JOURNEY TO 360 CAMPAIGN: Future-Proofing of Fashion Media

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SOPHIE TAYLOR 1813009 AD6605 - Concept Direction and Development JOURNEY TO 360 CAMPAIGN Future-Proofing of Fashion Media and Personal Development

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CONTENTS 6-9

INTRODUCTION

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FURTHER RESEARCH 18-39 40-45 46-61 62-63 64-75 76-77 78-81 82-83

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MATTY BOVAN and MAXIMALISM RESEARCH PARABOLA WORKS UNCONVENTIONAL BEAUTY AVANT-GARDE FANTASY SHARNA OSBORNE and VISUAL CAPTURERES COLOURFUL GREEN

CREATION OF ‘FOR ANGEL STUDIOS

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INTRODUCING FOR ANGEL STUDIOS BRANDING DEVELOPMENTS MARKET LEVEL: VISIONARY FURTHER DEVELOPMENTS

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ARTEFACT

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FUTURE-PROOFING OF FASHION MEDIA 148-149 150-155 156-161 162-167

INTRODUCTION TO FASHION MEDIA MEDIA AND TECH PRINT MEDIA UPSTART MEDIA

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CONCLUSION TO RESEARCH: MY FMP CONCEPT

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REFERENCES

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INTRODUCTION

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INTRODUCTION This piece of writing is the follow up to ‘Brand Me’. Here it is time for me to take what I was fortunate enough to learn about myself as a creative storyteller, and to put it into practice.

Having previously in Brand Me, had the opportunity to discover more about myself from internal research on a personal level, I now have a clearer vision and understanding in terms of where and how I see myself, and why.

The overall aim is to continue from the Brand Me tasks onto a journey of further discovery, adding more meat to the bone of my brand identity. This will allow me to build my own brand concept and be able to appropriately visualise it and tell the story of me in the best way possible. This research will then inform my FMP development, ensuring that my final year outcome is as on brand to myself as it can be.

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SOPHIE TAYLOR 20 X 20

WHAT ‘BRAND ME’ TAUGHT ME: 1. VETEMENTS 2. CONCEPT 3. VISIONARY 4. AVANT-GARDE 5. BALENCIAGA 6. QUIRKY 7. COLOURFUL 8. ANALOGUE TO DIGITAL 9. CHARLES JEFFREY 10. DAZED & I-D WHAT I’VE EXPLORED ON MY ‘360 JOURNEY’: 11. MAXIMALISM 12. MATTY BOVAN 13. FANTASY 14. UNCONVENTIONAL BEAUTY 15. SHARNA OSBORNE 16. PARABOLA WORKS 17. IDENTITY 18. ANGEL SOPHIE 19. GROTESQUE 20. ETHERAL

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FURTHER

BRAND RESEARCH

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MATTY BOVAN My maximalism is something I looked at to begin developing off Brand Me. Visual research into maximalism brought me to Matty Bovan.

Linking to Charles Jeffrey under the concept of the best of British designers, WWD pinning the two as “…two of the London calendar’s hottest names…” (Conti, 2020). Bovan also followed in the footsteps of Jeffrey, awarded with the British Fashion Council’s NEWGEN Bursary.

Matty Bovan’s creations resonated with me a great deal. A magnificent use of form, colour and the way it communicates the unconventional ideas of the characters he creates. As a creative, I’ve never had the ability to do minimalism. The concept of it just leaves me hugely underwhelmed, and bored when contrasted to my own aesthetic.

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Beyond just clothing, Bovan extends his creativity to zine making. Yorkshire Rosé being my favourite. Bovan is “…doing things differently. Not content with just sending his creations down the runway each season, he’s spent the last few years creating his own parallel universe via a series of surreal zines, short films, and editorial shoots.”(Davidson, 2019) The concept of fantasy like this is something of which has always inspired me, the lack of limit on imagination excites me. The concepts of fantasy and extended media are something I aim to take forward from Bovan when creating the concept for my FMP.

