Women's Suits Trend Map Report FMB

Trend Map Report -Women’s Suits

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Ethics Clause

I confirm that this work has gained ethical approval and that I have faithfully observed the terms of approval in the conduct of this project.

Signed......................................................

Date.................................

Maggie Stewart N0749568 Word Count: 2,741

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“Fashions, by definition, are temporary cyclical phenomena adopted by consumers for a particular time and situation� (Sproles, 1981)

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Contents

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01 - Title Page 03 - Ethics Clause 06 - Contents Page 08 - Introduction

Influences to Trend 20 - Sub-Trend, Chanel Suit 24 - Sub-Trend, Uniformity 30 - Sub-Trend, 1980s

Shop Safari 42 - Methodology and Rationale 44 - Shop Safari Analysis 48 - Streetstyle Interviews

10 - Fashion Theories 12 - Fashion Theory Models 14 - The Trend 16 - Key Features of Trend

Driver’s of Trend 36 - Social 38 - Economic 39 - Environmental

Styling Shoot 52 - Rationale 53 - Mood Board 54 - Editorial

66 - Future of Trend 68 - Illustrations 74 - References 76 - Bibliography

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Introduction

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trend refers to a general direction or movement (Stone, 2009).

Trend forecasting allows businesses to ensure their planned changes are timed appropriately, with the aim of accumulating sales and generating profit; helping the brand to provide the right product, at the right time, for the right price. Accurate trend forecasting minimizes risk by aiding accurate stock predictions, which in turn prevents wasted effort and expenditure, and reduces markdowns. The consumer then ultimately perceives the brand as more relevant than competitors, which translates to better awareness and higher footfall. (Holland, Jones, 2017).

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ast fashion retailers such as Zara, who is responsible for each process of the supply chain, allow for agility and flexibility in response to fast moving trends (Schlossberg, 2015) which are typically derived from haute couture or luxury fashion brands during bi annual, seasonal fashion events.

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ocial media impressions and sales analysis play a vital role in trend forecasting as it transgresses demographics and geographies. Marketers want to understand the climate of their market in order to predict what consumers want next; “It is no longer enough for a

trend forecast to be beautiful and inspiring - it must also be robust and applicable” (Holland, Jones, 2017).

WGSN is a modern trend bible that is recognised industry wide and will be referenced throughout this report.

“There is growing demand for buying clothing that lasts and can be worn whatever the season” Mintel, 2017 9

Fashion Theories

Trickle Up, Trickle Down, Trickle Across Theory

The trickle up, down, or across theory defines where a fashion trend begins and how it reaches a wider audience.

Rudolf von Jhering, a German jurist, first came up with the theory, which was later summarized by Emile Durkheim, that “fashion is the result of the need for superior classes to distinguish themselves on the outside from the inferior classes. Because on one side the latter constantly tend to imitate the former, fashion spreads in society by means of contagion. But, on the other side, because it lost all its value once it is adopted by everybody, it is condemned by its very nature to renew itself continuously”.

Types of Trends

Fashion trends can be split into one of two time frames, “long run secular trends spanning decades, and short run acceptance of specific styles for periods of several months or years” (Sproles, 1981). Long term trend forecasting allows businesses to create strategies based on macro drivers, whilst short term trend forecasting allows brand’s to adapt to seasonal influences. Fads are trends that typically last 3-6 months which consumers are unlikely to make a repeat purchase of. They tend to have a novelty or niche aspect that blows up quickly, but dies out quickly. Seasonal trends are inspired by catwalks that appear as key items that dominate that season. Long term trends are a smaller selection of key items that out live seasonal trends with their form developing over time.

Rogers Diffusion of Innovations (1962) Fashion trends go through the typical product lifecycle, progressing through introduction and adoption by fashion leaders, leading to a growth of consumer acceptance, then ultimately mass acceptance, or product maturity, then an inevitable decline and obsolescence (Rodgers, 1971). This theory is based around Rodgers five social groups (Rodgers, 1962). The first is ‘Innovators’ (2.5%) these consumer introduce a new big idea, second is the ‘Early Adopters’ (13.5%) usually friends or colleagues of innovators, they are the people trend forecasters look at the to gauge the spread an impact of a trend. Third is ‘Early Majority’ (34%) they relate to the “opinion leaders” and act as a bridge between them and the fourth group ‘Late Majority’ (34%) they are conservative in nature and adopt the trend in a watered down form. Lastly is the ‘Laggards’ (16%) who are the slowest to accept new products.

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Fashion Theory Graphs Rogers Diffusion of Innovations model

Visual representation of differences between Rogers’ (1962) social groups and Vejlgaard’s (2008) social groups.

Nuutinen (2004) Trends Lifecycle

Vejlgaard (2008) Diamond-Shaped Trend Model

Vejlgaard has developed The DiamondShaped Trend Model describing six different personality profiles, plus two extreme groups of people.

This model is an alternative view to Rogers Diffusion of Innovation, choosing a more detailed flow of trend adaptation.

