Final Major Project Proposal

RETHINKING THE LUXURY FASHION I N D U S T RY. FMK330 PROPOSAL ROSE COPPEN-MANNS

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CHAPTER ONE

INTRODUCTION CONCEPT RESEARCH & INSPIRATION

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CHAPTER TWO

RETHINKING THE LUXURY FASHION I N D U S T RY. FMK330 PROPOSAL

CONTENTS

THE CLIENT AUDIENCE & OPPORTUNITY COMPETITORS

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CHAPTER THREE

THE DELIVERABLES THE CAMPAIGN SKILLS & RESOURCES

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CHAPTER FOUR

THE BUDGET & TIME MANAGEMENT CRITICAL PATH

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CHAPTER FIVE

THE GRAD SHOW IMPLICATIONS CONCLUSION

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CHAPTER SIX

REFERENCING IMAGE BIBLIOGRAPHY TEXT BIBLIOGRAPHY

CHAPTER ONE

INTRODUCTION Since the outbreak of coronavirus, we could argue that the world we live in today is far from normal and while the virus remains at the fore-front COVID-19 has possibly given the luxury fashion industry time to take stock and ponder attitudes towards sustainability, and shape fashion for the future. Therefore, the following proposal is designed for the FMK330 module, Final Major Project. This proposal outlines the selected FMP and a display for the graduate show.

The proposal begins with a critical context to introduce the topic, followed by research overview, inspiration behind the idea, the client, the market and the deliverables—finally, time management, plan of action and budget, ending with a visualisation for the graduate show.

MISSION STATEMENT

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THIS PROJECT AIMS TO HELP CHANGE CONSUMER ATTITUDES TOWARDS LUXURY FASHION

BY MAKING A NEW IMPACTFUL CAMPAIGN IN COLLABORATION WITH FASHION REVOLUTION TO AID THE LUXURY FASHION INDUSTRY AS A LEADER FOR SUSTAINABLE FASHION.

CRITIC AL CONCEPT. While all the great names at the forefront of fashion are brands to aspire to, many hold an alluring sense of mystery. Although fast fashion brands have previously been the primary target of conscious fashion activists due to a lack of transparency and poor ethical and environmental practises. Luxury fashion is now facing its own critics and disapproval as a result of the coronavirus pandemic. This in turn has brought into question the more complex issues of sustainability and environmental concerns around luxury fashion. As these social and sustainable issues are set to continue, it is paramount therefore that luxury brands address the issues raised, rethinking products life cycles, supply chains and the management and disposal of unsold inventory.

According to Bain & Company, the most significant consumer change thus far would be the “change in relationships with clothing”, (D’Arpizio et al., 2020: 7). Luxury fashion brands have the potential to be at the forefront of driving change within the industry. A positive consumer trend emerging as a result of COVID-19 is a heightened environmental and social consciousness as there is now a greater concern around the subject of sustainability.

It is evident that there are going to be some huge changes in the fashion industry. In particular, the luxury fashion market will begin to rethink ways to adapt to this change in

consumer behaviour and will impose considerable efforts towards a more sustainable future. The question remains how we can change consumer attitudes towards luxury fashion and not just fast-fashion to pave the way for a more sustainable fashion industry?

Therefore, I will try to focus on how we can change consumer attitudes in the luxury fashion sector. I will be creating a PR campaign for Fashion Revolution in the hope of being able to change consumer behaviour in the luxury fashion industry. At present, Fashion Revolution only target GEN Z, the generation who already try conscious consumption and not the generation who could help create a shift with-in luxury fashion leading the way for a more sustainable future.

“83% OF RESPONDENTS AGREED THAT CLOTHING SHOULD BE DESIGNED TO LAST LONGER THAN THEY DO AT PRESENT AND AROUND 58% OF THOSE WHO TOOK PART IN THE SURVEY ADVOCATED GOVERNMENT REGULATION IN IMPROVING THE SOCIAL AND ENVIRONMENTAL IMPACTS FROM THE CLOTHING SECTOR.” (Sabanoglu, 2020)

RESEARCH PRIMARY My primary qualitative research, (expert interviews) will be talking to leading industry professionals.

Provisional list below; Carry Somers - British Fashion Designer, Social Entrepreneur and Campaigner.

