Earth: Unmasked 2030 Journey Book

PRODUCER KRISTA HELLON

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FUTURE EDITION //

JOURNEY BOOK TO EARTH: UNMASKED 2030 // AD5604 // 1

// WELCOME TO THE FUTURE // - - -

PRODUCER KRISTA HELLON

//

FUTURE EDITION //

JOURNEY BOOK TO EARTH: UNMASKED 2030 // AD5604 //

// CONTENTS //

INTRODUCTION

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FASHION COMMUNICATION

7

REFLECTION OF FORECAST

10

THE CONSUMER

15

GENERATION Z

17

THE LUXURY MARKET

18

JOURNEY TO EARTH 2030

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KEY INFLUENCES

22

THE CONCEPT

30

COMMUNICATION METHODS

32

FINAL OUTCOME

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SHOOT DEVELOPMENTS 44 CONCLUSION

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BIBLIOGRAPHY 48

3

INTRODUCING EARTH UNMASKED 2030

MOSCHINO SS21

1. FASHION COMMUNICATION IS CRUCIAL FOR CREATING A UNIQUE BRAND IDENTITY AND GAINING MAXIMUM EXPOSURE (DELHI, 2021). THE CORONAVIRUS PANDEMIC HAS PRESENTED INDUSTRIES LIKE FASHION AND CONSUMERS WITH NEW CHALLENGES, OPPORTUNITIES, AND ATTITUDES TO ALL ASPECTS OF LIFE. BRANDS ARE FINDING NEW FORMS OF COMMUNICATING THEIR STORIES IN THIS “NEW NORMAL” ENVIRONMENT AS DIGITAL COMMUNICATION BECOMES ONE OF THE MOST VITAL FORMS OF COMMUNICATION IN ANY INDUSTRY TODAY. 2. AS YOUNGER CONSUMERS BECOME THE LARGEST SEGMENT OF LUXURY BUYERS, LUXURY BRANDS NEED TO UNDERSTAND HOW TO RELATE TO AND WIN OVER THESE YOUNGER GENERATIONS (BEAULOYE, 2020).

CONSUMERS TODAY WANT TO CONNECT WITH BRANDS WHO TELL A STORY THEY WANT TO BE ASSOCIATED WITH, AND THE ELEMENTS OF THE BRAND STORY WILL BE PARAMOUNT IN CONSUMER VALUE CREATION.

// INTRODUCTION TO EARTH: UNMASKED 2030 //

5

FASHION COMMUNICATION IN INDUSTRY

THE PANDEMIC HAS PRESENTED BRANDS AND DESIGNERS WITH NEW INVENTIVE APPROACHES TO STORYTELLING AND COMMUNICATING THEIR COLLECTIONS TO THE WORLD. LOOKING AT JW ANDERSON’S PANDEMIC-PROOF “SHOW IN A BOX”, FOR EXAMPLE, THIS NOT ONLY FILLED THE FUNCTION OF DEBUTING THE DESIGNER’S NEW COLLECTIONS FOR MEN AND WOMEN, BUT THE BOX WAS ALSO A WINDOW ON A WORLD OF IMAGINATION, FEATURING INTERLOCKING COMPONENTS ALMOST LIKE A PUZZLE.

“THERE MAY WELL COME A TIME WHEN THIS VERY PERSONAL COLLECTION OF CLOTHES AND CHARMING KEEPSAKES WILL SEEM LIKE A CAPSULE OF THE STRANGEST MOMENT THE REST OF US WILL, WITH ANY LUCK, EVER HAVE TO LIVE THROUGH,” SAID ANDERSON (BLANKS, 2020).

OTHER INVENTIVE APPROACHES INCLUDED JEREMY SCOTT’S “NO STRINGS ATTACHED” MOSCHINO SS21 COLLECTION THAT SAW MARIONETTES MADE SPECIFICALLY AS TYPICAL FASHION SHOWS GUESTS AS MINIATURE PEOPLE IN MINIATURE CLOTHING (GALLEN, 2020).

//JW ANDERSON//

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“SHOW IN A BOX”

// AUTUMN/WINTER 2021 COLLECTION //

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JW ANDERSON “SHOW IN A BOX” AUTUMN WINTER 2021

FASHION COMMUNICATION IN INDUSTRY

MENSWEAR DESIGNER PRIYA AHLUWALIA, WHOSE CLOTHING LINE IS KNOWN FOR ITS BRILLIANT REWORKINGS OF DEADSTOCK TEXTILES, TRANSFORMED HER NEW BOOK ‘JALEBI’ INTO A VIRTUAL, INTERACTIVE EXHIBITION FOR LONDON FASHION WEEK’S DIGITAL PLATFORM. PHOTOGRAPHS WERE HUNG REALISTICALLY ON VIRTUAL WALLS OF THE OPEN-SPACE GALLERY AND APPEARED AS PROJECTIONS CAST INTO THE MIDDLE OF DIGITAL SPACE DOCUMENTING BEING A YOUNG PERSON OF MIXED HERITAGE LIVING IN THE UK (DIRVANAUSKAS, 2020).

INSTAGRAM HAS LONG BEEN A FAVOURITE OF INDUSTRY INSIDERS AND FASHION ENTHUSIASTS ALIKE. LOCKDOWNS HAVE PUSHED MILLIONS OF CONSUMERS TO EMBRACE LIVE VIDEO STREAMS AS THE NEXT-BEST ALTERNATIVE TO REAL-LIFE INTERACTION, DRIVING A 70% INCREASE IN USAGE OF INSTAGRAM’S “LIVE” FUNCTION AS OF APRIL 2020 (KANSARA, 2020). WHEN PHYSICAL EVENTS LIKE FASHION WEEKS DO RETURN, BRANDS ARE UNLIKELY TO REVERT TO A ONE-SIZE-FITS-ALL APPROACH TO SHOWING. ALTHOUGH IT’S DOUBTFUL THAT INSTAGRAM WILL EVER OWN OR DISRUPT FASHION WEEK IN ITS ENTIRETY, BRANDS SHOWING ON ITS PLATFORM AND EXPLORING NEW POSSIBILITIES FOR HOW AND WHEN TO COMMUNICATE THEIR COLLECTIONS COULD REWIRE THE WAY FASHION WEEK WORKS (KANSARA, 2020).

3. LUXURY BRANDS HAVE FINALLY TAKEN TO TIKTOK TO CONNECT WITH THEIR YOUNGER CONSUMERS. MONCLER, FOR EXAMPLE, STARTED A HASHTAG-CHALLENGE

CAMPAIGN

FEATURING

TIKTOK STAR CHARLI D’AMELIO CALLED THE #MONCLERBUBBLEUP CHALLENGE REQUESTING USERS TO WRAP THEMSELVES IN SOMETHING RESEMBLING MONCLER’S ‘BUBBLY’ WINTER COATS, WITH SOME USERS OPTING FOR SLEEPING BAGS AND BUBBLE WRAP. THEY THEN USED TIKTOK’S EDITING FEATURES TO TRANSFORM IT INTO AN ACTUAL MONCLER COAT. WITHIN FOUR DAYS OF STARTING THE HASHTAG, MONCLER SAID IT HAD ALREADY RECEIVED MORE THAN 2 BILLION VIEWS (PARISI, 2020), PROVING JUST HOW VALUABLE AND BENEFICIAL INFLUENCER MARKETING CAN BE FOR LUXURY FASHION BRANDS.