The chart above depicts the differences between the two models.

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The Trend: Women’s Suits

One of the key trends identified for S/S18 was women’s suits. This trend is adapted to the cultural zeitgeist of the time by taking inspiration from previous iterations of the trend. The evolution of the power suit has mirrored the status of female emancipation and

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Key Features of Trend

Structured Shoulders, sharp tailoring.

Always features a blazer or tailored jacket

Cinched waist

Typical fabrics: Wool, Tweed, Cotton, Velvet, Silk.

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Features either a skirt, trousers, or shorts

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Influences to the Trend: Sub Trends

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Chanel Ready to Wear, 1994

Chanel Fall, 2006

Chanel Ready to Wear, 2011

Chanel Spring, 2018

Coco Chanel by Cecil Beaton.

Sub-Trend: The Chanel Suit The trend of women’s suits first rose to popularity in the 1920’s with Coco Chanel’s suit focusing on tailoring rather than corsetry; becoming an identifier for female rebellion at the time. The suit proved ground breaking and remains a key identifier for the Chanel brand, with the iconic tweed suit being reworked season after season.

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H&M Tweed Set

Zara Tweed Jacket with Stripe Detail

Modern Interpretations Chanel Ready to Wear, 2011 High street retailers such as Zara and H&M replicated the fabric of the Chanel suit in similar silhouettes, in order to satisfy consumer’s aspirational desire due to the connotations of wealth, elegance, and class associated with the fabric. This endows the retailer with an elevated perception from consumers due to the fabrics association with Chanel brand values.

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Shein.com Tweed Suit Skirt Set

L.K Bennett Charlee Navy Suit Set

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Sub-Trend: Uniformity The women’s suit trend has proven to be cyclical in nature due to the rotation of it’s cultural significance dependant on the societal attitudes of the time. Sproles commented that “fashions cycle in a continuous progression from one extreme to another” and that “each new fashion is an out growth or elaboration of the previously existing fashion” (Sproles, 1981).

The trend began as a symbol of freedom for women, yet as it developed, women in the workplace were upheld to visual and etiquette standards positioning the suit as oppressive. The idea of women in uniform signifying obedience could stem from the British tradition of school uniform, which ultimately functioned as a coda for discipline.

This development from a symbol of freedom, to a symbol of oppression for professional women, could also be rooted in the hypersexulisation of women 24

in uniform in general, by men. “The sexual and sensual connotation associated with uniforms that suggest that some deep-seated issues concerning the formation of sexed identities and gendered persona are associated with and inscribed in the nature of uniforms, and how they are worn.” (Craik, 2005).

Ultimately the women’s suit became a form of uniform, which carried over the stigma of conformity and a sexualised fetish.

This placed a negative set

persona onto that person because of societal views of women at the time. This feeling of entrapment by the female suit was even reinforced by the fashion industry with the 1939 Vogue Fashion editor Elizabeth Penrose speaking out against those who wore their utilitarian clothing outside of the workplace saying “those women who pad around in hairy sweaters and flannel bags, on duty and off; letting themselves go — and other people down — slackers in slacks.” (Komar, 2016).

This theory of social status being defined by dress is supported by Karla Keogan in her Thesis on the relationship between clothing and the self concept observing that “Clothing and fashion are often used to indicate and communicate social worth or status. With people often making judgments concerning other people’s social worth or status on the basis of what they wear”.

Women were deemed to be valued for aesthetic, rather than individuality.

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Rejina Pyo, Fall 2018 Ready to Wear

Phillip Lim, Fall 2018 Ready to Wear

Modern Interpretations

Modern consumers have rejected this early trend of women’s suits as a uniform and have moved to “consensual quasi-uniforms” (Craik, 2005). Loose fits with exaggerated silhouettes allow for a more casual designs under the guise of structured tailoring to transition the trend into everyday wear, as shown by Rejina Pyo, Phillip Lim, in their SS/18 collection. This could be influenced by the macro trend of gender neutrality, driven by the gender fluid movement, as outlined by Verdict in 2017, as consumers favour a less defined gender when it comes to fashion choices.

With these macro influencers in mind designers are less likely to take inspiration from a time when women were seen as inferior or defined by their appearance. Designers such as Sacai and Alexander McQueen used the women’s suit as a vehicle to represent all aspects of what modern women believe it is to be feminine, by layering materials, juxtaposing textures and colours, to reflect the modern woman’s bricolage of self. Women are pushing against prescribed feminine fashions, using this time of acceptance to blur the constructed line of what it means to be female.

Maison Margiela, Spring 2018 Couture

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‘Times Up’ movement. Supporting female empowerment in the workplace

‘Tied Together Movement’. Represented solidarity and unity.

