CURÉ 1
part.2 the creation.
CONTE 4
ENTS Introduction Faster than Fashion - Development Faster than Fashion - Outcome New Abnormal - Development New Abnormal - Outcome Regenerate - Development Regenerate - Outcome Videography Social Media Books
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Pg7 -Pg19 Pg20 - Pg33 Pg34 - Pg65 Pg66 - Pg79 Pg80 - Pg95 Pg96 - Pg107 Pg108 - Pg123 Pg124 - Pg127 Pg128 - Pg131 Pg132 - Pg135
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introduction 7
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This book details the journey that I have taken my work on since creating a 360 campaign. My original campaign consisted of several photoshoot campaigns, an application, a private Instagram account and a styling book. I will be taking you through my research, the development of my work, compilations within the project and how I have arrived at my final outcome. This is part two of my journey. Part two took place from March 18th, 2020 till final hand in on May 28th, 2020. Within this section there will be detailed information on how and why my final outcome has had to change and develop, new research I have conducted to sit alongside these developing idea, as well as my final branding and outcomes overall for my final major project.
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Due to the coronavirus pandemic that took place from the 17th March onwards in 2020 I had to dramatically change how my final major project would continue as well as change the final outcome for my work which I had originally decided upon. Even though this proved to be a trying time I wanted my work to be maintained at the same level of quality I had been working on beforehand and so I immediately began thinking of new ways to produce an outcome that bared the same creativity and branding as it would have previously, whilst also staying try to the qualities that make up CURÉ. As Covid-19 expanded into all global industries I focused on being up to date on how fashion brands and companies were adapting themselves throughout this time, and so refocused myself on conducting new research on how the fashion industry was adapting and what they were focusing on the most in being able to do so.
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The devastation of coronavirus has impacted every element of life, but many fashion brands are still thriving during these times. In the United Kingdom the pressure upon our NHS has been monumental, however plenty of fashion brands in the UK have stepped up to support the heath system. Burberry has supplied huge amounts of PPE (personal protective equipment) to the NHS even turning its Yorkshire based factory from manufacturing trench coats to manufacturing non-surgical gowns and masks for British patients.
Other brands who have taken similar routes to support the NHS throughout covid-19 are, Mulberry, Barbour, Reiss and Kurt Geiger, as well as countless more. Although this has not been the only way that the fashion industry has adjusted itself, many have taken the plunge into realm of e-commerce focusing on becoming more digital in their approach. Even fashion museums such as, The V&A, The Fashion Institute of Design and Merchandising and The MET have now taken their most influential exhibitions online, allowing visitors to see them in a virtual tour environment. Exhibitions that would otherwise have been postponed now have been giving a new lease of life and an even bigger audience.
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There have been many different approaches towards using technology as an advantage but one of the biggest has been social media. This time has given brands the chance to explore and reimagine their online presence and what better place to that than where the consumer sits, social media. Utilising social media is being done in a variety of ways, converse have recently released an Instagram competition, encouraging its followers to create their own design on a pair of converse, ecommerce brands such as inthestyle, isawitfirst and prettylittlething have been doing numerous collaborations on competitions for their followers and Alexander McQueen have released their project ‘McQueen Creators’ with an aim to initiate and inspire creative conversation. Even so, the biggest change to have happened has to be the updates made to London fashion week. The eagerly anticipated show is now becoming digital and as well as being gender neutral. This dramatic change to the show has happened at a poignant time for the world and is seen to be breathing new hope into the fashion industry whilst also being an example to other fashion capitals in changing with the times.
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These findings proved to be a huge help and steered me on the right path when developing a new outcome. One of the main things I had noticed was just how important technology had become, brands were reliant upon it in this time of need. I believe that combining this aspect into my work will prove to be massively beneficial when thinking to the future and shows a key technique I have used in order to adapt, displaying versatility.
