BACHELOR PROJECT PORTFOLIO by Laura Sauerbrei

MEMORIES OF A FUTURE SELF

FINAL MAYOR PROJECT LAURA SAUERBREI SAU15457664 (BA) HONS FASHION MEDIA

FOREWORD This portfolio aims to reflect on the journey I have taken throughout the development of my Final Major Project. It illustrates the research, methodologies and different techniques that guided the way to my final outcome.

8 :

INTRODUCTION

16 :

CASE STUDIES

30 :

CASE STUDIES

74 :

10 :

RESEARCH QUESTION

CONTEXT

22 :

28 :

FILM PRODUCTION

36 :

PRE-PRODUCTION

76 :

POSTPRODUCTION

EXHIBITION DEVELOPMENT

90 :

96 :

DISTRIBUTION

12 :

FINAL EVENT

104 :

BIBLIOGRAPHY

CONCEPT ABSTRACT

54 :

PRODUCTION

90 :

DISTRIBUTION

102 :

LIST OF FIGURES

INTRODUCTION In the era of fake news, post-truth and artificial intelligence prepositioning our future, is there such a thing as authenticity? And does it still exist within fashion, an industry so fastpaced, living a continuous cycle of re-invention and further as Baudrillard describes fashion as ‘one of the more inexplicable phenomena..’ with ‘ its compulsion to innovate signs... [an] apparently arbitrary and perpetual production of meaning – a kind of meaning drive’ (Baudrillard 1981: pp.78-79). As a result we are living in an endless cycle of re-defining ourselves but never being fully satisfied. One could almost imply authenticity and fashion are antithetical. It rather seems Authenticity nowadays is performed and designed by each individual and has become an illusion of what is real.

Fig. 1.

In the virtual era we live in, we are inevitably shaped by the influence of the commercial sector including celebrities, influencers and the media. The internet is the medium allowing us to form new identities of ourselves or multiple within the digital world, almost perfectly blurring the lines between whats real and simulation. The problem I was seeking to explore with this project is the dialogue between our authentic self versus our selfpresentation in person and the digital world. This portfolio aims to reflect on the journey I have taken throughout the development and realisation of my final outcome.

AUTHENTICITY AUTHENTICITY - does it still exist? -

RESEARCH QUESTION RESEARCH QUESTION RESEARCH QUESTION

does it still exist?

Fig. 2 11

CONTEXT

ONLINE SHIFTS

Fig. 2

One of the main triggers for this project is the rise of Avatar Influencers within the fashion industry. They open up huge potential and new opportunities for retailers (via LSN: Global) but also provoke a lot of contradiction within the digital space. One of the first ones and the most famous CGI Influencer is Lil Miquela, with her 1.5 million followers other examples include Noonoouri (236k followers) and Shudu (157k followers). They are not only appearing on our social media feeds but furthermore gracing the covers of magazines as well as advertising campaigns.

Fig. 3

The generation mainly involved and influenced by these phenomena are the so-called ‘Digital Natives’. They don’t involve only one specific Generation but rather he claims, describe a population of people that are ‘natives’ in the language of Computers, the Internet and Video Games and are born after 1980 (Prensky, 2001: p.1). ‘Digital Natives’ characterise themselves as constant multitaskers, but also as being impatient and having a shorter attention span which puts them in need of quick digital content, easy to grasp, in form of interesting short chunks. Empowered by the internet, they mostly express themselves and their emotions through the use of digital technologies as well as building multiple self-representations online (Palfrey & Gasser, 2008). This generation is often criticised as not being able to exist without technology, however rather than portraying it as an addiction, it builds an extension of themselves, a way of life, claims a Gen Z researcher (globalnews, 2008).

NATIVES

There has been and still is a visible debate going on by her followers whether these are real or not since they are is not made out of flesh and blood. It made me wonder, does it really matter that they are avatars? In a world full of Influencers telling us where to shop and what to buy, with their perfectly ‘curated’ Instagram feeds- does it make it any more authentic, just because they are humans, existing in real life? All influencers are promoting the idealised life we aspire, the one thing making Lil Miquela and other CGI Influencers interesting and stand out is that by not being human, they are reaching the next stage and challenging the norm.

DIGITAL

CONCEPT ABSTRACT

EXPERIENCE ECONOMY According to Gilmore & Pine (2007) we are living in an ‘Experience Economy’ where the consumer demands more than just a product or a basic service. Instead he or she yearns for memorable experiences or events, which engages them on a personal and emotional level as well as has to fulfil being authentic and original. To connect with this digital, visual-first generation, especially their youngest, Generation Z , who haven’t experienced a life without the internet, the aim is to create a physical experience combined with technology to communicate and engage with them on a personal as well as emotional level.

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CASE STUDIES

‘‘Art is a game between

all people of all periods’’ (Marcel Duchamp)

When the idea flourished to install an exhibition space I was reading ‘Ways of Curating’ by Hans Ulrich Obrist (2015), in which he describes his own journey from his very first ‘curation-practice’, his most memorable shows and the journey throughout. It is a very inspiring book which brought a lot of ideas and possibilities to my mind. However it made me realise that by installing an exhibition, I would not only need to take the role of the curator but also the one of the artist, ‘curating my very own work’, unless I would find and use other artists work and showcase them. One show in particular he described, stuck to my mind as it’s topic sparked parallels to my own. ‘Les Immatériaux’, an exhibition installed and curated 30 years ago (1985) at the Centre Pompidou by Jean-Francois Lyotard. It was one of the first shows to anticipate on our digital future and attempted to use all tools from the latest technology in combination with our human senses to see if and how our relationship to the world has changed (MC Dowell, 2014 art-agenda). Lyotard created a Labyrinth with multiple pathways through, guiding visitors with headphones through different subjects, objects and questions. This nonlinearity intended to create a ‘bewildering dramatization of what the profound uncertainty of this new contemporary life feels like’ Mc Dowell (2014). It raised the principal question if these so-called ‘Immaterials’ leave the relationship between human beings and material unaltered or not?’ . The rise of the new digital era back in the 80s was still up and coming and made me wonder if not the same shift is happening again today, a Digital Life 3.0. where we are being served by AI-generated machines, shop at staffless grocery stores and look up to or perhaps even become our own online avatars?

Les Immatériaux, 1985 Centre Pompidou

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CASE STUDIES

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ALL I KNOW IS WHATS ON THE INTERNET I went to see ‘All I know is whats on the Internet’ (2018) at the Photographers Gallery which features the work of 11 different artists in relation to image culture in the 21st century. It outlines the changing landscapes and challenges of photographs in our day-to-day lives. Originally a photograph had the meaning to capture the world and document the history happening around us. In the age of social media we are increasingly being bombarded with millions of photographs by simply browsing through. Google, Facebook and Instagram have replaced Kodak by taking over the industrial power of the image. Considering this led me to question the authenticity and value of a single photograph nowadays, most of these are being manipulated and altered through algorithms.