//VIRTUAL INTERACTIVE EXHIBITION//

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//SOCIAL MEDIA//

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REFLECTION OF EARTH 2030 FORECAST SuperNatural

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//REFLECTION // WHAT IS “SUPERNATURAL” ?

THE NARRATIVE THAT I WILL BE COMMUNICATING THROUGHOUT THIS MODULE IS A VISUAL RESPONSE TO MY EARTH 2030 TREND FORECAST I CURATED AS PART OF MY FASHION FORECASTING & NARRATIVES MODULE TITLED “SUPERNATURAL”. FOR MORE BACKGROUND ON THIS, “SUPERNATURAL” FOCUSES ON EMBRACING THE SCIENTIFIC AND SUSTAINABLE PRODUCTION TECHNOLOGIES THAT WILL CHANGE HOW WE LIVE FOREVER. “CLOTHING HAS THE POWER TO BECOME A SECOND SKIN FOR AW/30, RESULTING IN NATURAL AND TECHNICALLY ENHANCED FABRICS THAT OFFER PROTECTION, COMFORT, AND REASSURANCE FOR THOSE VENTURING OUT INTO THE UNKNOWN”.

ACROSS THE GLOBE, THE IMPACT OF CLIMATE CHANGE HAS BEEN PRESENTING ITSELF IN DEVASTING NEW WAYS AND LIVING MORE SUSTAINABLY IS BECOMING AN IMPERATIVE RATHER THAN A CHOICE. ACCORDING TO A MCKINSEY REPORT, SOME LUXURY BRANDS HAVE PREDICTED

3. “SUPERNATURAL” TARGETS THE LUXURY MAR-

A POST-CRISIS TREND TOWARDS SUSTAINABILITY AND THE DESIRE FOR

KET AS LUXURY CONSUMERS ARE WILLING TO

MORE RESPONSIBLE CONSUMPTION. AS WELL AS THIS, RESEARCH SHOWS

SPEND A PREMIUM FOR LUXURIES THAT NOT

THAT PANDEMIC-INDUCED STRESS HAS HAD A SIGNIFICANT IMPACT ON

ONLY ANSWER A NEED BUT HAVE A REAL PUR-

PEOPLE’S MENTAL HEALTH AND, LEVELS OF STRESS AND ANXIETY HAVE

POSE AND CREATE ADDED VALUE TO THEIR LIVES

RISEN SUBSTANTIALLY (WGSN, 2020). WITH ALL OF THIS IN MIND, IT IS

AND OTHERS. I AIMED THIS TREND AT THE GEN Z

LITTLE SURPRISE THAT WELLBEING HAS BECOME A CRITICAL CONSUMER

CONSUMER GROUP (BORN BETWEEN 1995 AND

SENTIMENT TODAY.

2010), AS THEY WILL BECOME THE MOST INFLUENTIAL LUXURY CONSUMER GROUP WORLDWIDE BY 2030 (LANGER, 2020). “SUPERNATURAL” ALSO EMBRACES THE VALUES AND CURRENT SHIFTING CONSUMER EXPECTATIONS FROM YOUNGER GENERATIONS REGARDING SUSTAINABILITY AND SOCIAL CONSCIOUSNESS.

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WHAT ASPECT OF YOUR FORECAST HAVE YOU CHOSEN TO TAKE FORWARD?

FREEDOM

WITHIN THIS FORECAST, I HAVE IDENTIFIED THE WORD “FREEDOM” TO MOVE FORWARD INTO THIS REALM OF COMMUNICATION. TO ME, THE TRUE DEFINITION OF FREEDOM IS LIVING FEARLESSLY, SOMETHING THAT MY TREND ADVOCATES IN MORE WAYS THAN ONE. WHETHER THIS IS THROUGH THE MENTAL AND PHYSICAL GUARDING IT PROVIDES THE CONSUMER OR THE SAFEKEEPING OF THE PLANET THAT COMES WITH LIVING SUSTAINABLY, FREEDOM IS ESSENTIALLY THE OUTCOME.

WHY HAVE YOU CHOSEN IT? IN 2030 AND BEYOND, FREEDOM WILL BECOME THE ULTIMATE SIGNIFIER

3. COVID-19 HAS INCREASED PRE-EXISTING DI-

OF STATUS. THE WORD STATUS UNDERPINS THE WORD LUXURY, PLAY-

VIDES, VULNERABILITIES, AND INEQUALITIES.

ING TO THAT FUNDAMENTAL HUMAN NEED TO COMMUNICATE WHO

THE VIRUS HAS THRIVED OFF POVERTY, DISCRIM-

YOU ARE AND HOW YOU FIT INTO THE SOCIAL HIERARCHY (STEPHENS,

INATION, THE DESTRUCTION OF OUR NATURAL

2019). THROUGHOUT TIME STATUS HAS LONG BEEN ABOUT POSSESS-

ENVIRONMENT, AND OTHER HUMAN RIGHTS FAIL-

ING SOMETHING THAT IS BOTH VALUABLE AND RARE, IN THIS INSTANCE,

URES THAT HAVE CREATED LARGE FRAGILITIES IN

OUR FREEDOM. OVER THE PAST YEAR, WE AS INDIVIDUALS HAVE PRETTY

OUR SOCIETIES.

MUCH HAD OUR LIBERTY TAKEN AWAY FROM US ALMOST COMPLETELY. 4. 4. THE LIVES OF MILLIONS OF FAMILIES HAVE BEEN TURNED UPSIDE DOWN BY JOB LOSSES, AND YOUNG PEOPLE ARE LEFT STRUGGLING OUT OF EDUCATION WITH LIMITED ACCESS TO TECHNOLOGY (GUTERRES, 2021). WITH THIS IN MIND, IT IS NOT TOO SHOCKING THAT DOCTORS FEAR THE NEW CHILD MENTAL HEALTH CRISIS IN THE UK WILL BE MADE WORSE BY THE PANDEMIC.

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13

THE CONSUMER

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THE CONSUMER

GENERATION Z IS A GENERATION THAT DESIRES FREEDOM MORE THAN ANYTHING AND SEEKS AUTHENTICITY, MEANING, AND HOPE FOR THE FUTURE (STEPHENS, 2019). THEY ARE ALSO SET TO BECOME THE LARGEST LUXURY SPENDING CONSUMER GROUP IN 2030. THEREFORE, THEY WILL BE MY MAIN CONSUMER FOCUS. HOWEVER, THERE IS NO ACTUAL LIMIT OF CONSUMER MY TREND WILL REACH AS THE VALUES OF LIVING FREELY AND AUTHENTICALLY SHOULD INDEED BE CELEBRATED BY EVERYONE IN 2030 AND BEYOND, WHICH GIVES IT A SENSE OF FREEDOM IN ITSELF.