Using fashion to highlight political issues is not a new phenomena. The female empowerment movement Times Up which is focused on during key fashion events such as The Oscars, demonstrates how clothing is often used for self expression or to reflect the ideal self. Keogan noted that “dress is an adornment, to attract attention to the body. This theory view individuals as having an instinctual need to express oneself through clothing practise.” (Koegan, 2013). Past connotations of women’s suits are now being used to highlight modern issues of gender inequality, working as a statement of solidarity.

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Sub-Trend: 80s Powersuit Alexander Wang Spring/Summer 2018 Ready to Wear

Adam Selman Fall 2018 Ready to Wear

This shows the relation between dressing and achieving the aspirational self, which is supported by Roach and Eicher “An individual’s self incorporates identities based on assigned and achieved positions within social structures, especially those that organize kinship, economic, It consisted of strong shoulder pads, and bright, feminine religious, and political activities” Implying the power of fashion in relation to the representing the self. colouring. “At the start of 1980, only 57% of women were employed, but by the beginning of the 1990s, this figure Designers such as Armani embodied the decades female has risen to 64%” (Office for National Statistics, 2017).

This increase could be linked to the previously discussed empowerment (pictured left) theory of dress representing the self, as during this time the phrase ‘power dressing’ was formed.

The trend developed in line with the empowerment of women in the workplace during the 1980s. The 80s power suit was a symbol of determination for women to succeed in the male dominated corporate environment.

Giorgio Armani Spring/Summer 1980, Aldo Fallia

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Modern Interpretations.

Marc Jacobs A/W18 collection took influence from the 80s power suit. The design was adapted to the trend of oversized silhouettes which WGSN identified as a key silhouette for SS18, lead by sport and street influences.

(WGSN, 2017). Women want to express their sexuality individually rather than identifying to a specific gender stereotype which the women’s suit typically embodied.

Suits are now oversized and paired with a cinched waist, and emotive, romantic colours to expresses femininity, rather than emphasising the female form.

However, WGSN noted that cropped lengths will edge out oversized or long silhouettes (Sears, Gaspar, Muston, 2017), putting into question the longevity of this sub trend.

The trend of women’s suits in the 80s has returned to relevance as women’s representation in the UK Labour force is steadily increasing (Catalyst, 2018). The trend has remained strong due to its continued use as a tool for female empowerment, and it’s subversion of gender stereotypes. The popularity of the larger 80s trend has been a vehicle for this sub trend, which is evidenced by the return of 80s inspired brand American Apparel’s to the UK. Vice commented that the 80s power suit “disguised a woman’s figure and took the focus off her gender creating a feeling of authority as the traditional sex roles are blurred”. Workplace gender equality movements could be reason for the revival of this trend.

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Key details adapted or modified:

Key features of 80s trend adapted: Broad lapel’s.

Key features of 80s trend adapted: Strong Shoulders.

Key features altered: Clashing patterns.

Key features altered: Over Sized Silhouette.

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Drivers of the Trend: Social, Economic, Environmental

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Trend’s Activity on Social Media Social

Celebrities such as Hailey Baldwin and Cara Delevigne have contributed to the rise in popularity of adapting the blazer or tailored jacket of a woman’s suit, into a mini dress.

Celebrities belong within the social group of Innovators in the Diffusion of Innovations theory, with Holland and Jones commenting “as the influence of royalty has lost some of its sartorial power. Celebrities have become one of our key reference points for trends” (Holland, Jones, 2017).

The celebrity interest in this sub trend has caused a spike in single channel online retailers such as Boohoo.com adopting the trend, as celebrity ambassadors are a USP for these types of retailers. Euromonitor explains that celebrity “endorsement and creative input enables them to bring attention, credibility and other intangible benefits to a brand in a way that no other type of advertising can.” (Euromonitor, 2014). Due to this trend being accepted by prestigious celebrities, the online brand receives a higher perception from consumers, and the retailer recieves higher sales due to press coverage. This therefore pushes the popularity of the trend into the mass consumer market.

Hailey Baldwin

Rihanna

Cara Delevingne

Kim Kardashian

12,277 hashtags for “Blazer Dress” (Instagram, 2o18)

With the adaptation of the trend being driven by social media, the new techology of shopable Instagram posts will likely increase sales.

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Typical women’s suit fabric label

Economic Large UK retailers such as Marks and Spencer, Next, and Arcadia saw declining sales in womenswear in 2017 as consumers are preferring supermarket clothing lines such as Asda. This data shows consumers currently favour value based clothing, rather than trend lead clothing. This could lead consumers to view women’s suits as something meant only for formal environments, as supermarkets tend to focus their ranges towards professional women, which could mean a general decline in sales for the trend.

Sainsbury’s TU Clothing, Premium collection women’s suit

Patagonia Guppy Friend washing bag

Supermarket chain Tesco’s clothing range, F&F

Evironmental Conscious consumption has made a significant impression on consumer behaviour.