We are living in a ‘like’ economy, every step we take within the digital world provides more information about our private lives and relationships. Images within our feed are increasingly used to react certain emotions and perhaps even to trigger reactions as well as to manipulate us in our decision making. Every outfit- or food recipe post we like will only assume that we are fashion-food lovers and bombard us even more with photographs of these. ‘Stop the Algorithm’ , one installation particularly interesting within the exhibition was by Stephanie Kneissl and Max Lackner . It displayed little machines trying to confuse and manipulate the programmed algorithm by randomly scrolling and clicking through images.

Bots and intelligent machines might be able to create a profile for us but it made me realise that we as humans still have the power manipulate and determine the direction of that profile, if we want to. Another concern within the digital space is the existence of fake profiles. Russian company Snatap installed a Vending machine in Moscow selling not only fake likes but moreover fake followers. You pay a certain amount and receive likes in return. These fictional accounts are being illustrated by Constant Dullaart who displayed thousands of SIM cards to build an ‘army of fake followers’. This made me wonder, would we rather be liked by non-human, not-existent accounts instead of having our friends and real people watching us for paying the price of less visibility online?

CASE STUDIES

STRANGE DAYS MEMORIES OF THE FUTURE

Fig. 10

Fig. 9

The Strand’s premises are one of my favourites when it comes to exhibitions. All their past exhibitions within the last years have been very interactive and mainly video installations all greatly curated. Back in November 2018, I went to see ‘Strange Days - Memories of the Future’ which showcased the work of 21 video and film artists. Although I personally didn’t enjoy all works being presented but each of them was shown and curated in its own unique way and they were some quite outstanding ones. Kahlil Joseph as in past exhibitions, was represented with ‘Fly Paper’, which in his signature style featured dynsmic short scenes and intimate moments composed into one. I really enjoy his stylistics and films, as they are quite fast paced and usually keeping a good balance of neither being too disturbing nor too moving.

Fig. 11

Another one I have enjoyed a lot was ‘4th floor to Mildness’ by Pipilotti Rist which was mainly due to its surprising installation. The short film shot mainly underwater was projected onto two screens hanging from the ceiling with visitors being able to watch them from the comfort of bed installations. ‘Soft Materials’ by Daria Martin was another film I really enjoyed as her style is always very minimal but telling so much with so little is quite impressive.

21 Fig. 9

FILM PRODUCTION

Fig. 12

PRE-PRODUCTION Amazon Prime and similar platforms. The target audience I am aiming for is a big part of that population, the digital-first, visual demographic with a recent study by Awesomeness TV highlighting the fact that 71% of Gen Z typical entertainment consumption is through streaming (havaspeople. com, 2017).They as well as most of the Millennials need to be engaged on a more interactive level, meaning they are more likely to go and see video installations over just still portraits at the National Gallery.

‘‘Film is its very own language, it can say big things and small ones, abstract ones and simple ones’’

When I started thinking about the Content for the Exhibition my main aim was to bring the topic surrounding authenticity and our self-representation closer to my audience by using a medium that speaks to and engages with them. Film is its very own language, it can say big things and small ones, abstract ones and simple ones, all through visuals, sound (not necessarily) and story telling. This medium can express so many different things such as feelings, thoughts or emotions that can not be portrayed any other way and people won’t understand it until they see it themselves.

PRE-PRODUCTION

NOSEDIVE - BLACKMIRROR

Blackmirror is known for portraying possible dystopian or utopian futures of humans and their interactions with technology. One episode in particular stayed in my mind, as it has many parallels to my own topic. ‘Nosedive’ tells the story of Lacie who lives in a futuristic version of America where every interaction is ranked by the people involved on an app that synchronises with augmented-reality contact lenses. She becomes overly obsessed with being her ‘best-self’ in order to reach a higher ranking and socioeconomic status. Most striking about the whole episode is the contradiction between the pastel colours of the whole set and costumes which gives you a feel of warmth, comfort and almost utopian future while portraying a story that is so deeply uncomfortable and dark.

Fig. 13

We are not far off this reality though looking at our own behaviour and obsession with social media. When you’re trying so hard to please everyone and be popular that you are not even yourself anymore, you are wearing different masks to get different perfect versions of yourself but that doesn’t make you more authentic, it makes you a robot.

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PRE-PRODUCTION

CONCEPT

ABSTRACT

Fig. 16

My main aim for these two short films was to project one woman, performing her multiple identities, such as we do in our everyday lives. Especially as women we have high expectations to fulfil- we are supposed to be strong, always smiling- even if we do not feel like it, keeping in mind Victoria Beckham’s constant criticism for not smiling enough (Cosmopolitan, 2018), not to be too outspoken, ‘act like a lady’ and obviously always good looking amongst many others. Of course throughout the years this has already changed to the better improving some of these bias, but few of these are still present. Particularly the digital world and social media have a massive influence on these behaviours and almost force us to be more healthy, fit, smart and cultured at the same time. In short, social media can appear like a full-jar stuffed with different versions of a ‘real, authentic self’ , dictating us in order to be more ‘likeable’ to be someone else, someone better, an improved version of ourselves. This again relates back to Baudrillard’s theory on ‘Simulacra and Simulation’ (1995) where he argues that human experience and reality have been replaced by signs and symbols and is only perceived through simulation. Simulacra is defined as an imitation or representation of people or things, which can come in form of videos, photographs, symbols or other visual media. Nowadays, in the age of mass-media consumption, much of our perception and information is mainly derived through so called ‘simulacra’ , where we obtain our knowledge and information filtered through all sorts of media.

PRE-PRODUCTION

CASE STUDY

One example I looked up to since watching the series ‘Girls’ is Lena Dunham who co-wrote, directed and was starring in the TV-show herself. Much like the show itself, her personal Instagram account has always represented more authenticity through posting candid, real pictures of herself, not wearing make-up and by posting pictures of her not perfectly shaped and trained body, promoting body positivity for a healthy relationship with yourself.

