IZABELLA HANNAH NTU FASHION COMMUNICATION AND PROMOTION GRADUATE 2016 FIND MORE AT cargocollective.com/izabellahannah EMAIL ME AT izabellahananh@hotmail.co.uk
NEWSPRINT ISN’T DEAD. IT’S IN A PHASE OF REINCARNATION.
REDESIGNING FASHION NEWS
BRIEF Redesigning Fashion News was a self-devised brief I designed and undertook for my 3rd year dissertation. This year long project examined the causal factors of newspaper decline, the rise of independent publishing and the mainstream fashion media market. The aim of this project to use trend forecasting and analysis to decode the current flaws within the newsprint industry. After synthesizing the wider contextual information, I then applied marketing and branding strategies to my insights. This resulted in a new, fashion news brand that reports on current affair news through a fashion lens. This new brand is called The Common Thread.
TREND FORECASTING
IDEA DEVELOPMENT
MAY 2015
BRAND STRATEGY
DESIGN DEVELOPMENT
ROUTE TO CONSUMER
MAY
PROJECT TIMELINE
2016
TREND FORECASTING
IDEA DEVELOPMENT
BRAND STRATEGY
This project included a lot of wider contextual research into future consumer and technology trends, as well as analysing journalism practises and the effects of digitalisation.
To synthesize the research I had to decode each trend and understand the wider impact of each theme in different consumer markets.
After gathering my insights I then applied these to a brand strategy for a new start up and creative business.
I used a variety of platforms to explore this topic such as:
I used different methods for idea generation and development. Such as:
• Cartograms • Industry Interviews • Retail and Exhibition Research • Trend Events and Websites
• Diffusion of Innovation Graphs • Mindmaps and Word Association Tasks • Consumer Research, Experiments and Interviews
DESIGN DEVELOPMENT
ROUTE TO CONSUMER
I then used my understanding of visual codes to create a design recipe for this new brand. The brand is called ‘THE COMMON THREAD.’
The final stage of this brief was to market The Common Thread to new consumers through an integrated marketing campaign.
This phase included an exploration into various visual research sectors such as:
This campaign focused on a collaborative social media strategy, alongside a launch event. I created for this section:
• Historical Fashion Imagery • Graphic Design • Independent Publishing/ Newsprint Trends • Imagery in Popular Culture • Semiotic Deconstruction
• Brand Awareness Campaign • Social Media Strategy • Event Invites • Press Releases
This included researching untapped markets and growing sectors. I used critical analysis of innovative and laggard brands that have dominance within specific industries, and identified a gap in the market for a new, independent fashion news brand.
PROJECT INSIGHTS • Newsprint brands are slow to adapt to new technology and digital formats. • Newspapers need to be redesigned to suit Millennial’s needs. • Legacy news brands aren’t forward thinking in their brand strategies. • New visualisation and audio platforms are increasing in popularity. • Fashion news can be more disruptive.
Design and Research Sketchbook Extracts
Visual Report Extracts
PROJECT OUTCOMES THE COMMON THREAD BRAND An innovative fashion news brand that uses both print and digital platforms to connect with Millennial consumers. THE COMMON THREAD NEWSPAPER A monthly fashion newspaper that uses slow journalism and trend forecasting to decode current affair, industry and consumer fashion news. It explains the links between the fashion industry and current affair news stories, whilst using trend prediction to decode the stories.
THE COMMON THREAD WEBSITE A fashion news aggregator website that collects stories from a vast range of credible sources. It uses audio-visual platform for content diversity. It also works as a search engine for fashion news stories.
THE COMMON THREAD CAMPAIGN This campaign promotes a new way of thinking about fashion news. It asks artist’s to submit work based on a correlative trend between fashion and current affair news. This will be shared on social media and then be used as content for a launch exhibition for The Common Thread newspaper.
THE COMMON THREAD HAS COME TO LIFE. WE ARE RECLAIMING FASHION NEWS.