Mintel reported that 40% of Millenials are interested in buying eco-friendly fabrics (Mintel, 2018), implying potential market expansion for brands. In a culture where sales are rising, yet clothing utilisation is declining (Ellen MacArthur Foundation, 2017) there is a need for biodegradable fabrics. Women’s suits, however, tend to be made from polyester, viscose, and elastane which are hard to break down or recycle. With over “88% of UK and US Millennials and Generation Xers believing brands need to do more good, not just less ‘bad’” (Ellen MacArthur Foundation, 2017) this could turn the consumer off of buying into the trend.

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Shop Safari

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Methodology and Rationale In order to gain appropriate information on the effect of this trend within the high street, 2 shop safari’s were conducted in Nottingham city centre on the 15/03/18 and 05/05/18 in order to observe how quickly the display of the trend is changed. This area was chosen due to its young professional demographic who are most likely to buy the trend; with 29% of the population aged 18-29.

We visited retailers River Island, Next, Topshop, H&M, Zara, and Urban Outfitters. These retailers are common on most high streets and will provide a comprehensive view of how the trend is being displayed within the brand’s visual merchandising. Both shop safaris were conducted at midday during the week.

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Next

H&M

Next

Next

Marks and Spencer

Shop Safari Analysis 67% of the retailers visited had staple collections of monochromatic corporate suits that do not adhere to seasonal trends. This is a cash cow product, outlined in the growth share matrix

by Bruce D. Henderson in 1970, as “a product in a low growth market with high market share”.

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This provides a continuous stream of revenue but could leave trend focused consumer feeling alienated.

On the other hand, the popularity of corporate suits remains high with consumers, as WGSN predicted for S/S18 “the trouser suit will increase by 10% YOY holding one of the biggest mixes with 19%” (Sears, Gaspar, Muston, 2017).

Next had the largest shopfloor share of corporate women’s suits, with 70% being formal and 30% being casual, or trend driven suits.

Despite this working with the WGSN prediction, Next has experienced a downturn in sales so far this year. This could be due to their higher price architecture, as out of all retailers visited, Next has the highest prices in this category.

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Shop Safari 15/03/18

River Island had a large display of trend driven women’s suits, being the third most popular category seen in store.

The trend was displayed as separates rather than as a whole set. Data gathered from the street style interviews shows a preference towards using the trend as separates, as consumers found it easier to style for everyday wear.

Shop Safari 05/05/18

We spoke to a staff member in River Island who commented that consumers prefer brighter or more feminine coloured suits for an occasion, rather than purchasing for work. It was also noted that the new collection of blazer mini dresses were proving popular.

In the gap between the two shop safaris, Topshop had reduced their display of the trend by 70%. This indicates that consumers could buy less of the trend in warmer weather. This is reinforced by the streetstyle interviews, in which one participant noted that “when it is cold I reach for my blazer� (Page 49). Brands should be mindful of this and adapt materials used for the trend dependant on seasonal changes.

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Shaan, 19, Student

“It matches my top, very part of my own style. It’s classy, sophisticated mature style. It only really match the blazer with the trousers for events or nights out. During the day, I always wear it seperate.”

Streetstyle Interviews Jenna, 20, Student

“comfy, nice silhouette, high waisted.

Wear without blazer as it makes it less formal, easier to dress down for everyday.”

Aleksandra, 24, Student

“It’s nice and oversized, which gives me power as a woman. When it’s cold but not too cold I always reach for it. Represents my womanly power”

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Styling Shoot

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Styling Shoot Rationale

Editorial Mood Board

“The New Gentry - Post Brexit Youth” for i-D Magazine.

The concept for this shoot was influenced by Gosha Rubchinskiy’s photography depicting post-Soviet youth; with more specific references to his collaboration campaign with Burberry, and his 2017 photography for a British Vogue editorial “New Kids from the Bloc” in 2017 (see below).

The juxtaposition created between the connotations of a woman’s suit paired with sports and streetwear elements symbolised a post-Brexit future where upper class British youth are disenchanted with their upbringings and are turning to the streets to find kinship. The shoot took place in Wollaton Hall, Nottingham, which was portrayed as the models home. This gave a sense of wealth and regality, whilst football shirts and Burberry check accessories were used to connoting impoverished, lower class estates. Models were instructed to act with an attitude of snobbery, aggression, boredom to convey a sense of superiority to hint at a background of higher social circles.

Despite the trend being women’s suits, both male and female models were chosen as gender fluidity is a key driver for the future of this trend, so the editorial should be marketed to both men and women. The style of the photography is raw and intimate, with one eye being covered in some images to fit i-D’s branding.

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The New Gentry, Issue 363, 2018 Left Model

Right Model

Hat: Burberry, £230

Blaxer, right: Miss Selfridge, £35

Scarf: Burberry, £280

Trousers: Dickies, £57

Blazer: Zara, £60

Trainers: New Balance, £85

Shirt: Manchester United Football Club, £27

Bra: Calvin Klein

Trousers: ASOS, £28

Sunglasses: Asos, £20

Trainers: Air Max 97, £145

Super Youth, No 353, New Fashion Rebels Summer 2018, Maggie and Calum, Photography by Maggie Stewart

Socks: Dickies, £15

Post-Brexit Youth

By Maggie 54

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Earrings: Depop, £5

Scarf: Burberry, £280

Hat: Burberry, £230

Blazer: Zara, £60 Shirt: Manchester United Football Club, £27

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Suit up kids, we’ve got changes to make.