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PRE-PRODUCTION

FUTURE HOMES

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Fig. 18

The story is surrounding a young woman and portraying her in different situations within her own home. After seeing the Kubrick archive, seeing how much research he has done prior to starting to film, I realised I would need to do similar in order to understand the environment I want to transmit to the audience. As it is envisioning possible future scenarios and before finalising the script I started to trendforecast future homes and trends. There is obviously a lot happening from design and lifestyle over to new devices and

innovations. The following trends and developments were the ones most relevant to my project. The Staying Home Generation Millennials and Gen Z alike seem to develop increasingly into a ‘stayinghome’ generation, who prefer a night in at home over going out which makes it even more important to create a comfortable home. Another trend standing in correlation is the big boom within the wellness industry as bespoke consumers indulge more and more

Fig. 20

into self-care. A big night in, accompanied by using face masks and other beauty devices, with P&S Intelligence predicting a growth of 20% within the beauty devices market by 2023 from $5.5billion in 2017 to $16.7billion (P&S market research, 2018). Home Fitness 2018 was the year of self-care so it is not surprising that at-home-fitness is on the rise for future homes. According to a report by Alpha, 54% of Americans are being interested in purchasing an at-home-fitness device (Hanbury, 2018) There is a range of new

devices on the rise, designed to make the lives of the busy, modern consumer even easier and efficient. Tonal, for example a newly developed wall-mounted flat screen TV, serves as a strength- toning-device, developed out of the necessity of founder Aly Orady’s own struggle to balance working hours and fitness (tonal.com). Another innovation is Mirror, an almost invisible home-gym which resembles a mirrored touchscreen onto a wall. It offers 24/7 on demand classed while the camera enables the user to see themselves while exercising (wellandgood.com)

PRE-PRODUCTION

Future Millennials are still opting for Minimalism when it comes to the design of their homes. They are staying away from possessions that may burden them and instead aim for a decluttered, minimalist space with few functional, timeless pieces. Typical for their ‘Instagram-able’ aesthetic is the white, clean, tonal atmosphere combined with natural materials such as ceramics, marble and wood. Objects and furniture that are perfectly curated and organised. As we are nearing the next era of 5G, Smart Tech will only be developed further and according to WGSN (2018), its designs will blend more smoothly into interiors by using more natural materials. While researching these future home & lifestyle trends, I noticed a patternthe new generations seem to be moving towards a ‘home society’. Not only working and enjoying downtime but even further working out from the comfort of their homes. The more time we will spend in our homes, the more we will invest into their interior and environment.

By chance I scrolled through my Instagram feed and saw a photo of one of my friends home, that I knew from work. I went on to see the rest of her photos and found pictures of a beautiful, minimalist home, very tonal and sparsley decorated.

Fig. 21

I had a clearer vision of what the shooting Location needed to look like and began to look online for different renting options. I came across ‘Shootfactory’ which offers beautiful apartments, rooms or even full houses to hire for productions. Unfortunately these are quite high priced and way over the budget I had planned.

She sent me a few photos prior to the shooting, but additionally I went there myself to see all the details, angles and possibilities we would have for filming. Their home is the perfect example of a future home. A house built on a street that is so recent built, it does not exist on the map yet. Smart home locks on doors, Bluetooth speakers on the ceiling of every room and smart devices everywhere. The location made the shooting a lot easier and smoother as I didn’t have to create the perfect set but rather had an authentic one and the the one I imagined right in front of me.

FUTURE HOMES

PRE-PRODUCTION

HOW TO BE YOURSELF IN A WORLD FULL OF YOURSELF The idea for ‘How to be yourself in a world full of yourself’ flourished out of the curiosity to portray our possible ‘future-self’ and the question whether wewith our daily lives being ever more shaped by the digital world and influenced by social media- are still able to exist without- just being by ourselves? The structure simulates an advertisement and is build around a young woman, following her through various scenarios in her daily life. From preparing dinner, to daily workout routines, it all blends into a vision of a near future. The main idea for presenting it in form of an advertisement derived from old vintage TV advertisements from the 50s, 60s. I have always loved the iconic way how they promote products, mostly interacting directly with the camera and talking about the product so confident in such an exaggerated way as if nothing better exists. A few more inspirations derived from Kubrick’s 2001: A Space Odyssey. The first scene shows her opening the door, welcoming us into her modern home. Here I aimed to achieve a similar lighting as he used inside the space ship, white combined with a light red, achieving a warmer undertone but also creating a futuristic atmosphere. The red lighting deepened more for the dinner scene, in order to make it look more warm yet it creates a juxtaposition as she is obviously is having dinner isolated by herself, sharing the table with three empty chairs.

The story involved initially another scene of her preparing dinner ‘How to prepare dinner for yourself’, where she was cutting carrots and preparing the salad but we ended up cutting it out as it did not work visually. ‘Don’t forget to move’ shows her working out in her living room, wearing Virtual Reality Goggles. This mainly shows an overstated version of all these ‘healthy daily workout routine’ videos that our social media feed and online channels are overflowing us with. It also relates back to the trendforecast I did, which predicts we will increasingly workout from the comfort of our own homes. The last scene shows her sitting on her bed in pyjamas staring at her i-Pad. Since the ‘advertisements’ purpose is to promote a way of live just by being with yourself by yourself I was trying to let her interact on a more intimate level with technology. I started researching for Apps that would let you create your own virtual reality avatar and found ‘Zepeto’. ‘And don’t forget to take care of your loved ones’ obviously relates to the way she is interacting with her avatar and brushing her head, while sitting alone and isolated within her own home. My main aim was to leave an open end to the film, leaving space for individual interpretation.

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PRE-PRODUCTION

MIA OPENS FRIDGE TAKING OUT CARROTS STARTS CHOPPING FAST PERFORMING DANCE MOVES WHILE CUTTING THEN SPRINKLING IT ALL ON TOP Camera zooms into food plate zooms out showing Mia sitting on table

HOW TO SURVIVE DINNER WITH YOURSELF

MIA SITTING AT THE TABLE WITH HER PLATE TAKING CUTLERY AND PERFORMING FUNNY MOVES LIKE A PERFORMANCE THEN SIPPING OUT HER DRINK WITH STRAW PUTTING FOOD INTO HER MOUTH Scene ends with camera zooming into putting food into her mouth

SCRIPT PLOT The film is set out as an advertisement on ‘How to be yourself in a world full of yourself ’ and sparks on life in the modern world where everything is digitalised and increasingly self-centred.