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Other notable creatives I looked at under maximalism were Bimba y Lola, Kasia Kucharska, and Colina Strada to name a few.

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PARABOLA WORKS Looking forward from Matty Bovan, I wanted to research further in this idea of building character and universes within the communication and storytelling of the garments and collections created. As my market level is concept and visionary, this naturally stuck out to me.

Parabola Works, the creation of Elliot Long, former A-COLD-WALL* designer explores, “the natural order of things and the natural chaos.”

(Peters, 2021), with the debut collection being an exploration of the “conflicts of the psyche in a theatre of dreams and destruction” (Peters, 2021).

“Each look was conceived as a whole and designed around 15 characters,” (Peters, 2021), and it communicated the emotions and experiences of the designer himself. It was narrated as performance, characters crawling, screaming and pulling apart bugs.

It builds on this fantasy narrative of fashion having the ability to escape to parallel worlds.

Richard Quinn once told Dominic Cadogan in interview, “…there’s a real shift towards interesting and engaging shows and presentations” (Cadogan, 2019), and Parabola Works embodies that. It begs the question of how can it be furthered, and will more brands adopt this ideology of concept creation in terms of philosophy behind the clothing?

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UNCONVENTIONAL BEAUTY Developing from maximalism and immersive forms of narration, the concept of unconventional beauty and ethereal to grotesque has been prolific in my visual research, as well as work I have previously created. Ansinth Magazine, stylist Saik Gonzalez, artist Gena Marvin, and photographer Vasso Vu are to name a few examples of where the exploration of this concept has taken me.

As put by PAPER, “Gena Marvin is redefining Russian beauty.” (Wilson, 2021).

Marvin creates “his childhood trauma into nightmarish drag looks” (Cadogan, 2021) in these looks he transforms into “a gargantuan silhouette…beautifully terrifying with long spindly fingers that trail down past his knees and have humps, lumps and horns” (Cadogan, 2021).

Interestingly, upon leaving the house in his horrifyingly beautiful drag looks, the younger generation welcomed him, differently to the immense negativity displayed by adults. “This is the artists hope for the future, that the next generation will lift up and celebrate creatives of all types, instead of causing them further pain” (Cadogan, 2021).

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The idea of unconventional beauty ideals is something I’ve toyed with before, as freedom of representation of identity. Having reflected on similar personalities like dahc Dermur VIII, Salvia, Michael Moon, @anthr0morph and Matieres Fecales, creating a sense of self differing from the “normal” idea of anatomy as we know. I’ve previously experimented with this concept myself, communicating a trend forecast and narrating a sense of self away from the “conventional” form as caused by digital realms, with expanding foam.

Fecal Matter, duo of Hannah Rose Dalton and Steven Raj Bhaskaran (also known as Matieres Fecales) have been a consistent source of inspiration for me over the last couple of years. “Their bodies often morph into things far, far beyond the human realm.” (Conroy, 2019). Favourably for myself is the imagery created with Tush magazine, in their ‘MASTERPIECES!’ issue, engaging with a Marie Antoinette-era narration. Tush magazine explores the idea of altered physical states with their visual presentation of the magazine, engaging with covers that turn to film in promotional aspects.

Prosthetic work by Noah Faun and Sarah Sitkin were also reflected upon for how they communicate the stories through adding to the human form, similarly to how the above artists apply to themselves.

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IDENTITY A

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FANTASY

Through researching into visionary ways of brands communicating their identity through internally built characters, fantasy is a theme of which fitted in appropriately. Matty Bovan, Parabola Works, Colina Strada and Edwin Mohney are all some of the creative names of which have demonstrated this practice through their communication and brand strategies/ personalities. Creator/Artist Jenkin van Zyl said it is “… important to take fantasy really seriously…only thing that helps make sense of the world that is so seemingly unlinear and harsh” (Dixon, 2020)

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Under this concept, another photographer of who has influenced the direction of my FMP is Petra Collins. Specifically, most recent work created in collaboration with actress Alexa Demie.