Orsola de Castro- Pioneer and Internationally Recognized Opinion Leader for Sustainable Fashion.

Ilishio Lovejoy- Policy and Research Manager at Fashion Revolution.

Sienna Somers- Policy and Research Coordinator at Fashion Revolution.

Jenny Houghton- Global Communications & Fundraising Director at Fashion Revolution.

Ellen MacArthur- Founder of The Ellen MacArthur Foundation.

Kate Strasdin- Senior Lecturer in the History and Theory of Fashion.

Daniel W Fletcher- British Fashion Designer who focuses on sustainable design.

I will also be interviewing students and lecturers from FTI in particular sustainable fashion design to form a case study (primary qualitative data). This will help me to focus on a group of people who are relevant to my research topic as individuals often offer interesting, unusual, and sometimes a particularly revealing set of circumstances or opinions. This will help me to explore how the case study informs my investigation and outputs.

These people all have various insights into sustainable fashion, from different perspectives. In order to make the project as viable and successful as possible, it will be important to look at various points of view and opinions. There are endless options for a more sustainable future of the luxury fashion industry and these people certainly have a valuable contribution to make in the pursuit of reaching a solution.

SECONDARY

Primary research is defined as, “A methodology used by researchers to collect data directly, rather than depending on data collected from previously done research.”, (Wikipedia, 2021).

To conduct the primary research required for this project I will initiate, surveys, interviews and subsequent analysis. I will ensure there is a broad spectrum of people are represented to avoid bias results.

Secondary Research is defined as, “A research method that involves using already existing data.

Existing data is summarized and collated to increase the overall effectiveness of research.”, (Wikipedia, 2021). Therefore to conduct secondary research needed for this project I will be using data available on the internet, data collected from government and non-government agencies, the library on campus and commercial information sources such as newspapers, journals, magazines and documentaries.

Below I have noted books, reports and articles of interest where I shall begin to look and use for gathering research on the luxury fashion industry and their consumer; • Understanding Luxury Fashion by Isabel Cantista • Luxury Fashion and Culture by Arch. G. Woodside • The Luxury Strategy: Break the Rules of Marketing to Build Luxury Brands by Jean-Noel Kapferer and Vincent Bastien • Know Your Luxury Consumer: The Millennial Mind- Medium.com Below I have noted books, articles and a case study where I shall begin to look and use for gathering research on how to change consumer behaviour; • • • •

Consumer Behaviour by Zubin Sethna Why We Buy: The Science of Shopping by Paco Underhill Attitudes - Consumer Behaviour : The Psychology of Marketing by the University of California Consumer Attitude and Brand | Nike Case Study

Below I have noted topics, reports and articles of interest where I shall begin to look and use for gathering research on attitudes towards sustainability; • • • • •

WGSN Report: Coronavirus: The Impact on Sustainability – Key Drivers The State Of Fashion 2020: It’s Time To Rewire The Fashion Industry: The Business of Fashion Coronavirus Impact On Opinions On Fashion Industry UK 2020- Statista.com The United Nations Sustainable Development Goals The Paris Agreement - UNFCCC

Below I have noted books and articles of interest where I shall begin to look and use for gathering research on how to produce a successful PR campaign; • The PR masterclass : how to develop a public relations strategy that works! by Alex Singleton • 9 Steps to a Successful PR Campaign - Find The Edge • 3 Essentials for Creating an Effective PR Campaign

Both primary and secondary research will be paired together to achieve the most successful solution. These elements will make up the majority of my initial research, helping to create the best possible outcome. It is hoped that by talking specifically to the industry experts listed above, my research and final concepts will be relevant and fill the evident gap in the market that has been identified.

INSPIRATION. When researching current trends regarding sustainability I have noted that recent research has found that more people want clothing with longevity. Selfridges head buyer, Rebecca Tinker said, “Collections are more seasonless than ever, as brands take more of a considered approach to the longevity of a collection. We have seen more classic silhouettes and less reliability on prints dominating the market.