‘HOW TO BE YOURSELF IN A WORLD FULL OF YOURSELF’

DOOR OPENS SLOGAN APPEARS:

HOW TO COOK WITH YOURSELF, FOR YOURSELF

FILMING MIA FROM BEHIND WALKING INTO THE KITCHEN FOOD ALREADY ON THE PLATE ON KITCHEN COUNTER

AND DON’T FORGET TO MOVE YOURSELF

SCENE OPENS WITH MIA IN LIVING ROOM WEARING A SILVER TRACKSUIT AND VIRTUAL REALITY GOGGLES PERFORMING FITNESS EXERCISES PRETENDING TO JUMP ROPE AND AEROBICS Camera zooms into her last exercise

LAST BUT NOT LEAST AND MOST IMPORTANTLY DON’T FORGET TO TAKE CARE OF YOUR LOVED ONES

Scene opens Camera zooming out of her iPad MIA SITTING IN DIMMED LIGHT ON CORNER OF HER BED STARING AT HER OWN DIGITAL AVATAR ON IPAD CLOSING THE APP, TAKING A BRUSH AND STARTS BRUSHING THE BLACK SCREEN OF HER IPAD, FINISHING AND PLACING IT NEXT TO THE OTHER DIGITAL DEVICES Camera slowly zooming out showing Mia sitting still staring at the wall before switching off the light, all dark 39

PRE-PRODUCTION

STYLING Right after finishing the script, I started out planning the styling for both films. Both films are so different visually and mood-wise, I knew that the styling needed to reflect that. When thinking about styling I always remember a quote by Andy Bennet stating that ‘Fashion provides one of the most ready means through which individuals can make expressive statements about their identities’ (2005: p.96). The Styling for ‘How to be yourself in a world full of yourself’ was the more elaborate one, as it is containing four completely different ‘activities’. I knew I needed her in a strong outfit for the opening scene, when she opens the door, something maximalist, quirky and a bit weird to give the viewer that ‘grand opening’. Here again, Tilda Swinton immediately came to my mind, always so effortless, known for her quiet elegance, bold minimalism and experimental/ architectural shapes. She expresses so much with so little, which is what I wanted to achieve with my looks as well. For the opening scene I chose a Vintage Moschino Suit, I borrowed from a friend of mine. My aim was to show her more androgynous rather than too feminine.

Two brands that reflect a similar message, which inspired me were Gucci and Miu Miu. Both do not necessarily have the same target group of consumers but nevertheless stand for playful, expressive, more maximalist clothes, yet do not take themselves too serious. The second scene within the film was showing her performing a workout. To keep a cohesive styling throughout, I picked a pair of silver, reflective, oversized Tracksuit trousers. I combined it with a pink vintage Juicy Couture Jacket, to reflect the weirdness of the moves she is performing. The film ends with her sitting in her bedroom using her iPad to brush her avatars hair. It is obviously again a bit weird and perhaps even a bit funny yet has a much darker side to it as the previous scenes. The styling was supposed to reflect that, which is why I picked a black long-sleeved silk pyjama.

PRE-PRODUCTION

MAKE-UP

Fig. 23

The outlay for the Styling went hand-in-hand with the decision on the make-up looks. I realised I would only need one look for the opening scene of ‘How to be yourself in a world full of yourself’, which would make it a lot less timeconsuming. Due to the sci-fi-futuristic touch the scene encounters, I immediately thought of Queen Amidala in Star Wars. Obviously her look is slightly too exaggerated to copy, I included the Pale Skin and dark lip colour in my look. Getting further inspirations from futuristic Runway-looks I detected a pattern which is metallic eyes, darker lip tones and an almost white skin tone accompanied by higher cheekbones. I imagined it together with the clothes she would be wearing and felt it would grant her character more authority, to be taken more seriously.

THE REALEST REAL It was important to me to create a contrast to the other film, not only styling wise but also the mood, set and lighting. In comparison ‘The Realest Real’ is much more intimate, showing the vulnerable side of her, reflecting not only on herself but also on existential questions about her life. I feel we are loosing more and more touch with our ‘real selves’ and how we feel deep inside of our minds and bodies, we are almost embarrassed or frightened to expose our real self, instead keeping up a mask.

you can even sense our lifestyles are probably comparable, I simply am not there.’ released 19 years ago, when the digital world has still been in its inauguration, it is now more relatable and reality than ever. By including and slotting in a few close-up scenes of her over pouring the milk, picking the raspberry and examining the apple I aimed to underline and deepen the inner monologue she is having with herself, to make it more sweeping.The most important and interesting part in this film is the ending scene where she uses the apple as a symbol questioning whether it is the ‘Realest Real’. In this digital era we can be so far away from and lost in our own little constructed reality, which makes it even more important to find a way back by connecting with living organisms which also illustrate a complete contrast to everything virtual.

SCRIPT

The opening scene serves as a metaphor, showing her slowly removing her face mask. The movie ‘American Psycho’ contains a similar scene, where the main protagonist removes his mask, talks us through his face regimen and finishes with the following thoughts ‘There is an idea of a Patrick Bateman. Some kind of abstraction. But there is no real me. Only an entity. Something illusory. And though I can hide my cold gaze, and you can shake my hand and feel flesh gripping yours, and maybe

PRE-PRODUCTION

WOULD I EVER BE ABLE TO LOOK INTO MY OWN EYES WITHOUT USING A MIRROR? Pause WHO INVENTED MIRRORS? ARE THEY SUPPOSED TO MAKE US FEEL PRETTIER OR UGLIER? MIA WALKING DOWN THE STAIRS INTO THE KITCHEN OPENING THE FRIDGE HOW DO I FEEL? INTERCUTS BY MIA OVERFILLING GLASS WITH MILK INTERCUTS BY HER STARTING TO PICK HAIR OFF RASPBERRY WITH TWEEZER

SCRIPT PLOT This part of the film shows protagonist Mia performing her morning routine, while doing so not only reflecting on herself but also striving on a few existential questions about life. MIA WIPING OFF STEAMED MIRROR TO LOOK AT HERSELF She just woke up, wearing a slip dress/night gown, no make-up SLOWLY REMOVING SHEET MASK HOW MANY HOURS HAVE I SLEPT? 8..9 OR EVEN LESS? HOW WOULD I KNOW? CAMERA DOING CLOSE-UP OF HER EYEBALL, THEN ZOOM OUT SHOWING MIA EXAMINING HER EYES

I WONDER IF THEY HAD A LIFE BEFORE THEY BECAME FRUITS? ARE T HEY JUST LIKE US HUMANS?

NEXT SCENE MIA SITTING ON TABLE CHEWING CEREAL WHAT WOULD HAPPEN IF I WOULD DIE TOMORROW? I WONDER WHAT THEY WOULD SAY ABOUT ME.. WOULD MY FOLLOWERS STILL FOLLOW ME? DID I FULFIL MY PURPOSE? EXAMINING THE BOWL OF FRUITS ON TABLE

IS THIS THE REAL(EST) REAL?