The blame game for Brexit has lead to an animosity towards the older generations. Transgressing the class systems in favour of a diverse community, kids are pairing luxury with value fashion to embody this new form of rebellion. Suits are typically associated with sophisticated upper classes only, but paired with a manchester united football shirt something entirely modern and striking (do you get the football pun?) is made. It’s Paco Rabanne and Primark, Jean Paul Gaultier and JD Sport, Calvin Klein and charity shops.

Easily accessible and daringly chic, this new wave of style we dub, ‘The New English Gentry’.

Largely inspired by Gosha Rubchinskiy’s look into post soviet youth, this style epitomises Millennials reaching for solitude within each other, rejecting the system run by those associated with many injustices for British youths. This style is intimately personal thanks to its adaptability and ease to recreate.

Social media born shops such as tmgvintage, and truevintage, make it easy to find well-tailored pieces to recreate this look. Silk shirts and pinstripe trousers, under football shirts and hoodies, provide a smooth transition from day to night. The new English gentry is genderless. Tailoring within a streetwear aesthetic creates ambiguity, shadowing standard male or female forms allowing for an inclusive look that can be worn day to day.

The new gentry is looking for recruits. Head down to your local charity shop and suit up for a rebellion, that no one thought would look this good.

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Brexit is here, but our future won’t go quietly.

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Left Model

Left Model Blaxer: Zara, £60 Bumbag: Rokit Vintage Trousers: Whistles, £95 Earings: Depop, £5 Shirt: Manchester United Football Club, £27 Chain: Vintage, £3 Hat: Asos, £5 Sunglasses: Asos, £15

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Right Model Blaxer: Next, £55 Trousers: DKNY, £175 Football shirt: Vintage, £12 Sunglasses: Vintage, £5 Scarf: Liberty London, £60 Hat: Asos, £15

Hat: Burberry, £230 Scarf: Burberry, £280 Blazer: Miss Selfridge, £35 Jumper: Adidas, £55 Trousers: ASOS, £28 Trainers: Air Max 97, £145 Socks: Dickies, £15 Bumbag: £5

Right Model Blaxer: Next, £55 Trousers: DKNY, £175 Trainers: New Balance, £85 Top: H&M, £8 Sunglasses: Vintage, £5 Scarf: Liberty London, £60

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Blaxer: Zara, £60 Bumbag: Rokit Vintage Trousers: Whistles, £95 Earings: Depop, £5 Shirt: Vintage, £12 Chain: Vintage, £3

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Sacai Fall 2018 Ready to Wear

Future of Trend

The life cycle of trends depends on how quickly consumers accept them, with celebrities and social media replacing upper and ruling class influence of the spread of trends. Pop culture, particularly Instagram, will continue to be responsible for mass acceptance of new trends, with the trickle across theory becoming dominant vehicle for trend adoption. Consumer lifestyle trends will continue to impact the fashion industry, with the narrative of athleisure and veganism transitioning into S/S19.

Throughout this report it is clear that the trend of women’s suits is a long term trend, that is essential for consumers.

Sacai’s Autumn Winter ready to wear collection is a strong representation of the next step for the trend of ‘women’s suits’. Using the fusion of soft and harsh tailoring, light and heavy fabrics, and clashing patterns to represent the harmony of consumer personalities they are embodying every day, rather than prescribing to one single identity or label. If the trend trickles down to the high street, consumers will adopt the core philosophy of layering juxtaposing fabrics and silhouettes, as shown in the editorial, to replicate this feeling of freedom expressed through clothing.

Social media will continue to drive the popularity of the blazer mini dress, with high end brands adapting the sub trend, creating a more complex design, incorporating the multi layered trend, as seen by Jacquemus in 2018.

Jacquemus Spring 2018 Ready to Wear

WGSN predicted that “Suits & Sets will rise 6% YOY, with the trouser suit holding 25% of the mix” (Sears, Walters, Pellizzon, 2018). Gender fluidity remains a big driver of this trend, with cross pollination from menswear to womenswear, with the influence of streetwear providing a bridge between catwalk to high street.