THE COMMON THREAD The Common Thread was the brand I created during my dissertation ‘Redesigning Fashion News.’ As part of my final year work, I submitted a brand book for The Common Thread which included branding guidelines, who The Common Thread are, what they stand for and examples of written content that would feature in the newspaper. The brand book outlined The Common Thread’s identity, brand DNA and ten year plan for expansion. Overall, I followed the same strategy I implemented for my dissertation project in creating this brand book; applying the same skills only to do a different outcome. These skills included trend forecasting, brand development, creating marketing and advertising strategies, social media development, graphic design, copy writing and PR.
MANIFESTO
The Common Thread is reclaiming fashion news. For years and years, mainstream fashion magazines have drawn us in with glossy pages, free beauty give-aways and unattainable perfection. They grace their front covers with beautifully airbrushed women and have stung us with unrealistic body images for decades. Is fashion news only about celebrity red carpets, fashion week FROW’s and who wore it best articles? The Common Thread doesn’t think so. We at The Common Thread are bored of reading the same articles and seeing the same fashion shoots. We want to see where a story comes from, how it influences us and why it might resonate within popular culture. We look at current affairs and industry news through a fashion lens. Our aim isn’t to get people to stop reading and enjoying fashion magazines. Our aim is to offer people an alternative to mainstream media. The Common Thread offers readers a new perspective on how fashion stories are told.
Brand Book Extracts WHO IS THE COMMON THREAD?
THE BEGINNING
WHO IS THE COMMON THREAD?
The Common Thread was created out of frustration at the lack of innovative newsprint brands in the UK market. Its origin was driven by the trends that are presented below.
THE BEGINNING
All of these elements drove The Common Thread to one conclusion. That there was a gap in the market for a monthly newspaper with slow journalism editorials which examine the long term effects of a news story. Its digital counterpart would be an aggregator website that selects the best fashion news stories from across the web into one place; with a variety of audio-visual formats.
NEWSPRINT ISN’T DEAD. IT’S IN A PHASE OF REINCARNATION. NEWSPAPERS NEED TO BE REDESIGNED TO SUIT THEIR DIGITAL COUNTERPART.
ANTI-ESTABLISHMENT Increasing frustration towards political and corporate authorities is driving consumers to turn to satirical publications and independent broadcasters for news.
NEW RESPONSIBILITY
IMMERSIVE REALITY
Augmented apps and virtual reality headsets are redefining how audiences consume content. It has also driven an increase for news visualisation and more diverse audio-visual formats.
SCREEN READING
Leveson Inquiry has launched new regulations and standards for modern journalism. Traditional tabloid practises like paparazzi and sensationalised content is increasingly becoming more unethical.
Fashion magazines are having to adapt their content onto tablet and smartphone screens, which means creating more interactive design elements.
BRICOLAGE LIVING
DIGITAL DETOX
Bricolage Living refers to consumers who are shaping their identities from a vast array of sources and inspiration. This reflects fashion tribes whose style ‘bubbles’ up into mainstream culture.
There is a resurgence of independent publishing in print and digital publications. The reflects a phase of Digital Detox where consumers opt out of technology to engage with mindfulness and nature.
LACK OF DIVERSITY
CELEBRITY INFLUENCE
Mainstream media is frequently criticised for its lack of diversity in industries like fashion, film, music and art, which has driven brands to take a more selective approach at who/ what represents their brand.
Celebrities are arguably still a massive influence over why people buy magazines which suggests fashion and celebrity culture are still entwined with each other.
6
BRANDING GUIDELINES
7
IMAGE USE FOR NEWSPRINT
BRANDING GUIDELINES
The Common Thread will use photography within the newspaper, where appropriate, but the main focus of the imagery will be driven by illustration. These can be hand drawn, digital manipulations, graphic designs or traditional fashion illustration depending on their relevance to the stories content.
IMAGE USE FOR NEWSPRINT The front cover is an incredibly important element to The Common Thread’s branding and needs to fit the follow specifications. Overall, the image must reflect a news theme with significance but can be created within any design styles which reflect the context.