“Fairytales” is the newest of works from the photographer. It is a “contemporary reimagining of a fairytale book – complete with illustrated, erotic short stories” (Dawson, 2021). It takes characters as we know from childhood, placing them in day to day settings. This is like what Matty Bovan and Jenkin van Zyl do, the latter describing it in a Vogue “Extreme Beauty” series video, as “…dressing up to do something very pedestrian…” (Dixon, 2020)

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FIGURE 1. ALEXA DEMIE BY PETRA COLLINS FOR ‘FAIRYTALES’.

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Looking for content creators who produce this sort of content took me to TikTok, introducing me to the likes of photographers Nas Nixx and Lindsey Ruth, and creator Spencer Goulding, who uses a raw, film type appearance to his videos, of which stood out to myself as an analogue creative.

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Beyond TikTok, Floria Sigismondi, Vasso Vu and Tim Walker have been of interest looking at fantasy, wonderland-esque storytelling, and Sharna Osborne, “Osborne’s work explores the meeting ground between moving image, fashion and art”. (LookBooks Pro, n.d.) who’s raw way of image capture inspires me a great deal, for “She shoots in VHS which has a distinct look to it and she is really developing that aesthetic as a great signature” (Stansfield, 2016).

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THE OF

MAKING

FOR ANGEL STUDIOS

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PERSONAL BRANDING When it came to communicating my own brand visually, I felt excited. Armed with the information I have now, set in stone about my character and brand personality, I know I’ve got a strong brand identity.

Communicating myself best would have to combine both analogue and digital methods of content creation and storytelling. This would best exude my ways of working.

Throughout my time of being on the course, I’ve constantly been a physical creative. My art based subject background meaning sketchbooks were my medium of storytelling.

When working towards the Brand Me project, I was creating collages from printed images and other, along with sourcing other physically existing items, and rescanning them together. This gave the narrative I was aiming to convey a rougher, edgier feel. Almost making it less 2D, if you will.

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One collage stuck out in particular, one where the subject was my Dad and I as a baby, where “Angel Sophie” was scribbled over. As mentioned in Brand Me, I’ve always had a spiritual edge to myself, believing in the existence of Angels or similar, higher beings. This, helping much of my positive mental development felt apt to keep within my brand.

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Enter “For Angel Studios”. The freelance aim as mentioned earlier is something I’ve thought about a lot, wanting to keep multiple levels to my creativity.

Working as myself under the name of a studio felt professional. I wanted to convey my storytelling through the brand narrative, whilst also expressing the core values of fantasy, maximalism and concept. My messages about self-expression, acceptance of identity and spirituality also had to be communicated appropriately.

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LOGO DEVELOPMENTS

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MY FAVOURITE

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MY MARKET LEVEL

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PRIMARY IMAGERY

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ARTEFACT

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For communicating my artefact, I opted for a personal website and a website page for my studio. This captured and helped to convey both sides to my creativity. My personal website took on a more colourful identity, representing myself, and the For Angel Studios site took on more of its personal branding as its way of representing itself as a brand. My page has more on it as I have created more under my name, rather than creating as myself under the For Angel Studios alias. Linked are my social pages, including my personal as recently I have been taking it more seriously in terms of sharing and building my outfits. It’s almost like my personal page has taken on it’s own vocation of displaying my styling.

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I decided that alongside the digital website pages, I would create almost a ‘catalogue’ option, available for print (or looking at an ordering type situation could be on the cards), where the layout of visuals to represent me as a brand as well as For Angel Studios is spread out to create a mini magazine/catalogue when folded a certain way, quite origami-esque. This would then communicate myself creatively through a digital and an analogue medium, therefore best portraying who I am as a creative in the industry.

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FUTURE-PROOFING OF FASHION MEDIA

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INTRODUCTION TO FASHION MEDIA AND WHY Fashion media is what I would call the backbone of the industry, as it is the methodology of which an object is communicated. Media meaning “medium”, so the format of which the narrative is told. Some of the main forms of fashion media are photography, film, magazines, and fashion shows. These are the more commonly known formats and some of the most popular in society.