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List of Illustrations Khaite, 2018, Women in grey suit relaxing on sofa [photograph]. Online: WGSN. [Date Accessed: 25/05/18]

Roksanda, 2018, Women in bright blue suit sat on chair in office [photograph]. Online: WGSN. [Date Accessed: 25/05/18]

Patrick Juselius, 2012, Exploration to Trends & Product Development. 1st Edition. Finland: Aalto University, pg 33, table. [Date Accessed: 28/05/18]

Henrik Vejlgaard, 2007, Anatomy of a Trend. 3rd Edition, McGraw Hill Books, pg 63-65, model. [Date Accessed: 28/05/18]

Vilshenko, 2018, Woman in ark red velvet suit [photograph]. Online: WGSN. [Date Accessed: 28/05/18] Jill Stuart, 2018, Woman in red small check suit with black ruffle top [photograph]. Online: WGSN. [Date Accessed: 25/05/18]

Jill Stuart, 2018, Two women sat down, one in a floral dress. other in forest green suit with floral top [photograph]. Online: WGSN. [Date Accessed: 25/05/18]

Sara Battaglia, 2018, Navy and maroon stripped pant suit [photograph]. Online: WGSN. [Date Accessed: 28/05/18]

WGSN, 2018, CAD illustration of velvet pyjama suit [Illustration]. Online: WGSN. [Date Accessed: 25/05/18]

Sara Battaglia, 2018, Navy and maroon stripped skirt suit [photograph]. Online: WGSN. [Date Accessed: 28/05/18]

Fabric.com, 2018, Wool fabric swatch [photograph]. Online: Fabric.com. [Date Accessed: 28/05/18] WGSN, 2008, CAD illustration of woman’s suit with loose trouser [Illustration]. Online: WGSN. [Date Accessed: 25/05/18] VintageStudioUS, 2017, Tweed fabric swatch [photograph]. Online: Etsy.com. [Date Accessed: 28/05/18]

Fabric.com, 2018, Cotton fabric swatch [photograph]. Online: Fabric.com. [Date Accessed: 28/05/18] WGSN, 2015, CAD illustration of military/safari trouser suit [Illustration]. Online: WGSN. [Date Accessed: 25/05/18] Fabric.com, 2018, Velvet fabric swatch [photograph]. Online: Fabric.com. [Date Accessed: 28/05/18]

Bennetts Silk, 2018, Silk fabric swatch [photograph]. Online: Bennetts-silk.co.uk. [Date Accessed: 28/05/18]

WGSN, 2018, CAD illustration of skinny trouser suit [Illustration]. Online: WGSN. [Date Accessed: 25/05/18]

Cecil Beaton, 1965, Coco Chanel in her apartment in 1965 [photograph]. Online: National Portrait Gallery.

[Date Accessed: 28/05/18] Vogue, 1994, Chanel Ready to Wear 1994 [photograph]. Online: Vogue.com. [Date Accessed: 28/05/18]

Jacquemus, 2016, illustration of Jacquemus AW16 women’s suits [Illustration]. Online: Peacock Plume. [Date Accessed: 28/05/18]

Vogue, 2006, Chanel Ready to Wear Fall 2006 [photograph]. Online: Vogue.com. [Date Accessed: 28/05/18]

Everett M. Rodgers, 1962, Diffusion of Innovations. 4th Edition. New York: The Free Press, pg 11, graph. [Date Accessed: 28/05/18]

Vogue, 2011, Chanel Ready to Wear Spring 2011 [photograph]. Online: Vogue.com. [Date Accessed: 28/05/18]

Ana Nuutinen, 2004, Exploration to Trends & Product Development. 1st Edition. Finland: Aalto University, pg 26, graph. [Date Accessed: 28/05/18] Vogue, 2018, Chanel Ready to Wear Spring 2018 [photograph]. Online: Vogue.com. [Date Accessed: 28/05/18] 68

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List of Illustrations Continued Charnelle Geraldine, 2017, H&M Chanel influenced navy/multi tweed suit [photograph]. Online: Charnelle Geraldine UK blog. [Date Accessed: 25/05/18]

Zara.com, 2018, Zara red and navy tweed jacket with stripe detail [photograph]. Online: Zara.com. [Date Accessed: 25/05/18] Shein.co.uk, 2018, Shein pale blue tweed suit set [photograph]. Online: Shein.co.uk. [Date Accessed: 25/05/18] lkbennett.com, 2018, L.K Bennett navy ‘Charlee’ suit set[photograph]. Online: lkbennett.com. [Date Accessed: 25/05/18] H&M Group, 1947, H&M logo [llustration]. Online: Wikimedia Commons. [Date Accessed: 25/05/18] Linda Bennett, 2018, L.K Bennett logo [illustration]. Online: lkbennett.com. [Date Accessed: 25/05/18] Zara.com, 1974, Zara logo[illustration]. Online: Zara.co.uk. [Date Accessed: 25/05/18] Life Magazine, 1951, A secretary being trained in 1951 [photograph]. USA: Life Magazine. [Date Accessed: 29/05/18] Rejina Pyo, 2018, deconstructed womens black suit with white stitching [photograph]. Online: Vogue. com. [Date Accessed: 29/05/18] Phillip Lim, 2018, pale lilac, oversized women’s suit [photograph]. Online: Vogue.com. [Date Accessed: 29/05/18] Maison Margiela, 2018, oversized black, double breasted silk suit [photograph]. Online: Vogue.com.