FRONT COVER IMAGE SPECIFICATIONS Fit within a 12.7mm border and a 3mm bleed High resolution 300 dpi Must feature relevant news story theme
Photography may also be used on the front cover to represent a story when illustration isn’t appropriate. However, it will be used on a smaller scale below the header, as to not draw attention away from the focal point. The front cover above is a template image for the September issue that features a more traditional fashion illustration. This illustration by Gina Atkinson reflects the decoding of a fashion collection that would have taken place at London Fashion Week, hence it would be appropriate to use a more traditional design style. If the issue covered global politics it may have been suitable to use a satirical political cartoon; and if the issue focused on social injustices it may have used a ‘zine inspired’ graphic illustration. 26
27
BRANDING GUIDELINES
LOGO PROPORTION AND USAGE
BRANDING GUIDELINES
The Common Thread branding is grounded by the use of the interconnected logo. It is to be used in both digital and print platforms but carries the same design specifications, sizes and guidelines.
CMYK CODE
LOGO PROPORTION AND USAGE This section focuses on the specifications of the digital logo, as it is used more heavily on the website, social media accounts and throughout the postcards, business cards and promotional materials. The same design rules applies to the white print logo with the only change being the inverted colours.
FONT SPECS NAME: MUSEO SANS 300 TAGLINE: MUSEO SANS 3OO ITALICS
C: 75 M: 67 Y: 67 K: 89
SIZE: 50pt The horizontal logo is to be used on website banners and contains the brands tagline ‘reclaiming fashion news.’ This will be typed in capital letters using Museo Sans 300 font.
CMYK CODE To create consistent branding in both print and digital environments it is integral to keep the logo in its original format when it used on promotional material. It is therefore key to not manipulate the logo unless other wise specified with the graphics team.
SIZE WITHOUT TEXT (CM) W:14.47 H: 20.2
HORIZONTAL USE
W:19.47 H: 22.27
STACKED USE
SIZE (CM) W: 50.43 H: 22.72
14
BRANDING GUIDELINES
TONE OF VOICE AND WRITING STYLE FOR NEWSPRINT
DONT’S
C: 0 M: 0 Y: 0 K: 0
STRETCH
WIDEN
FLIP
TURN
CHANGE COLOUR
CHANGE BACKGROUND
BRANDING GUIDELINES
It is incredibly important to The Common Thread that it’s journalist understand the brand’s tone of voice. They have to intellectually and creatively examine both fashion and current affair news stories, whilst synthesizing the links and trends that connect the themes to wider society.
HOW TO APPROACH A STORY
BE BRAVE. BE BOLD. BE AWAKE.
15
TONE OF VOICE AND WRITING STYLE FOR NEWSPRINT The Common Thread prides itself on its independent approach to reporting and decoding the news. This is why it is so important for its journalists to reflect the brands tone of voice in its articles and editorials.
HOW TO WRITE A STORY
DECODE THEMES. PREDICT TRENDS. REVEAL INSIGHTS. DON’T GOSSIP. DON’T GUESS.
REMEMBER... WE ARE THE INNOVATORS, WE ARE THE DISRUPTORS, WE ARE THE RECLAIMERS OF FASHION NEWS. 18
DON’T SETTLE. 19
THE COMMON THREAD PRESS RELEASE
The Common Thread is an innovative news brand that examines current affairs news through a fashion lens. It covers both political and social news, as well as fashion industry and consumer news. It has no pretence, no vanity and no boundaries. The Common Thread has stripped fashion news to its core and uses a monthly print newspaper to frame its discussion. It intelligently deconstructs news stories using trend forecasting and critical analysis, making it easy for its readers to see the roots of a story. Alongside its monthly newspaper, it also has an collation, search-engine website that allows users to discover news stories from a multitude of sources. It combines videos, podcasts, galleries, editorials and articles to create an ecosystem of fashion news. As an independent publication, The Common Thread is fearless in its exploration of news. It looks at how current affairs and fashion journalism influence each other, and the ripple effect it has on the lives of its readers. It does this by using slow journalism to deconstruct and investigate its stories.