Fashion media is the area of interest for my FMP because a large amount of what applies to me as a creative relates to visual methods of communication and storytelling. Taking my FMP down the route of researching and creating a solution for the future of fashion media will enable me to excel in a career as I will have built my own, personal understanding of the aspect of industry I intend to work in.

Mahoro Seward explained it best how in this day and age, “…we’re so constantly bombarded with the fresh and new that it’s a tough task discerning what’s truly worth getting excited about” (Seward, 2020), and with so many things on offer, it is difficult for one to consume and navigate everything to find their specific taste and for recognition for smaller creatives.

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FASHION MEDIA AND TECH When looking into the future of fashion media, to give myself a “goalpost” so to speak, I’ve opted to create something fit for a 2025 market.

The beginning of media research for me, would have to be looking at technology, and where it is predicted to be by the point of time in question. Ming-Chi Kuo is a “renowned Apple analyst, with over 10 years of experience reporting on Apple with data from the supply chain” (appleinsider, n.d.) his reports are largely where information comes from to the public pre-launch.

When looking at the future of tech to potentially be brought forth by Apple, Kuo states “We predict that Apple’s MR/AR product roadmap includes three phases: helmet type , glasses type by 2025, and contact lens type by 2030–2040…We foresee that the helmet product will provide AR and VR experiences, while glasses and contact lens types of products are more likely to focus on AR applications.” (Yeung, 2021).

Though, a few months later in November (the previous statement being from March of the same year), the advances seem to have developed to be brought forward, this prediction changing the release of the glasses type by the end of 2022, this “…latest report is likely thanks to Apple’s development of its own processors…” (Kovach, 2021). These glasses help push the narrative from WGSN of the ‘phygital’, looking at “Material innovation forward along with phygital tactility… and otherworldly textures” (Palmer, 2021), allowing their forecast of “…distinction between digital and physical materiality becomes blurred…immersive virtual experiences that activate the senses and enhance physical products… marrying the machine-made with human experience” (Palmer, 2021) to come to fruition. This idea reminds me of a film from when I was younger, Bratz Fashion Pixies, where the non-fairy folk were able to engage in the fairy world and community by putting on glasses, which allowed them to see those around them that they weren’t previously aware of their existence.

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All these innovations create a “landscape of fashion imagery diversifying at a faster pace than we’ve ever known” (Seward, 2021), with graduates’ work now “spanning photography, styling, video, VR and more, their work is a testament to the ever-expanding horizons and potential of fashion image-making.” (Seward, 2021). This shows to me also that there is a gap within the market of abilities to communicate these aspects as working together, rather than the separation into different platforms and viewing abilities.

Work of which interested me under this umbrella was that of George Jasper Stone, who’s work is testament of WGSN’s material forecast for AW23/24, “With every passing day, it feels as if our IRL lives and URL lives are slowly merging and becoming one. Already light years ahead is artist George Jasper Stone, whose work looks like it came straight out of the year 3021. “I feel like day to day interactions that were previously physical will become digitalised,” Stone says, “essentially more of the digital-ecosystem will spread into our daily lives.” (Cadogan, 2021).

To me, the physical world will always be an asset to the digital, giving it something to bounce from.

MY EXPERIMENT WITH 3D SCANNING TECHNOLOGY

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FASHION PRINT With this being said, it is important to assess print media considering the tech craze. When reflecting on prints place within society today, it is in a position of unpredictability. “Fashion media was struggling before the crisis [Covid-19 Pandemic]! (Odell, 2020), specifically print publications with WWD quoted as saying “nearly 40 percent of magazines that publish on at least a quarterly basis have seen their audiences decline…”

(Hays, 2020).

An interesting take from Business of Fashion in context of worst case scenario for magazines post pandemic was, “Killing magazines that were created 50 or 100 years ago that can’t be forced into a post-pandemic Internet age, no matter how hard anyone tries, perhaps replacing those titles with a series of upstart media properties built around rising podcasters and influencers with genuine points of view.” (Odell, 2020).

