its a disaster) 5. Not very well organised but pretty good at negotiating prices and terms of business. Car 1. Keeping an eye out when out and about. If spot potential car then look for examples online on sites such as eBay and auto trader. Consult with family and friends with car knowledge. 2. Create a list of pros and cons for each potential car from as many different sources as possible and arrange test drives 3. Time allowed would depend on the urgency to purchase a new car and availability of the particular car/model but would hope less than one month. 4. Would definitely want input from others with more experience in purchasing cars and if possible with mechanical experience. 5. I feel I have good negotiating skills and would try to get the best price from the seller but I do allow myself to be influenced by others. Diane Lovegrove Scenario 1: You are planning a big event for a friendâ&#x20AC;&#x2122;s wedding/birthday party 1. Where do you get your initial inspiration from? Internet 2. What do you use to collect this inspiration together? Physical file 3. How much time would you hope to allow for planning? 6 months 4. Would you prefer to plan alone, or receive input from others? Receive input 5. What do you think are your personality strengths and weaknesses for this scenario? Organised and a good communicator Scenario 2; You are buying a car 1. Where do you get your initial inspiration from? Asking friends/ internet 2. What do you use to collect this inspiration together? Internet and newspaper ads 3. How much time would you hope to allow for planning? 2-3 weeks 4. Would you prefer to plan alone, or receive input from others? Input from others 150

What do you think are your personality strengths and weaknesses for this scenario? Willing to carry out research, could be swayed by good advertising

Carolyn Whitfield 1. Usually from past experience or internet research As long as it takes to get it right. I’d use computer making a special file and a hard copy version for cuttings features etc I would question friends work on thelannong stage alone most prob then use friends I respect for their ideas etc to ask their opinion. I guess I’m a good organiser with an artistic eye for detail like a challenge as this and would enjoy the experience giving pleasure to someone else. Don’t like to be the centre of attention. 2. Car ....inspiration if budget not an issue would research on internet ,test drive a short list. Use computer . A month or so once i get idea to do someting need to see it through quickly! Would draw up short list then seek a friend with expertise to help me. Good at planning researching. Bit impulsive may take a flyer. Not good at negotiations over price so would get a friend along to do that for me I guess . Ruth Williams Scenario 1: You are planning a big event for a friend’s wedding/birthday party 1. Where do you get your initial inspiration from? general knowledge - friends, media 2. What do you use to collect this inspiration together? pick the brains of friends who’ve done something similar and then relevant professionals 3. How much time would you hope to allow for planning? gosh thats a hard one - half a day initially then follow up calls, further research + visit relevant shop/pro so could be 4-7d 4. Would you prefer to plan alone, or receive input from others? usually plan bulk alone but include others if not coming together smoothly 5. What do you think are your personality strengths and weaknesses for this scenario? organised, generally know what I want, good at sourcing info/pple: not v creative so need to do research and or aks for input from others ie know my limits within a budget!! Scenario 2; You are buying a car 1. Where do you get your initial inspiration from? husband!! Really not interested in vehicles as long as clean tidy and go 2. What do you use to collect this inspiration together? if Mike wasn’t around I’d use a trustworthy garage with whom I’ve developed a relationship plus i/net for background info or a friend with car knowledge if I knew one 3. How much time would you hope to allow for planning? hours - days: I wouldn’t make a decision in a hurry until I’d done a good amount of research then I’d be able to identify a good deal when I came across it 4. Would you prefer to plan alone, or receive input from others? definitely use input from a variety of sources 5. What do you think are your personality strengths and weaknesses for this scenario? ignorant but can assess info and hopefully spot a shark! Robyn Ives Scenario 1: You are planning a big event for a friend’s wedding/birthday party 1. Where do you get your initial inspiration from? I go to the internet first or if it’s a wedding probably a magazine. 151

