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TARGET RATIONALE Tomorrow’s Wardrobe is series of three, three minute films, created in the format of the Channel 4 programme 3 Minute Wonder. The films are aimed at the target audience of 18-35 year old women, who live an urban lifestyle, with a strong interest in fashion. The films provide them with a snippet of the exciting world of future fashion. Each film focuses on a specific area of future fashion, and the designs being created within that area with the aim of benefiting society. The first film ‘Sustainable Style’ features designer and researcher Amy Congdon, who is using bio-technology to create garments made from our own cells. This is followed by ‘Emotional Evolvement’ in which designer Ann-Kristin Abel suggests a more emotionally focused future with the use of her designs, that portray the inner-workings of the unconscious mind. Last in the series is ‘Digital Design’ where student Morgan Bajardi discusses how digitally printed designs like hers provide a painless alternative to plastic surgery. Research showed that although many of the target audience knew about future fashion as a general area, they had no idea where to find information about it, or how relevant it could be to their lifestyles. The areas discussed within the series are quite varied to give as wider scope of this vast industry as


possible. The films are due to be aired during fashion week in September 2013, on both Channel 4 in the usual 3 Minute Wonder timeslot at 19.55pm, and the outdoor screen at the central hub of fashion week, Somerset House. The series will provide the young, fashion loving audience a preview of what they might be wearing in the next 10-50 years whilst they take in the trends for the next season. When conducting the topic research it became apparent that there was a place in the market for a programme with niche fashion content. There are multiple programmes, such as the BBC1 show ‘Click’ that explore the world of future technology but nothing that focuses on fashion or is created for more of a specific target audience. The 3 Minute Wonder format befits the content as the short time frame means there is less of a risk of alienating the target market and the general Channel 4 evening audience. 3 Minute Wonder often explores innovative and exciting topics, and portrays them in unique and stylized ways. Tomorrow’s Wardrobe fits this style perfectly. In order to appeal to the target audience the content featured in the films is understandable whilst still being fresh unearthing exciting new inventions for the target audience. The short time frame allows the focal characters to discuss their area of future fashion and provides examples, with clear visuals and a resonating message. For example, within the ‘Sustainable Style’ film, the viewer will leave with a basic understanding of bio-technology as well as a visual understanding of what a bio-technological product may look like and how they could affect us for the better. They will then be left with the open questions of whether they would personally wear the designs

and if bio-technology will be the leading road to a sustainable future. The designers featured in the films are all young and currently working in the future fashion industry, so the opinions and ideas discussed are relevant and appropriate for the target audience. The matter of the films being shown alongside and as part of London Fashion Week makes them particularly relevant for a 2013 audience, as it is one of the biggest weeks of the year for the target market. The target audience is always searching for what is next. Through Tomorrow’s Wardrobe they will be able to discover things that they might never have heard of. The films contain fashion film style visuals to represent the abstract content, but also so they appear more accessible and obviously appealing to the target audience. The looks within the films are personifications of the future fashion area within each film. There is a teaser trailer featuring this content which runs at around 10 seconds and is aimed to be shown as an advert for the programme. The trailer does not contain any specific information just the ‘TW’ (Tomorrow’s Wardrobe) title, this creates an air of mystery and a talking point around the films, hopefully inspiring people to watch it. The trailer would be shared over multiple social media platforms, such as Twitter, Facebook and Vine, as well as on the programmes official website. This style of trailer adds an aspect of being mysterious and unknown and represents the unique, forward thinking content of the films. Also by advertising using banners and ad spaces on relevant websites

such as the LFW website and, the film will reach the desired target audience. The programme content is particularly developable for both future series and multi-platform potential. The world of future fashion is continually growing and changing, there will always be new designers and creations to feature. They are only going to become more believable and necessary as time progresses. There is potential for the programmes to become longer and feature more in-depth interviews, as well as further fashion film footage, possibly featuring the designs discussed within the programme in use, or follow up interviews after they have become more integrated into society. The films would be available to view online, both on the Tomorrow’s World website, and on the Channel 4 catch-up service 4OD. The tone of all three films is optimistic and forward thinking, the bright and continual visuals emphasise this, as do the swift cuts between the interviewees, with relevant cutaways of fashion week footage and abstract fashion film. The films are fast paced in order to convey a decent amount of information in the short time frame. In terms of scripting the tone is questioning in a rhetorical sense, for example ‘How do you feel about growing your clothes from your own cells?’ This encourages the audience to think more about how the designs featured could affect them personally, and leaves them with more to think about. The interviewees voice the majority of the programmes apart from an introductory voiceover to set the scene and supporting voice-over to change narrative direction, this leaves the focus of the films on the focal characters and their work and gives the viewer a face to remember.