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GENERATION Z: “THE SOCIAL NATIVES” // SHOPPING HABBITS

1. AS OF 2020, 3.8 MILLION PEOPLE WERE ON SOCIAL MEDIA, WHICH IS MORE THAN HALF OF THE WORLD’S POPULATION (BERRY, 2020).

GENERATION Z HAS BEEN THE SUBJECT OF STUDY AROUND THEIR CONSTANT SOCIAL MEDIA CONSUMPTION, WITH 48% SAYING SOCIAL MEDIA MAKES THEM FEEL ANXIOUS, SAD, OR DEPRESSED, AND 27% EXPERIENCING A NEGATIVE IMPACT ON BODY IMAGE BECAUSE OF IT (BUSINESS WIRE, 2019).

2. HOWEVER, DESPITE INSTAGRAM BEING THE MAIN REASON FOR THE INCREASE IN MENTAL HEALTH ISSUES, MANY INFLUENCERS AND THE PLATFORM ITSELF ARE PLACING MEASURES AND CAMPAIGNS TO TURN SOCIAL MEDIA ISSUES INTO A POSITIVE OUTPUT FOR MENTAL HEALTH

AWARENESS.THEIR

#HEREFORYOU

INITIATIVE HELPS PEOPLE CONNECT THROUGH THEIR WORRIES AND CONCERNS WHILE PROVIDING MENTAL HEALTH RESOURCES THAT INSTAGRAM ITSELF HAS LAUNCHED (BERRY, 2020).

4. “FOR TODAY’S KIDS’ FASHION IS LESS ABOUT FITTING IN AND MORE ABOUT MAKING CHOICES THAT REFLECT YOUR OWN IDENTITY,” SAYS KATI CHITRAKORN, THE RETAIL AND MARKETING EDITOR AT VOGUE BUSINESS (ELAN, 2020).

REFLECTING ON THIS, IT IS ENTIRELY POSSIBLE THAT IN 2030 WE WILL LIVE IN A MORE AUTHENTIC WORLD WHERE WE HAVE THE FREEDOM AND FEARLESS ATTITUDE TO SHOW OUR TRUE IDENTITY.

5. WITH THE HIGH STREET AND FASHION INDUSTRY IN TURMOIL BY THE PANDEMIC, THE “BUY LESS, BUY BETTER” IDEOLOGY OF GENERATION Z COULD SEE THE END OF FAST FASHION, NEW RESEARCH SUGGESTS. IF GEN Z’S BUYING HABITS ARE ADOPTED BY OTHERS, WE COULD SEE A SHIFT TO CONSUMERS RENTING ITEMS AND BUYING FROM RESALE PLATFORMS. THE EMPHASIS ON SUSTAINABILITY AND INDIVIDUALITY ARE IMPORTANT VALUES OF THE YOUNGER GENERATION WHOSE ATTITUDE TOWARDS FASHION HAS BEEN HEAVILY INFLUENCED BY THE “BLUE

PLANET EFFECT”.

#HEREFORYOU

“THE SOCIAL NATIVES” //GEN Z SHOPPING HABBITS//

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THE BLUE PLANET EFFECT

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DIGITAL STORYTELLING: THE LUXURY MARKET

I WILL CONTINUE TO AIM MY TREND AT THE LUXURY MARKET. BY 2030, GENERATION Z WILL BECOME THE MOST INFLUENTIAL LUXURY CONSUMER GROUP WORLDWIDE (LANGER, 2020). CHINA IS THE WORLD’S FASTEST-GROWING LUXURY MARKET TODAY. IT IS ALSO THE YOUNGEST AND MOST DIGITAL, WITH GEN Z ALREADY CONTRIBUTING UP TO 15% OF THE COUNTRY’S LUXURY PURCHASES AS OF 2021, AND THAT NUMBER IS ONLY GROWING (LANGER, 2021). WHILE MANY LUXURY BRANDS ARE SUFFERING, OTHER BRANDS LIKE LOUIS VUITTON HAVE BEEN PERFORMING WELL, SUGGESTING THAT THE PANDEMIC IS HITTING BRANDS THE HARDEST WITH PRE-EXISTING ISSUES.

4. MOVING FORWARD, LUXURY BRANDS WILL CONTINUE TO EMBRACE DIGITAL PLATFORMS IN INVENTIVE NEW WAYS FOR THE FUTURE, WITH AREAS SUCH AS VISUAL VIRTUAL MERCHANDISING, INTERACTIVE FILM, VIRTUAL INTERACTIVE DISPLAY, AND GAMING TO OFFER THEIR CONSUMERS AN IMMERSIVE AND PERSONALISED EXPERIENCE.

DIGITAL STORYTELLING IS HOW LUXURY BRANDS HAVE CONTINUED TO STAY RELEVANT IN THE DIGITAL AGE OF THE PANDEMIC. LOUIS VUITTON, FOR INSTANCE, IS A FANTASTIC EXAMPLE OF A LUXURY BRAND USING THE PANDEMIC AS AN OPPORTUNITY TO EMBRACE FUTURISTIC STORYTELLING WITH ITS ANIMATED SHORT FILM “ZOOOOM WITH FRIENDS” FOR DIGITAL PARIS FASHION WEEK AS A PRELUDE TO THE MEN’S SS21 SHOW (MASRANI, 2020).

GUCCI IS ANOTHER EXAMPLE OF A LUXURY BRAND THAT HAS SUCCESSFULLY CONNECTED WITH ITS YOUNG CONSUMERS BY EMBRACING RESALE WITH ITS RECENT PARTNERSHIP WITH THE REALREAL.

“THE LUXURY MARKET”

LOUIS VUITTON SS21 PRELUDE

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“ZOOOOM WITH FRIENDS”

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LOUIS VUITTON SS21 PRELUDE

CHAPTER TWO: JOURNEY TO EARTH UNMASKED 2030

“FREEDOM”

AFTER REFLECTING ON MY INITIAL EARTH 2030 FORECAST, I HAVE IDENTIFIED THE WORD “FREEDOM” TO MOVE FORWARD AND COMMUNICATE TO THE LUXURY MARKET. AS ALREADY MENTIONED, I WILL FOCUS MY AIM ON THE GENERATION Z CONSUMER GROUP. HOWEVER, MY TREND AND ITS VALUES WILL BE INCLUSIVE TO EVERYONE. IN THE INTRODUCTION SECTION OF THIS BOOK, I TOUCHED ON SOME OF THE NEW FORMS OF DIGITAL FASHION COMMUNICATION AND WHAT BRANDS ARE CURRENTLY DOING IN THIS NEW SPACE - VIRTUAL INTERACTIVE DISPLAY BEING ONE EXAMPLE. I ALSO SPOKE ABOUT SOME OF THE ETHICAL ISSUES FACING FASHION MARKETS TODAY. I WILL NOW CONTINUE MY JOURNEY TOWARDS THE INSTALLATION OF MY FINAL OUTCOME.

