Festival Case Study

HOW ARE

FESTIVALS

REFLECTION

OR

SEEN AS A

DRIVER

OF SOCIETY, THROUGH THE USE OF

FASHION,

MUSIC AND

TECHNOLOGY?

Sheffield Hallam Univeristy BA (Hons) Fashion Management and Communication The candidate confirms that the work submitted is their own and that appropriate credit has been given where reference has been made to the work of others.

WORD COUNT : 5492

2

1.

ABSTRACT

P.G 4 - 5

2.

METHODOLOGY

CONTENTS

P.G 6 - 7

3.

CHAPTER ONE

7.

CONCLUSION

P.G 10 - 13

8.

4.

CHAPTER TWO

5.

BIBLIOGRAPHY

P.G 14 - 19

CHAPTER THREE

P.G 20 - 23

6.

CHAPTER FOUR

P.G 28 - 29

9.

ILLUSTRATIONS

P.G 32 - 35

P.G 36 - 37

10.

P.G 24 - 27

APPENDICES

P.G 38 - 39

ABS ABSTRACT

A

TR

CT 4

This case study explores the history behind popular festivals, to understand how they have evolved over the decades and how they can be a reflection and driver of society trends. Particularly focuses on Electronic Dance Music (EDM) & Techno history, to highlight how these genres have become hugely important to the growth of the festival industry and reflect how fashion has adapted in line with the popularity of these music genres. This study will examine the effect this has had on the demographic of the festival population, and how this shift has resulted in older established events such as Glastonbury having to adapt for the 21st century to be more commercialised.

As human technology is constantly developing, festivals must explore different channels to understand and reach their wide audience base, specifically the use of social media. This study considers how this can drive society to attend smaller festivals, and drive fashion brands to alter their summer collection to fit with the latest festival trends.

5

METHODOLOGY

In further detail, the case study will firstly discuss two largely attended festivals, Glastonbury and Creamfields.

As huge festivals in the UK, they have overcome many obstacles that have crossed their paths to success. Using a questionnaire, along with a variety of secondary research such as news articles, documentaries, blogs, websites for support, the first chapter will go into the festival’s history and the cultural, social and political issues that they have experienced.

Moving on from the festival itself, chapter two will explore the history of EDM and Techno. It will discuss when and how this genre became increasingly popular at festivals, which lead to the rise of EDM & Techno specific festivals all over the world. It uses a variety of secondary research that will explain why these festivals have become a success and how Techno music has helped this result. In addition to this, chapter two will discuss the influence Techno music has had on fashion, and a variety of brands.

As popularity of these festivals grew, competitors such

as Glastonbury had to think about integrating Techno into their programme with the music genres they are known for.

Chapter three will discuss and debate different generations’ opinions on these changes.

Considering how new technology has affected Glastonbury as its own brand, and whether they will lose their originality and audience by changing and becoming more commercialised. Secondary research was needed to understand the evolving technology and how it is creating a divide between different generations. A focus group was commenced to hear different opinions and knowledge about festivals which gave this chapter the advantages and disadvantages of technology through festivals.

link with festival fashion, as a variety of fast fashion brands have used social media and influencers as a way to share their festival collections to drive sales. This has widened the festival clothing market, as many new businesses have taken advantage of the trends to try to sell the most creative, funky garments that festival goers will desire to have.

The research strategy for this case study is a variety of primary & secondary re-search.

A range of primary research methods have been completed to highlight different opinions across a wide audience. These methods consist of questionnaires, inter-views and a focus group. These run throughout the case study to help determine an answer to the question ‘How are fesThe final chapter uses prima- tivals seen as a reflection or ry and secondary research to driver of society, through the discuss the increase of smaller use of fashion, music and festivals across the world and technology?’ how they have used social media to promote the event and Secondary research (statistics, increase their success. Here it quotes, facts and opinions) is will focus on Parklife festival, used to support and develop and how this festival has used a debate as to whether festidifferent platforms of social vals are a reflection of sociemedia as a key marketing tool ty, or modern society drives to create brand awareness all festival success. over the UK. It will explore a

7

T

8

COM

FIVE KEY WORDS:

CULTURE TECHNOLOGY MUSIC FASHION MMERCIALISED

CHAP

10

PTER ONE

To explore the relevance of festivals and link with social, cultural, political issues and changes” Festivals have many different aspects that make a revolutionary festival, chapter one will explore the relevance of festivals and how they link to social, cultural and political issues and change. Since the early 70’s festivals began as a celebration for everyone to attend and enjoy or ‘let off steam’ as an article claims about an image taken at Isle of Wight’s Festival (Baker, 2015).

However, changes have happened over the decades and the social aspect has become massively important to the festival society. Not only have festivals grew across the world, they have spread all over the UK, with “450 music festivals held across the UK” (Paam), it has become huge within both Millennials and Generation Z. Although, many of these festivals now accommodate to one music genre and targets a certain audience which is a factor of how change has happened.

The issues this change has created whether it is for better or worse, have had a great effect on people over the years. In this chapter, it will go deeper into certain festivals such as Glastonbury and Creamfields and discuss the changes that have happened from when they began to the present time.

11

Regarding the festival Glastonbury, research has proven this is the most drastically changed festival as it has been changing through the decades. Starting in the 70’s Glastonbury was the first of many festivals in that era which is still a success (Snapes, 2019), the creator of Glastonbury Michael Eavis, originally named the festival ‘Worthy Farm Pop Festival’. An article explains that in an interview with Eavis, he confessed about festival just being an attempt to get money as he was ‘in debt’. However, he was selling tickets for £1 which nowadays is about £15. Hoping for a crowd of 5,000 to attend, only around 1,500 decided to turn up. (BBC, 2015). On the other hand, Eavis expressed his feelings to a news publisher about the festival being a “fantastic success” (Davenport, 2017).

However, what could have been the issue as to why the capacity wasn’t what he expected, possibly bad advertising, or the acts chosen to perform.

From 1,500 to 250,000 goers, clearly the festival needed time for it to become a complete success.