FRIDAY 13 SEPTEMBER Critics’ choice

Pick of the week 3 Minute Wonder: Tomorrow’s Wardrobe

(Channel 4, Friday 13th September, Sunday 15th September, Tuesday 17th September) The world famous London Fashion Week sparks up on friday, to coincide with this Channel 4’s Three Minute Wonder series has whipped up three unique films to show us a snippet of what’s forecast for the future in the fashion industry. Shown on the both the small screen and the large, at fashion week hub Somerset House. The films investigate the areas of sustainable, digital and emotional fashion, the films showcase pioneers of the future fashion industry, who are creating innovative designs to change the way we live. First up is the cutting-edge world of bio-technology,

and designer Amy Congdon who is tailoring the complex process of tissue engineering into a way to make clothes from our own cells. This is followed by a look into the mind-boggling world of emotional fashion as Ann-Kristin Abel campaigns for a more personally connected future, in which we wear clothes that show the inner workings of our unconscious mind. Lastly is the garment version of slimming world created by Central St Martins student Morgan Bajardi, who shows you that you don’t need to go under the knife to achieve the dream body. The mini-series provides a much needed insight into the elusive world of future fashion, and alongside being jam packed with brain frazzling inventions, the 3 Minute Wonders look as good as they sound, drawing you in with graphically styled fashion montages and astounding footage of the designs at work. If you thought the future was looking bright before, you’ll be blinded after this.




AMY CONGDON DESIGNER / RESEARCHER Amy is the focal character for the first film, Sustainable Style. She is a designer and researcher working in the world of future fashion, her graduate collection 'Biological Atelier' is an exploration into the world of tissue engineering and the possibility that within the next 50 years we could be growing our clothes from our own cells. She conveys the views of how she, and the public consider sustainable and ecological fashion, stating that 'It's not really desirable, it's not got good enough eco-credentials and if it's not desirable people aren't going to want to wear it'. Amy discusses briefly what bio-technology is and how the process of creating clothes from cells would work, as the target audience, although probably aware of the topic in a general sense, would need more information in order to understand the designs and their uses. She provides an insight into her designs in detail, discussing how they have a potential to 'radically change the way we live' and how bio-technology is more likely to provide a sustainable and desirable clothing option for the future than the garments currently available.





FUTURE TEXTILES STUDENT Morgan and her current designs are the focus for the final film. She is about to complete her Masters degree in Future Textiles at Central St Martins, her collection ‘Engineered Illusions’ uses digitally printed optical illusions, created using 3D scanning technology, to enhance and alter the female form. She discusses her opinion of surgery and how her dresses are an alternative solution. Morgans ideas will resonate with the target audience as they are fully immersed in the world and views she is discussing. She says ‘I feel like a lot of women feel a lot of pressure because of unreal expectations of women in the media and they’re not realistic.’ In a sense she is challenging the fashion industry as we know it today, suggesting that you don’t have to conform to a stereotype or look a certain way to have the dream body, her designs give you and the entire industry another option. By focusing on Morgans collection, the target audiences eyes are opened to the technology of 3D scanning and digital printing, yet in a way that they will recognise as accessible and that they will be able to relate to, the use of footage of real, everyday people throughout the film enforces this.


ANN-KRISTIN ABEL DESIGNER / RESEARCHER Ann-Kristin is a designer, currently working as a researcher for the Textile Futures Research Centre, within the film she discusses her Central St Martins graduate collection from 2011 ‘New Human’, in which she aimed to create garments that portray the processes and inner-workings of our unconscious mind, suggesting a future for our society that was more emotionally, rather than technologically focused. Ann states that people are ‘More interested in what fashion can do for them, how it can be maybe smarter, rather than more emotional’. She is challenging the norms of society with her designs which is a huge concept for the target audience to grasp in three minutes, therefore the interview is relatively simplistic and focuses on emotional fashion as a general idea, rather than the specific details of Ann’s designs.