This is strongly resonating with our customers who seek pieces that they can keep in their wardrobe longer than a season.”, (in De Klerk, 2020). In addition WRAP, a British non-profit organisation that focus on helping businesses achieve more sustainable practices has revealed that consumers increasingly recognise the impact that fashion has on the environment and that they want clothes with more longevity with over “half (55%) now recognise the impact of clothing on the environment as ‘severe’, up from 35% in 2017”, (Poile, 2020).

The report found that consumers’ appetite for clothes that make them look fashionable at the expense of the environment has waned, and that lockdown has changed shopping habits and led more to undertake sustainable shopping practices. Furthermore the impact of COVID-19 on attitudes towards the fashion industry has led to, “83 percent of respondents agreeing that clothing should be designed to last longer than they do at present and around 58 percent of those who took part in the survey advocated government regulation in improving the social and environmental impacts from the clothing sector.”, (Sabanoglu, 2020).

Over the past few years we’ve seen numerous companies going carbon-neutral – but this year will give rise to something even better. The

biggest sustainability trend for 2021 is, ‘The Climate-Positive Movement’. This means brands pro-actively implementing measures that have a positive effect on the environment, rather than just limiting their negative impact. This could be an act as simple as planting a tree for every purchase – or it could be something more complex, like London-based research studio Post Carbon Lab, which is looking into using algae in our clothes that can photosynthesise as you wear them. An increasing number of businesses are adopting regenerative farming practices too, which involves growing a diverse range of crops to help put nutrients back into the soil. TALA a sustainable active-wear brand uses plant-able seed paper for all their clothing tags which can be planted in soil after purchase and grow into a real plant.

For fashion-lovers ‘circular fashion’ will become the new ‘fast-fashion’. The move against throwaway fashion will continue to gain momentum with more and more shoppers choosing pre-loved stores like Cudoni and Vestaire Collective over the high street. ASOS, one of the biggest online fast fashion retailers recently launched their first ever circular fashion collection and luxury brands aren’t resting either. Farfetch launched a luxury handbag resale service which is proving increasingly popular and Gucci announced a partnership with luxury consignment store ‘The Real Real’.

1. CLOTHING LONGEVITY 2. CLIMATE POSITIVITY 3. REGENERATIVE AGRICULTURE 4. BIODIVERSITY 5. CIRCULAR THINKING 6. BRANDS EMBRACING RESALE 7. SOCIAL IMPACT 7 Sustainable Fashion Trends To Propel The Industry Forward In 2021

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CHAPTER TWO

CAMPAIGNS Here are some previous successful campaigns focused on social education. These in particular are trying to change consumer attitudes towards the fashion industry and have given me inspiration to try and create my own.

1. Ellen MaCarthur- #WearNext 2019 This campaign has been initiated by Make Fashion Circular- Ellen MaCarthur Foundation and the City of New York. The Make Fashion Circular #WearNext campaign aimed to make sure NYC’s old clothes find a new life. Participating stores and other locations across the city acted as drop off points. Every available drop off point – more than 1,100 in total – is marked on a new online map created by the New York City Department of Sanitation, to make it as easy as possible to save clothes from being landfilled.

2. Vivienne Westwood- Buy Less, Choose Well, Make it Last Typically, the main objective of a fashion show is to sell clothes. But at the unveiling of Vivienne Westwood’s catwalk collection in 2017 it appeared the opposite was true. “Buy less, choose well, make it last” was the longstanding mantra of fashion’s greatest activist, who implored her disciples to choose quality over quantity and eradicate fast fashion culture.

Vivienne Westwood is a luxury designer that continues her message to her fans to consume clothes more conscientiously.

3. Fashion Revolution’s - Who Made My Clothes?

The “Who Made My Clothes” movement was precipitated by the collapse of the Rana Plaza building in 2013. The campaign was aimed at standing up for workers rights as many exploited garment workers are facing arrest and violent attacks for demanding more pay. The campaign helps to unite customers and workers to help ensure no one suffers from the clothes that we wear.

4. Patagonia’s- Don’t Buy This Jacket Patagonia has strived to remain true to its eco-friendly ethos by using organic cotton and recycled polyester in its products and by urging consumers to consider the environmental effect of their purchases. In the run-up to Christmas 2013, the brand ran a poster and PR campaign that told customers ‘Don’t buy this jacket’. The message was intended to encourage people to consider the effect of consumerism on the environment and purchase only what they need.