All acts performing at Glastonbury since the 2000 have been privileged to have been asked to perform and embrace the crowd and fans, whereas the older years of Glastonbury, acts were dropping out days before the festival and some were not turning up on the day without no notice, for example the very first year, The Kooks were the head-liners and even they decided to pull out (Hunt 2019).

12

In 1981, tickets were increased to £8 with 18,000 attending and the festival became a 3-day event, this specific year was run in conjunction with the Nuclear Disarmament Campaign (Butter, 2019). The Early years of Glastonbury was famous for revellers scaling the fences, 80,000 people were getting on site without a ticket. Whereas, 2019 saw about 250,000 people attend, all with a ticket at the price of £248. Comparing this to now, it would be near impossible to get onto site, security for festivals in this decade have become stricter with limits to alcohol and trying to prevent drug use (Osborne, 2017).

This year it is the 50th Anniversary of Glastonbury however, previous articles have been discussing the new rules that may be enforced on this year’s event. The Mendip district council has advised there be restrictions for the amount of ‘personal use’ alcohol brought into the festival. Not specifically stating any amount, the council claim to be addressing this issue to keep Glastonbury’s reputation which is their responsibility and plan to succeed in having a “well planned and managed” event (Smith, 2020). With this being the first year of change, how will it affect the festival goers and how will they respond to this change after the past 50 years. Within a discussion of festival goers, this topic

was brought to question and few agreed with the change as it is caring for the people and trying to achieve a safer event. On the other hand, it is seemed unfair to tell people a limit as it’s the goer’s choice to how much alcohol they want to drink. Keeping the festival safe of drugs is important and can understand the need to upkeep security for the festival and is a must for all other festivals, all could agree on this statement within a focus group. (see appendix C).

Moving on to another well-established festival, Creamfields.

Unlike Glastonbury, Creamfields has only been around since 1998 but has successfully become festival of the year on numerous occasions. Figure 1 (appendix A) shows 18 out of 32 responses say they have attended Creamfields among various other events such as Parklife and Leeds/Reading Festival. This survey suggests Creamfields to be one of the popular festivals throughout the year, since 1998 Creamfields has gone from a day festival with 25,000 attending to a

4-day camping experience and a massive increase to 80,000 goers. With the event selling out in 2009, the capacity was raised for next year’s event and then received an award for “Festival of the year” (Berman, Gerstenberger & King, 2018), beating Glastonbury and Isle of Wight festival for the title. As the years progressed, Creamfields got bigger and better, after the event was cancelled due to horrendous weather, they decided to build stages that would keep people dry and safe, this was to never disappoint the customers again if they were to be the same conditions. In 2014, the festival became a 3-day camping experience and all performances being live streamed for the rest of UK to appreciate. Every year it became more popular and created bigger budgets and have more amazing artists perform, as they were competing with other festivals on the same bank holiday weekend, it is crucial to keep reaching out to the best artists to attract the target audience (Tamboowalla, 2017).

Over the past couple of years Creamfields has suffered from major theft and traumas from drug use. In 2019 many goers suffered massively from enjoying their weekend to coming back to their cars being dismantled and stolen from. Discussed in an interview, Josh Hayes, 24 unfortunately was a victim of this crime and shared his experience, “walking back to the car after a weekend at Creamfields to find the window

and lock smashed and all of the dashboard ripped apart in an attempt to steal radio” (Duggan, 2019). Other interviews discussed how disgusting and disorganised the security had been, with how much people have paid for parking and between £250 to £350 for a ticket to go to the festival, you’d expect your car to be safe for the weekend (Duell, 2019).

This became viral on social media, with 2,000 comments and even more likes on Facebook, it became a popular subject over the UK and one comment suggested by Andrew Riley was that “To rip of that many cars they had to have support from security.” (Hutchison & Murphy, 2019). On the other hand, this made the festival want to become safer, stronger and build their security to protect the goer’s valuables.

As expressed, festivals as a whole have had to evolve over the decades. Both Glastonbury and Creamfields have made huge alterations, whether that be music, aesthetic or audience. With changes, both have had obstacles to overcome to carry on the growth of each festival, whether that be political, social or cultural issues.

(Festival Impact, 2016) This is a reflection of modern society driving festivals to be improved and keep their success. Following on from the backgrounds of festivals, the next chapter will discuss an essential factor, which is music genres and how this is reflected into festival fashion.

14

CHAPTER TWO

“To explore and discuss the rise of Techno festivals and how Techno has influenced festival fashion”

16

What would a festival be without music? Well there would be no festival. Within chapter two it will discuss the relationship between music, fashion and festival goers, specifically to the genre of Techno. There are many different genres that cohort with certain festivals, for example the festival choices given within the Primary research questionnaire (see appendix B) are a mixture of genres, which aim towards a target audience. In addition to this, the genre of music then supports the style and trend that is worn to these festivals and events. The most popular trending festival fashion is mostly aimed towards Techno music, which is why most festivals have now attached themselves to that genre to achieve more popularity and fit in with the fashion that’s trending (Bobila, 2018). Festival fashion has drastically changed over the past few years, this has been issued by music genres because people want to fit in with the tone of the music, as well as standing out and being unique. Relating to Techno music, this has become massive in other countries that have created festivals based on the music genre, also the party island Ibiza is hugely known for Techno/house-based music as stated “Techno is now the most well supported genre on the island” (Lee, 2018).

Which also relates to the trending festival fashion as it is also worn by these goers throughout the season.

The famous music genre started supposedly in the late 80’s in Detroit however, it is known to have been created in the early 70’s in Dusseldorf, Germany, by the artist Kraftwerk when they built their klingklang sound factory (Reynolds, 2016). The band were said to be described often as “the godfathers of electronic music” (Kraftwerk).