[Date Accessed: 29/05/18] Mario Anzuoni et al, 2018, group image of Time’s Up movement patrons. [photograph]. Online: thelily.com. [Date Accessed: 29/05/18] Tadashi Shoji, 2017, tied together movement for Tadashi Shoji FW17 collection. [photograph]. Online: Twitter. [Date Accessed: 29/05/18]

Francesca Granger, 2015, Burberry’s Spring Summer 2015 finale. [photograph]. Online: Backstagetales.com [Date Accessed: 29/05/18] Marc Piasecki, 2017, Hailey Baldwin in grey check blazer dress. [photograph]. Online: GC Images [Date Accessed: 30/05/18]

Pascal Le Segretain, 2014, Rihanna in a black velvet blazer dress. [photograph]. Online: Getty Images [Date Accessed: 30/05/18] David M. Bennett, 2014, Cara Delevingne blue velvet blazer dress. [photograph]. Online: Getty Images [Date Accessed: 30/05/18]

Felipe Ramales, 2017, Kim Kardashian nude blazer dress. [photograph]. Online: Splash News [Date Accessed: 30/05/18] thelipstickfever, 2018, Instgram user 1 in white striped blazer dress. [photograph]. Instagram : NastyGal.com [Date Accessed: 30/05/18] missjoslin, 2018, Instagram user 2 in fuschia blazer dress. [photograph]. Instagram: Quiz Clothing [Date Accessed: 30/05/18] lina_82, 2018, Instagram user 3 in pale blue blazer dress. [photograph]. Instagram: Missguided [Date Accessed: 30/05/18] nicolibogdani, 2018, Instagram user 4 in white blazer dress. [photograph]. Instagram: Missguided [Date Accessed: 30/05/18] aniamariafranklinos, 2018, Instagram user 5 in black blazer dress. [photograph]. Instagram: Pretty Little Thing [Date Accessed: 30/05/18] Stephanie Richardson, 2018, Sainsbury’s TU premium women’s baby pink suit advertisement. [photograph]. Online: TuStyle [Date Accessed: 30/05/18] Jill Geoghegan, 2015, The front of a tescos superstore. [photograph]. Online: Drapers [Date Accessed: 30/05/18] Mary Marlowe Leverette, 2018, Fabric label. [photograph]. Online: Getty Images [Date Accessed: 30/05/18] Patagonia Inc., 2018, Guppy Friend wash bag advertisement. [photograph]. Online: Kickstarter [Date Accessed: 30/05/18]

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Print, Online: Vogue Italia. [Date Accessed: 29/05/18]

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Luca Tombolini, 2018, black suit with fuschia and red shirt, Adam Selman Fall 2018 Ready to Wear. [photograph]. Online: Vogue.com [Date Accessed: 29/05/18] Yannis Vlamos, 2018, oversized 80s block colour suit, Marc Jacobs Fall 2018 Ready to Wear. [photograph]. Online: Vogue.com [Date Accessed: 29/05/18] Kim Weston Arnold, 2018, Light grey/brown full Fendi skirt suit, Fendi Fall 2018 Ready to Wear. [photograph]. Online: Vogue.com [Date Accessed: 29/05/18] 70

Anders Christian Madsen, 2018, oversized 80s purple suit, Gucci Spring/Summer 2018 Ready to Wear. [photograph]. Online: Vogue.com [Date Accessed: 29/05/18]

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List of Illustrations for Mood Board Maggie Stewart, 2018, Lilac suit set, Next. [photograph]. Nottingham Trent University: Maggie Stewart [Date Accessed: 30/05/18]

Maggie Stewart, 2018, Dark navy suit set, Next. [photograph]. Nottingham Trent University: Maggie Stewart [Date Accessed: 30/05/18]

Tim Walker, 2017. Adwoa Aboah for i-D magazine [photograph]. Online, print: i-D Magazine

Thomas Gainsborough, 1785. The Morning Walk [painting]. Print, online: National Gallery

Gosha Rubchinskiy, 2018. models lying on a sofa in a field [photograph]. Online: Complex Maggie Stewart, 2018, Navy suit set, H&M. [photograph]. Nottingham Trent University: Maggie Stewart [Date Accessed: 30/05/18]

Maggie Stewart, 2018, Black and Red suit sets, Next. [photograph]. Nottingham Trent University: Maggie Stewart [Date Accessed: 30/05/18] Maggie Stewart, 2018, Black suit sets, Next. [photograph]. Nottingham Trent University: Maggie Stewart [Date Accessed: 30/05/18]

Denis Trente-Huittessan, 2010. Chateau de Baville [photograph]. Online: Flickr

Julien Boudet, 2017. Adwoa Aboah streetstyle woman’s suit [photograph]. Online: NSS Magazine

Lance Acord, 2006. Kirsten Dunst in Marie Antoinette [photograph]. Online, film: Pinterest

Maggie Stewart, 2018, Black suit set with advertisement, Marks and Spencer. [photograph].