“WE WANT TO CREATE A MORE DISRUPTIVE CONVERSATION AROUND FASHION NEWS.” Humble in its design and branding, The Common Thread sits perfectly in the independent magazine market, and could be described as a combination of Stylist and Delayed Gratification. It has no intention of becoming a celebrity endorsed or high-glossed magazine, it’s aim is purely to start a new conversation about fashion. ‘We love looking at the connections and patterns between different news stories and fashion trends. We refuse to believe that fashion is just something that celebrities wear or the latest thing Vogue tells you to buy. We want to create a more disruptive conversation around fashion news, that isn’t repetitive or disdainful..’ – Editor of The Common Thread. The Common Thread is inspired by people who stand up and make their voices heard. They are driven by those who aren’t afraid to be themselves in a culture that benefits from our insecurities. This is why The Common Thread welcomes contributors and independent journalists to create part of their content. They believe it diversifies discussions and democratises fashion politics. The Common Thread began in 2015 as a student project at Nottingham Trent University and has plans to expand into a collaborative media brand in coming years.
The Common Thread Newspaper Extracts
THE ABSENCE:
Why did Saint Laurent delete their entire Instagram feed? In April this year, Saint Laurent made an unexpected announcement that would shock the fashion world. Not only did they announce the exit of Heidi Slimane as creative director, they also deleted all of the content that was stored on their Instagram feed. Whilst the latter may not seem as shocking, it was an unprecedented move by the brand who has been going through a transitioning and rebranding phase over the last few years. So why is it so important that a fashion house wiped away their digital library on Instagram? Surely this is just another example of our digital-self’s obsession with what other people are doing? Well, that’s partly true. As a culture we are evidently obsessed with peering our noses into what our influencers and celebrities are doing. This form of hyper-reality is blurring the boundaries between what we perceive as real and what we are actually experiencing. Are we witnessing here the exorcism of Heidi Slimane from Saint Laurent’s digital identity? Does deleting his presence from social media become the digital equivalent of a bad break up; of burning the photos and throwing his stuff into a box? Or does this cleanse have a deeper meaning. Perhaps Saint Laurent have realised how powerful unpredictability can be. We live in a world that is driven by habitual behaviour, predictive technology and consumer tribes, who follow each other around the same journey of discovery. Capitalising on the absence of content is a risk, but it takes an innovator to walk in the opposite direction of a crowd. This has been reflected within the music industry this year, as influencers like Beyonce and Drake no longer announce their album release dates through traditional media. Instead they use social media to launch their products and use speculation, rumour and teaser content to gain their audiences attention. Are Saint Laurent reshaping the way we view social media? Many see social media platforms like Facebook and Instagram as a tool to capture our own narcissism, with selfies and fitness shots becoming the most viewed content on these platforms. Our accounts have become personal libraries of collected moments with each image preserved forever within in the dark spectrum of the internet. But most importantly, these photographs are our digital realities and our digital identities. Some may argue that as we go through life our identities change as we are shaped by the world around us. There have been countless debates in recent years about the moral and legal implications of being able to permanently delete information about ourselves from the internet, and this too can be applied to our social media presence. Is an image taken of you from 2005 a reflection of who you are now? Maybe this is why Saint Laurent deleted their content. They are not the same brand they used to be, something which was made evidently clear in 2012 when they dropped the ‘Yves’ from their name. In the words of Spike Jonze, ‘we are never the same person we were a moment ago.’ Perhaps to create something new they had to start with an absence of expectation; they needed a blank canvas to drawn upon. All in all, Saint Laurent have done something bold here. They’ve reminded us of how we are habitually precious with our online identities and the fear that comes with standing apart from the crowd. After all, would you be able to delete your Instagram feed?
STOP TERRORISING OUR WORLD Walter Van Beirendonck’s ‘stop terrorising our world’ tunic has unified two rival fashion schools for a common cause. The Royal Academy of Fine Arts in Antwerp and La Cambre Mode in Belguim are well renowned institutions within the fashion community; both for their innovation and for their long standing rivalry. However, with political tension, terrorist threats and social injustices sparking fierce debates within the EU, both institutions have come together in solidarity to make a political statement. Van Beriendonck’s ‘stop terrorising our world’ tunic sent ripples through mainstream media at Paris fashion week in 2015, as his work was debued only two weeks after the Charlie Hebdo attacks took place on 7th January. Since then, there have been two more terrorist attacks in Paris and Brussels, with the latest in April earlier this year, cementing the importance of Van Beirendonck’s political statement for peace. Under the direction of acclaimed photographer Pierre Debusschere and Le Cambre teacher Pierre Daras, Antwerp and La Cambre collaborated with Van Beirendonck to use the image of his now iconic tunic, as the focal point for each schools 2016 graduate degree shows. These images are an example of how fashion can translate the tyranny of political injustices into an accessible message that can be shared with millions of people. Van Beriendonck is not the first designer to use fashion shows as a political platform, nor will he be the last. But the overriding message from this collaboration is that the fashion world can use their global scope to send a message of unity and peace into the digital and physical world.