Their experimental production techniques are what influenced the electronic music that we are so familiarized with, they are reflected to this day as the pioneers of the genre (Halligan, 2017). On the other hand, it was 1988 that EDM drifted into other genres, one was defined and given the term ‘Techno’. A Detroit band were approached

by British music entrepreneur Neil Rushton, his goal was to have their music released to the UK, and Techno was used to make their music individual and distinctive compared to House music (Sousa, 2017).

Techno music is a sub-genre of Electronic Dance Music, along with House, Drum & Bass and few others. It was the second sub-genre to break through after House, if having listened to Techno, it is noticeable that it focuses on harsh mechanical beats and having a computerised sound (mn2s, 2018).

With a wide range of Techno festivals beginning to take over all other festivals, many starting in the 20th century have taken the music genre Electronic Dance Music. They want to attract the wider target which is Generation Z, and this would be “impossible without the internet” (Godard, 2018). As discussed further in chapter three, festivals have come a long way with the use of technology and social media. Numerous festivals have been influenced by the EDM genre across the UK. Over Europe unknown festivals are up and coming over the past two years, for example Hideout festival which is held in Croatia and started in the year 2011, with this year having huge EDM DJ’s and artists performing such as Darius Syrossian, Camel-

phat, Solardo, Fisher and many more, it had been that it “is fast becoming a popular festival destination” (Serck, 2013). This attracts Gen Z because it also means a sunny getaway to another country, and with it being the end of June, it doesn’t cross with other big Techno festivals in England such as Creamfields, Lost Village and many more.

Another abroad festival that was mentioned within the Primary Research Questionnaire (see appendix A) is Awakenings which is held in Amsterdam, this started in 1997 but has only become popular within the UK over the past few years. Techno music has established a foundation for festivals around the world, and in the past decade, EDM has become a central pillar of global youth culture (Ravens, 2020).

The rise of Techno festivals has also had a huge impact on the fashion industry, and unfortunately the environment.

Festival fashion has become a chance to express style however, this is fuelling fast fashion culture by selling cheap festival styled garments, which is then creating an affect among the world for consumers to only wear these outfits once and either resell or throw away (Petter, July 2019). As discussed, many new festivals through-out the UK have taken the route to Techno music and this has driven brands to revolve their summer campaigns around the evolving festival trends and make it a fundamental part of the industry (Petter, August 2019).

Festivals such as Creamfields, We are FSTVL, Lost Village and many others are all cre-

17

ated to stage EDM (Electronic Dance Music) DJ’s, producers and artists, and to make the fans, “who when it comes to festival season, experience the equivalent amount of excitement felt by kids at Christmas.” (Younes, 2020). With these Techno festivals, has come a variety of new and reoccurring trends. Many of the trends being worn from the 2000’s to now, are just updated versions of past trends in different eras, and they are in a constant cycle of being on trend (Bjelic, 2020). One trend that has had massive comeback is Neon, this trend is basically a representation on the 80s/90s and is seen as “I’m here to have a good time” from anyone who wore it (Freedom Rave Wear, 2018). The goal with Techno music festivals and the outfits worn are to just express your own style and anything that is outgoing, creative and stands out will make you fit in. Finding a brand and an outfit for a festival is all a risk but is it worth it to find the best outfit to suit the occasion and yourself (Conway, 2019).

18

Furthermore, the trends related to these Techno festivals do not stop there. Many events throughout the UK are inspired by the Techno genre and are created for Techno lovers to see their favourite DJ’s. Huge event organisations like Warehouse Project have become a “go-to” destination for ravers as they have the most exciting line-ups spread across a three-month period. (Wray, 2018). As this is an indoor event, it gives the opportunity to wear anything you desire without the risk of been rained on and cold like you would at festivals. Along with the UK, the Techno trend has spread all over the world with party island Ibiza taking Techno to a whole other level with “the best disco’s in the world”, stated by Ibiza’s director of tourism, Vicente Torres Ferrer (Nunis, 2018).

Where the music goes, so does the fashion. With all events in Ibiza either being in the sun or inside a club it does not make a difference with your choice of clothing, you can go full out with the Techno inspired outfits. Ibiza is the best place to express your wildest outfits because, “The best thing about Ibiza is that absolutely anything goes.”

(Dewberry, 2019).

Everything considered, it is clear music is an enormous factor in the festival industry and it drives society to attend. In this case, Techno music has become essential through the 20th and 21st century whether that be the rise of new festivals or events (Garcia, 2014). Additionally, music has been influencing the fashion industry for decades and that is evident throughout history (Hector, 2017). Both Electronic Dance Music and fashion are “revolutionary” they intertwine with one another and are always thinking ahead for what is next (Lee, 2019). Following on from the rise of festivals, the next chapter discusses the reasons behind their success and how this links with the use of technology across generations.

19

CHAPTER THREE

“Discuss how Glastonbury has become commercialised with the use of technology across generations” Looking at all the festivals held in the UK, Glastonbury is the one that is most versatile and can target many audiences, it does not just aim at one music genre. Glastonbury presents all genres to create a community of people to celebrate and bring festival goers together whether they have the same taste in music or not they create a unity. (Adejobi, 2019). In this chapter, it will discuss the influence that technology has on generations and festivals, specifically Glastonbury. Reflecting the changes and deliberations of generations through the experiences of the past, present and future of music festivals.

Social media has become a massive factor within the festival industry, whether it be promoting the festival beforehand, or festival goers posting stuff all over social media platforms when attending the festival (Reddy, 2015). Different experiences contribute to the overall experience value of a 21

music festival, these are made up or four components; Music, Festival, Social and separation experience (Packer, Ballantyne, 2011). With Glastonbury being well-known across the world, many have criticised it being too commercialised and lost the novelty of the festival (Fisher, 2008).

Through-out chapter three, it will discuss the alterations that Glastonbury has executed over the past years, using a range of technology to make it more commercialised. However, has this changed the audience’s opinion on the festival itself?

with it, it is a “normal facet in their lives” (Nickson, 2019).