2. What do you use to collect this inspiration together? If I have use magazines I will just rip out what I want and put them in a folder or if it’s on the internet I will just make a folder on my laptop. 3. How much time would you hope to allow for planning? At least 6 months 4. Would you prefer to plan alone, or receive input from others? Receive input, in case I’m doing it wrong! 5. What do you think are your personality strengths and weaknesses for this scenario? I think I am quite organised but I might get a bit carried away and have my heart set on something that I can actually do. Scenario 2: You are buying a car 1. Where do you get your initial inspiration from? Probably the internet, like comparison websites and reviews and stuff. 2. What do you use to collect this inspiration together? Just save it all onto my laptop. 3. How much time would you hope to allow for planning? A few months cause it’s a lot of money. 4. Would you prefer to plan alone, or receive input from others? Definitely input from others, people who have got that car or who have test drove it already so I know whether it’s worth my time. 5. What do you think are your personality strengths and weaknesses for this scenario? I would definitely look around and not choose the first thing I see but I’m rubbish at working out what’s the best value for money. Shirley Newman Just Scenario 1 If I was planning a big event – say like a daughter’s wedding. Initial inspiration - gather thoughts and ideas from other friends weddings – ie how they did them Planning would take time to source venue, caterers – flowers which would probably be done by my middle sister(flowers) looking for best prices. Would take time preparing Would probably discuss preparations with a very good friend or family to get feedback. Listening to ideas but also knowing what I would like the day to succeed. Hope that helps not very good but when my second daughter Vicky got married in Naples Florida I did a lot a phoning and faxing to my very dear friend in Naples who helped me organise the wedding. Emma my youngest I organised from the UK although she got married in Spain! and my eldest we all mucked in and she had a wonderful wedding from home with Vicky doing all the catering, friend did the flowers both church and house. It worked well and she only gave me 8 weeks to do it in! and no she was not pregnant. So there you are. May be you can pull something out of that which may help. Maureen Whitfield Scenario 1 Your need to now the friends’ likes and dislikes and discuss the possible ideas with her (or him). Enquire from others for the various venues they have used and found good or bad. Always go and look at possible venues. You will need to start planning at least 6 months in advance. All good venues are booked up, sometimes a year ahead. 152

If you feel there are other people who might be of help regarding input, question then. Basically it is easier to do the arrangements yourself. Then you can be sue all you have requested is in place, on the day. You need to know you have found the best value and venue for the specific event. Scenario 2 Usually people ave a good idea what car they are interested in i.e small car due to reduced no of passengers etc. or a bigger car as the family has increased in size. Talking to friends and hearing their experiences, visit different garages accessing what the different salesman have to say. Browse the motoring section in newspapers. “Honest John” is excellent in the Saturday Daily Telegraph. Probably it would take 2-3 months sorting out and looking at options. Outside help and ideas useful, and if you know a reliable “tame” mechanic take him with you when making your final purchase. You need to think everything through and be strong enough to bargain and get a good deal. Do not accept the first price, always question the salesman, or private owners’ words.

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Appendix 6 Nottingham City Centre. Thursday 17th April, lunchtime. Weather: grey clouds, windy but dry 1. How often do you browse online/offline for interiors? 2. Where? 3. Fashion - favourite brands 4. TV - what you last watched 5. Colours and patterns you are drawn to 6. Favourite colour flower 7. Favourite font 8. Associations of curate, curateme and youcurate -----------------------------------------------------------------------------------------------------------Consumer answers Outside Debenhams- 1.25 to 1.55pm 1. Only when I am redecorating my house so once a year, Debenhams for fashion and interiors, Match of the Day, Orange, no associations with the words. 2. Only when I am redecorating my house so once a year, M&S and Next for both, Game of Thrones, Purple, reminds me of museum 3. Once a month to browse, everywhere - didnâ&#x20AC;&#x2122;t get a brand, New Look, Dorothy Perkins for fashion, Blues, Floral, Museum. 4. Once a month to browse, everywhere - didnâ&#x20AC;&#x2122;t get a brand, New Look, Dorothy Perkins for fashion, Pinks, Floral, Church because it sounds like a word similar! Outside House of Fraser 2 to 2.30pm 5. Twice a year, maid.com and dwell, Zara for clothes, Stripes and checked, blue at the moment, because I follow trends. 6. Once every 6 months, Nash - a boutique in Nottingham, Hobbs. 7. Once a week, Hoff, Hobbs, Fuschia pink, Last watched Endeavour. 154