INDUSTRY FACING.

SWOT.

THE CLIENT FA S H I O N R E VO L U T I O N .

“We love fashion, but we don’t want our clothes to come at the cost of people or our planet.” (Fashion Revolution, 2020).

STRENGTHS: -Global recognition -Not-to-profit organisation -One of a few charitable organisations that focuses on changing the fashion industry for the better -Wide target audience, they cater to every age and demographic -Vast number of communication channels, Instagram, You-Tube, Facebook, Website -International brand advocates -Loyal fans -Educates and supports various organisations, such as students, emerging designers and small business owners

Founded in April 2013, Fashion Revolution is a non-profit global movement that campaigns for a clean, safe, fair, transparent and accountable fashion industry. They do this through research, education, collaboration, mobilisation and advocacy.

WEAKNESSES:

As quoted on their website, “The issues in the fashion industry never fall on any single person, brand, or company. That’s why we focus on using our voices to transform the entire system.

With systemic and structural change, the fashion industry can lift millions of people out of poverty and provide them with decent and dignified livelihoods. It can conserve and restore our living planet. It can bring people together and be a great source of joy, creativity and expression for individuals and communities.” (Fashion Revolution, 2020). They believe in a global fashion industry that conserves and restores the environment and values people over growth and profit.

OPPORTUNITIES:

-Can be seen as ‘green-washing’ -Focuses mainly as fast-fashion and not the luxury sector -Has weak connections with the millennial generation -Campaigns could now be seen as uninspiring

-Signing on global celebrities to act as ambassadors to be the face of the organisation as research shows that celebrity association to a brand can often allow for growth, increased visibility, and capture of younger, image orientated consumers (Reimann, Wagner and Reisinger, 2017).

-Should target a new age demographic rather than students who may already be converted -Opportunity to grow their social media engagement, reach and demographic in new inspiring campaigns -COVID-19 has given luxury fashion a chance for change in becoming a more sustainable industry.

THREATS: -COVID-19 -Competition with other sustainable fashion organisations -Geopolitic uncertainty due to Brexit -Shift in e-commerce market dynamics due to COVID-19 -Lack of funding

AUDIENCE & OPPORTUNITY I hope to be able to expand Fashion Revolution’s customer segment by targeting a new audience, one I feel hasn’t yet been impacted by their ethos and ideologies. This in turn will help to increase their engagement as a not-to-profit organisation whilst helping to start a change in attitudes towards luxury fashion. I have identified the customer profile below which I believe to be an appropriate audience to target.

• • • • • •

Generation Y, (Millennials) Female Between the ages of 25 to 40 Living in a city Career professional They have a desire to look stylish and creative • Invests in luxury fashion Demographic: Women between the ages of 25-40 and are people who have a middle upper income to a high income.

Geographic: Consumers who live in cities internationally, but generally speaking in cities with-in the UK and Europe.

The profile identifies them as being trendy and fashion savvy. Their common attributes is that they have a high end exclusive style. They are into luxury fashion, art and culture.

They will probably see themselves as style conscious, creative, innovative and entrepreneurial. Their lifestyle will probably include trips to art galleries and museums, socialising with friends and travelling. They are best interested in fashion and culture expressing their individuality and creativity through clothing. A small minority will have children so will also be family orientated, however the majority will be single or newly married.

COMPETITORS POSITIVE LUXURY Positive Luxury is the company behind the Butterfly Mark, a unique mark awarded to luxury lifestyle brands in recognition of their commitment to creating a positive impact on the planet. The mark recognises a brand’s actions across governance, social and environmental frameworks, community investment and innovation. Additionally they assess how brands can become more sustainable and help them to do so.

STELLA McCARTHNEY Stella McCartney is a British Luxury Fashion Design who focuses on sustainable fashion. As a lifelong vegetarian she has never used leather, feathers, skin or fur in any of her designs. The brand continues to grow as a leader of sustainable fashion as she continues to design the future of clothing and the future of sustainable business. Stella’s ‘Agents of Change: The Winter ‘19 Campaign’ features members of the Extinction Rebellion to remind us that we live in an era of climate crisis with action being more important than ever. The campaign was held as her AW/19 collection but held on Instagram as a conversation under the hashtag #StellaWinter19.