PLUGGING HEADPHONES IN APPLE, STARTS MOVING HER HEAD SLOWLY AS IF SHE’S HEARING MUSIC CAMERA SLOWLY ZOOMING OUT

OR MAYBE NOT?

PRE-PRODUCTION

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STYLING

Fig. 26

Fig. 27

Compared to the other film, the styling in ‘The realest real’ is quite the opposite. The script is very stripped down and much more intimate than the other one which led me to a minimalist, quite raw, natural styling. The focus is supposed to be on her as a person, with her thoughts, worries and existential questions. Hence she is wearing a nude slip dress, as she is also performing her morning routine. Nude as a colour helped me to underline her vulnerability and more feminine side in that scene. 49

PRE-PRODUCTION When looking for Model to star in my short film, it was clear that it needed to be someone with a strong personality. The story is a portray of a woman, telling her story of performing these different personalities, strong yet clearly vulnerable. I immediately had to think of the actress Tilda Swinton, who is a cinematic chameleon, transforming into every role so strong and perfectly that you would think she has lived each character. So as I started to actually cast the actress, I was in between Jade, a friend from University I knew and Lola, a friend from Berlin I have been knowing since High School.

Fig. 28

Jade would have been a great choice, as she is sharing a few of these characteristics as well. The factor that made me decide against her were, that I was scared of using someone who has not been acting before as I understand it is a completely different thing to act in front of a camera compared to shooting editorials.

MODEL / ACTRESS

Lola on the other hand has been studying acting for the past years and has got some experience already. I have seen her a couple of times playing and just felt like the role would work perfectly for her. She did not even have to act much as her character mirrors the fictional role a lot already. I realised it makes it a lot easier when you know the person who is acting and have a close relationship to her.

Fig. 29

PRE-PRODUCTION

VIDEOGRAPHER

In order to find a suitable Videographer to shoot my project, I advertised call-out posts on Facebook and Instagram. After receiving a few responses, I narrowed it down to two videographers, one which works more commercially and a guy that I know through my friend, George. He graduated at Goldsmiths University last year and I remembered to have asked him to work with me a year ago already. Lastly I decided to work with him as we ‘clicked’ immediately when I presented him the script and concept. He turned out to be a good choice, very reliant (most of the time) and professional regarding the pre-production preparation and organisation. We ended up planning everything detailed, which was important to me, in order to achieve a smooth production on set.

PRODUCTION

LOCATION

KITCHEN

PRODUCTION

DINING AREA

LIVING ROOM

BATHROOM

PRODUCTION

PROPS & EQUIPMENT

MONDAY, 21st February

TUESDAY, 22nd February

Styling

Nude Slip Dress Nude Panties White Slippers Sheet Mask Garment Steamer Hairbrush Face Spray Headphones Polaroid Camera

Suit Outfit for Dining Scene Tracksuit Gym Outfit Pyjama Goggles Sunglasses iPad Brush for iPad

Food Snacks Raspberries 2x Milk Cereal Serum Ordinary Fruits for Bowl, Apples Bowl @GEORGE: TECHNICAL EQUIPMENT ORGANISATION- PICK UP TOGETHER @LIME GROVE

Food Snacks (tea, energy bars, fruits, crisps..) Carrots Salad Serums Ordinary Glass Bottle Vases Some kind of Accessory for wrist in combo with goggles

@GEORGE: TECHNICAL EQUIPMENT ORGANISATION- PICK UP TOGETHER @LIME GROVE

CONTRACTS Collaborative Agreement 1. Purpose of the Agreement: Laura Sauerbrei and George Brown have agreed to work together to create a film for Laura Sauerbrei’s project about Authenticity. This agreement describes their understandings and commitments to this collaborative effort. 2. Scope and Duration: Laura Sauerbrei and George Brown will work together to shoot and edit the film. This agreement will guide the collaboration for the period beginning 21/01/2019 and ending 02/02/2019. The scope and duration of the collaboration may be amended and/or extended through the joint agreement of Laura Sauerbrei and George Brown to amendments to this agreement.

PRODUCTION 6. Resource Commitment to the Collaboration Each participating organization has agreed to commit resources to the collaboration. All participating organizations will contribute: o The time and effort required for consistent representation of and participation by the organization on the Leadership Committee; o Careful attention to risk assessment and risk mitigation including maintaining appropriate insurance coverage and ensuring appropriate supervision for staff, and volunteers, and use of facilities and equipment contributed to the collaboration. o The resources of their organization required to ensure fulfilment of specific commitments described below; Specifically, each organization agrees to provide the resources described below: o Laura Sauerbrei will provide to the production, direction and editing of the film o George Brown will provide to the shooting, direction and editing the film

3. Decision-making structure & authority: All significant decisions regarding the collaboration will require agreement by all collaborative partners. Significant decisions will include decisions regarding eligibility for services provided through collaboration, the nature of the services to be provided, and decisions regarding seeking and using funding to carry out collaboration activities. Laura Sauerbrei will identify herself within their own organization to serve on the Leadership Committee for the collaboration. Each member of the Leadership Committee will be authorized to represent their organization in joint collaborative decision-making. Each organization will be responsible for ensuring that the person granted authority to represent their organization is kept informed regarding the operation of the collaboration and the identification of issues for joint discussion. Each participating organization will make all parties to the collaboration aware of any limits in the authority of their representative to bind their organization to collaborative decisions and will establish a clear process for their representative to use to become fully capable of committing the organization. The Leadership Committee will agree upon an effective structure for operational management of collaborative activities and efforts. Each member of the Leadership Committee will keep their organization informed of collaborative progress and actively seek feedback regarding the collaboration from within their organization. Leadership Committee members will regularly discuss the progress of the collaborative effort and regularly share feedback from their respective organizations in order to ensure clear communication, issue identification, and problem resolution.

7. Risk management strategies Laura Sauerbrei and George Brown agree that the Leadership Committee will complete an initial risk assessment for the work to be carried out through the collaboration, and will regularly update the assessment as the collaboration is expanded or changed, and review both the analysis and the risk mitigation strategies at least annually. Each participating organization will consult with its insurance carriers to determine the extent to which the organization’s insurance coverage will provide adequate protection for potential damages which may arise through participation in the collaboration. Each participating organization will seek additional insurance coverage if needed to mitigate its own risks and to protect the other organizations participating in the collaborative. The collaborative risk assessment will include, at a minimum, consideration of risks relating to serving program participants, facilities and equipment, employment, volunteers, financial management, and compliance with funder requirements and applicable law and regulation.