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It can also future proof my work as fashions future is set to lead in the direction of technology and the digital world, even when the coronavirus pandemic ends. Creating my work in a more digital way was not something that immediately appealed to me as I prefer to show creativity in a more tactile and physical way, this being a key element and something recognisable in all of my work as it has come from the nostalgia of vintage within my brand me. So, if I was going to utilise the digital world within my work, I still wanted there to be a balance between the physical creativity that I hold so dear. Another aspect that many brands have taken a hold of is creating connection and community, two aspects that are huge within my work. In seeing this put into practise, especially now, shows just how much of a consumer desire there is for community and connection not just in the industry but in general. This research has solidified just how important this quality is becoming to the consumer and that this desire will only continue to grow in a world that is more uncertain than ever before.
From researching into how the fashion industry was beginning to adapt itself, I began looking for inspiration and exploring into ways that I could adapt this into my own work in a similar light. As I had originally planned to do several photoshoots and a video, I knew these would be the most important areas to reimagine. When I began thinking about the changes, I would have to make I concentrated on what I felt the most important elements within each of the campaigns were and how these could be recreated into something that still reflected my brand but would also be achievable in the restricted circumstances. My branding has always had a connection to making the most out of what you have no matter how limited, it is this thinking that I applied into my own work and situation which has helped me to create ideas and outcomes to the best of my ability whilst staying true to the original concepts I have interpreted from.
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Faster than Fashion 20
The Development.
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My first photoshoot would have been a studio and location shoot with a model (see part one for more detail), this idea had to be completely scrapped due to the rules on social distancing as well as being in lockdown at home. I was lucky enough to have all of my looks with me at my home and so I knew I would be able to create something that resembled my original concept. When returning home, I was able to bring a mannequin with me a so I decided to utilise this and use it as a part of my photoshoot. In redeveloping my first photoshoot I thought about how I could make the most out of the items that I had and how I could make my personal branding present even still. My first step was to create a mood board as a form of inspiration for my new shoot concept due to my previous mood boards focusing more on shape and movement of the model. As this shoot is an exaggerated version of my branding, I wanted to find imagery that bared a similar aesthetic to what I was hoping to create, using shape of garments and silhouettes as a way to interpret my original ideas of movement and drama.
I stuck with the same colour palette of monochrome so that texture and pattern would stand out but also focused on the idea of shadows to create a different type of shape throughout the image. The mood board imagery provided huge amounts of inspiration to move forward with and also gave me some new ideas such as shadow and light to research and play about with for my shoots. I knew that I wanted texture and silhouette to be heavily involved within the shoot as it gave a similar feel to the original images of model movement I had looked into and I believed this was the best way to create the drama and exaggeration that I was looking within my photography.
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Following this I went ahead and researched more fashion stylists for inspiration on unique ways to view styling and create something different, enabling me to gage a greater understanding into how they have utilised shape, shadow and texture. The stylists I looked into were Meric Canatan, Ernesto Artillo and Ashkan Honarvar. All of these stylists have different approaches to fashion styling showing just how versatile this aspect of the industry has become. Meric Canatan is a London based designer and illustrator, his approach is extremely creative. Using a model as his main image focus, he builds layers of texture and pattern onto them using objects that are not commonly associated with fashion styling. This type of imagery has an individual look but still portrays a clear message throughout. Ernesto Artillo has a different approach in how he creates his work, again using model photography as his base he layers paint onto the image, adding colour and creating texture with the media he uses.
The final stylist I researched was Ashkan Honarvar. His work has many hidden meanings and messages to it, with a focus on politics, wars and genocides this dark quality has led to beautiful pieces of work created through digital collage. All of these stylists have provided me with much inspiration to create something that is different than the normal qualities of fashion styling. The techniques they have used is something I have interpreted into my own work for CURÉ, with each of the stylists adding their own unique inspiration into what I have created.