With new technology comes social media, and with most of the Generation Z becoming old enough to attend festivals, the rise in numbers is astonishing. Compared to last year, conversations about music festivals over social media have increased by 34% (Simplilearn, 2019), and it has been stated that “roughly 1 out of every 4 posts about music festivals came from people participating remotely via live streams or other forms of engagement”. Live streaming has had a massive impact on Technology is continuously the festival industry because it evolving, with them constant- is sharing the real experience ly improving features; this can on social media with others. be a downfall for the people With 70% of people conthat do not keep up (Faber, 2018). From Glastonbury starting in 1970, this festival has had to develop and adapt the most out of any other festival. Compared to now, the advertising was very minimal, in that decade if you were to find out about any events happening, it was from word of mouth (Hunt, 2019).

Everything about technology is just a natural part of life to the younger generation, from either being young or born into this new way of life, it is all they have ever known and grown up to understand, which is why they adapted to it so quickly. Whereas, the older generation take longer to understand new updates to a mobile phone for example, an average teen isn’t afraid to take control and experiment

firmed that after seeing the live stream it made them want to attend the next live event (Eventbrite, 2014). Unfortunately, social media has become an obsession to capture the perfect image instead of living in the moment. Specifically, to music festivals many use Instagram and snapchat to show everyone what they are doing, how they look and that they are having a good time, but is this really what they should be caring about?

With it being stated that “We now view festivals through the eyes of our camera lens, as opposed to the eyes in our head.” (Chatzidakis, 2017).

Using social media comes with using data, Glastonbury and many other festivals work with phone companies to make the use of social media easier for the festival goers. Last year, Glastonbury had a partnership with EE and claimed to be the “first 5G-connected festival ever”. Statistics show that in 2017, 54 terabytes of data were used, with the busiest day of data usage being Sunday. In addition to this, last year EE predicted that more than 70 terabytes would be used at the festival, which is equivalent to 784 million Instagram posts (Heathman, 2019).

Different generations will disagree with each other as to whether Glastonbury had their glory days in the 20th Century or if the past 20 years have been the start of the greatest festival in the UK. The New Musical Express state that

“The first Glastonbury festival in 1970 was a different beast to the one we know today” (Hunt, 2019). As discussed within chapter 1, Glastonbury started off as a free loving place for hippies, and many would agree that “You didn’t have the 200,000-strong crowd, BBC TV cameras and hordes of glammed-up celebs flocking to the sacred Somerset fields back then either”.

It was a few hundred people who were careless, not there just for social media and did not have the pressure to look good (Kenyon, 2016). Nevertheless, Glastonbury has become a must for Generation Z, as discussed in a focus group (see appendix D), the participants all agreed that Glastonbury is on their list. However, is this based on the artists that are now chosen for Glastonbury, and would it be a completely different response if nothing had changed from the 70’s/80’s.

On the other hand, many suggest that Glastonbury is the only festival to still be an enjoyable weekend for all generations. With an article suggesting that “Certain media outlets would have you believe that Glastonbury is chiefly populated these days by posh girls in hot pants and Hunter wellies, but it contains multitudes: …. It’s a dazzling sprawl of humanity united by the determination to have fun.” (Lynskey, 2016). Glastonbury has become a brand for itself, whether it be donating to organisations or

being spoken about by the world. Festivals have the easiest way of promoting next year’s event, with the use of social media many goers post and share their experience, this is basically world-wide word of mouth which is how Glastonbury has become an award-winning festival from when it first began in the 70’s.

The goers are basically the unpaid marketing team, which is a necessity for all festivals if they want to continue their success (Ashbrook, 2019).

Weighing up both sides of the argument, it is a reflection of what society has become due to festivals. This is driven by the use of technology, and how generations and companies use this technology to their advantage. Social media is the biggest influence on the world, with it changing the way we communicate (Quintana,2018). Many festivals use social media as a form of marketing and to advertise, without it they would not receive the same amount of publicity as they do with it. Although by doing this, it is aiming towards a specific audience who mostly use this these platforms, which is Gen Z. As well as festival companies, brands also use social media as a platform to promote and sell their products; and this will be discussed further within the next chapter.

23

CHAPTER FOUR

etc, is this what helps them become such a success and massive within the festival organisation. With it being said “To explore and dis- that “festivals don’t do as well when there is no Glastonbury. cuss how newer fes- When Glastonbury is on, it’s tivals and brands on the news the whole time, the BBC is pumping it out, and compete and pro- everyone thinks…festivals” mote themselves in (Webster, E & Mckay, G). this chapter it will disthe festival industry, Within cuss these newer festivals and with the use of social how they reach out to a wider audience and whether brands media” use these festivals to promote Over the 20th century new, themselves. crazy and smaller festivals have become more and more popular as the years go on. In the past ten years, festivals With a variety of locations, have become a massive influmusic genres and artists the ence on Generation Z, with festival industry is becoming it being stated that they are enormous and getting more “avid gamers and music-gocompetitive, Pete Mason sug- ers”, (Western Governors gests that “music festivals are University, 2019). From the in a constant state of evolu- event, the music, the outfits tion”, (Mason, P. (2015, July and just the atmosphere, it is 27). Since the early 70’s fes- attracting more people every tivals have become huge fac- year. Exploring more into the tors of the summer season, two-day festival Parklife, unwith Glastonbury at the end like Glastonbury, Creamfields of June and Creamfields on and Leeds Festival, Parklife is August bank holiday week- not a camping festival. This end; this opened up great op- festival is located at Heaton portunities for other compa- Park, which is not far from nies and organisations to start Manchester City centre, which smaller festivals that would allows everyone to find acinterest these festival goers, commodation throughout the these consist of Parklife, Mint city of Manchester and have Festival, Y Not Festival and a shuttle bus service from many others. Although, do the centre straight to the festhey need to commercialise tival and vice versa, this runs themselves to be well known, throughout the day. As seen or should they be kept under in chapter one (see appendix the radar for only true festival A), Parklife is the most popugoers to attend. With bigger lar festival with majority of the festivals such as Glastonbury responses showing they have and Creamfields being show- been to this festival, starting in cased on BBC, radio stations 2010 Parklife began with only 25

15,000 people each day and with a vast rise of 80,000 a day, the festival has drastically changed over the decade (Parklife Festival, 2010).