CHAPTER TWO:

JOURNEY TO EARTH UNMASKED 2030

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REFLECTION IN THE EARLY STAGES OF CREATING MY VISION FOR EARTH 2030, I BEGAN MY RESEARCH INTO CONTEMPORARY FASHION COMMUNICATION BY LOOKING AT SEVERAL PHOTOGRAPHERS, DESIGNERS, STYLISTS, AND MAGAZINES OF PARTICULAR INTEREST. I FOUND USING INSTAGRAM AS A RESEARCH TOOL TO COLLECT AND CAPTURE THIS INFORMATION TO BE SO BENEFICIAL, AS IT CREATED A TIMELINE OF MY JOURNEY THAT I COULD REFLECT ON THROUGHOUT MY PROJECT.

THROUGHOUT THIS RESEARCH AND DEVELOPMENT PROCESS, I HAVE FURTHERED MY KNOWLEDGE OF THE FASHION INDUSTRY AND HOW SOME OF THE INDUSTRY’S LEADING PHOTOGRAPHERS, DESIGNERS, AND STYLISTS ARE COMMUNICATING FASHION TODAY. UNDERSTANDING WHAT’S CURRENTLY HAPPENING WILL HELP ME TELL MY STORY OF EARTH 2030.

“FREEDOM”

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KEY INFLUENCES: TIM WALKER

TIM WALKER WONDERFUL THINGS EXHIBITION

TIM WALKER IS A BRITISH FASHION PHOTOGRAPHER DESCRIBED BY THE V&A AS “ONE OF THE MOST CREATIVE PHOTOGRAPHERS IN THE WORLD” TODAY. WHAT INITIALLY CAUGHT MY EYE ABOUT HIS WORK IS HIS EXTRAVAGANT STAGING THAT ALMOST LOOKS PHOTOSHOPPED. THE THEMES SEEN THROUGH HIS WORK ARE OFTEN ROMANTIC AND CHARACTERISE HIS UNMISTAKABLE STYLE. IN 2018 I WAS LUCKY ENOUGH TO VISIT HIS IMMERSIVE “WONDERFUL THINGS” EXHIBITION AT THE V&A MUSEUM, WHICH SHOWCASED HIS CREATIVE PROCESSES. HIS WORK OFTEN FEELS PSYCHEDELIC, CHAOTIC, AND VIBRANT AND COULD BE SEEN AS A PROJECTION OF HIS VISIONARY MIND. INSIDE HIS EXHIBITION, WALKER PAIRED THE V&A’S ORIGINAL PIECES WITH HIS PHOTOGRAPHY, SHOWING HIS INSPIRATION AND ADDING TO THAT SENSE OF ANOTHER WORLDLY DIMENSION BY USING HISTORICAL ARTIFACTS FROM DIFFERENT CIVILISATIONS AND PERIODS (RAMSDEN-GUPTA, 2020). THIS ASPECT OF PAIRING AN IMAGE WITH HISTORY TO CREATE ANOTHER DIMENSION IS SOMETHING I WISH TO EXPLORE FURTHER IN MY FINAL INSTALLATION OUTCOME.

//INFLUENCES//

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3. THE EXHIBITION ITSELF WAS AN EMOTIONAL ROLLERCOASTER, WITH FEELINGS OF UNEASINESS, INTRUSION, AND PURE ENCHANTMENT. WHAT INSPIRES ME THE MOST ABOUT TIM WALKER’S WORK IS HIS CREATION OF OTHERWORLDLY PHOTOGRAPHS THAT APPEAR COLOURFUL AND EXCITING YET OFTEN HAVE A SENSE OF STRANGENESS ABOUT THEM - THIS GIVES THEM THAT FUTURISTIC EDGE. TIM WALKER HIMSELF CALLS IT HIS “PALACE OF DREAMS” THE PERFECT MIXTURE OF FEELING AND FREEDOM. 4. HIS PHOTOGRAPHS ARE REFRESHING AND REPRESENT HIS STRONG EMPHASIS ON CREATIVITY, EXPERIMENTATION, AND ECCENTRICITY. HE DOESN’T CONFORM TO THE HARMFUL, UNREALISTIC REPRESENTATIONS OF WOMEN’S BODIES WHICH HAS CAUSED SO MUCH ANXIETY AMONGST ORDINARY PEOPLE. “THE MORE POTENT THE INDIVIDUAL, THE BETTER,” HE SAYS. THIS THINKING EXCLUDES NO ONE. “EVERYONE HAS SOMETHING,” HE IS INTERESTED IN THE INDIVIDUAL, AND THE STORY THEY HAVE TO TELL (HANRA, 2020). THE IMAGES HE CREATES HAVE AN ETERNAL SENSE OF STYLE THAT GIVES THE VIEWER COMPLETE FREEDOM TO DISPLAY THEIR REAL SELF, FEELING OTHERWORLDLY, BUT AT THE SAME TIME, VERY REAL.

//TIM WALKER//

TIM WALKER WONDERFUL THINGS “BOX OF DELIGHTS” 5. “PHOTOGRAPHY AND CULTURE HAVE REACHED A RIDICULOUS AND UNREACHABLE TONE OF PERFECTION THAT IS NOTHING TO DO WITH BEING A HUMAN” (HANRA, 2020).

“WHY NOT BE ONESELF?”

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KEY INFLUENCES: MAISON MARGIELA

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THE MAISON MARGIELA SPRING 2017 ARTISANAL COLLECTION BY JOHN GALLIANO HAS DIRECTED THE JOURNEY OF MY VISUAL RESEARCH. THIS COLLECTION CUTS THROUGH LAYERS OF SYMBOLISM, REVEALING SOMETHING EMOTIONAL ABOUT THE CURRENT PREDICAMENTS FACING HUMANITY, EVOKING POWERFUL MEMORIES WHILE STANDING FIRMLY IN THE PRESENT (MOWER, 2017). GALLIANO’S INSPIRATION WAS SOCIALS IMPACT ON VISUAL COMMUNICATION, SPECIFICALLY APP FILTERS THAT CAN BE LAYERED ONTO PHOTOS, ULTIMATELY ACTING AS A MASK AND ALTERING REALITY. GALLIANO TRANSLATED THE FILTER CONCEPT INTO “BIG, BOLD-FACED GRAPHICS, FEATURING RAINBOW TONGUES AND CRUDE AND COLOURFUL DRAWINGS EMBROIDERED OVER FACES” (FOLEY, 2017). THIS ASPECT HAS INFLUENCED HOW I WILL VISUALLY COMMUNICATE PART OF MY EARTH 2030 STORY.

3. FOR MORE BACKGROUND, MAISON MARGIELA IS A FRENCH LUXURY FASHION HOUSE FOUNDED IN 1988 BY BELGIAN DESIGNER MARTIN MARGIELA. “A FAMOUSLY ENIGMATIC CREATIVE WHO HAS REPEATEDLY REFUSED TO GIVE FACE-TO-FACE INTERVIEWS, MARTIN MARGIELA REVEALS NOTHING ABOUT HIS PERSONAL LIFE AND HAS RARELY BEEN PHOTOGRAPHED” (BERGIN, 2017).