I collaborated with make-up artist Stevie Taylor to create the looks for the fashion film content featured within the series. Stevie’s work is often very abstract and unique and would add another dimension to the styling of the pieces. The make-up is designer to reflect the identity of the specific future fashion area but also to appear as a piece of fashion editorial in order to appeal on a more visual level to the target audience.

Alice features in all three of the films, taking on a different identity for each. She was cast due to her neutral colouring, and ability to take on a character, representative of her styling, in front of the camera.






I chose to shoot my interviewees in an environment where they felt most comfortable, in order to get the most natural and relaxed interview possible. For both Morgan and Amy this was at the Central St Martins Kings Cross site and for Ann it was in her studio. All three of these locations were simplistic in style and provided a neutral coloured background in which to conduct the interviews. This meant the surroundings did not distract from the interview content. Ann’s interview was slightly different. I suggested that there should be examples of her work in the frame for the audience to focus on, this is due to the fact that her ideas are relatively complex and I felt it would be easier for the audience to grasp if they had visual access to the designs at all times regardless of whether the designs were being discussed at that point in the film. A large amount of the footage, especially in the final film in the series was taken at London Fashion Week in February of this year. Shooting at a vibrant and bustling location allowed me to obtain relevant filler shots for the films as well as footage of appropriate catwalk shows such as the Central St Martins Masters Show. Potentially the most memorable shots of the films are the fashion film sequences. Shot in a studio, they add the editorial content the films needed in order to bring them to life and make them more of a unique viewing experience. Throughout my research I noted that fashion film


was rarely, if ever, broadcast on television and these films aim to challenge and change that. They are visually appealing but also representative of the content being discussed throughout the films. I experimented with angles and lighting in order to create something that would be appropriate for broadcast, both at fashion week and on television.




The website reflects the simplistic, clean style of the documentaries. It contains the films in individual players on the home screen, giving the user to view whichever one they desire. As suggested from the research the target audience may not have time to watch the films as and when they are broadcast so another viewing option is vital. There is a small ‘about’ section, for users to understand the general synopsis of the series as a whole, and a ‘fashion week’ page, where they can find out the Somerset House screening times, as well as other information about future focused events at fashion week. There is a blog aspect to the website, which is designed to be a continual source of information about upcoming designs and events in the world of future fashion. As well as updates on the featured interviewees and their work. This gives the series longevity and leaves more of an opening for future series. Another positive aspect of the blog is the option for users to comment on posts, essentially creating a message board in which ideas and discussions can be shared, with a topic like future fashion that is always changing and progressing it was important to create a way in which new information could be shared both quickly and publicly. Alongside the website, promotion of the films will be covered by all popular social media outlets. Through a Twitter, Facebook Page, Instagram and Vine. The programme includes a hashtag of #tomorrowswardrobe at the end of the prorgamme, to encourage viewers to take to the so-


cial media sites as a promotional tool. The twitter will post regular updates and reminders of the release dates, as well as future fashion updates, as it will be linked with the website. The Facebook page will have links to the official website but also provide another discussion outlet for users. The Instagram will be regularly updated prior to the series release and throughout fashion week, with images related to the content as well as stills from the films. The vine will broadcast the teaser trailer and other short videos containing clips from the films to give the user a 10 second clip of what they can expect without giving too much away.




RHIANNON – Hi Morgan, so if you could firstly just say who you are and what you do? MORGAN – Yeah, my name is Morgan Bajardi, and I'm from the United States, and I'm studying Future Textiles here at Central St Martins. My project is Engineered Illusions and it's using pattern objects to visually reshape the female form. RHIANNON- Ok cool, so if you could tell us a bit about the Engineered Illusions project, about your ideas and the creative processes behind it? MORGAN – Sure, well I've been obsessed with optical illusions for a very long time, I've been very interested in ways of seeing, how we see, and also very interested in the language of patterns and how we can kind of translate things through patterns and create illusions. During my BFA, it was fine art, and I was using pattern to tell a story, and I'm still continuing to use pattern to reshape the body. So the project engineered illusions is how we can use pattern to enhance the female form. We live in a society that's very focused on appearance and very focused on how we look, and as a woman you kind of get a lot of shit just in terms of appearance. I mean I've been brunette, redhead blonde, fat, thin, all of those things. And with each manifestation of my physical appearance I've been treated differently, and people relate to you differently based on your appearance, so this project is really about giving people choice and option about appearance, in a painless kind of fun way. It's about wish fulfilment, the idea that you can throw on a garment and be a different person. We live in that world where realities are blending and that you really can do that. People are so obsessed with appearance that they will go under the knife and have plastic surgery and I think, you know with plastic surgery you can do whatever you want but my goal is just to give people an easy way to choose their appearance. RHIANNON- How do you feel about plastic surgery? Is that some of the reason you did it?