With other festivals being larger than Parklife, they needed to do something to achieve higher attendance from the first year. Used by most of the Gen Z population, social media is a huge way that Parklife reach out to their audience by using different platforms like Instagram and twitter, they draw the audience in with the branding and aesthetic they present. With articles suggesting that Parklife is fun and “doesn’t take themselves too seriously” and that this is a “true representation” of what goers can expect from attending the festival. Another great way that Parklife promote themselves is by creating an early bird ticket sale for the year after as soon as the festival is over (Williams, 2019), this has made an enormous impact on the festival’s popularity and along with social media helping. The choice of collaborating with student beans and creating payment plans for the tickets, has definitely made it easier for a huge amount of their target audience to afford the ticket who are desperate to go (Jackson, 2020). This was brought up by a participant within a question in the focus group (see appendix), as they are a student themselves and have attended Parklife in the previous years and have also purchased a ticket for Parklife 2020.

26

Many festivals collaborate and accommodate to fresh, cool new brands who want to promote themselves, these brands vary from selling vintage clothing, funky festival outfits, glitter and jazzy sunglasses. The massive glitter company that started as Gypsy Shrine; now named Shrine, were at Glastonbury 2019 to give glitter makeovers and hair braiding (see appendix G). Gypsy shrine started in 2016 and was inspired by festival culture and that is what they base their brand around, “to create festival looks like no other” said by the owner Jenna Meek (ABOUT US). The brand has become massive over the past few years, from starting it in her bedroom, to a pop-up shop, then touring the festival scene, first in the UK and then internationally and now her very own store in London. The brand is working with huge brands like Warner Bros, ASOS, Maybelline and having counters in stores such as Selfridges and Bloomingdales is a dream come true

for the owner. As well as huge companies being interested in the brand, various celebrities like Kylie Jenner, Ariana Grande and Little Mix are fans of the brand along with the other 400,000 follows on Instagram. (Andrews, 2019).

There are smaller, upcoming brands who have made a business from creating their own festival garments and selling to those who are interested and attend festivals.

Using platforms such as Instagram to promote and using depop or their own website to sell their products. A business owner called Jessie Mcewen stated in a Primary research interview that, “I felt like there was no limit in how creative I could be, and the colours and fabrics I could use”. (see appendix E) Festival clothing is becoming more popular for new businesses as they know they will have a specific target audience and become successful.

Fast fashion brands have also jumped straight onto the craze of festival style and made it their main focus over the summer to provide their audience with the newest styles. It has had an impact on the fashion industry with changing the seasonal collection, with Elizabeth Holmes from Vogue Australia agreeing, she states that “Global music festivals have disrupted the fashion line-up,” claiming it at as the “fifth moment”.

(Holmes, 2018). Brands are trying associate themselves as versatile to all new and upcoming trends, however this isn’t letting goers express their own individual style. The repetition of style across these brands all link to social media and influencers showing a style and then these brands are stealing them and they “have now been hijacked and capitalised on by major fast fashion brands” (Dalton, 2019). Companies such as Missguided, Pretty Little Thing and many other smaller brands have now taken the responsibility on keeping up with the trend and constantly needing to search for new things. Unfortunately, brands are trying to keep their target audience of Gen Z, but this generation have become fixated on the aspect of lowcost fast fashion. This has established an issue of pressure on each brand to be aware of influencers and social media, to make sure their consumers do not become disinterested.

(Bird, 2018).

Overall, social media drives both festivals and fashion brands to suit what their audience want. New festivals and upcoming brands will use the same technique to promote themselves, using platforms such as Instagram and having influencers encourage consumers to attend and buy. This is a reflection of how festivals use fashion and technology to their advantage on society, but brands have become a driver for society to present the festival fashion. These festival inspired brands want to become big enough to promote their brand at a festival, as Jessie discussed in the interview that “Glastonbury would be a dream” for her to have a stall to sell her clothing there. (see appendix F)

CONCLUSION 28

Taking everything into consideration, it is clear festivals have become a reflection of modern society with the use of fashion, music and technology driving that outcome. The case study has thoroughly discussed and explored the facts, opinions and reasons as to this conclusion, and undertaken a variety of primary and secondary research to support this. The history behind Glastonbury and Creamfields were fully understood and explained their success, with Glastonbury being the longest and most successful festivals since the 70’s (Snapes,2019), it is clear that this will have evolved the most over the decades and that society has drove Glastonbury to excel and its success grow. With Creamfields being awarded “festival of the year” (Berman, Gerstenberger & King, 2018), they have also become a huge success within the festival industry, however have had to overcome problems with theft, drugs that could have easily destroyed the popularity, this is reflection of what society can create and drive them to become stronger. As a massive factor of festivals, music was important to explore within this case study, music is what brings the audience to that specific festi-

val. Through-out chapter two, it explained the story of Electronic Dance Music and how the genre Techno has become the genre of this generation.

This music genre has driven the rise of Techno festivals and created some of the most successful festivals over the world (Ravens,2020). With the rise of Techno festivals, came funky, original festival fashion. This is a reflection of what festivals can do to fashion. It has drove the fashion industry to create a completely new summer collection to relate to the trend of festivals (Petter, August 2019). This fashion has spread over more than just festivals, it is now worn for Techno events, festivals abroad and the party island Ibiza (Dewberry, 2019).