It was this concept of upstart media which was interesting to me.

IMAGES ON THIS SPREAD ARE BOTH MY OWN

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UPSTART MEDIA AND SUPPORTIVE PLATFORMS Upon researching this concept further, I learnt “Internet is the primary platform of choice for these new model media companies, who have made digital age dynamics like user participation integral to their approach.”(Kansara, 2013).

VFiles was brought to my attention from looking at examples of upstart media, the company “contain[s] a blend of original content created by professional editors…and content that’s created and curated by members of the VFiles community, which includes prominent music and fashion industry figures” (Kansara, 2013).

Core values of VFiles are presented as fashion, people, the future, and giving a voice. “Our culture defines the moment” and “our vision shapes the future” are some of the phrases used to describe their identity in their introductory ‘about us’ video.

From their website, it is shared that “Since its inception in 2012, VFILES has been a mission-driven company. The mission has always been to connect, empower, and amplify global youth. VFILES has incubated countless emerging talents and amplified their voices and works, which may otherwise have not been heard, at maximum volume.” (VFiles, n.d.).

Similarly to VFiles, we have Anonymous Club, “It is a machine for inspiration, uniting these fantasies to shape culture. Anonymous helps artists occupy their ideal world.” (Mascatello, 2020). It is a platform of which its aim is to shape and create careers for individuals, and “works with artists to bring their personas to life”. (Mascatello, 2020) These forms of fashion media distribution with emphasis as creatives being central really got me thinking. A quote from the writer William Gibson is “the future is already here – it’s just not very evenly distributed”, and it really resonated with me about the future. The future of fashion media is the people, the creatives. Methods of media output can develop as much as they like, but if we creatives aren’t seen and aren’t supported, then there will be nothing to communicate. I watched a video interview of Calvin Klein, and when speaking on the future of fashion marketing, he said that “…we don’t know what changes in the world…”. When we reflect on huge, life altering events, such as most recently the Covid-19 pandemic – there’s no way anybody could have predicted that.

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FIGURE 2. ANONYMOUS CLUB FOR DAZED

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Based on what we DO know, is that technology is developing, younger generations are more involved with digital offerings, and that the creatives within the fashion industry require the support to continue creating. This idea of creatives needing support comes from the pre-conceived ideas people have that creatives are well off financially, so to speak. As designer Christopher Shannon put to 1Granary, “London Fashion Week as an event makes money for people, not designers.

The last people it makes money for are designers…On these platforms, they never tell you that 90% of the alumni are in debt. I managed to avoid that, but most people don’t. No one talks about it.” (KURYSHCHUK et al., 2021) This support is something that is needed even more-so since the pandemic, the #OurWorldWithout campaign was created in April of 2020 by the Creative Industries Federation after, “sobering statistics showing that just one in seven creative organisations believed they could last until the end of April on existing financial reserves, while only half though they could last beyond June”. (AnOther, 2020) This campaign helped to gain funding from the government, an “investment of £1.57 billion in the creative industries” (AnOther, 2020). In the same context of ensuring the survival of the industry post-pandemic, open letter from Dazed founder, Jefferson Hack, said “The BFC estimates that 35 percent of young designers in the UK will not make it past the next three months, and that over half of the industry could be wiped out by the end of the year, including the livelihoods of many creative freelance individuals – the photographers, stylists, hair stylists, make-up artists, art directors, the tailors and the young creatives who are the very essence of our country’s creative production; its life and soul.” (Hack, 2020).

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FIGURE 3. VFILES BY I-D

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Though, these requirements for support are only enlarged thanks to the pandemic, with pre-existing support systems already required and in place, such as “British Fashion Council’s NEWGEN programme, and Lulu Kennedy’s Fashion East initiative, both of which are dedicated to championing and supporting new, emerging talent” (Cadogan, 2019).