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In doing this I have been able to adapt my mind in viewing everything as if it were still going to sit on a model but also utilise the unique perspectives that each of the fashion stylists keep at the heart of their own creations. Allowing me to focus on picking the right type of accessories for each look to enhance the garments, having a clear but simplistic plan for my day of shooting and an idea of how I would like the final product to look with my own creativity qualities added. Still continuing to work in this frame of mind has made me focus even more on using the clothing as a way to communicate a message/story as above everything else this is the most important aspect throughout my entire FMP.
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Throughout the development of this shoot I began to create the overall concept and meaning that was behind everything, as well as naming the campaign story. The name I choose for this shoot was “Faster than Fashion”. As this shoot was considered an exaggeration of my branding, I wanted the name to bare the same drama as its meaning, hence “Faster than Fashion”, this has also come from my personal branding as there is a subtle focus on irony as the name is a play on words for fast fashion. The short story I have created to sit alongside this element of work is as follows.
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‘In the constant expanding state of fashion individuality is becoming extinct, so what can we do to revert this state? “Faster than Fashion” is a campaign that celebrates what we already have. It is vital that we begin to take a step back and slow down, in this approach extravagance and personality are championed, encouraging us to revert to our old ways that expose the simplicity of fashion in its most natural form.’ The message within “Faster than Fashion” is something I fully stand by and want to celebrate, the idea of the campaign is to be dramatic and different, I don’t want the images to look like the standard model photography as that just simply cannot happen currently. However, what I do create will be bold, have a clear sense of identity but also show that fashion doesn’t have to be viewed from one perspective anymore, it is there to broaden our horizons, provide inspiration and be unique.
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Faster than Fashion 34
The Outcome.
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The shoot created for ‘Faster than Fashion’ used a mannequin as a way of displaying the looks, substituting for a model. The location of the shoot was home based using a plain white backdrop that would enhance the dark tones and textures of the garments. I gave myself an entire day to complete the shoot. In the morning I focused on making sure I was one hundred percent happy with the three final looks, taking test shoot pictures of them on a plain wall to give a clear idea of how they would look on camera. once this had been completed I began setting up the backdrop and lighting for the shoot, I set one light at a lower angle than the other to have an even spread across the whole image, I the had these lights placed at either side of the backdrop ready for the mannequins to be placed within. As I only had a small area to work, I knew how important it would be to stay organised and on track with everything so doing the preparation of my equipment in the morning proved to be hugely beneficial and saved a lot of time shooting.
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Each of the looks have their own personal meaning to them, a story as to how and why they were styled in the way they have been. Look 1 uses tulle taken off of a second-hand skirt to create the exaggerated silhouette at the top of the body. The idea behind this is to create something over the top whilst still being delicate, hence the use of tulle. The trousers used in this look were bought second-hand from a seller on depop and have had no adjustments made. Pairing these trousers with the tulle takes away the feminine drama it possesses alone and adds a sense of grunge and strength to the look, making it the perfect balance of the two, which relates back to the branding of CURÉ
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Look 2 focuses heavily on layering and using garments in the way that they were intending but adding a creative spin to them. The exaggeration and femininity within this look come from the dramatic skirt, this skirt is compiled of a 1950s era dress and a second-hand tulle skirt which have been placed in a way that makes them flow as one. To contrast against the heavy female notions the skirt has been pair with a structured blazer, attained from a charity shop, which adds a sense of power in a simplistic way whilst also creating contrast against the gentle look of the skirt. The use of accessories has been done the emphasise the silhouette but also give an element of grunge through the use of metal and leather
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. Look 3 is more revolved around femininity. There is a lot of exaggeration from the silhouette as well as the layering of delicate fabrics, it is this layering that adds contrast taking away some of the girly connotations and adding a sense of darkness. To make the idea of darkness more prominent accessories were added around the neck and to the skirt, by adding these elements I splits up the look, allowing it to flow better as one. The most powerful part of this look is the puff sleeves, they are extremely eye-catching, making the look stand out.