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CHAPTER THREE

DELIVERABLES OBJECTIVES I will make my objectives SMART so they can act as a gauge to measure the development and success of the campaign. It will also helps me to focus on my initial ideas and goals for this project. My main aim is to achieve real change in consumer behaviour towards luxury fashion, which I hope in-turn will make big luxury retailers reflect on what is truly important to give focus on sustainability in their design and business formation.

BRAND LED.

BACK OF HOUSE BOOK This is a requirement of the module and will detail my research, development and reflection. This is where I will explore my research further in consumer behaviour to help me find the best solution to focus my campaign on. It will be critical and written in an academic tone; the book will also include visuals and a pleasing graphic layout. It is important that the design and layout is consistent with all other deliverables, this will ensure my graduate exhibition space will look cohesive and professional.

MARKETING COMMS REPORT: This report aims to inform the client (Fashion Revolution) of the viability of my proposal. It will give an analysis of the way we could use the campaign to change consumer attitudes towards luxury fashion. The report will discuss the campaigns key aims, visual identity, promotion and a time scale. This report will effectively communicate the planned campaign to help bring about a change in attitude towards the luxury fashion industry.

CAMPAIGN This will be the customer facing element as I want to try to change consumer attitudes towards luxury fashion. It will be very visual, engaging and impactful. The campaign will predominantly be online in a digital context but I still need to do more research behind this to ensure I am not missing out on an opportunities to be seen by the target audience.

PR CAMPAIGN CUSTOMER FACING ELEMENT As this project aims to help change consumer attitudes towards luxury fashion, I aim to make a new and impactful PR campaign in collaboration with Fashion Revolution in the hope of helping the luxury fashion industry pave the way as a leader of sustainable fashion.

WHY do I believe a PR campaign to be the most appropriate method to use?

The objective of PR is to get word out through compelling story telling that targets a specific audience.

As the campaign aims to target a new audience a PR campaign will help to educate followers about the contributions of Fashion Revolution whilst enhancing brand recognition, and making Fashion Revolution even more relevant as its placing the campaign right in front of the new target audience.

Furthermore, PR is a tool for building relationships with the right people and organizations to further goals.

Additionally public relations does not require a huge budget.

The key things to ensure I do when planning my campaign are; 1) Be clear about the goal This is because the aims will define the audience, and the audience will define the style of content and the media outlet or publication that its pitched to.

2) Choose the strategy The media goals will define the type of content to publicize, i.e) -social media -community posts -pitches to journalists who may offer interviews -blog posts -non-promotional articles 3) Choose the channel The campaign must use the correct media voice that will amplify the message and reach the target audience. For example; - leading publications read by the target audience -industry specific publications -less ‘highbrow’ publications with lower readership to ensure realism -social media platforms -blogs -podcasts / radio -educational centres

“A truly successful PR campaign goes well beyond simply pitching and getting coverage. There are several intertwined components which take place before, during and after a campaign which help maximize the chance for success.”

(Seymour, 2015).

SKILLS & RESOURCES

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CHAPTER FOUR

Skills which will be applied to accomplish the project will be in-depth analytical, research, strategic and critical thinking. Further to this when creating the campaign, graphic design, creative advertising and strong communication skills will also be needed. To achieve these skills I will need multiple resources such as Adam for IT support, printing facilities, materials for graduate show and advice from my mentor to help with developing ideas, promoting work and providing industry expertise.

LEARNING OUTCOMES...

CONCEPT: This project should show one key theme and aim from in-depth research findings that have helped to develop a solution, showing innovation and forward thinking skills.

DEVELOPMENT : This project will investigate a range of possibilities leading to appropriate solutions informed by a systematic understanding of the principles of the creative process.

PRODUCTION : This project will demonstrate my understanding of the luxury fashion industry as-well as my experience working in public relations for academic practise and support.

PRESENTATION: I hope this project will be aesthetically pleasing, visual and graphically designed to industry standard, communicating clearly and effectively.

PROFESSIONAL IDENTITY: This project should reflect my personal strengths and skill set whilst portraying my future aspirations for a career in Public Relations and Sustainable Fashion.