4. Legal & financial structure: Laura Sauerbrei will assign employees of their respective organizations to carry out the work of the collaboration. Each employee assigned to work with the collaboration will continue to function as an employee of the organization making the assignment. While Laura Sauerbrei will retain authority for hiring, performance review, and termination for each of their employees, each organization agrees to seek feedback from the other participating organizations regarding the selection and evaluation of staff assigned to collaborative activities. Laura Sauerbrei will provide effective supervision for both staff and volunteers which they assign to collaborative activities. Laura Sauerbrei will each retain responsibility and liability for the actions of their staff and volunteers.

9. Termination of this agreement Each participating organization retains the right to withdraw from the collaboration upon giving the other participating organizations at least 30 days notice of its decision to withdraw. The withdrawal of any participating organization from the collaboration shall result in termination of this collaboration agreement. The remaining organizations may choose to enter into a new agreement to guide their continuing work together.

5. Compensation The Parties agree that the Effective Date of this Agreement shall be as set forth at the beginning of this Agreement. The parties acknowledge that the total amount of the attached Budget is £250 (GBP) which will be paid upon delivery of the final work by Laura Sauerbrei to George Brown. 5.1. Overages. In regard to overages to the Budget, George Brown shall not charge Laura Sauerbrei any monies in addition to the approved Budget without prior written approval.

8. Accountability process and problem solving: The Leadership Committee will meet regularly to jointly evaluate the collaborative, including its progress toward meeting collaborative goals. Laura Sauerbrei and George Brown are committed to open communication with each other with regard to strengths and limitations in the collaboration. The Leadership Committee will work together to address weaknesses and to improve outcomes.

10. Extension or amendment of this agreement This agreement may be extended or amended only through unanimous agreement by Laura Sauerbrei and George Brown. The decision to amend or extend the agreement, and language describing the agreed upon changes, shall be documented in writing, including the date of the amendment/extension, and the signatures of the chief operating officers of each participating organization. This agreement was unanimously adopted by designated representatives of Laura Sauerbrei and George Brown on 21/01/2019. The signature of the chief executive officer of each participating organization below, represents the full commitment of their organization to participate actively in the collaboration and implement fully all elements in this agreement.

PRODUCTION

CONTRACTS General Terms and Conditions The Owner grants the Filmmaker no exclusive access to the Location for the Filming Period for filming and recording certain scenes for the Content, based on the terms above and set out as follows: 1. Location and access 1.1 The Owner agrees and confirms to the Filmmaker that they have the right and authority to grant all necessary permissions and consents in and to the Location without having to obtain any further third party consents. This includes the right to enter upon the Location with such personnel and equipment including but not limited to camera, sound, lighting, recording equipment to film, photograph, record exterior and interior, including names, signs and identifying signia of the Location. 1.2

The Filmmaker agrees it will not identify the Location by its true or any fictional name.

1.3

The Owner will not infringe or interfere with the filming.

1.4 The Owner shall advise the Company of any defects, dangers, which the Owner is aware of in, and relation to or on the Location and the Owner warrants the Location is compliant with health and safety legislation. 1.5 The Owner shall advise the Filmmaker of any rooms, objects or similar not to be included in the footage to ensure their privacy. 2. Rights in the Film/photography

4. Insurance and Filmmaker Indemnity 4.1 Any claims for damages to Location to make good shall be to the maximum of the lesser of the value a) of the items, objects at the property or b) in accordance with the Filmmaker insurance cover in respect of a) any damage which may be caused to the Property by the negligent act or omission of ourselves or our employees arising out of or in connection with our use of the Property (providing we are notified in writing within 48 hours of the production vacating the Property). 5. Miscellaneous 5.1 No waiver by the parties of any failure by them to perform any condition of this Agreement shall be deemed a waiver of any preceding or succeeding breach of any covenant or condition of this Agreement. 5.2 This Agreement represents the entire agreement between the parties in respect of its subject matter and replaces any previous agreements relating to the subject matter and may be varied only in writing signed by the parties. 5.3

The Filmmaker shall be entitled to assign the agreement to any third party.

Please signify your acceptance and understanding of the by signing below.

2.1 The Owner understands that the Filmmaker is the sole and exclusive owner and rights holder of the results of any filming, recording, photography under this agreement (“the Footage”). 2.2 The Filmmaker has no obligation to use any part/or all of the Footage in the Content, and the Filmmaker can give no warranties that the production of the Content will proceed to completion. 2.3 The Owner gives the Filmmaker all necessary consents to enable the Filmmaker to exploit the Content and the Filmmaker shall be entitled to include the Footage or any part in the Content. The Filmmaker shall be entitled to exploit the Content and all allied, ancillary rights by all means, in all media whether now known or hereafter invented. 3. Insurance and Owner Indemnity 3.1 The Owner shall indemnify and shall keep the Filmmaker indemnified from and against all claims, demands, actions, proceedings costs, damages, losses or expenses including legal costs, expenses, VAT suffered directly or indirectly by the Filmmaker or such compensation paid or agreed to be paid by the Filmmaker to any third party arising out of any breach of non performance or non observance of any of the covenants, warranties, representations, undertakings and agreements of the Owner contained or implied in this Agreement.

PRODUCTION

STYLING - LOOKS

PRODUCTION

MAKE-UP & HAIR

PRODUCTION

BTS FOOTAGE

PRODUCTION

BTS FOOTAGE

PRODUCTION

I knew what I was going to expect Expenses wise with a Film Production like this. I was lucky to use the Shooting Location for free, however considering its remote Location I had to calculate a little more for travel expenses. The most expensive part was surely to pay George, the videographer, and Lolas flight tickets.

BUDGETING PROJECT £250 Videographer £121.61 Flight Model (Lola)

BUDGETING

PRODUCTION £37.39 Uber £5.91 Uber £14.20 Uber £35.27 Uber £11 Make-Up Girl Travel Expenses £35 Food for both days

POST-PRODUCTION

SCRIPT

We started editing both films one day after shooting, as George (Videographer) was meant to go to Australia 9 days after. It went relatively smooth, finishing up both rough cuts within 3 1/2 days., which was due to a lot of precise shots and angles we did whilst on set. We ended up cutting out two scenes out of ‘How to be yourself in a world full of yourself’ as they just didn’t work visually and story wise afterwards. The scene included the character chopping carrots and preparing her dinner. The part taking the longest to edit was the colouring of both films as well as to match the sound and finding corresponding music. Gladly we recorded a few versions of her voiceover beforehand in the studio, so we were able to achieve a crisp, clear sound which just needed slight tweaks. Finding matching music (without copyright) turned out to be more difficult especially for the advertisement part as it included four different tempos and completely different scenes.