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From this shoot I achieved the desired imagery I wanted to; this was clear photography of all three looks as well as close ups on details of each look. Keeping this imagery as just edited photography images will be one element of my final work within “Faster than Fashion�. In developing this imagery even further I removed the background form three images of each of the looks and added them onto my own abstract background which I created digitally using photoshop. In doing this it has made the looks stand out even more as well as enhancing the underlying message of creativity even further, whilst also representing the idea of using your own sense of creativity as a form of expression.
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As I had these two simplistic outcomes from my photoshoot I wanted to expand the idea even further by creating a croquis style image using my consumer head but most importantly human features giving the idea of realistic fashion styling, even though this is still a minimalistic approach the outcome gives a clear understand of how the looks would have been styled if I could have used a model. The outcomes that have formed “Faster than Fashion” clearly represent the message intended and will be effective to promote the ideals of CURÉ both through social media and within the application.
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New Abnormal 66
The Development.
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Whilst developing the final imagery for “Faster than Fashion� I then began thinking about the next element of my final major project which would have originally been my second shoot aimed towards my consumer, this being commercially based (see part one for more detail). Instead of immediately jumping to a new idea altogether I wanted to explore the idea of creating something completely out everyday day products, as a way of showing the complete possibilities of rethinking fashion.
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I started by looking into fashion imagery which had been created using abnormal products/objects such as plastic, newspaper, bottle tops and tin cans just to name a few. The idea came from an old piece of work that I produced three years previously as a part of my final major project in college. One of the looks I created was a top made completely out of straws, the idea for this came from a similar perspective of using everyday products in a unique way however the focus of this project was on structure. Looking back into my old archive of imagery was extremely enlightening and gave me a huge push to create something that as equally creative as it was eye-catching. And so, the idea my newspaper creation began to form.
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I decided to focus on using newspaper as I felt it would be the most versatile media for what I was hoping to achieve and also because it was the most easily accessible to me as well as producing the least amount of excess waste in the process. In developing this idea further I conducted research into newspaper fashion so that I could gage a new understanding on it, such as knowing who had done it before, the types of campaigns it had be used for and how effective it had been (both in a creative respect and in a political respect). Some examples of this type of work, Elsa Schiaparelli who was the first person to create this style of fashion in 1935, the most famous being John Galliano’s spring/ summer 2000 couture collection for Dior and most recently created by Diane von Furstenberg who took inspiration from Schiaparelli’s original work. Using newspaper in fashion has been done numerous times before, however I needed to make my work different to what has been done previously as well as making it look effective and thought provoking.
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It was at the final stages of the development that I focused upon creating the meaning and concept to the entire shoot, even though this was something that had be clear throughout I had yet to completely define it. Taken from the idea of using abnormal everyday objects/products to create the looks I named the campaign story “New Abnormal�, also playing on the commonly used phrase (especially in the current times) the new normal. I wanted to use the word new as it relates to the product used to create the piece but can also be referred to by the audience as a new way to see and understand fashion. From this I have created a short story that will sit alongside this element of my final major project, this is as follows.
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‘What is fashion in the 21st century? Is it just the idea of following a trend or having the latest designer item? “New Abnormal” is a collective concept that is changing how we see the industry, not just for what it is but for what it does. With an aim of making fashion questionable rather than acceptable can the world truly change? By creating thought provoking statements that inspire the idea to think what lies beneath the fashion that we see every day.’
I believe that this story is extremely powerful and can connect to a lot of people, it encourages them to think beneath what we see in fashion and understand that it is not as glamourous as it may seem, this could be a controversial approach but the idea of showing transparency is something I strongly stand beside as it is what the consumer is truly asking for.
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New Abnormal 80
The Outcome.