BOOTS: FUTURE OF RETAIL 2022
BRIEF This was an external brief given to my team of 3 to work on alongside our final dissertation. The brief came from Boots and we were set the task to: “to identify the key emerging trends that could influence the retail landscape in 2022 and consider how WBA as a global business could and should react.” Our final outcome presents a forward thinking brand strategy for Boots to implement during 2016- 2022, in order to increase their engagement with emerging technology and consumer trends. It focuses on the beauty service within Boots UK retailers and uses trend forecasting insights surrounding the technology market, to solve Boot’s short term and long term retail challenges. The image above is an instore wayfinding app my team designed to improve Boots’ engagement with their consumers.
CONSUMER TRUTH: BOOTS NEED TO BE MORE INNOVATIVE IN ENGAGING PRODUCTS WITH THEIR CUSTOMERS.
BOOTS: FUTURE OF RETAIL 2022 BRAND VISION Through our research it became apparent that the best way to improve consumer engagement with Boots as a brand was through instore experiences and digital platforms. Since Boots has already created the Beautiful You brand extension we believe extending this service is a more financially viable and time saving idea, in comparison to creating another extension. Beautiful You is an instore experience within Boots retailers that scans the customers skin and provides them with product recommendations. Through a series of steps Boots will improve how Beautiful You works by adopting more accessible consumer touch points, creating a service platform with Oku and by introducing innovative technology platforms into Boot’s brand strategy.
TREND FORECASTING
OCT 2015
IDEA DEVELOPMENT
BRAND STRATEGY
PROJECT TIMELINE
TREND FORECASTING
IDEA DEVELOPMENT
BRAND STRATEGY
This was a large part of my role within the team as I was developing brand ideas from technology and consumer trends.
As a team we used a lot of idea generation techniques to synthesise wider contextual trends and apply them to Boots’ brand.
Our team used a lot of primary research to understand Boots’ brand DNA from both a consumer and competitor perspective.
I used the same methods as I did in my Reclaiming Fashion News project, with a focus on retail sectors.
It was my role within the team to create copy for the big idea statements which acted as a foundation for our project.
Part of my role in the team was to create Diffusion of Innovation graphs to plot Boots against, for both their current market position and where our brand strategy would move them to.
I also used trend forecasting to push our brand strategy further by creating a project outcome based on technology that is set to become mainstream by 2035.
DESIGN DEVELOPMENT
FINAL PRESENTATION/ REPORT
PROJECT TIMELINE
DESIGN DEVELOPMENT This creative process was approached in the same way as Reclaiming Fashion News; however, with a focus on wayfinding and brand experiences. This included primary research into retail experiences, wayfinding and visual merchandising. It was therefore my role in the team to create the mock up for one of final executions that represented a brand service that would be available in 2035.
FINAL PRESENTATION/ REPORT The final stage of this brief was to create a 3000 word report based on our findings and brand strategy. We split the word count between the team, but it was my role to edit, refine and create a professional tone of voice from the content. The final presentation was to Boots trend department and included a 20 minute pitch on our brand strategy to connect Boots’ brand with Millennial consumers.
MAY 2016
PROJECT INSIGHTS • Retail technology is blurring the boundaries between our physical environment and the immersive nature of the internet. • Augmented reality is the next big trend to hit retailers. • Brand should be using trend forecasting in their brand strategies to connect with Millennial consumers.