MENTORS SASKIA PHILLIPS from KILPATRICK PR has agreed to be my personal mentor for my FMP who has offered to provide help with developing ideas, promoting work and offering her personal expertise as an industry professional.

I will also ask Fashion Revolution my client to try and negotiate coverage and finical support towards the project.

THE NITTY G R I T T Y.

BUDGET I have highlighted below some possible costs that this project may incur: - Printing of booklets and documents / £100 - Printing of promotional material for the campaign / £60 - Transport for primary research i.e interviews/ £150 - Materials for assembling the graduate show/ £20 I have set an initial budget of £330. Keeping in mind the costs incurred over previous projects, I feel that this is an appropriate number that should cover all expenses. I envisage that the most costly element of the final major project will be the printing and I plan to use 100% recycled paper that is of high quality. Other elements that may incur cost are; travel costs and materials for the graduate show if it still goes ahead.

TIME MANAGEMENT

T RA N S P O R T

P RI N T I N G OTHER G RA D SH OW

Efficient time management is critical to ensure work is completed to deadlines even when time is tight and pressures are high. To ensure I finish this project on time whilst ensuring I complete it to a very high standard I have decided to use a Gantt Chart to portray the steps taken in my implementation plan.

The implementation plan or critical path is used as a support device for my strategic plan, it will help to map out my plan by breaking it into identifiable steps. This way I can identify, divide and concur to ensure I stay on track as it is a great way to monitor and track updates in-case I were to encounter any problems.

The campaign also allows time for the planning and research phases which are crucial to ensure the correct implementations of the campaign are in place for successful results. For the perceived SMART objectives identified earlier, the below implementation plan has been complied.

As you can see from my diagram of the budget broken-down, I have set aside a small portion of money to be used for unexpected costs that I might not have yet accounted for.

CRITICAL PATH. TASK

BUDGET

PL A N N I N G P H A S E I D EN TI F Y O U TCO M E S MAR T O B J E C TI V E S S W O T A N A LY S I S I D EN TI F Y C U S T O M E R SE GME NT

R ES E A RC H P H A S E I N F O RM ATI O N G AT HE R I NG CU S T O M E R P E RS ON A INTERVIEWS PO PU L ATE I N F O RMATI O N R ES E A RC H L I S T

CO N N E C TI O N P H ASE D I G I TA L O U TRE AC H C A M PA I G N F O RM ATIO N S OCI A L M E D I A CO NNE CTI O NS

I MP L E M E N TATI O N PHA SE PRO O F RE A D I N G T R A I L P RI N TI N G

£20

PR C A M PA I G N (D IGITA L) PR C A M PA I G N (P HY SIC A L)

£60

PR I NTI N G

£100

A S S E M B L I N G TH E GR A DUATE SHO W

£20

WE E K 2

WE E K 3

WEEK 4 WEEK 5 WEEK 6

WEEK 7

WEEK 8

WEEK9

WEEK10

WE E K 11

WE E K 12

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CHAPTER FIVE

THE GRAD SHOW For the graduate show, I would like to display all the elements of my FMP including the back of house documents and proposal. I will then have my campaign displayed on hanging walls and vertical plinths along with a digital interactive version displayed on my laptop. As my PR campaign aims to be impactful, the white space will be critical for helping to aid my campaigns voice. This will provide a simple and aesthetically pleasing background for my work to be displayed against. Furthermore this will ensure there is enough space to make my messaging clear and seen from afar.

VALID, DIRECT, PRACTICAL.

IMPLICATIONS RISK ANALYSIS. Whilst the pandemic is on-going, we are uncertain of what could happen in the future. More travel restrictions and future lock-downs could be put in place across the UK in attempts to contain the virus, therefore all planning will have to be flexible and ‘pandemic preparedness’ is essential to overcome any trying and challenging issues that I may encounter as a result of COVID-19.

Below are some perceived issues that may be encountered; - Primary research not being completed in time and not having enough content to make informative decisions.

- Interviews not being CDPR complaint - Not having enough time to print.

- Not finding printers to print on sustainable paper locally.

- Not being able to have in person tutorials due to pandemic restrictions.

- Not being able to learn new applications quick enough such as Adobe illustrator or XD.

CONCLUSION I hope to have improved upon my initial three FMP proposals to now having one clear concise idea.