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In creating a shoot for New Abnormal I firstly had to make the newspaper look that would become the main visual focus for the styling campaign. As the idea for this campaign came from y previous shoot, I choose to a reinterpret just one of the looks within “Faster than Fashion�, the look I decided upon was look two that used the structured check jacket to contrast against the delicate drama of the tulle skirt. My reasoning in selecting this look was because I felt that there would a clear understand of what I was trying to achieve through using newspaper and I also would be able to create something that resembles my original styling as closely as possible.
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In again utilising the mannequin the same when I had done previously, I was able to firstly create the structured jacket that would frame everything. I felt that the jacket along was extremely striking so I decided to photography this on its own before adding the skirt onto the look. Once I had added the skirt in and again took images of the entire look, focusing in close to the detail and texture I had captured. I used a black backdrop for the newspaper look to make the media stand out as I felt it might become lost within a white backing. When reviewing the final imagery, I had captured I felt as though there was something missing, this was my personal creativity. Using leftover paint and pens I adorned the look with decoration and detail that added texture, character and an identity to the look.
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The final imagery I have captured is strong and represents CURÉs goal to make people stop and think about fashion, it also has its own sense of identity and connect to the consumer on a personal level, giving it a new meaning and giving fashion a meaning. The final looks resemble that of my previous completely and there is a clear connection that links back into my branding message. When I look at this it shows that anything can be possible with fashion, sometimes it just takes acceptance to realise it.
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From this photography I wanted to experiment with fashion styling either further and began creating looks from just the newspaper jacket. In doing this I could show just how versatile the product was and that I it could be styled in multiple ways, therefore appealing to many different versions of my consumer. I designed several looks and tested placing imagery in different ways until I found one that I felt best portrayed my branding of CURÉ, the overall message for “New Abnormal” and was best suited to my consumer. All of the imagery created within this styling story will be used to promote the ideals of CURÉ effectively though the applicant and the social media networks I have developed.
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Regenerate 96
The Development.
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As my original second shoot would have been in a commercial style to appeal toward my consumer, I felt that this was still a hugely information concept to carry forward and recreate in way that could be achievable. As my original shoot would have been in the same style and aesthetic as the brands I have used for inspiration; Asos, Urban Outfitters and depop, I began creating new mood board concepts using them as my key source for imagery and ideas. In finding appropriate imagery I mainly looked at each of the brands social media accounts, due to social media being a key place for creativity and expression. From this I was able to gather a mass of imagery that I could edit into mood boards as a form of inspiration in moving the commercial aspect of my work forwards.
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Each of the brands has their own style when it comes to social media however by taking them apart and refashioning them, I was able to show a clear direction that I wanted to take my work to. The commercial shoot I had originally planned would have been location based and using a model, these aspects were again not possible due to covid-19 restraints but with the inspiration I had already collated I was able to come up with several new concepts that would be possible. The first being an at home shoot where I would be the model and the images would be taken in a simplistic style similar to that of a fashion show line up. In doing this I would still be able to style the looks but it would just have to be on myself, the main issue I felt is that my face would have been recognisable within the work to individuals who know me as well as when my work is seen by industry, because of this I had planned to have my head looking downwards for the shoot and then edit onto the images to cover either my eyes or parts of my face. My other idea was to produce a flatlay shoot, taking the inspiration from the social media research I had done previously to create the mood boards.
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Flatlay photography is huge on social media especially Instagram, with my consumer being within generation-z and generation alpha they are the most predominant users of social media and so this style of photography is perfect in created a concept that is completely aimed towards them. It would also be a different way to consider fashion styling, proving how styling can also develop in the industry and that it doesn’t just belong on a model anymore but can be however you choose to interpret it.
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During the development of this shoot/concept I began defining exactly that the meaning behind the looks would be, what the overall story was and what I would call the campaign. I decided to call this styling campaign “Regenerate”. The name has come from a clear focus towards the consumer/generations, a huge element of this campaign is the factor of inclusivity as well as the consumer being at its heart. The definition of regenerate is, ‘to improve a place or system, especially by making it more active or successful’, according to The Cambridge Dictionary. This relates closely to the overall aims of my branding CURÉ and so was a perfect it within this concept. The word regenerate for me relates back to my geeky side as it is connected to the science fiction franchise Doctor Who.