Boots Report Extracts
BRAND STRATEGY
STEP 1
STEP 2
STEP 3
STEP 4
STEP 5
Fixing in-store issues found from short term insights
Bringing Beautiful You to the consumer
Beautiful You App, collaborating with OKU
Augmented Reality App extension
Beautiful You Stand with experiential technology
2019
2022
2016
2017
2018
‘Beauty retailers must also look to offering more location-based rewards and services’ MINTEL Social Media and Retail Technology January 2015 PRIMARY RESEARCH
CONTEXTUAL INSIGHTS
CONSUMER RESEARCH
30
BRAND STRATEGY STEP 1
STEP 2
STEP 3
STEP 4
STEP 5
Fixing in-store issues found from short term insights
Bringing Beautiful You to the consumer
Beautiful You App, collaborating with OKU
Augmented Reality App extension
Beautiful You Stand with experiential technology
2016
2017
2018
2019
2022
This is a long term brand target as it will include technology which is currently under development. This is a futuristic modification of the existing Beautiful You stands. It will have the same principles and functions that are available in 2016, but have been adapted to incorporate new technology that would have been developed after 2022. This is to retain Boots’ brand DNA whilst enhancing their retail experiences for Millennial’s, and in this time frame, Generation Z consumers. IH
CONTEXTUAL INSIGHTS
32
PRIMARY RESEARCH
CONSUMER RESEARCH
STEP 4. In 2019 the app will be updated using augmented reality to improve the apps way finding technology. Upon entering stores consumers can hold up their phone and scan the store using the augmented reality feature within the app. The app will display in real time where in the store their individual offers are based on the data from their advantage card. EW
Figure 26. Step 4 Mockups (2016)
BIG IDEA
BRAND STRATEGY
CREATIVE DEVELOPMENT
31
STEP 5.
Figure 27. Step 5 Mockup (2016)
Product Connectivity.
Product preview capabilities.
Skin diagnosis Platform.
Bottles & Boxes is an MIT project, designed by Ermal Dreshaj and Dan Novy which uses optical sensors to determine the frequency of when the product is used.
This section will allow you to preview the product on your skin without having to apply it. This can be created through augmented reality devices like Microsoft Hololens. You will also be able to experience the texture and smell of a product without using a tester.
This works by the user scanning their skin using an Oku device. The technology available within this device will then predicts future problems the user may face and suggests preventive solutions i.e. skin damage, early wrinkles, spot proneness.
This technology is currently being developed in the Free-Space Haptic Feedback for 3D Displays project, headed by V. Michael Bove and Ali Shtarbanov.
This will be created using fibre optic technology, like that which has been presented by the Optical Fibre Brush project by the MIT2 Imaginarium of Technology institute. IH
Whilst this would raise certain ethical issues if used by a retailer, the opportunity to link interconnected devices and consumer engagement is an interesting area to consider investing in. Boots could consider using a similar format to Amazon Dash using this technology of product use. BIG IDEA
CREATIVE DEVELOPMENT
BRAND STRATEGY
33
A/W 2015 TREND REPORT This brief was to create an A/W 2015 trend booklet based on research conducted at various Berlin trade shows in January 2015. These trade shows included Seek, Premium, Show & Order and Bright. We were asked to undertake this project in teams of 3 and to divide roles evenly. My role in the team was copywriter and editor for the booklet, as well as forecasting trends such as The Revisionist, Utilitarian Luxe and Perennial Environment. I also created the name for each trend, alongside naming each colour palette. We were briefed to research menswear, creative direction, visual merchandising and print/ graphics for the report.
Trend Report Extracts THE REVISIONIST This urban inspired look lends favour to the lowfi personalisation and logo placements found in contemporary streetwear designs. The Litchenburg effect that democratises luxury brand dictatation over trends is refelcted in this style and gives style power back to the consumer. Street style influences are taken from examples such as the Adidas pop up store in Berln that combines a grafitti covered, desolate builiding with contemporary fashion. The themes of individulisation seen at Bright tradeshow has been applied to caps, rucksacks and shoes in this trend.
The Revisonist is also refelctive of the media’s portrayal of protesting; whether it is politically as demonstrated by groups like Pussy Riot and Free The Nipple, or in the fashion industry like Rick Owens AW 14/15 womenswear show or Chanel’s SS 15 ready to wear show. These elements of rebellion against stereotypes and repression is refelcted in this trend and it also demonstrates the market shift into post-demographic consumersim. Materials like neoprene and details such as back slogans, white socks and the puffa jacket represent the balance between practicality and individuality in The Revisionist. Figure 68-70 Own Images- Hype Lights, Wall of Shoes, Black Wall
THE PERENNIAL ENVIRONMENT This trend embodies the social responsibility for ethics in disposable fashion and in mass market consumerism. Many brands are focusing on the use of upcycled materials and organic fabric sourcing in their products to reduce the negative impact on the environment. There is an increasing social demand for more ethical fashion which can be seen in the industries drive to improve traceability, non-polluting print inks and responsible manufacturing. This humble trend can be found in packaging, visual merchandising, products and brand ethos’ and usually has a tongue and cheek appraoch to product design or display.