MORGAN- I think if you want plastic surgery go for it, I think we have the technology and I think if you feel like you need it you should be able to do whatever you want. I feel like a lot of women feel a lot of pressure because of unreal representations of women in the media, and they're not realistic. And you kind of judge yourself based on that and then the motivation for plastic surgery might be due to all this external pressure. I think options are power, choice is power and if you feel you want to be different you should have the opportunity. RHIANNON- How do you technically create the garments? In terms of the prints etc? MORGAN- Technically I've done a lot of pattern projection onto the body and just made observations of how patterns look on the body. Everything has to do with relativity, is one of the things that I really learned, so if you have a pattern and it's continuous in an area thats larger and in an area thats smaller, the pattern thats larger makes that part of your body look larger. RHIANNON- What 3D technology and digital printing did you use? MORGAN - I did a lot of body scans of women, and it's really interesting because you get the 3D body scan and I had them do a description of how they thought they looked and how they felt about themselves and then do the body scan. It was really interesting to see how women and their particular issues were just totally blown out of proportion of reality based on what they thought and what they were seeing. It's been really interesting playing with perception. RHIANNON- What is your perception of the fashion industry's expectation of the female form? MORGAN - I don't know if the fashion industry is expecting anything from the female form. I think in general as humans we're always historically drawn towards beautiful things and the art of adornment, the art of beautification is very ancient, and I think it's natural human desire to want to beautify and make things nice. It's just in us to do that and I think the fashion industry just makes everything perfect. I don't know if they're exactly expecting from us but they're just trying to beautify things and I think they've gotten really far to the point where it's almost surreal what they're actually portraying, it's not actually real it's not even close to reality.

RHIANNON - How do you think your designs can benefit women today in society? MORGAN - I think just dealing with women and having them try the dresses on, it's just instant. They're like oh I feel happier, I feel slimmer. It just makes people happy and if you can change they feel about themselves that's really huge. It's giving people options and giving people what they want.

MORGAN - I think in terms of future fashion it's just going to become more and more the whole trend of mass manufacture but it's been like bespoke mass manufacture so it's like customisation but on a huge scale, so it's not just a one off but everyone can do this and personalise it. I think based on my observations its going to be more material driven and more manufacture driven instead of... It's not just about the aesthetic its about how we make it and what its made of.

RHIANNON - Digital printing and 3D printing and things like body scanning are becoming much more apparent in society now, do you think they'll become more popular for the general public?


MORGAN - I think it definitely is because it adds a kind of bespoke quality to things that typically are not bespoke. I mean clothing sizing for example is just based on a bunch of facts and statistics but not actually personalised for anybody.

MORGAN - Sure, so this is the curvy design. It's the most anthropomorphic of the collection, it really blends with the body. It gives off the illusion of a bigger bust, a smaller waist and just more of a curvier shape. Most women have kind of a rectangle shape and this dress gives you the illusion of an hourglass figure. It's using the theory of relative size so the polka dots are larger over the bust and smaller over the waist so they visually push back and flatten your stomach. These areas are higher contrast than over here, so you put more visual focus on and the size falls back. The back is designer so it kind of makes you look like you have a bigger, curvier badonkadonk.

RHIANNON - Why do you think it might not have caught on so much yet? MORGAN - I think it's really on it's way, I have jewellery thats 3D printed and clothing thats already been digitally printed and I think that in terms of 3D scanning its just one of those things that they're intergrating it, it's on its way.

RHIANNON - So if you just want to tell me a bit about the dress?