In the show the doctor is seen to regenerate into a new version of themselves every ten years, to me the idea that as a story and climate develop so does the overall character is extremely clever and shows just how far the world has come, connecting back to elements of my shoots ideas as well. From this I went on to further define my ideas and develop a campaign styling story for Regenerate, this is as follows.
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‘Desperate times call for creative solutions, taking inspiration from the likes of science fiction stories it is now our turn to regenerate and rebuild what fashion is. “Regenerate” cries out to generation alpha and generation-z to become the beacon of hope to lead us into a new age of upcycling and sustainability.’ I believe that this story is a powerful one and has a message that will appeal and connect with the consumer completely. It has a quirky feel to it from the references of science fiction but with it a clear goal for the future, that is to change fashion. The notion that it is the consumer who can make the difference adds to the ideas of community that are present throughout CURÉ branding but can also provide them with a sense of purpose that is not frequently seen with the fashion industry. Putting the consumer at the heart of this styling story has the potential to develop a new type of fashion consumer, one who really could make a difference to the industry.
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Regenerate 108
The Outcome.
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When going into the creation for the final outcomes of Regenerate I had to make a decision on which photography idea would be best suited to the overall concept as well as the type of image I was looking for. As this styling story was specifically aimed towards my consumer, I felt that the flatlay style of photography would be the best option but also showed versatility within my FMP against the outcomes I had already developed.
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Within regenerate all of the looks are focused around one aspect, consumer appeal. As I had been collecting clothing throughout my FMP journey, I had a substantial amount to play with. Every single item was either something I owned myself, something I had borrowed, an item purchased from a second-hand store, charity shop or from the reselling application depop, but also items which had been upcycled to give them a whole new look and meaning. It was important that each look radiated sustainability as well as the CURÉ brand message. All of the looks and photography have been fashioned to appeal to the ideal audience of generation-z and generation alpha through social media.
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Using social media as a main platform has influenced the looks hugely and so they have been kept simplistic and bold. The garments have created strong silhouettes within the photography making them powerful and in keeping with CURÉ as well as other campaign work created. The layering of garments has also led to the creation of interesting patterns and combination that might not have been produced had they not been aimed towards social media.
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Due to the complexity of pattern created within the photography itself I decided not to overly edit them but keep them in their simple form. I did however experiment with adding colour through printing out the images, drawing onto them by hand and then scanning them back onto my laptop. The results of this were varied as colour has never been something that’s related to my branding, so I felt it best to discard the colour images and instead change the colour areas into white as this would still display a sense of creativity but also shows adaption in wanting to maintain a clear brand identity. With the consumer at its heart Regenerate has the ability to make a difference and aims the encourage its consumers to do the same, using the imagery created within the social media channels and the application will only enhance the message that this styling story is expressing.
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Once all of my shoots had begun to develop, I continued to make decisions about what I should do for the rest of the outcomes I had previously decided upon. As I had already made adjustments and changes within the idea of my application (creating it as just a design example) I left this element untouched, I felt that it was still relevant and a huge part of my branding. Even until the end of my FMP I created different examples for the application and how my styling work be a featured in this, showing the communication of this in practise. As one of the other main elements from my previous outcome would have been a video used throughout social media, I felt that I really need to establish whether something like this would still be possible and what it would add to my work.