Brands like Pog Architecture and Ina Koelln are known for using reworked cork and wood to create innovative and beautiful products. This trend was particulary promintent at the Ethical Tradeshow and SEEK Tradeshow in Berlin. These elements are translated into window displays by the likes of Liberty of London and has also launched a trend in fashion photography for low-fi, DIY set designs and motifs as demonstrated by Lord Whitney. This emergent trend is a juxtaposition between the desire to responsibily source from nature and the technology driven consumerism of todays market. Figure 14-16 Own Images- Wooden Products, Cardboard Seat, Creative Packaging
Figure 71&72, online, Rick Owens, Litchenburg
Figure 73&74, online, Converse, Adidas
Figure 17&18, online, Wood Hanging, Wood VM
Figure 19&20, online, Wood Backpack, Liberty VM
TWISTED FAIRYTALE FILM BRIEF This project was part of a university collaboration with design studio Lord Whitney. The brief was to create a low-fi, short stop motion film based on a given word, using only recycled materials. As a group of six, we were given two days to create a concept, build the set and film/ edit the footage.. The word we were given was ‘Ladder.’ As a team we brainstormed word associations and quickly arrived to fictional references such as The Princess and The Pea, Rapunzel and Rome and Juliet. Our visual references and inspiration came from directors such as Wes Anderson and Tim Burton which influenced our menacing, thriller-esque perspective. The film is played agaisnt Lana Del Rey’s ‘Once Upon A Dream’ which feautred as the themes song for Disney’s ‘Maleficent.’ We decided to add the mannequin hands and jewellery to demonstrate how our ideas and vision could be used in a fashion editorial or film. My roles within the team were idea generation, plot sequencing, prop building and designing; as well as a runner and prop assistant whilst filming.
BRAINSTORM IDEAS
DAY 1 2015
CREATIVE RESEARCH
PROP BUILDING
FILMING
SEQUENCE EDITING
PROJECT TIMELINE
DAY 2 2015
PLOT We introduce the haunted mansion which is surrounded by a darkened forest and a growing storm. The audience explores the grounds which are protected by mythical trees which come to life (this is the sequence with the hand mannequins.) We then watch the doors creek open to reveal the Princess who is trapped inside and asleep in her room. As the storm begins the doors close, trapping the Princess back inside for ever more.
This short film is available to watch at https://www.youtube.com/watch?v=069sWszjGWI.
WHAT IS BEAUTY? This group project was an exploration of what modern beauty means in today’s society; in both mainstream media and social undercurrents. My role in the group project was creating the copy for the exhibition blurb. idea generation, deciphering cultural codes and trends, visual research and semiotic deconstruction; as well as assisting on the shoot and offering direction. We wanted our final image to represent how no one person can define beauty and how beauty comes from within. We purposely used a provocative motif to shock our audience and force them to question their preconceived ideas of what is beauty. We wanted our audience to reflect on how beauty doesn’t need to be defined by a physical form. Instead, our message is that beauty is internal; it is our character, our personality, our heart that makes us beautiful. ‘Beauty is up to one’s heart; not one’s eyes’
Exhibition Blurb This exhibition image conveys how beauty is defined by what is on the inside rather than manufactured aesthetics. We wanted to create a juxtaposition between a physical heart, which isn’t viewed as aesthetically beautiful, and its social, cultural and religious connotations that represent love, consciousness and emotion. We found from our research that people’s perception of beauty isn’t always defined by physical attributes and therefore wanted to represent internal, natural beauty in our photo-shoot. Our inspiration came from varied sources from religious iconography such as Roman Catholicism’s ‘The Sacred Heart’ to artists like Anthony Gormley’s ‘Blind Light’ installations in 2007.