A major factor to the whole of this case study is the use of new technology, this has driven festivals to collaborate with brands and mobile companies, which is discussed within chapter three about Glastonbury (Heathman, 2019). This chapter explored the importance of different generations and how Glastonbury are making choices to create a balance for each generation and not cut half of their audience (Adejobi, 2019). Additionally, Glastonbury have had a massive change to their advertising strategies, they use social media to attract more people every year by seeing footage all over social media (Eventbrite, 2014). This

suggests that Glastonbury have been driven to change over the decades, however this hasn’t affected their popularity, if anything it has grown. Lastly, social media has become natural for festivals to promote themselves, as discussed in chapter four, Parklife use a variety of platforms to keep their consumers informed on tickets, performers and general information (Williams, 2019). Therefore, social media is driving opportunities for all new festivals and openings for upcoming festival fashion brands. As Techno festivals rise, it affects the fashion industries summer collections to change to unique funky festival garments (Holmes, 2018). As these brands become more suitable to the festival trend, it gives the company an opportunity to show their brand at a festival in a pop-up store and this is what rising brands want to accomplish as stated by new business owner Jessie Mcewen (see appendix F). To conclude this case study, festivals with the factors of music, fashion and technology are a reflection and driver of society.

29

30

31

BI

BLIO GRA PH Y

ABOUT US. (n.d.). Retrieved February 21, 2020, from https:// www.thegypsyshrine.com/pages/about-us

https://www.image.ie/fashion/ the-fast-fashion-dressing-obsession-festival-fashion-style-sustainability-125786

Adejobi, A (2019, May 29) Glastonbury 2019 frustrating stage time clashes that you just can’t avoid. Retrieved March 20, 2020 from https://metro. co.uk/2019/05/29/glastonbury-2019-frustrating-stage-timeclashes-just-cant-avoid-9733540/

Bjelic, N (2020, March 23) The comeback story. 60s, 70s, 80s, 90s Fashion trends that are back. Retrieved April 12, 2020 from https://www.rebelsmarket. co.uk/blog/posts/fashiontrends-from-other-decades-thatare-back-in-style

Andrews, J. (2019, July 29) Woman who invented the “glitter boob” trend now set to make £50m a year. Retrieved February 21, 2020 from https://www.mirror.co.uk/money/woman-who-invented-glitter-boob-18794370

Bobila, M. (2018, April 10) What’s the new ‘Festival Fashion’ aesthetic? Retrieved April 14, 2020 from https://fashionista.com/2018/04/music-festival-fashion-clothing-aesthetic-2018

Ashbrook, J. (2019, June 28) Marketing Glastonbury - How do they get away with it. Retrieved April 12, 2020 from https:// cmagency.co.uk/marketing-glastonbury-how-do-they-get-awaywith-it/

Butter, S. (2019, June 28). Glastonbury isn’t just music - it’s buzzing with political energy too.

Retrieved November 30, 2019, from https://www.standard. co.uk/comment/comment/it-snot-just-about-music-glastonburys-buzzing-with-political-energytoo-a4178096.html

Baker, L (2015, June 23) Why music festival won’t die. Retrieved October 24, 2019, from http://www.bbc.com/culture/ story/20150622-why-music-festivals-wont-die BBC. (2015, June 17). 6 surprising facts about the first-ever Glastonbury.

Retrieved October 24, 2019, from https:// w w w. b b c . c o . u k / m u s i c / a r t i c l e s / 6 2 e f 4 e 4 5 - a 57 9 - 4 4 9 2 ba65-a9698136e594 Berman, N., Gerstenberger, T., & King, C. (2018, February 25). A Brief History of the Creamfields Festival. Retrieved January 21, 2020, from https:// www.tvovermind.com/brief-history-creamfields-festival/.

Bird, E. (2018, August 23) Festival Fashion highlights our fast fashion dressing obsession. Retrieved March 1, 2020 from

Chatzidakis, A. (2017, June 16) On How Technology Has Changed The Way We Experience Music Festivals. Retrieved April 12, 2020 from https://graziadaily.co.uk/life/music/technology-mobile-music-festivals-experience/ Conway, J. (2019, July 25) The biggest and baddest EDM festival fashion trends in 2019! Retrieved April 12, 2020 from https:// www.813area.com/shopping/ edm-festival-fashion-trends.html Dalton, R. (2019) The uncomfortable truth about fast fashion and festival style. Retrieved March 2, 2020 from https://wellmadeclothes.com/articles/TheTruthAboutFastFashionAndFestivalStyle/

Davenport, E. (2017, June 8).

24 toilets and T-Rex - this is how the Glastonbury Festival began. Retrieved November 30, 2019, from https://www. somersetlive.co.uk/whats-on/ glastonbury-1970-lost-money-michael-101056 Dewberry, J. (2019, December 28) What to wear in Ibiza 2020: The ultimate Ibiza style guide.

Retrieved April 14, 2020 from https://www.alajode.com/wearibiza-ibiza-style-guide/ Duell, M. (2019, August 27).

Creamfields revellers return to ‘secure’ car park to find stripped cars. Retrieved January 13, 2020, from https:// www.dailymail.co.uk/news/ article-7399119/Creamfieldsrevellers-return-secure-car-parkstripped-cars.html.

Duggan, J. (2019, August 27).

Creamfields festival-goers fuming after their cars are stripped of wheels, seats and engine parts by crooks. Retrieved January 13, 2020, from https://www.thesun. co.uk/news/9805963/creamfields-cars-stripped-of-wheels/ EventBrite (2014) Music festival Study. Retrieved April 12, 2020 from https://eventbrite-s3.s3.amazonaws.com/marketing/MusicFestivalResearch/EventbriteStudyMusicFestivals8_25_14.pdf Faber, K. ( 2018, May 25) How to keep up with constantly changing technology. Retrieved March 30, 2020 from https://innovationmanagement. se/2018/05/25/how-to-keepup-with-constantly-changing-technology/ Fisher, A. (2008, March 30) Fans head abroad as Glasto loses its lure. Retrieved March 30, 2020, from https://www. theguardian.com/music/2008/ mar/30/news.glastonbury

33

Freedom Rave Wear. (2018, June 14) In memoriam: 90’s Rave Fashion. Retrieved April 12, 2020 from https://www. freedomravewear.com/blogs/ festival-season/in-memoriam-90s-rave-fashion Garcia, L.-M. (2014, July 14).