3. WHAT INITIALLY ENTICED ME ABOUT MARGIELA WAS THE CONCEALING OF THE MODELS’ FACES WHETHER THE HAIR WAS ARTISTICALLY SWEPT OVER EYES OR HEADS COMPLETELY MASKED BY BEJEWELLED BALACLAVAS, HIS DECISION TO ANONYMISE HIS MODELS REFLECTED HIS OWN ANONYMITY. THIS SECRETIVENESS HAS ENSURED HIS WORK WAS THE CONSTANT MAIN FOCUS IN AN INDUSTRY THAT HAS SADLY BECOME MUCH ABOUT MEDIA COVERAGE AND CELEBRITY ENDORSEMENT.

//INFLUENCES //

MAISON MARGIELA

“FASHIONS MOST SECRETIVE BRAND”

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KEY INFLUENCES: OFF WHITE

VIRGIL ABLOH COMMUNICATED HIS SS21 COLLECTION THROUGH A UNIQUE DIGITAL USER EXPERIENCE. “THE IDEA OF IMAGINARY TV STEMS FROM A POETIC VISION FOR, AND OF, THE EVERMORE VIRTUAL WORLD,” VIRGIL SAID. “I WANTED TO CAPTURE WHAT IT IS TO BE HUMAN AT THIS VERY MOMENT. CONUNDRUM IS OK, GLITCHES ARE OK, DUALITY IS OK, AND DISSOLUTION OF NORMS IS OK” (DAVIDSON, 2021).

THE WAY VIRGIL HAS COMMUNICATED THIS NARRATIVE THROUGH THE USE OF DIGITAL GLITCHES IS INSPIRING TO ME. GLITCHES ESSENTIALLY REPRESENT OUR FLAWS AS HUMANS IN DIGITAL FORM. SOME COULD SEE THEM AS ERRORS WHEN REALLY, THEY CAN MAKE THINGS APPEAR A LOT MORE INTERESTING. I HAVE CONSIDERED THIS SYMBOLISM IN THE WAY I TELL MY STORY OF EARTH 2030.

//INFLUENCES//

// OFF WHITE SS21// 26

“IMAGINARY TV”

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OFF WHITE IMAGINARY TV

KEY INFLUENCES: JAPANESE PROVEERB THEORY “THE THREE FACES OF SELF”

DURING MY RESEARCH AND DEVELOPMENT JOURNEY, I FELT IT WAS IMPORTANT TO LOOK BEYOND FASHION WHEN SEARCHING FOR MY INSPIRATION. I WANTED TO LOOK PAST THE OBVIOUS TO CREATE SOMETHING REFRESHING FOR MY FUTURE CONSUMERS AND MARKET.WHILE REFLECTING ON MY FORECAST AND WHAT FREEDOM MEANS TO ME, I THOUGHT OF THE JAPANESE PROVERB THEORY KNOWN AS “THE THREE FACES OF SELF” – I WILL QUICKLY TOUCH ON WHAT THIS IS NOW.

THE JAPANESE SAY YOU HAVE THREE FACES. THE FIRST FACE YOU SHOW TO THE WORLD - A MASK. THE SECOND FACE, YOU SHOW TO YOUR CLOSE FRIENDS AND YOUR FAMILY. THE THIRD FACE, YOU NEVER SHOW ANYONE” – THIS IS THE TRUE REFLECTION OF WHO YOU ARE. THIS THEORY HOLDS SO MUCH RELEVANCE TO THE WORLD TODAY - AND THIS IS WHAT INSPIRED MY CONCEPT.

//KEY INFLUENCES // //JAPANESE PROVERB THEORY //

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A MASK

A FACADE

WHO ARE YOU?

404 ERROR

WHO ARE YOU REALLY?

“THE THREE FACES OF SELF” 29

PAP MAGAZINE

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EARTH: UNMASKED 2030 // THE CONCEPT // THE CONCEPT BEHIND MY OUTCOME IS FREEDOM. HUMAN BEINGS HAVE BEEN WEARING MASKS FOR TOO LONG, AND I AM NOT TALKING ABOUT THE PANDEMIC. FACTORS LIKE UNIFORM CULTURE, FILTERS, AND UNREALISTIC EXPECTATIONS HAVE MEANT WE HAVE BEEN STRIVING FOR PERFECTION WHEN IN REALITY, IT DOES NOT EXIST. IT IS A FACADE. THE IMPACT OF LIVING UNAUTHENTIC LIVES HAS NOT JUST RESULTED IN THE LOSS OF OUR IDENTITIES AS INDIVIDUALS AND MENTAL HEALTH ISSUES, BUT IT HAS ALSO HARMED THE WORLD AROUND US. BUT THINGS ARE NOW CHANGING. WE ARE FINALLY BECOMING MORE HONEST WITH OURSELVES AND EACH OTHER - WITH THE INCREASED AWARENESS SURROUNDING PLANET CONCERNS, MENTAL HEALTH ISSUES, AND CULTURAL SITUATIONS. WE HAVE UNMASKED THE PROBLEMS TO SEARCH FOR A FIX, TO TAKE BACK OUR FREEDOM AND IDENTITY.

20X20 WORD BANK FREEDOM TRUTH FEARLESS REFLECTION TRANSPARENT AUTHENTIC IMPERFECT IMPERFECT HONEST REPAIRED REJUVENATED

THE 20X20 RESEARCH METHOD WAS AN IMPORTANT PART OF MY PROCESS TO COMMUNICATE MY CONCEPT IN THE MOST EFFECTIVE WAY POSSIBLE. TO DO THIS, I CHOOSE 20 WORDS THAT I ASSOCIATED WITH “EARTH UNMASKED 2030”. THESE WORDS HAVE SHAPED MY TREND CONCEPT, VALUES, AND THE COMMUNICATION OF MY STORYTELLING.