PRODUCTION

EXHIBITION PRESENTATION

MEMORIES OF A FUTURE SELF

LOCATION

FINDING A SPACE My aim for this project outcome was not only to create a visual outcome but further to combine it with a physical experience involving technology, in order to interact and connect with my audience. I began to look for spaces way back in November 2018, to make sure I will have a space secured and can fully focus on the content of the exhibition. Before I contacted any locations, I put down the most important criteria it should fulfil: Location of the Space: Preferably East, North or Central London. After our group exhibition in 2nd Year I have learned that having a location which is difficult to commute to will definitely impact on how many people are attending Layout of the space: The ideal space I had in mind was just a plain white Studio Space, which would enable me to use it as a white canvas and create my very own vision Cost: I set my personal budget on maximum £300 per day hire to leave enough budget for the rest of the production Afterwards I began to contact mainly small gallery spaces in East London as well as a few Central ones and North. I received a lot of negative answers with galleries already being fully booked for different shows, not renting single rooms or just not being cooperative at all.

1. Darnley Road Studios One of my friends rented this studio for showcasing her MA project, and I remembered it would be perfect for what I am looking for myself. Mainly used as a photography and movie production studio it It is located near Hackney Central Station. This was my first option after having seen how it can be transformed and used as an exhibition space. Unfortunately the communication was being extremely difficult and the price with £450 too high for my personal budget.

LOCATION

1. Protein Studios Another one of my options was Protein Studios which surprisingly were one of the first ones to get back to me and interested in collaborating. They are known for holding larger sized events as well as smaller ones but mainly include commercial and more established clients. The space includes four different sized studios and after going through all four I decided to request Studio four which is the smallest with 652 sq ft and more than enough for what I needed. Hetty, one of the Event Managers invited me to see the space and go through all the details back in December. The spaces are great and the whole team is very lovely and supportive but after having received an offer which exceeded my budget more than twice I had to eliminate it from my selection.

LOCATION

3. Dot Athena, Bermondsey Lastly I contacted Dot Athena, a Studio Space in Bermondsey I found through research on a website called ‘Tagvenue.com’ which lets you filter event venues within London and the whole of the UK. Christos Markou, the event manager got in touch with me and invited me to come and see the venue which I did back in December. It is located inside the premises of the Biscuit Factory, a large business center containing different sized studio and office spaces. The studio I went to view was perfect size wise (581sq ft) and price, £250 per day hire. The only factor holding me back was the location as, although close to Bermondsey tube station, is very hard to find as it is located on an industrial building block. I was afraid people would not be able to find it easily but lastly decided it would be the best option to go for. 83

DEVELOPMENT

LAYOUT

First rough Sketch-Up of Layout

Second Sketch-Up of Layout, more detailed Final Sketch-Up of Layout for the Set-up of the Exhibition

DEVELOPMENT

LAYOUT

A month prior to the exhibition date I went to re-visit the studio and sketch down all the plugs, take photos of lamps, structure of walls and the hanging system to start planning the layout of my installation set-up. Due to the fact that both films are quite different moodwise, I decided to somehow divide the studio into two parts to give each film its appropriate installation. As my initial goal was to create an experience and interact with my audience which guided me to the idea to install the films in a way that the audience somehow will physically experience the same feeling as being shown right in front of them on screen. The decision arrived quick to place ‘How to be yourself in a world full of yourself’ at the entrance when the visitors come in. I aimed to work with the lighting inside the films to re-create the atmosphere which in this case had to be a red, warm lighting which would be more welcoming as well. Considering the plan of splitting the room into two I realised it would solve two problems at once as I could also project the film onto that wall at the same time. Walking around this wall, the visitor would then enter the backside, into the second installation of ‘The Realest Real’.

This one would be ‘colder’ atmospherical and involve more of an installation. Taking into consideration its narrative I aimed to develop a physical environment focussing on selfreflection. I came up with the idea of creating a mirror maze, using different sizes, shapes and arrangements. In between those there would be a range of apples hanging from the ceiling and are being arranged throughout the space. I hoped to create a surprising effect for the viewer as they would only understand the installation after walking through the space to get to the screen, which showed the other film. Another decision I planned consciously was to reveal this one on a smaller screen only through headphones as its plot and feel is a lot more intimate. There is a small area which includes cubes with mirror plates on top and one i-Pad installed showing a close-up scene of her eye. Here I had initially planned to place three tripods, each of them holding an i-Pad which would show different close-up scenes of the films. Unfortunately two of the tripods I borrowed were broken so my problem-solving-plan was to just lay one i-Pad on top of the cube.

Some visual Inspiration, main sources derived through artists Es Devlin, Jeppe Hein and Olafur Eliasson

DEVELOPMENT

EQUIPMENT

Technical Equipment 1x LCD Screen @ Lime Grove Media Stores 4x Headphones @Lime Grove Media Stores 1x Speakers @Lime Grove Media Stores 2x HDMI Converters @Lime Grove Media Stores 3x Standing Lamps + Coloured Gels @Lime Grove Media Stores 2x Extension Cables @Lime Grove Media Stores 1x Projector @JPS 3x I-Pad Mounts @Amazon Set-up Equipment various Mirrors@ Amazon, Ikea, Dunelm Fabric for Backdrop @ CSM Material & Textile Shop Nylon Bands @ CSM Material & Textile Shop Apples @ Supermarket Other 30x Press Booklets @ABC Print 100x Cups @Amazon 15x bottles Wine @Amazon Fresh

DISTRIBUTION

INVITATION

Due to the digital/technological theme of the digital exhibition, I figured the invitation needed to reflect the same. Initially I had planned to create a flyer featuring a still from the film, but then thought this would be too ordinary. Looking at Instagram and online, there has been a rising trend of a new way of communication and expressing feelings through animated GIF’s and so called Internet Meme’s. With this in mind I started designing different animated GIF-invitations which would then be send via E-mail and advertised through Social Media.