A pre-history of the electronic music festival. Retrieved March 30, 2020, from https://www.residentadvisor.net/features/2104 Godard, T. (2018, May 21). The economics of Electronic Dance Music Festivals. Retrieved March 2, 2020, from https://smartasset.com/mortgage/the-economics-of-electronic-dance-music-festivals Halligan, S. (2017, May 17) The evolution of electronic music and its influence on UK culture.

Retrieved April 14, 2020 from https://social.shorthand.com/ hallig4n/uyPxqfBIS5e/the-evolution-of-electronic-music-and-its-influence-on-uk-culture Heathman, A. (2019, June 21) The tech you need to power your Glastonbury 2019 extravaganza. Retrieved April 12, 2020 from https://www.standard. co.uk/tech/glastonbury-2019tech-gadgets-phone-chargersapps-a4172891.html Hector. (2017, June 23). The Effect Music Has On Fashion.

Retrieved April 14, 2020, from https://blog.ambient-mixer. com/moods/the-effect-music-hason-fashion/ Homles, E. (2018, April 20) How summer festivals became fashion’s ‘fifth season’/ Retrieved March 1, 2020 from https://www.vogue.com.au/ fashion/trends/how-summer-festivals-became-fashions-fifth-season/news-stor y/5fe1e2ab5786f573f6d70dffe11b996e

34

Hunt, E. (2019, September 19) Hippes in bloomers, army bell tents and Stackridge – the story of the first ever Glastonbury Festival, by those who were there.

Retrieved March 12, 2020 from h t t p s : / / w w w. n m e . c o m / f e a tures/glastonbury-festival-first-ever-story-1970-2510609 Hutchison, J., & Murphy, N. (2019, August 27). Creamfields revellers have cars dismantled and stripped for parts by thieves. Retrieved January 13, 2020, from https://www.mirror. co.uk/news/uk-news/creamf ields-revellers-cars-dismantled-stripped-19013342 Jackson, D (2020, January 30) Parklife tickets 2020 go on sale - how to buy them and how much they cost. Retrieved March 2, 2020 from https:// www.manchestereveningnews. co.uk/whats-on/music-nightlife-news/parklife-2020-manchester-how-tickets-17649512 Kenyon, B (2016) HOW GLASTONBURY HAS CHANGED SINCE THOSE EARLY DAYS IN THE 70S (VIDEO) Retrieved March 12, 2020 from https:// www.joe.co.uk/entertainment/ how-glastonbury-has-changedsince-those-early-days-in-the-70svideo-6526 Kraftwerk. (n.d.). Retrieved January 30, 2020, from https:// t hevogue.com/ar tists/kraf twerk/ Lee, J (2018, July 25) IS THERE TOO MUCH TECHNO IN IBIZA? Retrieved January 17, 2020, from https://mixmag.net/ feature/ibiza-techno Lee, V (2019, July 25) How the women of dance music have taken over high fashion. Retrieved April 14, 2020 from https:// mixmag.net/feature/how-thewomen-of-dance-music-have-taken-over-high-fashion-1

Lynskey, D. (2016, June 26) Glastonbury through the years: the mother of all festivals. Retrieved April 12, 2020 from https://www.theguardian.com/ music/2016/jun/26/glastonb u r y - m e m o r i e s - d o r i a n - l y n ksey-festival-1994-2016 Mason, P. (2015, July 27) The commercialisation of Music festivals and the rise of super concerts. Retrieved February 20, 2020 form https://www. huffpost.com/entry/the-commercialization-of-_1_b_7873236?guccounter=1&guce_referre r = a H R 0 c H M 6 Ly 9 3 d 3 c u Z 29vZ2xlLmNvbS8&guce_referrer_sig=AQAAABv378plq5b1irub7iJfvc4CAF0ah9z_dkOuJw6cKeSgqa8i0kdOe_oOztAKdYJ3S0MGZkV-acEIP-hsg2Qcwf8xDkEmfWShl8tBsOz--DF W1irCdSgpiTkuJiDYJovJr-SqLelgLRC07Xp_eUMIYssJ763oRhEg1reDvYGad_RU Mn2s (2018, April 30) A beginners guide to electronic music genres. Retrieved April 14, 2020 from https://mn2s.com/news/ features/beginners-guide-electronic-music-genres/ Nickson, C. (2019, October 15) How a young generation accepts technology. Retrieved April 12, 2020 from http:// www.atechnologysociety.co.uk/ how -young-generation-accepts-technology.html Nunis, V. (2018, November 7) Is the party over for Ibiza? Retrieved April 14, 2020 from https://www.bbc.co.uk/news/ business-46060887 Osborne, S. (2017, June 21). Bag checks and sniffer dogs welcome revellers to Glastonbury as security is stepped up. Retrieved November 30, 2019 from https:// w w w. e x p r e s s . c o . u k / n e w s / uk/819623/Glastonbury-Festival-security-stepped-up-bag -checks-sniffer-dogs-metal-detectors

Paam. (n.d.). The History of Music Festivals. Retrieved November 30, 2019, from https:// www.paamapplication.co.uk/ blog/2013/01/08/t he-history-of-music-festivals/ Packer, J., Ballantyne, J. (2011) The impact of music festival attendance on young people’s psychological and social well-being. Psychology of Music, 39(2), 164-181.

Parklife Festival 2010. (n.d.).

Retrieved February 21, 2020, from https://www.efestivals. co.uk/festivals/thewarehouseproject/2010parklife Petter, O. (2019, July 10) Brits to spend £2.7bn on outfits they wear once this summer. Retrieved April 12, 2020 from https:// www.independent.co.uk/lifestyle/fashion/summer-outfitsspend-billions-fast-fashion-barnardos-charity-shop-a8998846. html Petter, O. (2019, August 19) Festival Fashion Trends for 2019: Sustainability Reigns Supreme.

Retrieved November 27, 2019, from https://www.independent.co.uk/life-style/fashion/ festival-fashion-trends-sustainability-key-trends-eco-friendly-2019-a8861996.html Quintana, R. (2018, April 18).