UNFILTERED PROTECTED UNIQUE PERSONAL IDENTITY RAW EXPOSED SUSTAINABLE CONSIDERED

31

COMMUNICATION METHODS

AFTER RESEARCHING NUMEROUS COMMUNICATION METHODS AVAILABLE IN THIS “NEW NORMAL” DIGITAL WORLD, I HAVE CHOSEN TO VISUALISE MY EARTH 2030 STORY THROUGH A COMBINATION OF VIDEO, INSTAGRAM ENGAGEMENT, AND VIRTUAL INTERACTIVE DISPLAY THAT WILL ULTIMATELY BRING THIS ALL TOGETHER. AT THE BEGINNING OF MY JOURNEY, MY INITIAL PLAN WAS TO COMMUNICATE MY EARTH 2030 STORY THROUGH A BLEND OF ILLUSTRATION AND ANIMATION. HOWEVER, I LATER DECIDED TO MOVE IN A DIFFERENT DIRECTION AS I DID NOT THINK THIS FORM OF STORYTELLING WOULD DO MY CONCEPT JUSTICE. “EARTH UNMASKED 2030” NEEDS TO BE A MUCH MORE IMMERSIVE AND PERSONAL EXPERIENCE FOR MY FUTURE CONSUMER. OVERALL, THIS HAS TAUGHT ME THAT FLEXIBILITY IS ESSENTIAL TO COMMUNICATE SOMETHING THAT STAYS TRUE TO THE CONCEPT, CONSUMER, AND MARKET LEVEL. CHOOSING TO COMMUNICATE MY STORY PARTLY THROUGH INSTAGRAM WAS AN OBVIOUS CHOICE FOR ME. THE REASON BEING GEN Z CONSUMERS ARE MOST LIKELY TO WATCH VIDEOS ON SOCIAL MEDIA, WITH 65% USING INSTAGRAM DAILY (TAYLOR, 2020). I BELIEVE THERE IS A REAL OPPORTUNITY TO CONNECT TO MY 2030 CONSUMER THROUGH IGTV – A LONG-FORM, VERTICAL VIDEO THAT ALLOWS USERS TO POST CONTENT FROM 60 SECONDS TO 60 MINUTES IN LENGTH. IN 2021, THIS HAS PROVED TO BE A STRONG CONTENDER FOR YOUTUBE’S VIEWERSHIP, WHICH TO DATE HAS DOMINATED ONLINE VIDEO (SPLASH WORLDWIDE, 2020).

// COMMUNICATION METHODS //

VIRTUAL INTERACTIVE DISPLAY 32

IGTV

VIDEO

3. BRANDS THAT LEAD IN THIS SPACE AND ENGAGE WITH THIS LUCRATIVE AUDIENCE WILL SHAPE THINGS TO COME IN 2030 AND BEYOND. VIDEOS NEED TO BE SHOWN ON THE CORRECT PLATFORMS AND WITH THE RIGHT FEATURES, SUCH AS CAPTIONS AND SUBTITLES FOR GEN Z AUDIENCES TO ENGAGE WITH THEM (TAYLOR, 2020) - WITH THIS IN MIND, THE TECHNIQUE I WILL USE TO COMMUNICATE MY EARTH 2030 STORY WILL BE THROUGH A VIDEO MONTAGE. A METHOD OF PRODUCING A NEW COMPOSITE WHOLE FROM FRAGMENTS OF PICTURES, TEXT, AND MUSIC.

4. MENSWEAR DESIGNER PRIYA AHLUWALIA INSPIRED MY DECISION TO COMMUNICATE MY OUTCOME THROUGH A VIRTUAL INTERACTIVE EXHIBITION.

THIS

IMMERSIVE

EXPERIENCE

WILL CATER TO GEN Z AND THEIR DESIRE FOR A PERSONALISED USER EXPERIENCE THAT FUSES THE PHYSICAL AND DIGITAL WORLDS. GEN Z CRAVES AUTHENTIC BRAND EXPERIENCES AS THEY FAVOUR MEMORIES AND EXPERIENCES MUCH MORE THAN OWNING MATERIAL GOODS, MAKING EXPERIMENTAL MARKETING CRUCIAL TO CONNECT WITH THESE CONSUMERS NOW AND IN THE FUTURE. COMMUNICATING MY CONCEPT THROUGH THE USE OF VIRTUAL INTERACTIVE DISPLAYS WILL HELP FUTURE-PROOF IT FOR EARTH 2030.

5. . RESEARCH SHOWS THAT BY 2030, THE AUGMENTED, VIRTUAL AND MIXED REALITY MARKET WILL BE WORTH $30 BILLION (IDTECHEX, 2020).

COVID-19’S LIMITING OF PHYSICAL INTERACTION MEANS VIRTUAL COMMUNICATION AND INTERACTIVITY WILL BECOME THE “NEW NORMAL” IN UPCOMING TIMES. THEREFORE, THIS COMMUNICATION METHOD FITS THE FUTURE OF FASHION COMMUNICATION AND HAS MANY OTHER ROLES TO PLAY IN DIFFERENT INDUSTRIES.

6. AS WELL AS MERGING THE PHYSICAL AND DIGITAL WORLD TO CREATE AN IMMERSIVE AND UNIQUE EXPERIENCE FOR CONSUMERS, THE

EARTH: UNMASKED 2030

VIRTUAL INTERACTIVE DISPLAY METHOD ALSO OFFERS SUBSTANTIAL ENVIRONMENTAL ADVANTAGES. FOR EXAMPLE, TRAVEL REDUCTION IS AN ESSENTIAL BENEFIT RESULTING IN THE EASING OF POLLUTION LEVELS WORLDWIDE AND EM-

SUSTAINABILITY

BRACES GEN Z’S VALUES CONCERNING THE ENVIRONMENT.

33

FINAL OUTCOME

34

MY OUTCOME EXPLORES A HANDFUL OF DIFFERENT TECHNIQUES TO TELL MY STORY OF EARTH 2030. I HAVE COMMUNICATED THIS THROUGH A COMBINATION OF 3D GRAPHICS, IMAGE, VIDEO, AND VIRTUAL INTERACTIVE DISPLAY, TAKING INSPIRATION FROM SOME OF THE INDUSTRY’S LEADING CONTEMPORARY FASHION COMMUNICATORS. UTILISING MY ORIGINAL IMAGERY, I PRODUCED THIS OUTCOME THROUGH A BLEND OF IMOVIE, PHOTOSHOP, AND PREMIERE PRO.

FINAL OUTCOME : // IMAGE // // VIDEO // // VIRTUAL INTERACTIVE DISPLAY // 35

FINAL OUTCOME

“THE FACE YOU SHOW TO THE WORLD”

THE FIRST MONTAGE VIDEO TITLED “A FLASH FROM THE PAST” EXPLORES THE JAPANESE PROVERB THEORY “THE THREE FACES OF SELF” THAT I SPOKE ABOUT EARLIER IN THIS BOOK. THE VIDEO BEGINS BY “REWINDING” TIME TO THE PAST. I FEEL LIKE THIS SET THE SCENE BEFORE THE VIDEO HAD STARTED AS I WANTED THE AUDIENCE TO FEEL LIKE THEY WERE TIME TRAVELLERS. ANOTHER TECHNIQUE I USED TO ACHIEVE THIS WAS INTRODUCING THE VIDEO WITH AN OLD MOVIE COUNTDOWN TIMER. THE VIDEO ITSELF LOOKS AT HOW IN THE PAST, WE AS HUMANS HAVE BEEN WEARING A MASK. I THOUGHT IT WOULD BE INTERESTING TO SET THE FIRST VIDEO IN THE PAST, ALMOST AS A REFLECTION. DISPLAYING MY INSPIRATION FROM THE PAST ADDED TO THE SENSE OF ANOTHER WORLDLY DIMENSION IN A WAY THAT IS SIMILAR TO TIM WALKER’S “WONDERFUL THINGS” EXHIBITION.

3. THE IMAGE I CURATED TO SUPPORT THIS VIDEO REPRESENTS THE FAKE PERSONAS HUMANS PUT ON TO FIT IN WITH SOCIETY’S UNREACHABLE STANDARDS. AN INFLUENCE OF MINE WAS THE MAISON MARGIELA SPRING 2017 ARTISANAL COLLECTION. I DECIDED TO COVER MY MODEL’S FACE WITH TULLE MATERIAL IN THE SAME WAY MARGIELA IS KNOWN FOR COVERING MODELS’ FACES.