I understand I still have lots more research to undertake and solutions to still discover but I hope with my plan of action in place, I will make a great start.

“In times of uncertainty, PANDEMIC PREPAREDNESS is essential to overcome any trying and challenging issues that could incur as a result of Covid-19.”

(Banaszak et al, 2021)

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CHAPTER SIX

REFERENCES BIBLIOGRAPHY

IMAGE BIBLIOGRAPHY

Books: REIMANN, O., WAGNER, U. and REISINGER, H. (2017) ‘The Impact of Celebrity Endorsement and Celebrity Cobranding on Perceived Quality: The Role of Celebrity Application Frequency Within a Brand.’ In: Advances in National Brand and Private Label Marketing (pp. 55).

NEBELING, C., 2019. Vampire Fitness. [online] Vampire Fitness. Available at: <https://bienenkiste.tumblr.com/post/149750779239/ph-claranebeling> [Accessed 12 February 2021].

Reports: D’ARPIZIO, C., LEVATO, F., FENILI, S., COLACCHIO, F. and PRETE, F. (2020). Luxury after Covid19: Changed for (the) Good? Bain & Company Report [online] London: Bain & Company, Inc. Available at: https://www.bain.com/insights/luxury-after-coronavirus/ [Accessed 21 Nov. 2020].

Websites: BANASZAK, J., CHARRON, R., GUEVARA, J. and STOKVIS, K., 2021. Preserving project continuity in the face of COVID-19. [online] McKinsey & Company. Available at: <https://www.mckinsey.com/business-functions/ operations/our-insights/preserving-project-continuity-in-the-face-of-covid-19> [Accessed 13 February 2021].

DE KLERK, A., 2020. Are We Seeing The End of Seasonality in Fashion?. [online] Harper’s BAZAAR. Available at: https://www.harpersbazaar.com/uk/fashion/a31255947/end-of-fashion-seasons/ > [Accessed 7 November 2020].

FASHION REVOLUTION. (2018). Fashion Revolution. [online] Available at: https://www.fashionrevolution.org/.

[Accessed 7 November 2020].

POILE, M. (2020). Sustainability Bulletin: December 2020. [online] login.microsoftonline.com. Available at: https://www-wgsn-com.ezproxy.falmouth.ac.uk/fashion/article/89574#page9 [Accessed 25 Jan. 2021].

SABANOGLU, T., 2020. Coronavirus Impact On Opinions On Fashion Industry UK 2020 | Statista. [online] Statista. Available at: <https://www.statista.com/statistics/1136613/coronavirus-impact-onconsumeropinions-fashion-industry-in-the-uk/> [Accessed 7 November 2020].

SEYMOUR, L., 2015. PR: 7 steps to a successful campaign. [online] Agility PR Solutions. Available at: <https:// www.agilitypr.com/pr-news/social-media/pr-7-steps-to-a-successful-campaign/> [Accessed 13 February 2021].

WIKIPEDIA, 2021. Research. [online] Available at: <https://en.wikipedia.org/wiki/Research> [Accessed 13 February 2021].

MODEDAMOUR. 2020. Studio I — MODEDAMOUR. [online] Available at: <https://www.modedamour.com/blog/2019/12/20/studio-i> [Accessed 12 February 2021].

MODEDAMOUR. 2020. Studio I — MODEDAMOUR. [online] Available at: <https://www.modedamour.com/blog/2019/12/20/studio-i> [Accessed 12 February 2021].

MODEDAMOUR. 2020. Studio I — MODEDAMOUR. [online] Available at: <https://www.modedamour.com/blog/2019/12/20/studio-i> [Accessed 12 February 2021].

MODEDAMOUR. 2020. Studio I — MODEDAMOUR. [online] Available at: <https://www.modedamour.com/blog/2019/12/20/studio-i> [Accessed 12 February 2021].

MODEDAMOUR. 2020. Studio I — MODEDAMOUR. [online] Available at: <https://www.modedamour.com/blog/2019/12/20/studio-i> [Accessed 12 February 2021].

MODEDAMOUR. 2020. Studio I — MODEDAMOUR. [online] Available at: <https://www.modedamour.com/blog/2019/12/20/studio-i> [Accessed 12 February 2021].