8. Everyday, John Lewis, Next, BHS, For fashion - M&S, Next, Hoff, John Lewis, Blues and Greens, last watched Chicago Fire 9. Once a week, John Lewis, Hobbs and Laura Ashley for fashion, Black, last watched Undeniable. 10. Twice/3 times a week, Dunelm, John Lewis, for fashion - Wallis, John Lewis, Hoff, fuschia, pink. 11. Once a month, John Lewis for both, green and gold for interiors and clothes. Outside Flannels/ Ted Baker 1.25 to 1.55pm 12. once a month- depends if looking specifically as then it will increase, john lewis mainly- love that everything is there, Dress- M&S/cardigan- H&M/shoes- clarks, last weekcasualty, soaps e.g. coronation street and emerdale, blues and geometric, associations- serious, thoughtful, me/you- more personal 13. most days- get out of the office and browse, M&S/Nash, Suit-Hobbs/Shoes-M&S, donâ&#x20AC;&#x2122;t watch tv but watched a box set of vampire diaries, floral/magenta/peach/cream, reminds me of exhibitions. me= personal, you=inviting 14. 2/3 a month, boutique shops near where I live, head to toe Ted Baker, Catch up tv- MIC, lemon/pale pink but not really a pattern person, formal vs informal/chattier 15. Once a month, specialist shoes- try to stay local e.g. Nash, hopewells, shoes-Dune/shirt-present/trousers-charity shop/ jacket-m&s, BBC news, red and polka dots, formal and not warmer vs warmer associations with me/you 16. When a room needs decorating, Homebase/B&Q/IKEA, shirt- river island/ cardigan and jacket- H&M/trousers-topshop, donâ&#x20AC;&#x2122;t watch TV, grey with pops of neon for colour and stripes, making something, then me/you is me creating something specifically 17. Once a month, fabric shops for fabric/furniture shops for furniture, shoes- ecco/coat-debenhams (ages ago)/dress-m&s, Corry, neutral colours, creams etc., textures over patterns, exhibitions and gallery spaces- professional. me/you is warmer especially with handwritten font Outside John Lewis 2 to 2.30pm 18. As and when needed, friends homes!, head to toe M&S,N/A, soft colours and patterns, serious and intimidating, me/you is easier 19. once a year usually in summer, boutiques, boutiques, read instead of tv, all- but pink atm with squares, put together and personal 20. once a month, M&S do a good range, scarf-present/coat-a friends/top and skirt-old m&s, radio 4 listener over tv, all colours but orange and wacky colours, posh then it is made personified 21. when i need something, John Lewis for everything, various JL concessions, corry, cream and brown with subtle patterns, careful/craft/create me/you= inclusive

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156

157

Appendix 7

158

159

Appendix 8

https://www.surveymonkey.com/s/7MLLGQV Total: 59 respondents

1. What is your gender?

2. What is your age?

3. How confident on a scale of 1 to 5 do you feel designing and choosing interiors for your home? 1 being not confident at all and 5 being extremely confident. 1

1 not confident

160

20 3

23 4

4. What gives you confidence and/or a confidence boost when it comes to choosing interiors for your home?

14 5 extremely confident

Pinterest, Houzz, property refurbishment tv programmes

5. How confident on a scale of 1 to 5 do you feel styling and choosing fashion? 1 being not confident at all and 5 being extremely confident.

1 not confident

16 3

20 4

6. What gives you confidence and/or a confidence boost when it comes to styling and choosing fashion?

13 5 extremely confident

7. Do you prefer to gain other peopleâ&#x20AC;&#x2122;s opinions before making a purchase? For example, buying a car, makeup, fashion, interiors

8. If Yes, why do you feel it is important to gain this level of opinion and advice?

Reassurance Price - donâ&#x20AC;&#x2122;t waste money Expert opinion 161

Appendix 9

http://piketextiles.blogspot.co.uk Appendix 10

Poor Richard eurofence

162

I wanted to mimic certain elements of our brand aesthetic, so I chose two fonts that feature in the website and selected 3 of the colours from our brand colour palette. I chose dashed lines to represent stitching and to also add another textural dimension to the portfolio.

163