5. THE MATERIAL ULTIMATELY ACTED AS THE MASK WE WEAR AS HUMANS. MY THOUGHT PROCESS WAS TO TAKE THIS IMAGE TO PHOTOSHOP TO MANIPULATE IT TO PORTRAY THE FACADE WE WEAR. I EXPERIMENTED WITH THE OCCUPANCY ON PHOTOSHOP TO REVEAL THE HONEST REALITY THAT LIES BENEATH. I WANTED TO USE THE COLOUR RED IN THIS IMAGE AS IT HAS SEMIOTICS OF DANGER, SUGGESTING HOW HARMFUL THIS WAY OF LIVING IS.

//FINAL OUTCOME //

EARTH : UNMASKED 2030

36

“A FLASH FROM THE PAST” 37

“THROUGH THE LOOKING GLASS”

//FINAL OUTCOME //

EARTH: UNMASKED 2030 38

FINAL OUTCOME

1. THE SECOND MONTAGE VIDEO TITLED “THROUGH THE LOOKING GLASS” EXPLORES WHERE THE HUMAN RACE IS GOING IN TERMS OF PLANET CONCERNS, MENTAL HEALTH ISSUES, AND CULTURAL SITUATIONS BROUGHT TO THE FRONT. THE VIDEO EXPLORES HOW WE AS HUMANS ARE CURRENTLY SEARCHING FOR A FIX TO RECLAIM OUR FREEDOM AND IDENTITY.

THE VIDEO BEGINS WITH THE SOUND OF TIME BLISSFULLY TICKING AWAY, SUGGESTING THAT WE NEED TO TAKE ACTION NOW IF WE WANT THINGS TO CHANGE. I WANTED THE AUDIENCE TO FEEL LIKE THEY WERE GLANCING THROUGH THE LOOKING GLASS HERE, TO EMPHASISE THE SEARCH FOR A SOLUTION. I ACHIEVED THIS THROUGH A LENS DISTORTION EFFECT ON PREMIERE PRO.

2. THE IMAGE I CURATED TO SUPPORT MY SECOND VIDEO REPRESENTS HUMANKIND SEARCHING FOR A FIX. THE AIM HERE WAS TO BUILD ON THE FUTURISTIC NARRATIVE OF MY EARTH 2030 CONCEPT. I WANTED THIS IMAGE TO BE MORE ABSTRACT AND FUTURE TELLING, USING JIGSAW PIECES TO SYMBOLISE THIS PUZZLED SPACE WE ARE CURRENTLY PART OF AND PLAYING ON LOCKDOWNS REVIVING OUR LOST CRAZE FOR BOARD GAMES. SOMETHING JW ANDERSON ALSO REFERENCED WITH HIS “SHOW IN A BOX” INITIATIVE. I CHOOSE MUTED COLOURS FOR THIS IMAGE TO SLOWLY TRANSITION MY STORY TO A FUTURE CONTEXT.

“SEARCHING FOR A FIX”

39

“A MESSAGE FROM THE FUTURE” IS SET IN EARTH 2030 AND EXPLORES THE NEW FEARLESS

3. THE FINAL IMAGE I CURATED REPRESENTS THE

MINDSET OF THE FUTURE. THE JUXTAPOSITION OF USING AN OLD TV TO PROJECT A MES-

FACE YOU NEVER SHOW ANYONE - THIS IS THE

SAGE FROM 2030 FEELS VERY DYSTOPIAN TO ME. I WANTED THIS VIDEO TO ALMOST FEEL

MOST ACCURATE REFLECTION OF WHO YOU ARE.

LIKE A SECRET MESSAGE, WHICH I THINK I ACHIEVED WITH A TYPEWRITER TYPING EFFECT,

I WANTED TO ACHIEVE SURREAL AND FUTURIS-

SIMILAR TO VIRGIL ABLOH’S IMAGINARY TV INITIATIVE THAT CAPTURES WHAT IT IS TO BE

TIC STORYTELLING TO SET THE SCENE OF EARTH

HUMAN.

2030. I DECIDED I WANTED MY FINAL IMAGE TO BE IN BLACK AND WHITE TO SHOW THAT JOURNEY

THE USE OF GLITCHES IN THIS VIDEO CORRESPONDS WITH THE SECRET MESSAGE

OF TRANSITION FROM HIGH COLOUR. I WANTED

IT PROJECTS TO “TAKE OFF YOUR MASK.” THE GLITCHES REPRESENT OUR FLAWS

TO ACHIEVE A LEVEL OF STRANGENESS IN MY

AS HUMANS AND HOW THEY MAKE UP OUR DNA AND ULTIMATELY MAKE US MORE

OUTCOME AND WAS INSPIRED BY TIM WALKERS’

BEAUTIFUL AND UNIQUE. THE VIDEO INCLUDES A QUICK FLASH OF IMAGES UN-

“THE SURREAL WORLD.” THIS IMAGE FOCUSES ON

MASKING A DYSTOPIAN-LOOKING FACE, FOLLOWED BY THE WORDS “WE ARE SU-

THE EYES, IN PARTICULAR, TO REPRESENT WHO

PERNATURAL.” I DID THIS TO RELATE MY CONCEPT TO MY INITIAL “SUPERNATURAL”

WE ARE DEEP DOWN THROUGH A MAGNIFYING

FORECAST, BUT ALSO, I WANTED TO PLAY ON THE IDEA THAT BEING YOUR TRUE

LENS. TO BRING THIS TO LIFE, I USED A 3D APP TO

SELF IS THE MOST MAGICAL AND POWERFUL THING YOU CAN BE.

ADD TO THE FUTURISTIC NARRATIVE.

//FINAL OUTCOME//

EARTH: UNMASKED 2030

40

“A MESSAGE FROM THE FUTURE” 41

FINAL OUTCOME

//FINAL OUTCOME// VIRTUAL INTERACTIVE EXHIBITION

THE HEART OF MY OUTCOME IS THE VIRTUAL INTERACTIVE EXHIBITION THAT HOUSES EACH PIECE OF THE STORY. I WANTED TO CREATE AN IMMERSIVE AND PERSONAL EXPERIENCE FOR MY FUTURE CONSUMER, AND I FEEL LIKE MY OUTCOME DOES JUST THAT. I USED DIFFERENT TECHNIQUES IN THE CURATION OF THIS EXHIBITION TO MERGE THE OFFLINE & ONLINE USER EXPERIENCE, SUCH AS SETTING THE SCENE WITH REAL-LIFE MUSEUM SOUND EFFECTS TO MAKE THE EXPERIENCE FEEL VERY REAL FOR MY AUDIENCE.