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As the video would have required me to use multiple models, I began to think of potential ways around this, such as using headshots, facetime and voice notes to create a reimagined idea of my originally work. However, as I began to research and develop these ideas more, I felt that it had become too complicated and the message of ‘Its Upcycled... Duh’ was being lost. Moving on form this I still experimented with creating video for my social media channels and the application as having multiple forms presence can be extremely eye-catching and bold to the consumer. I initially attempted to use premier pro to turn my existing croquis from “Faster than Fashion” into a 3D moving object, this idea worked someone but didn’t present the ideal aesthetic that I was after. After this I began to research into what kinds of applications were available to create video for social media or to create gifs. With this research I download several apps and began using my pervious imagery from all of the shoots to create sort videos and gifs for Instagram, I wanted there to be this aspect of videography as it has the potential to reach a further type of consumer but to also show my work in a different light that cannot be done through anything else.
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Social Media If there is one thing that is for certain from covid-19, it is that social media has been at the heart of almost everyone’s daily routine. It has become the prime source for communication and information for so many people, making us ever more so reliant upon it than we have been. With this new mindset of social media focus it would be ridiculous for me to not go ahead and create the two social media accounts I had originally planned on, an Instagram and a Facebook. Using the branding of CURÉ I created both accounts, Facebook aimed at being more informative and Instagram more creative. I will be uploading to both of these accounts towards the end of my final major project with content that I feel is most suitable for both and will appeal in the right type of way to my consumer.
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what is
CURÉ
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As for the books within my final major project they have changed somewhat as my development has progressed. I initially had the two additional books to stand alongside and support my journey/exhibition book, the first being a styling book. I have decided to keep this book as I have been able to collate enough work that I am happy with to be used in the creation of this document, the styling stories I have detailed within are only brief and are there as an indicator of initial work for each that will develop as time progresses. The book is in my branding colours of monochrome has the same progression of work that is displayed within this book, presenting cohesiveness throughout. I wanted to continue with this book because I feel it is a key aspect that was most important to me when thinking about being a fashion stylist in regard to creating a story and message through imagery. I will be featuring this book on both of my social medias to allow for transparency and give the audience a clear understand of the styling message.
Books
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My final book would have been called ‘I didn’t have to buy it’, a book about sustainability and upcycling with the industry and how I believe that this can become the future for fashion and why. Due to the current circumstances of covid-19 I had to really question whether this book would be received correctly after the pandemic, even now people have become hugely sensitive and a subject such as sustainability has the potential to cause great debate. I also did not want there to be any cause for offence or questioning based on any opinions that I might have presented, currently we don’t know what the future holds and so steering away from this aspects of my work will be more beneficial to me in the long run. So instead of creating this book a decided to create a book about my own personal branding of CURÉ, taking elements from y previous brand me work and combining them with my current. In doing this I will be able to give the consumer a clear idea on exactly what CURÉs message is, what e stand for and what the main goal is. This book will be assessible on both social media platforms and added to its own personal section within the application, providing full transparency to adhere to the desire of my consumer the new geek.
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References Heron-Langton. J.(2020, May 7th). Your guide to everything happening in fashion right now. Retrieved from https://www.dazeddigital.com/fashion/article/48689/1/an-ongoing-list-of-everything-happening-fashion-coronavirus-burberry-chanel?fbclid=IwAR0vOScmsD1hH2RSevyz6TTj6HJLJSUW6La3mFfOHK-mEyjbkyTSfoILTCU Pithers. E.(2020, April 24th). This is how Victoria Beckham and other British brands are supporting the NHS and the fight against coronavirus. Retrieved from https://www.vogue.co.uk/news/article/british-brands-support-coronavirus Freestone. C.(2020). 11 fashion museum experiences you can access online. Retrieved from https://coveteur.com/2020/04/05/online-fashion-museum-exhibits/ Converse Instagram (2020). https://www.instagram.com/converse/?hl=en Chitrakorn. K.(2020, April 29th). How brands are connecting with customers in lockdown. Retrieved from https://www.voguebusiness.com/companies/how-brands-are-connecting-with-customers-in-lockdown De Klerk. A.(2019, August 15th). Here’s a brief story of newspaper print, as it storms back into style. Retrieved from https://www.harpersbazaar.com/uk/fashion/fashion-news/a28707950/newspaper-print-trend-history/
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