How Social Media Influences People – Infographic. Retrieved April 12, 2020, from https:// www.socialmagnets.net/how-social-media-influences-people/ Ravens, C. (2020, January 31) 2010-19: Rise of The Festival-Industrial Complex. Retrieved April 14, 2020 from https://www.residentadvisor.net/features/3595

Reddy, T. (2015, October 7) 6 Factors Driving the Massive Growth of Music Festivals. Retrieved March 30, 2020 from https://www.umbel.com/blog/ enter tainment/6-factors-driving-massive-growth-of-music-festivals/

Tamboowalla, A. (2017, May 16) Budget: Experience the magic of Creamfields 2017at a good price this August. Retrieved November 30, 2019 from https:// w w w. f e s t i v a l s h e r p a . c o m / budget-experience-magic-creamfields-2017-good-price-august/

Reynolds, S. (2016). Generation ecstasy: into the world of Techno and rave culture. London: Routledge.

Webster, E & Mckay, G. (date) FROM GLYNDEBOURNE TO GLASTONBURY: THE IMPACT OF BRITISH MUSIC FESTIVALS

Serck, L. (2013, May 18) Is European festival fever a threat to UK music events? Retrieved April 14, 2020 from https:// www.bbc.co.uk/news/uk-england-22539977

Western Governors University.

(2019, August 27). Who Is Gen Z And How Will They Impact The Workplace. Retrieved February 24, 2020, from https:// www.wgu.edu/blog/who-isgen-z-how -t hey -impact-workplace1906.html Williams, N. (2019, June 26). 4 music festivals using social media successfully. Retrieved February 21, 2020, from https://www. clicky.co.uk/blog/4-music-festivals-using-social-media-successfully/

Simplilearn (2019, August 1) How social media has changed the music festival scene. Retrieved April 12, 2020 from https://www.simplilearn.com/ how-social-media-changed-music-festival-scene-article Smith, A ( 2020, January 15) Glastonbury Festival could impose limits on alcohol brought to Worthy Farm under plans to improve security. Retrieved January 19, 2020, from https://www.telegraph.co.uk/ news/2020/01/15/glastonbury-festival-could-impose-limits-alcohol-brought-worthy/ Snapes, L. (2019, June 5). Glastonbury founders to celebrate 50 years in behind-the-scenes book.

Retrieved November 30, 2019, from https://www.theguardian. com/music/2019/jun/05/glastonbury-founder-celebrate-50years-behind-the-scenes-book-michael-eavis Sousa, G. (2017, April 25) Where did Techno music come from? Retrieved April 14, 2020 from https://www.worldatlas. com/articles/where-did-technomusic-come-from.html

Williams, N. (2019, June 26). 4 music festivals using social media successfully. Retrieved February 21, 2020, from https://www. clicky.co.uk/blog/4-music-festivals-using-social-media-successfully/ Wray, D. (2018, December 19) An oral history of the Warehouse Project. Retrieved April 14, 2020 from https://www.redbull.com/gb-en/warehouse-project-oral-history Younes, J. (2020, March 20) Top 10: Electronic Music Festivals In the UK 2020. Retrieved April 12, 2020 from https:// www.festicket.com/magazine/ discover/top-10-electronic-music-festivals-uk/

35

Anthony Delanoix. Party fans raised their hands. Retrieved from https://unsplash.com/photos/hzgs56Ze49s Krists Luhaers. Young and wild in positivus festival. Retrieved from https://unsplash.com/photos/DSB1MZWsGco Aranxa Esteve. Young women at a festival. Retrieved from https://unsplash.com/photos/pOXHU0UEDcg Chin, A. (2013, November 13) Storm Electronic Dance Music. Retrieved from https://www.thatsmags.com/shanghai/ post/1865/storm-festival-brings-the-edm-megafest-to-shanghai Skiddle. Hideout festival. Retrieved from https://www.skiddle. com/news/all/Five-of-the-best-Hideout-Festival/38164/ Challenger, K.(2019) Ibiza. Primary Photograph Sherp. (2019, December 23) Glastonbury. Retrieved from https://www.festivalsherpa.com/glastonbury-2020-the-inside-scoop-so-far/ Baillie, K (2016, June 2) Glastonbury to ‘move to Longleat estate’ after 46 years at Worthy Farm. Retrieved https://metro. co.uk/2016/06/02/glastonbury-to-move-to-longleat-estateafter-46-years-at-worthy-farm-5918664/ Challenger, K. (2019) Mint Festival. Primary Photograph SHRINE. Festivals. Retrieved from https://www.thegypsyshrine.com/pages/events Spell & The Gypsy (2017, August 31) Glastonbury Days. Retrieved from https://www.blog.spell.co/blog/festival/glastonbury-days/ Challenger, K. (2019) Ants, Ibiza. Primary Photograph

ILLUSTRATIONS

37

APPENDICES A)

B)

38

C)

Do you agree with all the rules applied at festivals?

E)

Participent 1:

3. Why did you chose festival, event style garments?

Yes

I felt like there was no limit in how creative I could be, and Participent 2: the colours and fabrics I could Yes, because it keeps people use. safe and it helps control the amount of people attending.

F) Participent 3: Yes Participent 4: Yes because it makes me feel safe and makes everyone be abit more responsible.

Participent 5: Yes

D)

How much money are you willing to pay for the whole festival experience?

10. Would you ever want to have a pop up/stall at a festival? If so, Which one and why?

Yes definitely! I’m not sure which I would pick as there are so many but Glastonbury would be a dream, I don’t think that one is in my budget yet though haha!

G)

Participent 1: Around 250 depends if it’s a 4 day one or 1 day.

Participent 2: £300.

Participent 3: UK festival approx £300, abroad up to £1,500.

Participent 4: Depends on the price of the ticket. I prefer it when festivals do a payment plan so it’s not as much money straight away.

Participent 5: As I’m a student I want to spend as little as possible so when festivals such as Parklife do cheaper tickets for students and have payment plans it makes it easier to spend less money in one go.

39