RHIANNON- How would you describe future fashion? MORGAN - Future fashion is an interesting thing to discuss because in terms of the human body we've about done everything with silhouette as you can do, unless humans are going to grow another arm or something, we've kind of done it all with fashion. What's happening is that fashion is a continuing collage of the past references but it will actually be kind of less about the aesthetic and more about the material and maufacturing. RHIANNNON - How important do you think it is for people to know about future fashion and its benefits? MORGAN - I think people will know, in all truth the world we live in 90% of the world won't even know what 3D printing is, but I think eventually everyone will know about it. RHIANNON - What do you think we can expect to see in terms of future fashion in the next 5-10 years?



and I held them so it was always quite a physical thing as well, an interaction with myself while I developed these, so not a cold clinical process but really personal really hands on. RHIANNON - So they all reflect your brain working, that was your aim? To make people understand how the unconscious mind works?

ANN - My name is Ann Kristin Abel, my background is as a fashion designer but then I studied textile futures at Central St Martins which got me more into trend research in a way but also into general research into basing my project into a proper theme and a proper concept. RHIANNON - Great, so if you could just tell me a little about your new human project about the ideas and concepts behind it? ANN - The project really stems from a personal interest in the unconcious mind, I’ve always found it quite interesting, all the things that are going on undercover, in a way. We really think we’re in control, that all are decisions are based on logical thinking but they’re really not. They’re so much going on inside of us that we’ll never grasp and never have access to in a way. So to me this was quite blurry and immaterial. I really just wanted to see if there’s a way we can make it physically tangible. So this project is quite a personal process, I did a lot of research a lot of reading on the unconscious mind, I wanted to explore how we could understand it on a more physical level. There’s actually a book from Mark Johnson and he’s written about aesthetic understanding and that all understanding comes from physical interaction with something. So just reading about it is not as clear as having a piece of art or something in front of you which is quite interesting. So yeah, that’s when I started to make these props, they’re all quite abstract which is what I wanted. I chose materials that had a mind of their own and defied perfect control, that developed in a weird way that I couldn’t control. Because that’s what the mind does as well, you are in control to a certain part but then it does what it wants. RHIANNON- How do you technically create them, what are they made from? ANN- These ones (purple props) for example, these are my favourites, they are made from expandable foam, and pigments, so they were mixed and I just used kitchen foil


ANN - Yes that was definitely my aim I thought, maybe I can create something for people to understand their unconscious mind and how they work. I’m not sure the pieces themselves can provide that but I’ve written a thesis and I think once explained, together with the movie you kind of get that. I think people tap into their unconscious mind a lot, their mind makes connections whether its a story or a name or something weird. I think it’s difficult to say but I think people do engage with their unconscious mind and throughout the process it kind of changed to me, to just make the unconscious mind visible, to actually make people engage with themselves. RHIANNON - Do you want/ do you see your ideas becoming more wearable? ANN - That’s something I’m thinking about at the moment, I think it would be amazing if we could somehow incorporate that into our daily lives somehow. I mean these are kind of on the edge to being art pieces rather than fashion product but that was what they were meant to be. But it would definitely be possible to make pieces that you could incorporate into fashion. RHIANNON - Do you think designs like yours could become more of the norm? Do you see fashion becoming more thought based? ANN - Maybe designers are more interested in doing that, but this world is quite practical at the moment. I think people are more interested in what fashion can do for them, how it can be smarter rather than how it can become more emotional in a way. I feel like wearing them, wearing pieces like that demands quite a bit of engagement with the pieces. So I would love for fashion to become more thought based but in a practical sense I’m not sure this will happen.

RHIANNON - What is it about the brain and the unconscious mind that you find so interesting? ANN- I think it’s the most unexplored piece of our body really, the one that really doesn’t let us in. It’s the one that scientists have been watching for such a long time now but they still don’t have all the answers. It’s a mystery, there are still questions that you can think about, and research and answer in your own way as an artist or a designer and I think thats what fascinates me. Its what drives us really.



RHIANNON- If you could start by telling me a bit about Biological Atelier? About the ideas? AMY - I was really interested in the idea of growing a fabric of the future, and if we could use bio-technology, so living materials, cells to produce haute couture pieces. And you think of the idea of what luxury might be if we can grow. Whether it be an ethical ivory or a cross species fur, what luxury would mean when you could do that in the lab. So the process was lots and lots of research into different labs, and a lot of it is quite, lots and lots of different little pieces. But if you add them all up could you make something thats not medical related but something for fashion. It was about sampling and making pieces look they’d been grown but also have a desirability, I think a lot of the pieces from bio-tech at the moment are really... people have quite a viceral reaction to them, because they’re quite fleshy, understandably with how they’re made. The idea is if we get it to a refinement point, if it’s beautiful enough will people really care how it’s made. RHIANNON - Can you briefly explain what Bio-technology is, in a nutshell? AMY - Bio-technology is growing materials from living things. My area that I’m interested in is tissue engineering, which is growing tissue outside of the body, it’s for regenerative medicine purposes, thats where it comes from. And you grow replacement pieces for the body whether thats bits of skin or organs. So you’re making scaffolds, seeding them will cells and then you grow them. There’s also people trying to do that within the body itself, so whether you could put a material into the body that encourages say, bone to regrow if you need to repair something. So Bio-technology does encompass lots of things but the kind of specific area of it is tissue engineering RHIANNON - How environmentally friendly/sustainably focused is it?