42

FREEDOM

43

PRIMARY IMAGES IN THE STYLE OF MAISON MARGIELA

PRIMARY IMAGES IN THE STYLE OF JACQUEMUS

R&D PHOTO SHOOT DEVELOPMENTS

PRIMARY IMAGES IN THE STYLE OF JACQUEMUS

IN THE STYLE OF // JACQUEMUS // MAISON MARGIELA

44

WORKING IN THE STYLE OF PABLO THECUADRO

// R&D PHOTOSHOOT DEVELOPMENTS //

45

// WELCOME TO THE FUTURE // - - -

EARTH: UNMASKED 2030

46

CONCLUSION

IN CONCLUSION TO THIS EXHIBITION

BOOK, I AM VERY CONTENT WITH HOW MY VISUALISATION OF EARTH 2030 HAS DEVELOPED THROUGHOUT MY JOURNEY TO ITS OUTCOME. THROUGHOUT THE PROCESS, I HAVE PUSHED MYSELF TO TAKE RISKS AND CHALLENGE MYSELF WITH THE FUTURISTIC COMMUNICATION METHODS I HAVE USED TO TELL THE STORY OF EARTH 2030. THE INTERACTIVE ELEMENT OF MY OUTCOME PROVIDES NEWNESS AND FUTURE-PROOFS IT FOR THE FUTURE OF FASHION COMMUNICATION, AND THE NARRATIVE PROVIDES BOTH EMOTION AND AUTHENTICITY. THESE ARE ALL THINGS TO CONSIDER WHEN COMMUNICATING ANYTHING SUCCESSFULLY, WHICH I BELIEVE I HAVE DONE.

// CONCLUSION // - - 47

// BIBLIOGRAPHY // Beauloye, F. (2020). The Future of Luxury: 6 Trends to Stay Ahead in 2021. Retrieved from https://luxe. digital/business/digital-luxury-trends/luxury-future-trends/ Bergin, H. (2017). Maison Margiela Fashion’s most secretive brand. Retrieved from https://theculturetrip. com/europe/belgium/articles/maison-margiela-fashion-s-most-secretive-brand/ Berry, E. (2020). #INSTASAD. Retrieved from https://shoosocialmedia.co.uk/mental-health-and-instagram/ Blanks, T. (2020). Inside JW Anderson’s Pandemic-Proof Show in a Box. Retrieved from https://www.businessoffashion.com/articles/fashion-week/inside-jw-andersons-pandemic-proof-show-in-a-box Business Wire. (2019). 48% of Gen Z say social media makes them feel anxious, sad or depressed. Retrieved from https://shoosocialmedia.co.uk/mental-health-and-instagram/ Davidson, E.E. (2021). Turn on, tune in, and don’t drop out to Off-White’s Imaginary TV. Retrieved from https://www.dazeddigital.com/fashion/article/51823/1/off-white-imaginary-tv-virgil-abloh-ss21-collectiondebut-menswear-womenswear Delhi, L. (2021). Importance of Fashion Communication in The Fashion Industry. Retrieved from https:// www.lisaadelhi.com/importance-of-fashion-communication-in-fashion-industry/ Dirvanauskas, G. (2020). A new digital dawn for London Fashion Week. Retrieved from https://www.drapersonline.com/news/a-new-digital-dawn-for-london-fashion-week Elan, P. (2020). Shopping habits of generation Z could spell end of fast fashion. Retrieved from https:// shoosocialmedia.co.uk/mental-health-and-instagram/ Foley, B. (2017). Maison Margiela Couture Spring 2017. Retrieved from https://wwd.com/runway/ spring-couture-2017/paris/maison-martin-margiela/review/ Gallen, A. (2020). This is how Moschino did virtual fashion week. Retrieved from https://thesirenlppacs. com/1006/columns/this-is-how-moschino-did-virtual-fashion-week/ Guterres, A. (2021). The world faces a pandemic of human rights abuses in the wake of Covid-19. Retrieved from https://www.theguardian.com/global-development/2021/feb/22/world-faces-pandemic-human-rights-abuses-covid-19-antonio-guterres Hanra, H. (2020). Photographer Tim Walker on the grand lie of fashion. Retrieved from https://www.thecut. com/2019/10/tim-walker-wonderful-things-exhibition.html IDTechEx. (2020). Augmented and Virtual Reality” Technology of the Future, today. Retrieved from https:// www.splashworldwide.com/articles/interested-gen-z-look-igtv Kansara, V.A. (2020). Can Instagram Own Fashion Week?. Retrieved from https://www.businessoffashion. com/briefings/fashion-week/can-instagram-own-fashion-week

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// BIBLIOGRAPHY // Langer, L. (2020). Luxury 2030: Curated Lifestyles Drastically Change How Luxury Brands Need to Act. Retrieved from https://jingdaily.com/luxury-2030-curated-lifestyles-drastically-change-how-luxurybrands-need-to-act/ Langer, D. (2021). Why Focusing on Gen Z Is A Matter Of Survival For Luxury Brands. Retrieved from https://jingdaily.com/luxury-brand-strategy-genz-dior-gucci/ Masrani, D. (2020). Louis Vuitton debuts animated short film for digital Paris fashion week as a prelude to men’s ss21 show in august. Retrieved from https://hauteliving.com/2020/07/louis-vuitton-short-filmmens-ss21/688293/ Mower, S. (2017). Maison Margiela Spring 2017 Couture. Retrieved from https://www.vogue.com/fashion-shows/spring-2017-couture/maison-martin-margiela Parisi, D. (2020). Less aspirational, less produced: Luxury brands are (finally) making headway on TikTok. Retrieved from https://www.glossy.co/fashion/luxury-brands-are-finally-making-headway-on-tiktok/ Ramsden-Gupta, R. (2020). Tim Walker: Wonderful Things Exhibition. Retrieved from http://cubmagazine.co.uk/2019/12/tim-walker-wonderful-things-exhibition/ Splash Worldwide. (2020). Interested in Gen Z? Look to Instagram TV. Retrieved from https://www. splashworldwide.com/articles/interested-gen-z-look-igtv Stephens, D. (2019). The Future of Luxury is Freedom. Retrieved from https://www.businessoffashion. com/opinions/retail/the-future-of-luxury-is-freedom Taylor, R. (2020). How Gen Z and Millennials Watch Video Content & What That Means for Production teams. Retrieved from https://www.rev.com/blog/how-gen-z-and-millennials-consume-video-contentwhat-that-means-for-production-teams WGSN. (2020). The Value Shift. Retrieved from https://createtomorrowwgsn.com/2110643-wp- the-value-shift/3/?_fsi=ZtvDcyHU

// IMAGES // FIGURE 4, 5, 6 https://www.businessoffashion.com/articles/fashion-week/inside-jw-andersons-pandemic-proof-show-in-a-box FIGURE 24, 25, 26, 27 https://www.anothermag.com/art-photography/11939/tim-walker-wonderful-things-victoria-albert-v-a-museum-exhibition-interview-2019 FIGURE 31 https://i-d.vice.com/en_us/article/wx8bkm/imaginary-tv-is-virgil-ablohs-experimental-newoff-white-platform

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PRODUCER KRISTA HELLON

// FUTURE EDITION

//

JOURNEY BOOK TO EARTH: UNMASKED 2030 // AD5604 // 50