DISTRIBUTION

INVITATION

Invitation Screenshots sent via E-Mail

DISTRIBUTION

PRESS RELEASE & BOOKLET

OUTCOME

FINAL EVENT

OUTCOME

FINAL EVENT

OUTCOME

FINAL EVENT

We started setting everything up at the Location at 12PM. I tested all the Equipment I had picked up at Lime Grove and JPS the day prior to the event. Glad I did, as the screen had major issues to transport the sound through the HDMI Converter into the Headphones. Therefore I had to go early in the morning before the set-up back to Lime Grove to figure out a solution together with Alex, the technician who was amazingly helpful and super supportive. The set-up overall went relatively smooth yet quite stressful as I had arrived only at the Location for 1.30PM due to the technical issues but luckily I had my Mum, Sister and friend Anna to help build everything up. I am more than pleased with the final outcome, since it is so hard to imagine the visual plan you have in your head into a physical space. It almost worked out all the way I wanted it, apart from the broken Tripods I couldn’t use but fortunately found another solution how to display the i-Pad. I definitely enjoyed the whole process and am a bit sad, that I was not able to leave my work in there for longer than only one day. If I would improve something next time, I would definitely test the equipment much further in advance in order to leave enough time to problem solve. Here again, I would involve a bigger team, who would work together with me as a team, to be able to delegate more tasks.

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LIST OF FIGURES

Fig. 1: Naina Redhu (2017) Rotten Fruit. Available at: http://www.naina.co/2017/01/rotten-fruitkinnow/?utm_campaign=coschedule&utm_source=pinterest&utm_medium=Naina.co&utm_ content=Rotten%20Fruit%20:%20Kinnow Fig. 2: Nhu Xuan Hua (2018) Honne Album Cover. Available at: https://genius.com/albums/Honne/ Love-me-love-me-not Fig. 3: Titelmedia (2018) Highsnobiety Cover, Issue 16. Available at: https://www.pinterest.de/ pin/745697650776043039/ Fig. 4: Yu Cong. (2019) Vogue Cover China. Available at: http://www.malefashiontrends.com/2019/01/ jackson-yee-noonoouri-covers-vogue-china.html Fig. 5: Unknown, Making Neon Glow. Available at: https://www.pinterest.co.uk/ pin/504755070723082837/ Fig. 6, 7, 8: Sauerbrei, L. (2018) Andrew Norman Wilson. Unpublished photographs Fig. 9,10,11: Sauerbrei, L. (2018) Daria Martin, John Akomfrah, Pipilotti Rist. Unpublished photographs Fig. 13: Blackmirror, Nosedive (2018) Available at: https://www.tom.travel/wp-content/uploads/2018/03/Quand-le-syste%CC%80me-de-notation-imagine%CC%81-dans-Black-Mirror-devientre%CC%81alite%CC%81%E2%80%A6en-Chine-.jpg Fig. 14: Blackmirror, Nosedive (2018) Available at: https://geeks.media/black-mirror-nosedive-a-pastelcoloured-nightmare

Fig. 22: 2001 a Space Odyssey (2018) Stanley Kubrick. Available at: http://rocketumbl.tumblr.com/ Fig. 23: Queen Amidala, Star Wars. Available at: https://en.paperblog.com/make-up-in-film-starwars-125653/ Fig. 24: Sofia Coppola (2016) At the Mirabella Fifth Anniversary Party in 1994. Available at: https://www. vogue.com/article/sofia-coppola-90s-style-milk-fed-marc-jacobs?mbid=social_onsite_pinterest Fig. 25: Deercircus, Ten Minute Poem (2014). Available at: http://www.deercircus.com/2014/10/tenminute-poem.html Fig. 26: Unknown (2015). Available at: https://sewingtidbits.com/2015/08/19/from-inspiration-to-garment-part-3-with-a-commercial-pattern/ Fig. 27: Michal Pudelka, NEHERA F/W 2017 campaign (2014). Available at: https://www.nehera.com/ en/fall-winter-2017-advertising-campaign Fig. 28: Michal Pudelka, NEHERA F/W 2017 campaign (2014). Available at: https://www.nehera.com/ en/fall-winter-2017-advertising-campaign Fig. 29: Tilda Swinton (2013). Available at: https://www.pinterest.de/pin/499407046159009331/ Fig. 30: Lola Fuchs, (2018), Joachim Gern. Available at: https://www.e-talenta.eu/members/profile/lolafuchs

Fig. 15: Blackmirror, Nosedive (2018) Available at: http://allthingsfetiche.blogspot.com/2016/12/blackmirror-3x01-nosedive.html Fig. 17: Screenshot (2017) Lena Dunham Instagram. Available at: https://www.instagram.com/lenadunham/ Fig. 18: Fig. 19: Mirror Fitness Device (2018). Available at: https://www.wellandgood.com/good-sweat/mirror-athome-workout-equipment/ Fig. 20: Tonal Fitness Device (2018) Available at: https://www.tonal.com/ Fig. 21: OS AND OOS (2018) Available at: https://www.architetturaxtutti.com/gallery/ddw18/ 103

BIBLIOGRAPHY

Baudrillard, J. (1981) For a Critique of the Political Economy of the Sign. St. Louis: Telos Press Ltd. Baudrillard, J. (1995) Simulacra and Simulation.Ann Arbor, Mich. : University of Michigan Press Bennet, A. (2005) Culture and Everyday Life. Australia : SAGE Publications Bonner, M. (2018) Victoria Beckham EPICALLY Responds to Haters Dragging Her for Not Smiling at the Royal Wedding. Available at: https://www.cosmopolitan.com/entertainment/a20913063/victoriabeckham-response-not-smiling-royal-wedding-t-shirt-smiling-on-the-inside/ Gilmore H. & Pine J. (2007) Authenticity. USA: Harvard Business Review Press Hanburg, M. (2018) These innovations revolutionized home fitness in 2018. Available at: https://www. businessinsider.com/biggest-home-fitness-innovations-year-2018-12?r=US&IR=T Havas Worldwide (2017) Marketing to Gen-Z. Available at: https://www.havaspeople.com/media/1933/havas-people_marketing-to-gen-z_2017-opt.pdf McDowell, T. (2014) Les Immatériaux: A Conversation with Jean-François Lyotard and Bernard Blistène. Available at: https://www.art-agenda.com/reviews/les-immateriaux-a-conversation-withjean-francois-lyotard-and-bernard-blistene/ Obrist, H-U. (2015) Ways of Curating, Penguin Books, London. Palfrey, J. and Gasser, U. (2008) Born Digital: Understanding the First Generation of Digital Natives. Basic Books, New York. Prensky, M. (2001) Digital Natives, Digital Immigrants. Available at: https://www.marcprensky.com/ writing/Prensky%20-%20Digital%20Natives,%20Digital%20Immigrants%20-%20Part1.pdf Shin J., Saunter L., Napoli C. (2018) The Millennial Home Economy. Available at: https://www-wgsncom.arts.idm.oclc.org/content/board_viewer/#/82002/page/3 Walker, J. & Stott, R. (2017) Avatar Influence. Available at: https://www-lsnglobal-com.arts.idm.oclc. org/micro-trends/article/21896/avatar-influence

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