AMY - I think a lot of the aim is medicine. There is sort of things like bio-fuels so new sustainable ways to produce energy or fuel. At the moment it’s not that sustainable because you use a lot of plastic, a lot of resources to do the science, but in the future it is a very sustainable way of producing things its just kind of getting it to that point. RHIANNON - I found during my research that this sort of thing had been around for ages but it seems people still aren’t aware of it, why do you think that might be? AMY - I think it’s because a lot of it is research based and it’s not communicated how that development means more broadly for peoples lives. I think it’s quite complex as well and it’s got an element of fear attached to it because, you know, we’re working with living things. It’s not talked about as much but I think it will become more talked about, especially with things like synthetic biology they have a way to potentially radically change the way we do a lot of stuff. RHIANNON - Do you think you can see it becoming bigger in the fashion industry? AMY - I think so but I think thats probably further term. But there is things like the bio-jewellery project which was growing rings out of couples bone cells, so there’s things like that already been done and I can see it coming along in bits and pieces. And with synthetic biology they’ve developed ecoli that can produce silk so if you think about how long we’ve produced silk the way we have, that could revolutionise the whole industry. RHIANNON - Do you think designs like yours could help us and benefit society? AMY - I was interested if you could embed different health properties into fashion, if they were beneficial to us somehow. I was curious if you take something medicine based and then push it into more of a consumption base, what that does to it. You know, fashion is often considered as quite frivolous, it’s constantly evolving. And whether that would mean people would have a stronger attachment to what they buy. RHIANNON - How do you feel about sustainable fashion? What do you think the industry’s views are on it?

ANN - I think the view the industry has on it, and a lot of people have on it is that it’s not really that desirable. It’s not enough to have good eco-credentials, at the end of the day if it’s not desirable, people aren’t going to want to wear it, which has been a big problem with eco fashion and that is definitely improving. Its a big ask of the industry, things like H&M are trying, trying to pick that out. RHIANNON - Lastly, how would you describe future fashion? ANN - I think it would be an adoption of future technology, whether thats smart technology or nano-technology. I think smart fashion has had it’s problems with lasting and washing and that sort of thing. I think just the adoption of technology, I know that’s a really broad thing but...I think it’s the thing that has always pushed fashion.


BIBLIOGRAPHY BIBLIOGRAPHY/FILMOGRAPHY FINAL FILMS & PRODUCTION FILE Fletcher, K. Grose, L. (2011) Fashion and Sustainabillity: Design for Change, London: Laurence King. Gere, C. (2002) Digital Culture, London: Reaktion Books Ltd. Sinankosak, 2006, The Miracle in the Human Brain, [Video online] Available at: < watch?v=FZ3401XVYww> [Accessed 10th May 2013] Engineered Illusions, 2013, [image online] Available at: <> [Accessed 12th May 2013] Engineered Illusions, 2013, [image online] Available at: <!engineered-illusions/ c7c9> [Accessed 12th May 2013] Biological Atelier, 2013, [image online] Available at: <!emotional/c1t44> [Accessed 10th May 2013] Amy Congdon, 2012, SymbioticA Residency, Biological Bespoke, [Video online] Available at: <https://vimeo. com/42353273> [Accessed 10th May 2013] Amy Congdon, 2012, Digital Embroidery Slide, [video online] Available at: <> [Accessed 10th May 2013] VUTChempoint, 2011, Collagen Scaffolds for Bone Healing. [Video online] Available at: < watch?v=W0NA1qgc8EI> [Accessed 14th May 2013]


Tomorrow's Wardrobe Production File  

Production File for the mini-series 'Tomorrow's Wardrobe'