Nottingham Trent University: Maggie Stewart [Date Accessed: 30/05/18] Maggie Stewart, 2018, Yellow suit blazer, River Island. [photograph]. Nottingham Trent University: Maggie Stewart [Date Accessed: 30/05/18] Maggie Stewart, 2018, Grey and pink striped blazer, River Island. [photograph]. Nottingham Trent University: Maggie Stewart [Date Accessed: 30/05/18]

Gosha Rubchinskiy, 2018. models leaning on stone wall [photograph]. Online: Complex

Maggie Stewart, 2018, Black suit set with advertisement, Marks and Spencer. [photograph].

Nottingham Trent University: Maggie Stewart [Date Accessed: 30/05/18]

Raphael, 1512. The Sistine Madonna[painting]. Print: Gemäldegalerie Alte Meister, Dresden

Maggie Stewart, 2018, Green and light grey check blazer, Topshop. [photograph]. Nottingham Trent University: Maggie Stewart [Date Accessed: 30/05/18] Maggie Stewart, 2018, Light grey check skirt suit set, Topshop. [photograph]. Nottingham Trent University: Maggie Stewart [Date Accessed: 30/05/18] Maggie Stewart, 2018, Front of River Island store. [photograph]. Nottingham Trent University: Maggie Stewart [Date Accessed: 30/05/18] Maggie Stewart, 2018, Lilac suit set, Topshop. [photograph]. Nottingham Trent University: Maggie Stewart [Date Accessed: 30/05/18] Sarah Bryan, 2018, Deer at Wollaton Hall. [photograph]. Online: Nottingham Post [Date Accessed: 30/05/18] Gosha Rubchinskiy, 2017, New kids on the bloc editorial. [photograph]. Online, print: British Vogue [Date Accessed: 30/05/18] Bernard Lewis, 1988, River Island logo. [illustration]. Online: River Island [Date Accessed: 30/05/18] J Hepworth & Son, 1982, Next clothing logo. [llustration]. Online: Next Plc [Date Accessed: 30/05/18] Yannis Vlamos, 2018, mixed tailoring suit with fur cover Sacai Fall 2018 Ready to Wear, [photograph].

Online: Vogue.com [Date Accessed: 30/06/18] Yannis Vlamos, 2018, mixed tailoring suit with denim overlay Sacai Fall 2018 Ready to Wear, [photograph]. Online: Vogue.com [Date Accessed: 30/06/18] Jacquemus, 2018, black blazer dress Jacquemus Spring 2018 Ready to Wear, [photograph]. Online: Vogue.com [Date Accessed: 30/06/18] 72

Daisy, 2015. Two russian youths outside estate [photograph]. Online: Tumblr

Danny Cohen, 2006. Ths is England still [photograph]. Online: Film4 Productions Baz Luhrmann, 2017. Still from H&M x Erdem film [photograph]. Online: H&M Gosha Rubchinskiy, 2017. post soviet youth editorial [photograph]. Online: HighSnobiety Thomas Gainsborough, 1748. Mr and Mrs Andrews [painting]. Print, online: National Portrait Gallery Gosha Rubchinskiy, 2017. The russian kids by Gosha [photograph]. Online: i-D, Vice Alexander Roslin, 1747. Jean-Rodolphe Perronet with his Wife [photograph]. Print, online: Gothenburg Museum of Art Genar, 2016. Man in mask with gun [photograph]. Online: Shutterstock Editorial Image Refrences Alma Sumskaite, 2018, Maggie and Callum covering one of the others eyes. [photograph]. Nottingham Trent University: Maggie Stewart [Date Accessed: 30/05/18] Alma Sumskaitet, 2018, ‘You stole our future from us’ banner image. [photograph]. Nottingham Trent University: Maggie Stewart [Date Accessed: 30/05/18] Maggie Stewart, 2018, Close up of gloria in bucket hat. [photograph]. Nottingham Trent University: Maggie Stewart [Date Accessed: 30/05/18] 73

Maggie Stewart, 2018, Close up of Callum with burberry scarf around face. [photograph]. Nottingham Trent University: Maggie Stewart [Date Accessed: 30/05/18] Alma Sumskaite, 2018, Maggie and Callum in front of Wollaton Hall. [photograph]. Nottingham Trent University: Maggie Stewart [Date Accessed: 30/05/18] Anete Strupule, 2018, Gloria standing in front of white wall. [photograph]. Nottingham Trent University: Maggie Stewart [Date Accessed: 30/05/18] Maggie Stewart, 2018, Close up of Glorias outfit. [photograph]. Nottingham Trent University: Maggie Stewart [Date Accessed: 30/05/18] Alma Sumskaite, 2018, Callum holding maggies chin. [photograph]. Nottingham Trent University: Maggie Stewart [Date Accessed: 30/05/18] Maggie Stewart, 2018, Gloria and Callum standing in front of Wollaton Hall. [photograph].

Nottingham Trent University: Maggie Stewart [Date Accessed: 30/05/18]

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