Again, bringing it back to financial and job issues behind the industry, with “many disappointed students report that they end up taking jobs outside of fashion, or not finding jobs at all” (Amed & Mellery-Pratt, 2017). As put by Dominic Cadogan, the “…speed of fashion constantly increasing, now more than ever it’s important for young talent to have a support system in place when it comes to dealing with the many pressures that come with working in the industry…” (Cadogan, 2019), with Matty Bovan also speaking highly of these organisations like NEWGEN and Fashion East, saying “…that always needs to happen and be supported both in London and the UK in general” (Cadogan, 2019) The need for industry support is emphasised all round, with photographer and set designer Furmaan Ahmed saying “The industry is a fickle thing especially for us Brown, Black, and queer people. The whole structure wasn’t made for us and it’s really complex trying to exist within it,” they explain. “It’s really important, however, for others to see people like us calling the shots and having a say in how culture should look and feel.” (Cadogan, 2021).

It appears to me that within fashion media, there is a gap for its survival, requiring more support system platforms. Based on research gathered from multiple years, it is a consistent issue and requirement.

This is something I aim to take forward in my FMP, having found a gap of which nurture can help provide fashion media with a future of which is strengthened.

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RESEARCH CONCLUSION: WHERE NEXT?

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FMP CONCEPT To conclude my research, I will explain what my idea is to move forward for my FMP, the markets, consumers, and overall how I will get there and aim to move forward to bringing the concept to fruition.

The research gathered points towards a future of fashion drenched in culture, acceptance, inclusivity and support. These are integral to the future of media, as it is vital that creatives are supported to continue developing this sector within fashion. Combining the structures implemented from media upstarts and supportive communities such as VFiles and Anonymous Club, with the values presented by Fashion East and BFC’s NEWGEN, to form a new media output, similar to a publication/magazine model, where it is catered to the subscribers wants and needs whilst supporting a larger amount of creatives.

The level of curation to this project is going to be huge, meaning that it is not aimed at one specific market nor consumer. Saying that, conceptually, the project is of the visionary variety for its depth.

This means that subscribers put forth their interests within fashion, (e.g. sustainability, luxury market, specific brands or aesthetics) and also put forth their preferred methods of receiving communications (like physical, digital, film, etc) and then a collection of creatives works are compiled for the subscriber and they receive it in their preferred medium. Like the beauty industry

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There are many reasons for this. It is always going to be current, as with changes in consumer behaviour, the platform will always be at the forefront of innovation, seeing it first-hand. This means that regardless of differences between Alpha, Z’ers, Millennials – there will be something for everyone.

The transition between Millennial to Alpha is best to represent the analogue and digital appreciation.

Generation Alpha (2010s-), “will be the most formally educated generation ever, the most technology-supplied generation ever, and globally the wealthiest generation ever,” (Stechyson, 2019) are the first generation to be born into a heavily tech based society, their birth year coinciding with the iPad release. Differently, Gen Z (19972012) remember a time before tech and tablet usage, growing up with video tapes and physical engagement, but also having been “raised on the internet and social media” (Meola, 2022) watching it develop and change the world around us, and Millennials (1981-1996) who “have led older generations in technology adoption and embracing digital solutions” (Meola, 2022). .It takes inspiration from the successful user participation aspect of upstart media. It will act as a support system for all creatives, forming a space for their work to reach the right consumer for them. It can also continue developing alongside technology as it moves forward.

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The platform combines digital and physical also, something research shows to be predicted to be on the rise.

To visually direct my idea and move forward, I will use myself as the first target consumer, building a visual media package to my own personal taste, utilising unconventional form/ beauty, fantasy and analogue-to-digital methods – a more visionary level. I want to also use my friends to curate and create things to their tastes. I aim to reach out to other creatives to further cultivate the idea of a collaborative supportive platform, to add depth to the packages. I plan to look more at algorithms, and how these can be of use to my platform, helping the curation process of subscriber interests. The promotion comes from the creatives, through sharing work available to view helps engage and build community, though these methods are something I look forward to developing.