BEYOND THE STARE: ICY BLONDE BRIEF Inspired by Alfred Hitchcock’s Rear Window, my team of six created a fashion film that explored themes of voyeurism, fashion and beauty. This fashion film was to be promotional material for a new t-shirt company called Icy Blonde, who specialised in film inspired clothing. Alongside this, our team had to create an integrated marketing campaign and a game inspired app to launch the brand. My role in the team included brand development and copy, idea development, organising the shoot and collecting and deconstructing visual codes.
BRAINSTORM IDEAS
FEB 2015
CREATIVE RESEARCH
BRAND DEVELOPMENT
FILMING
SEQUENCE EDITING
PROJECT TIMELINE
ICY BLONDE BRANDING Vision Statement: Icy Blonde is a creative collaboration between strong female icons and cinematic fashion. We want our consumers to feel confident, strong and feminine through Ice Blonde products. Mission Statement: The mission of Icy Blonde is to bring fashionable and engaging t-shirts to film lovers and fashionistas across the world. We want to introduce an intelligent t-shirt brand to the market, that uses subtle film motifs and references as design elements on its products. Using our commercial and contextual understanding of iconic films and of iconic women, we aim to collaborate the two into a quality product that will stand the test of time. We seek to develop the most creative, iconic and fashionable designs with our loyal consumers in mind.
MAY 2015
PLOT This film is shot from the perspective of a voyeuristic observer who is following a modern Grace Kelly in her day to day life. Beyond The Stare features references from Rear Window and other Hitchcock thrillers.
This short film is available to watch at https://www.youtube.com/watch?v=5tNAAJ0Gw9g
BUSINESS CARD
IZABELLA HANNAH
07557121251 izabellahannah@hotmail.co.uk
ABOUT ME
PORTFOLIO
I have recently graduated in Fashion Communication and Promotion from Nottingham Trent University.
My full portfolio of work is available at http://cargocollective.com/ izabellahannah
I am an incredibly hard worker with a flexible portfolio of skills. These include copy writing, trend forecasting, branding, communication and idea development. My previous internships have provided me with experience in PR and social media management.
INTERNSHIPS FLIP, Nottingham Trent Degree Show Committee, October 2015- June 2016
Here you will see a variety of work from trend reports to fashion films, to my own independent fashion news brand The Common Thread.
KEY SKILLS -Strong skills in InDesign and Photoshop.
Responsibilities included creating copy for the event website, invites and content for the Instagram page, alongside general show organisation.
-Excellent team player and easily adaptable. Able to take initiative and direction.
Social Media and Marketing Intern at Luca Michele, July 2015- September 2015.
-Keen eye for identifying and interpreting trends.
Responsibilities in this internship include creating social media content, creating a GIF series for SS/16 collection, generating PR contacts and updating sale information.
-Strong organisational skills and attention to detail.
Fashion Assistant Intern at POP PR, June 2014September 2014.
-Clear communicative skills, both verbally and written.
Responsibilities included showroom management, creating social media content, holding stylist showroom appointments, magazine pitching for clients, fashion week ticketing and general showroom assistance.
-Professional, friendly and approachable manner.
London Fashion Week Intern, September 2014.
EDUCATION
This role included seating VIP guests, helping to organize ticketing before the events and assisting the general running of the shows.
WORK EXPERIENCE Waitress and Kitchen Assistant, Glorious Food Ltd, June 2015This role included waitressing at weddings and events, liaising with guests and company staff and preparing food for events both on site and at the kitchen base.
Shoe Specialist, New Look Redhill, September 2012-May 2013, December 2013- January 2014, December 2015- January 2016 My role as shoe specialist included organising stock rooms and the visual merchandising of shoes instore, as well as general retail skills like till training and customer service.
Nottingham Trent University, Fashion Communication and Promotion 2013-2016 Received a 1st for first year portfolio and High 2:1 for second year portfolio
London College of Fashion Short Course in Fashion Marketing, Passed in 2013 Reigate Sixth Form College 2012 A Levels- 3 A-C in English Literature, Fine Art, History
The Warwick School 2005-2010 11 GCSE’s A*-B including A in English, B in Maths
ILLUSTRATION