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REFERENCES 1.

Conti, S. (2020). London Designers Matty Bovan, Charles Jeffrey Ramp Up E-Commerce – WWD. Wwd.com. from https://wwd.com/fashion-news/fashion-features/british-designers-matty-bovancharles-jeffrey-ramp-up-e-commerce-1203694948/.

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Davidson, E. (2019). Matty Bovan’s surreal parallel universe expands further in his new zine. Dazed, from https://www.dazeddigital.com/fashion/article/45424/1/matty-bovan-fashion-zine-beautiful-teddyalex-box-bryony-walsh-london-designer.

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Peters, A. (2021). Inside Parabola Works’ chaotic and provocative debut show. Dazed. from https:// www.dazeddigital.com/fashion/article/54635/1/parabola-works-elliot-long-london-designer-fashionshow-a-cold-wall-samuel-ross.

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Cadogan, D. (2019). London fashion’s new gen talk how the city’s scene is changing. Dazed. from https://www.dazeddigital.com/fashion/article/43410/1/london-fashion-week-new-gen-youngdesigners-richard-quinn-matty-bovan-aw19.

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Wilson, M. (2021). Gena Marvin Is Redefining Russian Beauty. PAPER. from https://www.papermag. com/gena-marvin-2654782551.html?rebelltitem=2.

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Cadogan, D. (2021). Artist Gena Marvin turns his childhood trauma into nightmarish drag looks.

Dazed. from https://www.dazeddigital.com/beauty/community/article/52515/1/gena-marvin-artistdrag-russia-saint-petersburg-creative-interview.

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Conroy, V. (2019). Fecal Matter are the alien duo behind Instagram’s favourite flesh heels. Dazed. from https://www.dazeddigital.com/beauty/community/article/42749/1/fecal-matter-alien-duoinstagram-favourite-flesh-heels.

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Dixon, P. (2020). Inside Jenkin van Zyl’s Extreme Beauty Routine | Vogue [Video]. YouTube.

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Dawson, B. (2021). Petra Collins and Alexa Demie are releasing a book of erotic fairytales. Dazed., from https://www.dazeddigital.com/life-culture/article/52403/1/petra-collins-and-alexa-demie-arereleasing-a-book-of-erotic-fairytales.

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LookBooks Pro. Sharna Osborne | MA Talent MA Group. Talent.maworldgroup.com., from https://

talent.maworldgroup.com/photo-fashion/sharna-osborne.

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Stansfield, T. (2016). Martine Rose returns with Sharna Osborne-directed film. Dazed. from https:// www.dazeddigital.com/fashion/article/29092/1/martine-rose-returns-with-mapplethorpe-inspiredcollection.

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Mascatello, L. (2020). Anonymous Club writes a manifesto for making art now. Dazed. from https:// www.dazeddigital.com/read-up-act-up-autumn-2020/article/50400/1/read-up-act-up-autumn2020-anonymous-club-guest-edit.

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VFiles., from https://www.vfiles.org/about.

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KANSARA, V. (2013). Online Upstarts Explore a New Model For Fashion Media. The Business of Fashion. from https://www.businessoffashion.com/articles/technology/online-upstarts-explore-a-newmodel-for-fashion-media/.

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Odell, A. (2020). The Best-Case, Worst-Case for Fashion Media. The Business of Fashion. from https://www.businessoffashion.com/opinions/media/the-best-case-worst-case-for-fashions-mediagiants/.

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Hays, K. (2020). How Magazines are Doing During Covid Pandemic, Online in Print – WWD. Wwd. com., from https://wwd.com/business-news/media/some-magazines-suffering-amid-pandemic-onlineand-off-1234654571/#!.

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Seward, M. (2020). Exclusive: Meet Anonymous Club, the creative engine driving Hood By Air. I-d.

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IMAGE REFERENCES FIGURE 1. ALEXA DEMIE BY PETRA COLLINS EyUKWrEWQAQfAtR?format=jpg&name=medium

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